Review of Full Metal Panic!
A Full Metal panic Review (Spoilers Ahead - LR); Strong Beginnings - Establishing a Setting; Fmp immediately starts us off, thrown into the action. The setting is about as vague as "somewhere in Russia" but like much in the show, concise context keeps the scene easy to digest and our focus on what's important, that being foreshadowing for later and most importantly establishing our hero. Sousake is presented to us in the same way that his Mech is, he is a machine of war both in ability and personality. He embodies the classic anime trope of "Strong brooding type" yet stands rather at odds to it. He maybe "Military Mad" and social inept but his history gives him more then adequate reasoning for this. To add to this his skills are top-notch, the show opts to show us this, rather then tell us. Aside from him being both a Sargent at 16 and a so called specialist, the show prefers to show Sousake's skills rather then have a character simply explain them and as such, it comes as no surprise that we first meet him pushing the specs of his 'M9 Arm-Slave' to the limit in a brutal clash against an enemy chopper. After which he proceeds to calmly and efficiently take the 'whispered' girl and 'toy box' CD into custody, thought it is worth noting that he does stop long enough to let her know his name, which may seem like a small detail but serves as both an introduction to the character and the first subtle reminder that beneath the professionalism is a human being.
The entirety of this opening sequence features plenty of imagery to help convey the scale of the machinery at work. FMP is an example of the 'Real Robot' genre done right. From the Soviet 'RK' Armslaves to the Arbalest itself, great effort and detail is given to reminding us that these are machines of war that are not so dis-similar to those of our own world and history. Additionally, unlike many of the Real Robot Genres touted greats, Full Metal Panic takes place in our own world in a sort of alternate reality, which, while adding challenges to keep the Mechs realistic, also acts as a huge boon to the realism overall. After all, out own world is far more realistic, relatable and believable then even the best fictional space colonies, stations and other worlds, can ever hope to be.
The first shots of the aforementioned opening sequence establish the scale and power of the attack helicopter, it dwarfs the young women, extenuated by vibrant colours, we get a real sense of how this machine, holds her life in its hands. This image is quickly shattered by a shot of the women next to Sousake's M9. Comparatively, the Chopper now seems small and in one shot the sheer size of the M9 becomes immediately apparent, moving from this to the M9 thrashing the helpless helicopter gives us as a viewer a great point of reference for the power of Mech's in this story and helps to establish Sousake as a skilled AS pilot, this all with-in the first 5 minutes of the show and utilizing a fairly simplistic fight scene, paving the way the for how the rest of the show would handle many of its action scenes.
Of course this being FMP, what follows next is the beginning of the 'Slice of Life' portions of the show. Putting aside the thoroughly enjoyable antics of the crew of Mitral, Sousake's first day at school, much like the fight before it, quickly and entertainingly lays out what we can expect from the school portion of the show. The set up premise is simple: Standard school scenery which Sousake's handles in, his own unique brand of military thinking. It's not comedy genius or anything but it always comes across as genuine and unforced, as-well as garnering plenty of laughs even on sub-sequent re-watches but maybe more importantly it puts in place a simple, wholesome and gentle school environment in which we can Juxtapose the military elements of the show. What on the surfaces is just a set of gags and skits to pad out runtime, ends up being the very peace that Sousake is, in a way fighting to protect.
An ordinary life he missed out on, a chance only given to him due to a target being placed squarely on Miss.Chidori's head.
Speaking of which - Kaname Chidori takes the role of our female lead, she is strong willed, athletic and intelligent as well as periodically miss-taken for a Tsundere (Her somewhat violent tendency towards Sousake usually being due to him inadvertently over stepping the line, rather then because she's struggling with feelings towards him). Kaname's head strong personality lends itself to Sousake's socially oblivious miss-adventures, with her being often a straight-man to his antics. Like Sousake, much of Kaname's character comes from subtle dialogue or her actions, rather then having, for example Kyouko (her best friend) spell it out for us. A simple example of this occurs when she speaks to Takoma (The pilot of the Goliath). After learning of the boy's dead parents, she lets slip that her own mother is also dead, or later down the line during Episodes 24 and 25, while on the run from Guaran's subordinates after his capture of the submarine, she shows a basic knowledge of evading detection, when she ditches her shoes and socks and takes to checking around corners for her pursers rather then running blindly. In this instant, the show feels no need to have her pursers comment on her evasion, additionally this goes to illustrates how far she has come since some of her earlier kidnappings during the stories run, again without felling the need to shout this fact from the roof-tops.
EP7 - Boys Meets Girl;
In this rather aptly named episode and those proceeding it, we get a glimpse of the shows bigger goals and a clear idea as too much of what this story is trying to say. The premise is simple, for the first time in the series, the characters school life and the grander story are brought together when our Machiavellian antagonist Guaron, hijacks a plane with our hero's school class aboard and takes Kaname hostage. Over the course of the episodes there are a few interesting talking points, Guaran's state of mind is on display for the first time proper, with his highly calculated mind orchestrating the events unfolding, and more then enough skill behind his bite to match his bark. As well as his suicidal tendency to take a gamble and drive for self-preservation. Additional information about the whispered, black technology and Mitral are given to us, Sousake's cover is, as was rather inevitable, blown wide open. The other members of Mitral are given there opportunity to shine, in particular in the Mech battle between Guaren and Kurts (which is one of my personal favourites), as well as multiple other moments, details for world-building and of course the battle between 'Arbalest' and 'Venom' but what I find most interesting about this whole affair is what the whole sequence of events is trying to tell us. As Kaname so quaintly puts it "Its like something out of one of those old black and white war films"*
To me this quote sums up the philosophy of the whole show, Kurts (heavily Injured), Sousake (also injured) and Kaname are surrounded, the reinforcements have already with-drawn, their tired, out-gunned and backed against unfamiliar territory. Just like in those old black and white stories, they know there's no way out but the least they can do is go out with a bang, well maybe.
While the Arbalest does inevitably save the day, this isn't a "Happily Ever After" kind-a story. The heroes don't get out unscratched, Kaname is hospitalized (Albeit temporarily) and both Sousake and Kurts take quite a beating. In the same way this isn't as simple as "Boys Meets Girl", they may've been through a near death experience but that doesn't mean there now destined to be Wed.
Kaname herself makes this the most clear, she may be the one talking about old war films of heroics and valour, but she is also the one who reminds Sousake that there is no glory in dieing at war, no matter how good the cause. LT. Commander Calcaneus's character makes this same argument in the "Goliath" ark but I believe it comes across far more clearly from Kaname. This is a story about war and all the horrors that come with it and equally a story about Love and all the hardships which that entails. Both facts this episode impressively communicates for which it sticks out to me as one of FMP's best written episodes and additionally as one of the best examples, of laying out a shows themes both effectively and entertainingly with-in the anime medium.
The Wind That Blows At Home - Now its personal;
"The Wind That Blows At Home" is a three part story/Arc from episodes 15 - through - 17 that changes Full Metal Panic from an, admittedly entertaining, competently written and compelling War Drama mashed together with a Romcom, into a character driven piece about the companionship of war, the reasons for why we fight at war and the horrors of war. This arc takes the themes and story beats hinted at in all the proceeding episodes and expands on them in epic fashion but maybe more importantly then all of this, it makes Sousake and Kaname's story personal. Where-as in other stories and indeed the earlier arks of the show, the antagonist is a villain who we Learn has history with our protagonist, an implied past or long-standing rivalry. To the same extent, what drives our hero is often explained, or flash backed to us from his past, with The Wind Blows At Home, Sousake's animosity towards Guaren and his feelings of loss over fallen comrades become our own as we the viewers/audience. The faces and names of our heroes lost friends become more then just facts. The history between our antagonists and protagonists becomes our own in preparation for what's yet to come, in a way that echoes the Gundam rivalries of Char and Amaro.
This is done through what on the surface appears to be the introductions of 5 throw away characters, those of Mitral's "Indian Ocean Special Response Team". This team is initially abrasive towards Sousake due to his young age, with the exception of second lieutenant Grace Wiseman (known simple as Grey). As the Mission to assassinate Guaren once and for all commences, the team over time come to accept Sousake one by one, only to eventually be killed off in roughly the reverse of the same order they came to like him in.
On the surface this may come across as a cop-out, after all, clearly the show wants to up the stakes using a set of character deaths but doesn't want to kill off any of our main cast but I think this is a miss-understanding of the purpose of these episodes. Rather, then to simple up the anti for the final arc of the show, 'The Wind That Blows at Home' is more about understanding Sousake's character and motivations, then anything else. As mentioned previous, if the show were to simple take an episode to show us Sousake's backstory with Ziaede and Guaren and so on, it would come across the same as the dozens of other shows that use this method of story telling, the issue with this is simple. Sousake would never realistic take the time to properly sit down and recount these events. Sure he might let the odd fact slip, or let people in on the basic details but the Sousake Saghara we know isn't talkative and it would go against his character if he did stop to explain all the gory details. As such even at the end of the show, the complete details of what happened are still vague, we know he started fighting at 8, that he's lost countless allies and that he's been fighting Guaren for upwards of half a decade but that's about it.
In terms of what we know about him from the shows 24 eps run, there's mountains. He takes pride in his job, in being a specialist. He clearly has an interest in Mechs outside of his career, he has a great respect for those above him. He's socially inept, he's seen as reliable by superiors and allies, and he blames himself. That last point is the key, it's not something we learn through flash-backs, technically its only a presumption that Sousake feels responsibility or guilt for the death of his previous comrades, but we know for a fact from what follows, that Sousake feels personally responsible for the deaths of the Indian Ocean SRT, through his actions. He allows that very guilt to cause him to slip up in battle. He's distracted at the sub-marine party, and he lashes out at Kaname, seemingly without even realizing it.
This form of story telling, where the viewer understands exactly why a character feels the way they do is what makes FMP and its characters so engaging. In other shows, Sousake lashing out at Kaname in the last Act would come across as contrived or forced for the sake of drama to finish out the series but here it comes across as totally understandable. Of Course this type of active story telling may come across as obvious to many but in a medium so full of flash-back story telling and implied emotions, Full Metal Panic comes across as refreshingly forward, despite it's age or reputation. Understanding what makes our protagonist tick, despite how on a surface level, unrelatable he is, is greatly enjoyable to watch.
Of course this form of story telling also leaks into other aspects of this trio of episodes. Putting aside what it does to Sousake's mental state, as an audience we are forced to watch helplessly (Much like Sousake is forced to listen) as Guaren mercilessly murders the characters of Indian Ocean team, one after another, just as we came to route for them. Generic, maybe, but its undoubtedly sad to watch and Grey's offer of a place on her team to Sousake from before the battle becomes more and more heart-breaking, as we slowly realize there is no 'going home' for the team. Once again the minimalistic fight animation becomes an asset as each member of the teams deaths, are laid out in front of us using quick cuts or still impressive visual effects and cinematography (With Grey's M9 in particular having been seemingly crucified). The eerie conclusion of Sousake walking away, carrying the nuclear war-head under one arm is haunting, with one sentence hanging over the final scene of episode 17; "Your mission is to make it out - Sousake."* as Sousake returns to Kaname with the sober word of "No Problem"* which in a sense could be interpreted as being addressed to both Kaname and Grey's final request.
Why all this matters going forward is with Guaron. At first nothing more then a 'bit villain' from our character's past, a somewhat over-dramatic cartoon bad-y, we now know him as a crazed murder and real threat to the health of all our characters. As we move into the final Arc of the show and as Guaron once again becomes a threat for the final time, he does so not as a villain our heroes need to face but as someone who both Sousake and the audience want to see get a through ass-kicking.
Engaging Six and Seven - A Welcome Break;
Engaging Six and Seven comes as a welcome break from the bleaker story of the previous set of episodes. Overall it does feel somewhat misplaced, while it is appreciated that Mou tells the story rather then Sousake, it feels unnecessary considering how well the show has done at giving characters backstories and driving forces, without the need for flashback episodes.
Non-the-less, it does a solid job of conveying the history between Erzu Two, Six and Seven and reminding us of their close bond (Although I still believe this is shown far more effectively in most other episodes involving the iconic trio). Overall the episode serves as a well needed pallet cleanser and is a lot of fun.
Guaron - Nothing to Lose;
The last section of FMP is quite like its Hijack Arc (EP 4 -7), the final 5 episodes of the show have a lot going on. Sousake as mentioned has to come to terms with his emotions post "The Wind That Blows at Home" arc, plot threads are woven together from all over the previous episodes, Kaname is again faced with the reality of who Sousake is. Every character is naturally and logically given their moment in the stage-light. From as little as Lieutenant Commander Kalinin beating the US navy with a single phone call, or Commander Mardukas with his Mega-Phone, all the way to Captain Teletha Testarossa (Who I've written criminally little about in this review), but the most intriguing thing in this Arc to me is Guaron.
Guaron initially comes across as a generic anime villain. He's a little unhinged and clearly a threat to our main cast but from his Manacle laugh to his almost super-natural ability to come back from the dead, he can, early on come across as little more then a cartoon villain. Unfortunately for our heroes and as already mentioned, after episode 17 this ceases to be the case. Guaron is now a serious threat, his seemingly "silly" traits from early on are now unnerving, his smug smile of self-satisfaction is intimidating and his unhinged nature is clearly dangerous to himself and those around him.
All this leads to his final battle with Sousake being the anime's most entertaining. Like most of the show's fights, animation wise, its nothing to write home about but directions wise, its brilliant. The fight is brutal, almost animalistic, as Testa realized, Guaron is highly intelligent and calculating but more impotently he's got nothing to lose. He isn't trying to survive, He isn't in it for the money, or to protect anyone. This makes him an incredibly loose cannon and the fight shows all of this.
It starts much like the fight from episode one, showing us/reminding us of the true scale and power of the Armslaves. The holding cables that snap as the mechs stand up shatter the ground where they fall, helicopters are crushed under the sheer weight and the hanger that once seemed massive, is shown as claustrophobic, to the point that the Mecha heads scrap across the ceiling.
Sousake's rage and anger towards Guaron is palpable as the two Mech clash, clever camera cuts a small details all add to the brutality of the fight, with the damage the Mechs are sustaining being vividly clear. Then there's the use of the setting, aside from its initial use to show the scale of our combatants, Guaron makes use of SGT.MGR Mou's Mech to Taunt Sousake. The movement of the ship effects the mechs as-well as the flow of the battle and the elevator shaft to the subs launch deck becomes the focal centre point of the battle's final act.
All this cumulates in the one of the most satisfying victories the medium of anime has to offer, a victory that comes of Sousake's Mech skills and Kaname's well established powers and one that feels so earned, because we understand what drives Sousake to be so violent and passionate towards Guaron.
I believe it's also this that makes Sousake's sudden outburst of anger such a memorable and beloved moment within anime circles "Kasime? Kasime?, I'm not your friend SH*TBAG!"*. This outburst is a verbalized manifestation of Sousake's emotions and in a sense, those of the audience.
Into the Blue - And Beyond; A True Tale, of Boy Meets Girl;
Full Metal Panic is a 2002 anime from studio Gonzo. It's the sort of story that people call a "Cult classic", it's first season in particular is often seen in much the same light as the original season of "Clanned" or "Kannon" from studio Kyoto Animation, in the sense that its somewhat of a chore. Sure with some good points and merits of its own but as over-all a somewhat poorly animated and badly aged early 2000's show, that needs to be watched in order to get to the more exciting "The second Raid" but in my opinion, FMP's first series is still by far its best.
It's simplest on a surface level in terms of character, story, direction and animations but its also the series that best captures what I believe Full Metal Panic is all about. FMP isn't a Boy meets Girl, and they live happily ever after story, nor is it the sort of story where the heroes all have to die for the greater good. It doesn't fall in the generic war story categories but instead strives to strike a balance between the two, in much the same way that it strikes a balance between Sousake and Kanime's tranquil, peaceful school life (The things Sousake has to fight to protect) and the story of Mitral, international "Do-Gooders-For-Higher"*.
The subsequent series's of the show are choc full of their own merit (This section is spoiler free), the second raid continues on the trend of Kanime becoming more adapted to a life of always looking over her shoulder and to Sousake learning to acknowledge his feeling and more human side, as the two gradually learn from each other. Additionally Fuffumo is a heart-warming and hilarious twelve episodes "What If" side story, that in-particular adds a lot to Testa's characterization but Season 1 is still the only one that best manages to strike a balance between the two.
And while many may still say that this effort to convey the everyday with the action splits the focus and muddies the message, "Into the Blue's" ending scenes, to me, proves what season 1 is all about through the use of subtlety. Subtlety is an often overlooked facet of anime but for me is one of the main draws of the medium. Weather its the quiet characterization of Neon Genesis Evangelion's Rei Ayanami or 'Shuffle's' sub-textual use of clothing, subtlety is a great way to communicate with the audience a more nuanced message then might otherwise of been the case. Case in point is two scenes which have stuck with me from Full Metal Panic the most of all.
"He's out on patrol, Captain."- This line accompanies Captain Testa's final scene of the show, as already mentioned she's a character I could definitely do with going into more detail on and in this moment we see why. A number of her crew are killed during the events of episode 21 -23 and in what should be a star wars-esk victory ceremony, were instead reminded that this was by no means a victory with-out loss. The set piece goes from being a triumphant victory to a sombre reminder that this is a war story with real consequences and this is all communicated not with Testa breaking down into tears or some overly dramatic funeral but instead with the simplicity of that single quote from Commander Mardukas and a tear-jearkingly pained but resilient expression on Testa's face.
The episode goes on with this subtlety into its final moments, where we see Sousake show Kanime his 'secret fishing spot'. The importance of this is easily missed but what we are seeing here is Sousake finally opening up to and letting Kaname into his life. It's not done with a kiss and most people already know that FMP pioneered the 'pre-marital hand-holding' meme but instead its communicated with a simple action. It isn't flashy or grandiose, there's no star-struck confession or orchestral swoon in the music, instead he, of his own violation invites her and she of her own choice, chooses to stay. It's a little plain, level headed and down right lovely, which is maybe the best way to describe the entire show as a whole. As the characters fade out and the music strikes in one last time, I cant help myself from always smiling, more-so then when watching almost any other anime, to me it is the ultimate way to end 'the not quite boy meets girl anime'.
Afterword
There are mountains more that could be said about FMP. In particular I barely glossed over Captain Testa and the other crew members of Mitral. There's also a lot more that could be said of the 'Erzu trio', although I believe that is better saved for a review of the second raid. I also, for the most part skipped over the Goliath arc, as its worthy of an essay in its own right. I hope you enjoyed reading this and maybe found a new viewpoint towards FMP's story.
Version watched; Dub.
* = Quotes may be paraphrased.
Apologies for any grammar errors.
Thanks for reading.