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Copyright © Genco, Radix/Pioneer LDC, Kadokawa Shoten, TV Tokyo
Broadcast Times:
Mondays 25:15-25:45 |
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by Ivevei Upatkoon
The first thing that caught my eye about this series is
the character designs. They are a little reminiscent of GUNDAM WING, with a
down-to-earth look and a subdued tone that I personally find very
pleasing. I believe this is the first series that Sano Hirotoshi acts as
character designer, although he has held assistant posts or worked as
animation director in many anime such as GUNDAM MS08th TEAM
and ESCAFLOWNE.
In fact, on the production side, NAZCA does not really have any big names.
The director, Tokita Hiroko, has been long in the industry but remains
somewhat of a fledging in this role.
Considering these circumstances, it would be unreasonable to expect
something on the level of the polished finesse of COWBOY BEBOP, yet one can
always hope for a fresh flavor. Fortunately, perhaps, I watched this series
without any knowledge of the show's background, not even its
name. It was a decidedly novel experience that I rarely had while in the US.
The result is that, after the first episode, I am left
extremely interested, with high hopes for what looks to be a visually
satisfying anime with an original storyline.
To date, four episodes of NAZCA have been broadcasted, and my feelings are
now ambivalent. Because while I do really like the show, I am also
disappointed by its many flaws, ranging from poor animation quality to
inconsistent presentation to use of inexcusable cliches.
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NAZCA's highlight is the opening sequence. Like many anime this season, it
makes liberal use of CG. The CG does not blend with the cel animation, but
because of the way the sequence is constructed, the effect is not jarring,
but rather quite fitting. Done to a powerful opera version of Bach's "Fugue
in G Minor," it begins with scrolling text of strange writing, switching to
the bright sun over a great dusty plain before coming to rest on a
representation of the famous Nazca line drawing of a bird. Then from behind
a waterfall of billowing vapor emerges a massive golden Inca mask. While
two warriors complete with feathered headdresses battle each other, a
priestess raises her hands to the sky as a single tear rolls down her cheek.
The setting is modern day Japan and focuses on a boy named Kyouji. He is on
his way to see a match in which his kendo instructor, Tate, is participating,
but bumps into a young woman who turns out to be Tate's fiance. Together
they sit down to enjoy what was to be an exciting match, but instead are
shocked to the core when Tate's form changes to that of an Inca warrior and
his slice cuts through his opponent's padding. It is the beginning of a
nightmare for Kyouji. His formerly benign teacher transforms from a kind,
caring person into a ruthless madman bent on turning Kyouji to his warped
cause, or killing him if he resists. For Tate is the reincarnation of the
warrior Yawaru, and Kyouji is his enemy from the past, Biruka. Tate's
fiance Yuka is the priestess Akurya, also to be wed to Yawaru in her past
life but, like Biruka, eventually opposed Yawaru's plans of domination.
NAZCA is a story of their awakening in this lifetime, and the ironies of
the past uncontrollably repeated in the present.
This show had a lot of potential in both story and atmosphere,
and I still hope that it can fulfill some of it. Unfortunately, it looks as
if it is suffering quite badly from budget and time constraints. The
characters are thankfully quite consistent in appearance, but the animation
leaves something to be desired. In the second episode there is extensive,
but ultimately wasteful and inappropriate use of CG. The result is not
that poor, but certainly compared to some of the other major productions it
is simply average.
Another complaint lies with the historical accuracy of the Inca
sequences. I have no problem with the superhuman mystical powers, but it
bothers me that they all dress in tights. One part where young Akurya and
Biruka are running in a field of flowers irked me in particular, because it
is so cliche that it is dismally out of place. Other instances feel badly
paced or clumsily executed.
But then again, there are parts where this show shines, for example where
Kyouji cries as Yuka comforts him. Attention to emotional detail is
something rarely found in other works of this genre and I greatly
appreciate it. In addition, the faces of the characters, Kyouji and Yuka
in particular, are very expressive. I would have to say that it is the
biggest draw for me, together with Yuka herself. Yuka is a lovely character
with deathly pale skin but dark lips, eyes, and hair, making for a
prominent contrast. Very well voiced by
Hayashibara Megumi,
she is one of the new breed of strong, calm and wise female characters.
It is difficult to judge a series based on only four episodes. The story is
ambitious in scope and detail; the cast of players continues to grow with
each episode; and there is also the hint of the mysterious lifeforce of the
earth, Irya Tesse, the control of which appears to be a major part of
Tate's plans. If NAZCA manages to pull it off without drowning in the
weight of the epic, and I sincerely wish it every success, then it will
definitely be one series to keep an eye out
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