Director: Kazuki Akane
Screenplay: Akihiko Inari, Hiroaki Kitajima, Ryota
Yamaguchi and Shoji Kawamori
Voice Cast: Maaya Sakamoto as Hitomi Kanzaki, Tomokazu
Seki as Van Fanel, Ikue Ōtani as Merle, Jouji Nakata as Folken, Jūrōta Kosugi
as Dryden Fassa, Kouji Tsujitani as Jajuka, Mayumi Iizuka as Millerna Aston, Minami
Takayama as Dilandau Albatau, Narumi Hidaka as Eriya, Shinichiro Miki as Allen
Schezar, Toru Ohkawa as Gaddess, Yuri Amano as Naria
Viewed in Japanese
with English Subtitles
For a good example of how anime defies genres in general, Escaflowne is that title to name check, from Sunrise (the handlers of the Gundam franchise), who decided to step into something different. Namely what would be a future masterpiece for many, and what predated what would be coined in the 2010s the isekai genre, where a person (sometimes by a truck-kun and dying, sometimes in less harmfully ways) would enter or be transported to an alternative world. Here, high school student Hitomi, whilst in a moment with a male Senpai she likes on the school running track, is accidentally taken to the world of Gaea when a young man named Van, heir of a kingdom, and a dragon abruptly blip into her world. Add to this Sunrise's bread and butter of mech robots as, whilst a high fantasy world based on European aesthetics, it has giant robots, powered by magical properties and gears, in capes and swords, among other tech like floating air ships. It has romance and melodrama, as between Van and Allen, a knight who seems a nobler soul, Hitomi is torn between both of them as much as having to contend of a world where one militarised nation, Zaibach, is conquering and destroying others. That their plans lead to a goal where she is of interest to literally alter fate is as much a concern.
It is a tale full of plot twists, a lot of cliff hangers to episodes, and all built around an emotional drama which is ultimate sweet and beautiful, even if the show does not hold back on death and is surprisingly bloody, even at one point envisioning a metaphor for a nuclear bomb in one of the final two episodes which, not made by Zaibach but one of the allies meant to stop them, evaporates everything on the battlefield to every side's horror in a blink of white light. Even with these serious aspects within itself, Escaflowne is a story with an emotional edge. It was geared for a "shōjo" audience of young women, which is frankly simplistic and patronising to try to target a gendered audience, but adds many new factors for this show to include in this narrative. These include an optimistic female protagonist, and the romance and melodramatic plot points, alongside the mystical and fantastical edge which are all as much part of why this television series, popular in the West, has become of great reputation in the passing decades.
It is also full of quirks, which is not surprising as it originates from when Shoji Kawamori, an important figure in anime just as a mech designer, came back from Nepal and suggested to Sunrise a giant robot show about the ideas of fate and mysticism to try something different. Fully committed to high fantasy, it is even in that genre with idiosyncrasies of its own. It is helped so much by how fleshed out the world feels even if we only have twenty six episodes to go with, a microcosm of various empires and regions here before you consider this world even has human beings but also beast people of all shapes and sizes, why we have a side character Merle, a cat girl who grew up with Van as a child and is close to him, or that later on Van himself is revealed a heir of the race known as the Draconian, originally the rulers of Atlantis who sported angel's wings and could fly. Yes, Atlantis, the Fortean favourite, is involved alongside the fact this narrative story will encompass both fate and divination too, as Hitomi was already gifted with using tarot cards, and an inheritor of a pendant with unknown origins, whose gift is amplified and becoming a curse the moment she enters Gaea. It is a world where, the titular title of the legendary giant robot Van has inherited, he will eventually not only learn divination abilities to known where he will be attack, but literally become one with the machine to the point any wounds it has will mark him. It is a world where the leader of Zaibach has experimented with fate altering machinery and with his sorcerers even dabbled into weird touches like blood, from the luckiest people ever, that gives soldiers ultra-lucky properties (i.e. causing enemies to miss or their machinery to malfunction) at the risk of drastic aging. Escaflowne is held in high regard as a sumptuous, elegant fantasy epic but thankfully upon returning to it, it is also a deeply idiosyncratic and eccentric series too, which as someone who has found Western high fantasy as bland as white bread is a godsend.
It helps that, in this little we get, the world and its cast are interesting. Baring a few characters, no one is simple or just villainous. Van is unlikable in his goal for vengeance at first, but he is headstrong and lost everything to Zaibach, capable of nobility eventually. Allen, as the show grows, is as noble as Lancelot in Arthurian legend but, like that figure, has an unfortunate real issue with attracting the opposite gender, particularly as Princess Millerna, a figure of the nation he is from, is in love with him too despite Hitomi and a previous relationship with her sister in his closet. From the villains, the calm figure of Folken, revealed to be Van's older brother, is a figure brought to Zaibach for reasons he felt were right, and even his sociopathic henchman Dilandau, as vain and sadistic figure, is revealed to have been as such due to a tangled web of issues. Even a minor gag character, a Mr. Mole, despite not having any real contributions to the plot is a figure in the little we see that he stands out, a figure first looking like a creepy thief in the woods, looking like a mole with spectacles, only to become a fun side character in the background.
It is, forgotten in its high production value and the iconic Yoko Kanno and Hajime Mizoguchi score, distinct in its many touches. The mix of fantasy and robots is actually not new at this point in the mid-nineties - Yoshiyuki Tomino helmed Aura Battler Dunbine (1983-4), based off his Byston Well narrative but with the robots added, a decade before - but this show has both an utmost poignant tone of romance and high emotion which is entirely distinct. It hits a level of absurdity that anime is blessed with even if ridiculous, next to both cat sisters on Zaibach's side being injected with that luck filled blood, but never is felt that way, but instead touching. The sides mingle which helps, Hitomi's romantic triangle even being a huge part of the narrative, as Zaibach and their leader realise that her connection to Van is to their downfall, even going as far as manipulate her towards Allen in one episode.
[Major Plot Spoiler]
One plot aspect to this day is still curious to untangle when Dilandau is revealed to be Allen's younger sister, who vanished and was transformed by Zaibach;'s sorcerers. It is never explicitly that the character is transgender, as Dilandau is masculine but is Allen's sister in truth, but decades and viewing this in the time that has passed does make it something to pause over with no real answer. It is not something to raise suspicion on, as it is instead a weird twist that to alter her fate, you do not get a psychopath character after your experiments as you might find in another story, but a complete drastic alteration, including body transformation in one shot, likely considered without thought or a yin-yang scenario of a dualism between the innocent beneath the monster. It helps, whilst Dilandau is the one truly evil character, sadistic in the truest sense, that throughout they build this character. That he is a damaged character, that he holds his personal soldiers close to the point he enters a mental breakdown when they are slaughtered, and the show does not punish but has it depicted as a psychological figure of experimentation that is reunited with Allen. Time has made it merely an odd creative choice.
[Spoilers Ends]
There is an inherent danger of just turning a review like this into a puff piece that Escaflowne is a great anime series that everyone should watch, which could put people off if the review itself is bland and copies everyone else's. So instead, the best way to describe why that is what you should do, go out and watch the series if you have not or rewatch it, is to think of how Escaflowne would have been inferior, even if it had turned out still well, if all the little creative decisions were subtracted. The show would have been different if targeted to a male audience - again, that target audience stereotype is reductive, but the divisive retelling Escaflowne The Movie (2000), for feature length, is meant as that alternative version for a male audience for a fascinating contrast. How different would the show be if Hitomi had been designed differently, as a stereotypical heroine when here she is an athletic track runner with very short hair who helps considerable throughout, or written differently, an optimistic and determined person in drastic contrast, again, to the later film version which inverted this. Or that the show never cut back to her own world at times, which adds a distinct emotional touch in seeing the world and friends she had left by accident with her absence. How different would the show had been if Kawamori had not been, at first, inclined to make the series with all the esoteric content for a robot show. How different would the show been just without its score and music, which is iconic in itself as it is from Yoko Kanno and Hajime Mizoguchi. That score, including the opening theme sung by Hitomi's voice actor in her debut acting role, is as much a weight baring load that adds as much to the show as all its other virtues and achievements.
Its overall value, and why to watch Escaflowne, is that it is a show not of any genre but all of them. The fantasy is unique; the mech design and animation is a high bar and set in a distinct context where it can stand out, and the melodrama leads to this having a tremendous heart, its real achievement in the final scenes. Any of these, done wrong, would have failed the series but none of them did, which is why it deserved its reputation especially among Western fans, including in Britain, where the show gained a love. It is orchestrated and done with sincerity perfectly, and know as well this show was originally of a different length, and tone with an entirely different director originally on board before Kazuki Akane took the seat, adding a lot of changes when he didincluding Hitomi's characterisation and targeting a female audience more, adds to the real sense of hard work that went into the show and how the production team managed to knock this project out of the park with completely success.
