They are by far the best anime! We counts down the best anime to come out all the time, including the likes of Bouken! Iczer 3, Bubblegum Crash, Bubblegum Crisis, and more!
3: Bouken! Iczer 3
English: Iczer Reborn
MAL Score: 5.76
In deep space a battle wages between the forces of good and evil and the fate of the Earth hangs in the balance. The evil Neos Gold dispatches her invading forces towards Earth with only one aim: the total destruction of all mankind. Now it’s up to Iczer 3 (the younger sister of Iczer 1) to defend the Earth from the deadly armada of Neos Gold, with only the Earth’s single remaining battle cruiser on her side. But don’t count her out; what Iczer 3 lacks in experience she makes up for in all-out enthusiasm.
Remember its prod. was 23-25 years ago so and many ppl can’t stand it these days cuz its more than a few years old…. sad. anyway the story is no too intense like its prequel but has more fun to it, in this case with Iczer-1 little sister. Short nice fanservice and nice not too violent fights wich sadly progresses more than the storyline. Chara are acting for the time, bit cheesy and annoying but funny, and go for the japanese language because i can’t stand the english dub!And for the matter fact i enjoyed it quite much!
2: Bubblegum Crash
MAL Score: 6.54
The saga of the Knight Sabers continues as the group tries to find out who or what is behind the recent string of robberies, murders, and Boomer malfunctions which are somehow related to the creation of an advanced artificial intelligence. Furthermore, it seems that the Knight Sabers may be breaking up.
Crash is basically a direct continuation of the original OVA and it’s completely obvious. The animation and everything in that aspect is the same, with many improvements because it’s newer – this made me second guess myself after saying I liked the redesigned characters in 2040, because Priss, Nena, Linna, and Sylia all looked really cool in this one. The cyberpunk setting is still very grim, dark, heavily detailed, like it rightfully should be! The music also retains its awesomeness from the original OVA, great 80’s hair metal that you can’t help but love if you grew up in the age. The BGM fits the mood and is great too. Oh and the opening is just downright awesome, timeless stuff!
I’ve head some complaints about this one mainly geared towards the plot being a little contradicting against some events in the OVA. The only issue that might bother me here is that Priss could be a little out of character, with her constant attitude and decision with being a Knight Saber and fighting Boomers changing – but I have to ask, do you really go in watching Bubblegum Crisis for an in depth story and thought provoking characters? Not exactly, if you ask me… that aside the characters reminded me a lot of how they act in 2040 pretty often. Priss can be pretty hotheaded, Nena is cheerful and weary that the Knight Sabers are breaking up, Linna is just all over the place, and Sylia is her mysterious self but shows a little more character towards the end. They’re all fun and enjoyable characters.
The three episodes do connect in the end. They’re a little episodic, but 40 minutes pure episode isn’t bad. The horrible events in episodes 1-2 eventually lead up to the finale, where a previous villian is brought back (one of the best ones from the OVA, with that being said some can maybe make a guess as to who that is). Though the show does get a little silly towards the end kind of like 2040 did, it tries a little too hard to be overly weird and thought provoking. But it’s just part of the episode, rather than an entire story arc … so it’s not a huge complaint.
Overall Bubblegum Crash is simply put, more Bubblegum Crisis, more Knight Sabers kicking ass, great cyberpunk settings, awesome old school music. It’s always been something you shouldn’t take TOO seriously, but if you go in just looking for some quick enjoyment with action/comedy this should deliver. If you’re a fan of the OVA, 2040, and still haven’t seen this – definitely give it a shot sometime.
THAT ALL SAID – I enjoyed Crash a fair deal. No where near as much as Crisis, but it certainly is not awful. Continuity errors aside, each episode’s story is fairly interesting and the four Knight Sabers are as fun to see as always. It also provides an actual conclusion to the story, which gives Bubblegum an actual sense of closure after Crisis had its mother of all non-endings. There’s still a few good cheesy songs as well (though nowhere as many as in Crisis) so the spirit is still there. All in all, Crash isn’t a bad way to end the series on, and for all its flaws its still an enjoyable watching. At 3 episodes long, its not even that time consuming either, making a quick fast watch.
Bubblegum Crash had a lot of features that would make it a cool sequel to )one of) the Cyberpunk Epic(s) of the 80’s, Bubblegum Crisis. It has a spetacular Opening, with great visuals and an awesome song. It had improved animation, whichi could only add for its awesomeness. But it lack one little very important thing: It lacked memory. It did not remember its own story. Ladies and Gentlemen, the Mother of all Trainwrecks is here. This is the sequel that contradicts its original story. I have never heard of something like this before. This thing here gave birth to my first Anime-Impulsed Facepalm.
It’s possible that you think that I am overreacting, since Bubblegum Crisis was created mostly as an action show, and for many people, plot is secundary. Well, you won’t think so when you hear about what happens here.
Story: 3 of 10
You know what? The story wouldn’t be that bad… If it weren’t for the fact that it contradicts the story of the show it is supposed to be a sequel of. And not just any part of the story: IT CONTRADICTS THE MOST IMPORTANT PART OF THE SHOW!!! Let me break it down for you.
1 – Boomers, GENOM’s creation, are Cyborgs which are a junction of cybernetics, biotechnology and nanotechnology, that have multiple purposes. They have varying degrees of Inteligence, with many of them reaching sentience. This is particularly true for sexaroids, but present elsewhere. They are widespread, specially, it seems, in the Multiethnical Japan of 2032. Several of them go out of hand, and the Knights Sabers (our protagonists) are there to fight them, among other opponents). One of our protagonists (Priss) eventually befriends two of these (sexaroid) boomers, and fans will probably speculate about the relationship with one of them (probably just fan wank, though). These friendships are actually a key point in the story’s most important arc.
2 – The Big Bad, the leadership of the MegaCorp GENOM, is heavily present in the story. One of the villians from this corporation eventually transfers his consciousness to a Boomer body, and gains a God Complex. This is also a key point in the story’s most important arc.
There are other points to the story, but these are enough for what’s about to come. So, how does our beloved sequel treat these facts? Here’s How:
1 – In 2034 (Crash setting), a top secret experiment consists of the first sentient boomer, who looks like a tin can… If I recall it right, in 2032 and 2033, SENTIENT BOOMERS ALREADY EXISTED, could be confused for Human, and in several cases, had artificial blood deposits. Now people could come to me and say: ”They were probably referring to the first sentient boomer that is entirely artificial”. No they’re not. They only mentioned boomers, and the fact that you could confuse this boomer for a human being on the phone was considered impressive… 🙁 What just happened here? So, technology is lesser in 2034, and everyone forgot the previous years? First Facepalm.
2 – Priss, one of out protagonists, befriended two sexaroids in Crisis. One year later, as if she hit her head somewhere, she doesn’t seem to recall them, and outright claims to hate boomers. She has a change of heart with tin can later, but… What happened to Sylvie and Anri (the sexaroids)? And nobody else seems to remember anything either. Second Facepalm, in result of the first.
3 – GENOM, so important to the narrative of Crisis, controler of even the Japanese Government, is absent from the story altogether, leaving only its gigantic tower behind. Never is the name GENOM uttered, nor is Quincy, the CEO ever mentioned again. Also, the city, with a notable divide between rich and poor, is suddenly cleaner… What happened in here? Third Facepalm.
4 – But hey, if you think the main villian of Crisis woudn’t show up, you’re quite mistaken. The member of GENOM who resurrected as a boomer with a God Complex, who persoaded one sexaroid boomer that he would free boomers, and who fought Priss with said sexaroid nearby… IS BACK!!! And according to his words, he’s back to settle unfinished business… WHAAAAAAAAAAAAT!!? This is too much to take in. It’s messing my mind up as I write this review. It’s awful. Fourth Facepalm, in virtue of all the others.
And you know what’s the worst part? There are parts of this story that were actually usable. What a waste.
The art was spetacular. It was the sharpest art in all of the early Bubblegum Crisis franchise. It was awesome. Bright colours, a well drawn cyberpunk setting, great action animation, etc. It even has a spetacular Opening Animation. It still doesn’t make up for anything though.
It brings us an awesome OP song, and three forgettable ones. It has a mostly unimpressive soundtrack… The OST is a shadow of Bubblegum Crisis’ diverse OST, which is awesome to have. Also, while Crisis’ cast was fine before, which even some seiyuu who would appear in other prominent roles, in Crash, Priss’ seiyuu is replaced, and her work wasn’t that great. Still, she sang the awesome OP and with some effort, she would’ve made it. She just didn’t, though. No offense to her.
I mentioned Priss’ amnesia regarding 2032-2033, right? Priss’ unexplainable hatred of boomers. I shall also mention how Priss dropped her interest in Rock music, disbanded her band, and… tried to record a pop album… Yeah… Also, Linna, another protagonist, seems to not have evolved her character after past events, but because such events were not mentioned on this review, lets not go any further… This is just a part of a whole. Everyone’s ”amnesia” decreases their worth as characters. Sorry, that’s how it goes.
The action saves it from a mediocre rating, and so does the Opening and the Animation… But for all the reasons above, it doesn’t go above 6.
Overall Score is 5. A sequel that kills everything the original was is too lucky for having such a high score.
1: Bubblegum Crisis
MAL Score: 7.29
The year is 2032, seven years after the Second Great Kanto Earthquake decimated Tokyo. Now, the city is reborn as MegaTokyo, built from the labors of mechanical beasts known as “Boomers.” Originally created to benefit humanity, the mysterious corporation known as Genom now produces Boomers with incredible destructive power as a new type of advanced weaponry, capable of disguising themselves as humans.
The AD Police is a new special unit to counter the ever-increasing Boomer-related crimes. Overwhelmed by the sheer amount of crimes and disparity in strength, the AD Police poses little opposition to the Boomers. A mysterious vigilante force known as the Knight Sabers, wearing powersuits more advanced than the military, is the citizens’ only hope for protection. Led by Sylia Stingray, Priscilla “Priss” Asagiri, Nene Romanova, and Linna Yamazaki, these beautiful girls take out any Boomer that steps out of line.
Science fiction, ever the barometer of public fear, reflected this in books and film. Alien, in 1979, brought the world a vision of space travel in the future that for once was filthy and corrupt and run by giant corporations with no morals. The seminal Blade Runner stunned 1982 with the visually amazing concept of a huge, grimy neon tech-sprawl future LA of totally mixed ethnicity and robots that behave more like humans than humans do. And William Gibson’s famed 1984 novel Neuromancer gave the world a fevered, lavish nightmare of clashing technology and humanity embroiled in a tale of global tech businesses up to no good, in the process giving this burgeoning genre a name: cyberpunk.
Where one media succeeds, others will follow. Cyberpunk anime was as inevitable then as live action western versions of anime have become now. Bubblegum Crisis was the leading edge of that cyberpunk anime, taking the elements that worked for the rest and expertly marrying it with many of the elements that make anime unique. Today, Bubblegum Crisis is one of those \’classic\’ titles that anime fans need to know about, a Terminator or Star Wars of the anime canon. Even though its popularity in Japan was only a fraction of the reception it enjoyed overseas, it’s my contention that without Bubblegum Crisis there’d have been no Akira film.
But is it any good? On one hand, detractors can say that this is a messy blending of many things that have already been done; a Blade Runner city with a flavour of Neuromancer-come-Alien-come-Aliens dystopian griminess and high-tech evil and full of Terminators and Robocops, filtered through that anime staple, mecha. This is largely true, but doesn’t matter. Outside anime, nothing so ambitious could ever work; but within the totally created universe that’s only possible in animation or CGI, and only really practical in animation, it not only works but excels.
Originally planned as a series of 13 OVA episodes, it eventually ran to only 8 episodes, and some key plot points were altered because of this. Another 3 episodes were released later in an OVA series called Bubblegum Crash, using elements of the 5 unmade episodes that never made it originally. Each is largely self contained, but both multi-episode arcs of storyline and a loose overall plotline are also present. Being an OVA, the time period and hence staff is not as fixed as can be seen with a TV series, the net effect of which being that pretty much every episode is different from each of the others, with different emphases and different priorities. On top of this, half way through, some key decisions were reversed about the planned death in episode 5 of a character who, in hindsight, clearly stands out as the main protagonist. Plus, the eventual premature demise of the series stemmed from the two owners of the franchise, Artmic and Youmex, taking each other to court. DVD releases nowadays seem so snarled in legalities that the horrendous dubtitling is almost forgivable. So, it’s a total mess, basically.
But like I say, this doesn’t really matter. What Bubblegum Crisis does so well, well enough that it relegates these things to positions of secondary importance, is cool. BGC may not have a very sure idea of what it wants to be and do, in a general sense, but it does it with irrepressable style; everything about BGC is very cool. Kenichi Sonoda, who went on to be the man behind Gunsmith Cats, designed the characters impeccably, including their incredible sleek hardsuit armour, which look like what Lamborghinis and Ferraris would look like if they were shaped like women. Various other mechanical designs, by Aramaki Shinji, later to be mechanical designer for Evangelion and director of Appleseed 2004, largely borrows from much of early \’80s sci-fi, and frankly looks fantastic. There’s a very brash, colourful, in-your-face ‘80s vibe also driving the general design ethos, which might sound ghastly but is in fact perfect for crumbling, self-digesting neon dystopias. Much of the visuals are, as mentioned, lifted from Blade Runner and run through a series of anime design quirks. Animation is by no means stunning generally, but gets the job done, and when you factor in the fact that this is from 1987, it really has some very nice touches.
No review of Bubblegum Crisis is remotely complete without mention of the music. BGC is famous for its music almost as much as it is famous for popularising women kicking arse. Synth-rock songs that are as artificial and processed as the nutrasweet in diet coke, tunes painstakingly designed to be catchy and memorable, are the order of the day; it is hard to express how much raw fun it is. It\’s also archetypally \’80s, overblown and brash – and outside of BGC, I generally hate \’80s stuff. The songs especially manage to encapsulate that B-movie feeling; like the irrelevant pop songs at the end of a film that was cheesy but still really entertaining, they are driving, infectious ballads with amazing powers of mood-lightening. Many have noted the similarity between the opening of the first episode and the start of the 1984 film Streets of Fire; but the integration of the music into the story in BGC is much smoother. And, while I love the music, it\’s immediately obvious it\’s the kind of thing that\’s likely to provoke strong responses that won\’t be positive for everyone – a gamble any series that relies so heavily on music must make. Even if you\’re not keen on the sound, though, there\’s no mistaking the skill, high production values and copious amounts of effort behind it.
By having the rock singer character as one of its toughest protagonists is a move that trumps Streets of Fire\’s equivalent role in every way. BGC\’s other characters are far from original by modern standards, but it\’s worth remembering that they set many of those standards themselves. These are archetypes, not stereotypes; those that set the trend, not those who follow them. No-one looks down on Dirty Harry, just because he spawned a thousand maveric cop characters.
It can\’t be denied that there are some fairly major things wrong with BGC. For one, it\’s almost totally episodic, with no real overarching plot and little other than the strong, well rounded characters to link one episode to another. For another, the characters may be strong and extremely charismatic, but they don\’t really change much or develop like they should. For a third, it suffers from the lack of an ending; the last story just stops like any other, and you reach for the last disc…and it\’s just music videos (also real fun). These problems are at least addressed in the 1999 remake, Bubblegum Crisis Tokyo 2040, but at the expense of design, music and general coolness. What the remake did not fix, however, is the basic implausibility of the whole thing. Bloodsucking robots, transforming motorbikes and mecha-tentacle beasts strain one\’s suspension of disbelief unpleasantly at times.
Nonetheless, Bubblegum Crisis, or, to give it its full title, \’Bubblegum Crisis MegaTokyo 2032: the story of Knight Sabers\’ (yes, BGC was in fact the origin of the now-common phrase MegaTokyo – another example of its wide influence), remains immensely enjoyable popcorn anime, and remains fascinating for anyone interested in the history of anime. After 20 years, that\’s pretty damn impressive.
Immediately Ghost in the Shell comes to mind, some scenes look almost identical, the Oshii vibe so thick, the possible influence on the man (and even Shirow himself) is made more and more questionable throughout the OVA with many stylistic choices bringing the GitS franchise to mind.
After the introduction of the various comings and goings of the city, a concert suddenly begins, introducing a blonde wigged character Priss, and is intercut with the appearance of a boomer wrecking havoc. The direction and editing, and hell even the music are all excellent and ensure the OVA gets off to a cracking start. 80’s cyberpunk at its best!
The story follows four plucky young women with nothing better to do in their spare time than to don cyber-outfits and blow crap up, preferably those pesky rogue boomers who keep appearing all over the city. The combined IQ of these four women finally figures out that Genom corporation, which apparently ”accounts for 68% of the world’s cars”, might have something to do with these incidents and so Bubblegum Crisis delivers 8 episodes of pure unadulterated fun in a way only 80’s anime can.
Mega-Tokyo, 2032. This is the future, but seen from the eyes of the 80’s. Each decade’s vision of the future is idiosyncratic, and so each decade produces strange and brilliant works of genius or garbage, with Bubblegum Crisis firmly in the strange and brilliant camp, albeit lacking both genius and garbage, though still retaining quality production and vision. Plenty of great directorial choices, POV shots, pans, zooms, it’s all dynamic and makes up for the dated, yet still decent, animation.
No matter the humour or clunky dialogue or 80’s sprinkled aesthetics in hair styles and clothing, this is cyberpunk at its peak. Everything associated with the genre is present, the connective nature of society, the paranoia of having satellites hovering above your head with the capability of blowing you up, biotech suits, corporate power run amok. In a sense Bubblegum Crisis is more cyberpunk than a lot of cyberpunk anime out there which sometimes jettison a lot of the genre’s traits and settle for dystopic hijinks with the occasional robot AI thrown in. Bubblegum Crisis revels in the genre and doesn’t leave anything out.
The anime came out at what might be seen as cyberpunk’s peak of influence and exposure in the mainstream, and as such is worth a watch for its historical significance, in terms of impacting the genre of cyberpunk in anime and also being a window to the time. It’s so classy it even has time to throw a shout out to The Third Man!
It’s flawed, but packed with so much creative ideas and flair, you can’t help but bop along to the 80’s tunes. Each episode starts with a cinematic musical montage of 80’s soft rock/pop and narrative-advancing imagery. This isn’t on-par with cyberpunk like GitS, you have to accept the humour and gaping plot-holes as part of the charm, or you’ll just not be involved and will tune out. The AD Police are written as what a 12 year old imagines the NYPD are like, complete with the gruff black police captain arguing with the rookie cop.
There’s lots of subtle visual flair in this OVA, the directors knew what they were doing. (Except for episode 5 and 6. That director probably went to the school of Koichi Mashimo, though he wasn’t helped by the screenwriter for those episodes either) Too often in post-millennium anime there are tons of ‘arty’ shots that are meaningless and the camera either flies around the place like a steadicam-operator on crack, or pans laboriously across the screen as if directed by an old age pensioner, but back in the 80’s/90’s they knew how to pace episodes just fine while choosing narrative-coherent viewpoints to the action. I guess I’m harping that old cliché of modern day anime being too shallow with emphasis on looks rather than content, but considering that this anime is packed with very clichéd jokes that were old even back when this was released, the argument is kind of moot.
If you want to go extra deep you could propose that Bubblegum Crisis is yet another exploration of the relationship between man and machine and clearly veers on the side of external mechanics and views bio-implementation, or to be simple about it: cyborgs, as a threat to the world. Even though boomers are technically robots, though the distinction is rarely made clear especially when they all have such charming personalities, their humanoid form isn’t a random creative decision. Boomers, anyone associated to them, and augmentation in general are clearly bad for your health and the only way to make the world a better place is to jump into exoskeleton mecha-suits and be a master of cybernetics, not a slave to them. It’s possibly an archaic almost Luddite philosophy, especially in the 21st century where bio and nano-technology is getting more and more traction. Yep, I just analysed an anime with ‘bubblegum’ in the title.
But you get the gist, Bubblegum Crisis is consistently entertaining and has very good direction to boot, and its shortcomings can be seen as part of the package; a conscious decision and not a by-product. You’re meant to laugh at the ridiculousness of the entire premise, especially the glorious last episode’s tribute to the character of Nene, and you’re meant to lap up the universe presented because you’re a cyberpunk fan. The damn anime’s called Bubblegum Crisis!
If you’re not grinning while watching this, you’re in a crisis of your own and I suggest you chew some gum to get over it.
However at the same time, being a fan I think i can give you a true reflection of the series, being able to mention things that other reviews are missing because they glossed over the series and did not give it the attention it deserved. I think in some ways a review that the reader can relate to can sometimes improve their watching/re-watching of a series.
So onto the matter at hand Bubble Crisis 2032, an OVA series which 3 top notch studios (AIC, Artmic and Youmex) gave their all towards in the 80s and in my opinion really raised the bar when it came to what you could achieve in animation and also among all of these talented people was none other than legendary designer Kenichi Sonoda. Unfortunately the downside of having so many good chefs, is the inevitable arguments over who owns what, which in the end was the downfall of BGC.
First lets talk about story, BGC gets a lot of flak over its story, many arguing that it is poor or lacks any real overbearing plot. Now i have a problem with this, yes you could say that if you’re comparing it to syndicated series which run with week by week episodes and are produced much quicker, but BGC was not produced in that manner and was never intended to be, its release of 8 episodes was staggered over 4 years due to the amount of work it required to do it to the level of technical quality wanted. At the time most of us never were able to see all episodes back to back like people now get to do, the producers knew this and focused on trying to convey EMOTIONS in each episode. The dying of a loved one, loyalty and vengeance for a friend, saying goodbye for a last time, fighting a losing battle, all of these concepts were tried to be portrayed using a situation and an fitting background song, right up to the end credits music and background image the directors were trying to convey a feeling with their story above all else. And i think that was a good approach, since the episodes had more impact on me and i was not simply waiting to see the next episode like i do with anime nowdays, i was instead thinking about the episode i just watched, which was a very good thing since the next episode was likely weeks if not months away. A lot of money was put into this series, and it was risky even for the time but im grateful they decided to do it this way as it leaves a lasting impression on most that watch it, sometimes subconsciously.
The characters themselves were a revelation, they were a new breed of tough woman leading the fight in mechanized combat suits. That was barely common to have only woman as leads in the action genre.
Though with only 8 out of the 13 episodes completed they did what they could with depth, but its what the characters represented that was most special.
They covered a broad spectrum of female heroines, Priss a tough, bike riding, battle hardened fighter who happens to be a singer, Linna the represented average aerobics girl of the 80s but with the ability to be able to tranform that athletism into fighting prowess, Sylia a smart weathly elite who isnt a afraid to drop the high class lady act and dirty her hands when she needs to, and lastly Nene a computer and electronics specialist willing to put herself in the battle zone.
What made them even more special though was they all had their weaknesses, and the designers wanted us to know they were not perfect individuals and this added something to the characters that was largely absent in other action movies of the time.
Priss is poor and has had a rough life, its also implied that she never was well educated but she does what she can to get by and enjoy her life and improve the life of people she knows…or at least exact justice on their behalf.
Sylia is seen as the cool headed leader, but secretly she has an immense hatred for Genom Corp inside her which is strong enough to impair her judgement and cause her to lash out at others.
Linna although generally up beat is not living the life she wants, she would love a glamourous life and a great boyfriend but she is stuck in the mediocrity of being a below middle class person in Megatokyo, a cycle she cannot break out of. Then theres Nene, she desperately wants to be more physically imposing and it frustrates her that she isnt given much respect, she doesnt just want to be known as a computer geek at a police department and really would like people to know what shes really capable of.
Art and character design, I think the series gets its deserved ratings here. Personally i think its a masterpiece of its era, using methods an approaches that will never been done again since they would be unfeasible today. Its a testament to what human artists are capable with just simple tools and hundreds of hours of painstaking work that they simply poured to their hearts into. If you’re an artist or have ever worked with professional artists you will understand it and appreciate it for the true paramount achievement that it was. If you’re not an artist, just look at it like this, BGCs artwork is very much like a Ferrari F40, its not the best car ever made, but its a representation of what was achievable by the experts of that era, and for that it will never be replicated again because the technology changed, people have changed and the mindsets have changed. For that reason its look will always be unique and special.
The sound, for me the music production was the best id ever come across, in both English and Japanese the production quality was supreme, the musical ability of the producers and the vocal ability of the singers is as good as it got for any form of entertainment in the 80s, and that’s saying a lot considering how great an era for music and movies the 80s is considered as being.
Lets talk about the english version music first, since for me its unbelievable to say there are some tracks that are actually better in English (Rock me & Don’t Forget). Now if any of you are familiar with older anime, you’ll know that how botched english versions can be, but with BGC they really gave excellent attention to it so it could stand alone as an equal in quality.
Though the Japanese version is better overall as expected, Ohmori Kinuko really giving a vocal performance that’s as good as it gets.
Voice acting though is just average for both English and Japanese versions. Nowadays we have near Hollywood quality (or Japanese film industry quality) voice acting in games and anime. So BGCs voice acting is a couple notches below, it just lacks the substance that you get with newer productions that really drive home the characters intentions. The relative background silence you get during speaking is typical of the sound production of the time, that is one area I am glad is gone these days.
In terms of enjoyment, if you’re a person of the era there is no way you would say this is anything less than a 9 (i say 10), because you simply hadnt seen anything like this at the time, especially if you were outside of Japan. Taking nostalgia out of it and looking at it just as an Anime fan…a knowledgeable anime fan would certainly understand what was achieved here and in that case its an 8 or even 9 still. (If you got this far i want to thank you for reading this rather long review)
Overall, its a 9/10 for me and if you grew up in the 80s and are an anime watcher you absolutely must watch Bubblegum Crisis.
Did YOUR favorite anime make the cut? Let us know in the comments below!
1. Bubblegum Crisis
2. Bubblegum Crash
3. Bouken! Iczer 3