Kazemakase Tsukikage Ran

There's something about certain stories that manage to capture the true essence of a good adventure, and the ways in which that adventure reflects life more broadly. There are so many stories about journeys of all types, from the grand to the mundane, but there are far fewer which really reflect all of its aspects, like the quiet freedom of a warm breezy day, or the unexpected reunion with an old friend, or even the simple sense of purpose that comes with moving from one side of a long road to the other, even if you have no particular goal in mind. Guided by the ... Wind: Tsukikage Ran is one such story which fully appreciates the true nature of a good adventure, and gives that adventure room to breathe and develop in ways which feel whimsical, exciting, centering, and directly impactful. The fact that the story is simply allowed to exist, going where it may, guided by our main duo Ran and Myao, who are themselves guided by their respective moral principles, results in a tale that is prescient and real and in many ways transcendent of the medium itself, reflecting upon the viewer. Its strength lies in its simplicity, and how it builds up conflict by circumstance in such a way that doesn't feel contrived, while still managing to construct, episode-by-episode, this feeling of profound, satisfying resolution. These self-contained adventures each episode feel distinctly natural, and progress apace in a way that feels as though you, too, are swept along with Ran and Myao as they navigate their way through whatever situation they found themselves in this time. It largely refrains from moralizing in any particular way, instead leaving the events of an episode to stand on their own, allowing you to sit with them and consider what they have to say to you more deeply. All this, and it still remains a largely funny and lighthearted work, with gags and jokes that recur throughout the series that playfully reflect off each of the main girls' personal idiosyncrasies and quirks that naturally express themselves over time. I could continue to wax poetic about the story all day, but I will show some restraint and leave it at this before moving on- the story of Tsukikage Ran is easily the strongest aspect of this anime despite, and because of, its simplicity. Once again, because it doesn't feel as though it's forcing itself along, the elements of the story are allowed to stand and develop on their own, and as a result feels like a distinctly genuine and compelling tale of adventure and growth, both for the characters of the tale and the viewer who has the pleasure of experiencing it.

The sound is strong in its own right, with a soundtrack that is reserved yet well-executed, backing up every shot in such a way so as to enhance the experience without getting in the way, Furthermore, the voice work is strong and well-fitted to the various characters, and the sounds of life also support the anime so as to make it feel more three-dimensional and lived in, with everything from the growling of a hungry stomach to the slashing of a deadly blade through fabric and flesh providing this tangible and immersive feel.

Next, the art is wonderful, standing as an excellent example of this warm, iconic, sentimental style that defined many of the works that came out during that era. It is stylized, yet grounded, colorful, yet restrained, and comforting, yet, at times, a little liminal, as though it's depicting in these comfortable breezy tones a place that maybe you've been once before, and would like to visit again. The art manages to make each moment feel exactly how it should- the fights are lively and exciting, the moments where they're sloppy drunk are wacky and hilarious, and the moments where they're resting under a tree in the middle of a gentle sunlit afternoon make it feel as though there's no pressure in the world to do anything at all beyond enjoying a simple moment of perfect peace. Something about that early 2000s style captures a certain artistic magic that makes it uniquely expressive, lucid, and multifaceted, adaptable to the full range of human emotion in such a way that both earlier and later styles would prove less able to.

Now, the characters are, of course, delightful, both Ran and Myao proving to be the perfect duo to play off each other and journey somewhat aimlessly, connecting and reconnecting as they go, driving the story forward at whatever pace they happen to feel is appropriate at a given moment. Ran's no-nonsense yet laid-back personality are firmly rooted in the present moment, and represent her ideals of being a "beautiful drifter", as she puts it. In many ways, her approach to life embodies an ideal in eastern philosophy of being at peace with the now, unbothered with what was or what is yet to pass. Of course, she still finds herself dedicated to her passion for sake and, to a lesser extent, spending a lot of money at once on food and lodging, and these passions humanize her. What also humanizes her is her friend, Myao, a Chinese martial artist she meets on the road who is idealistic, naive, and persistently optimistic, her bubbly extroversion and overdeveloped sense of justice reflecting a more active morality of making the world a better place even if it disturbs your peace, and looking forward to each day, even dreaming of a better tomorrow in the long run. Myao is a great reminder to Ran that there is more than just the present, and that with every moment enjoyed in the present, there is even more to look forward to in the limitless possibilities of the next day. This dynamic is simply fantastic, and their contrast isn't just funny- it's genuine, and gives the story's simple, dedicated sense of progression an added layer of character to consider as you go. Overall, Tsukikage Ran is an excellent story of mindfulness, growth, and the limitless freedom of a good adventure. It really is a gem of the early 2000s, and while it doesn't quite reach the same heights as Samurai Champloo, I'd definitely say it shares many of the same aspects that made it great, namely the dynamic between its two main characters, an artistic command of Edo era Japan, and, above all, having a deep understanding of what an adventure really is. In short, Tsukikage Ran is a truly special anime, and one that I believe everyone should watch.

It was a good show more or less, but it had so much more potential that wasn't realized. No backstory on where Ran came from, no real underlying message or conflict either. It's like an unfinished version of Samurai Champloo when it comes to wandering, penniless ronin and chance encounters while walking across the countryside.

Then again, the lack of blood and more adult themes in this show probably indicates it wasn't meant for a mature audience and so the sophistication of the plot likely wasn't a priority.

The art, sound, and character development all felt like it came straight of Rurouni Kenshin given the time ... it was made, so it's at least pretty decent. I'd only watch it when I have nothing else to watch though.

Recommendation: A samurai adventure slice of life series. Enjoyable if you like period pieces set in feudal Japan, but otherwise skippable.

Positives:

+ The wandering samurai structure lends itself well to the episodic format. There is no overarching story, and each episode is self contained, so it can even be watched out of order after episode 1 with no loss of comprehension.

+ Grounded in a way that anime usually isn't. There are no pink haired lolis with magical swords or anything of the sort here, it's relatively realistic and restrained.

+ Artwork, music, costuming and character design are all very evocative of the setting and time period. It ... makes it feel like you're there. The OP is excellent and fits well thematically too.

+ Ran is a really fun character and makes for a great co-protagonist.

Negatives:

- On the other hand, Meow, the show's other co-protagonist, is punishingly annoying and nearly singlehandedly ruins the show. Meow's idiocy is so over the top that I actually started getting mad at her at points. The idea behind the odd couple pairing with her and Ran is good enough on paper, but she should have been dialed back 3 or 4 notches.

- Episodes tend to have highly formulaic setups, where Ran and Meow enter a city, get attacked by the townspeople who mistake them for villains, and then beg them for their help when they're defeated. At least half the episodes follow this pattern and it becomes a bit predictable and boring after you've seen a few.

- Action is overly sanitized. There is virtually no blood even though people are regularly getting killed with swords. It makes it difficult to tell when characters are dead or have merely been knocked out or disabled and undermines the drama in those scenes.

- Action choreography is hit or miss. Meow's martial arts look cool and well animated, but the swordfighting tends to be too "zoomed in" and it's hard to get a sense of what is happening or where people are in relation to other things.

- The drama is much weaker than the comedy, and serious scenes suffer for how closely they're juxtaposed with goofiness. In particular, the episode where Meow meets a childhood friend that has broken bad and started selling drugs is a huge swing and a miss for trying to hang a serious storyline on Meow, the goofball comic relief character of the series.