The iDOLM@STER franchise originally started as a series of video games, back in 2007 it received an anime with a complete re-imagining of the characters as mecha pilots, in the form of Idolm@ster Xenoglossia. However I’m here to talk about A-1 Pictures more direct adaptation of the game, with which the minds of Gainax’s Nishigori Atsushi and Kyoto Animation’s Takao Noriko brought something special to the series as it returned to television once more in 2011.
This post is not really going to take the place of a formal review or analysis, but more of a space for me to cover both what I found interesting and noteworthy about The Idolmaster, and also what I felt were some key issues that hampered the series. While it serves to organise my own disparate thoughts on this series, I know there’s some of you out there who are also very keen to know what I feel about this beloved title. Without further ado, let’s get RE@DY, and also L@DY to talk about some idols!
BokuMachi presented us with its despondent main character, Satoru, in episode one. A man who was mired in regrets, with a career that hadn’t turned out the way he had imagined, working a second job to make ends meet. Though it went even further than that, showing us that his reserved nature and inability to express himself sincerely had been present even when he was a child. His desire to not get involved with others, and his passive meandering through life were further entrenched with the kidnapping incident.
However, as we saw in the events of the first episode, through his ‘Revival’ power, he’s inadvertently been given a second chance to do things over, right from where it all began.
Notabilities: Itou Tomohiko is an accomplished director with a wide range of series he’s had under his belt, primarily at A-1 Pictures and Madhouse. Occult Academy, Silver Spoon and Sword Art Online are his leading directorial statements, but he’s worked as a storyboard artist and episode director for a number of distinct shows, from Madoka Magica to Michiko to Hatchin and his Madhouse gigs on Death Note, Kurozuka (Araki Tetsurou shows) to Monster, Kobato, Kurozuka and more!
So, it’s fair to say we’re in good hands visually, but what about the writing? Well, I can’t speak to the quality of the mangaka, but he has a distinct focus on psychological thrillers, and this is his most recent, and appraised work, though unfortunately it’s an ongoing manga, so don’t hope too high for a solid resolution.
The series composer adapting BokuMachi is Kishimoto Taku, who worked with this same director before on Silver Spoon, and interestingly, Haikyuu, but the most relevant link, is that he worked on the much revered Usagi Drop.
So, expectations are high, the premise looks unorthodox, it’s not a sword-magic-boobs-highschool show, so lets dive in!