Where the style comes into its own though is with the second season’s escalation in viciousness.
It’s brilliant to watch even if the character are little more than sketches trading blows at some points. The scenery follows suit with masonry cracking, glass shattering and wood splintering as other-worldy creatures clash, especially so in the climax to the second season which sees Birdy fight in a ruined city, bursting through crumbling buildings and trickling water mains with destructive abandon. Birdy is tall and lithe by design so she bounds and cartwheels about the city with effortless, technologically enhanced grace but isn’t shy about applying blunt force trauma to ne’er-do-wells and lawbreakers.
TETSUWAN BIRDY DECODE REVIEW 2015 SERIES
This is most definitely in the latter camp with the entire series gifted with a pleasant personality to the characters’ movements but doubly so during the action set pieces that increase with frequency as the series progresses. As I’ve said before, I am no connoisseur of animation but know that if you’re going to go with a flat style that eschews gradients and shading, it’s either saving budget or in service to motion. It’s fair to say then that my expectations were challenged in the first season, then totally surpassed by the second.ĭepending on your astuteness, the first thing you’ll notice about Birdy is the art style. I thought I knew what to expect from that sort of introduction which perhaps explains why I stopped watching it when it first aired in 2008.
but here there is the quirk of the girl being an absurdly strong intergalactic investigator on the hunt for dangerous criminals on the “backwater” planet Earth. It certainly feels familiar in the same way that any gender-bending situation is - Kokoro Connect, Ranma ½, Kämpfer et. Sees Birdy fight in a ruined city, bursting through crumbling buildings and trickling water mains with destructive abandonīoy meets girl, boy ends up cohabiting girl’s body.
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