Uguu?
Sky Girls has been pretty good about giving at least a cursory explanation for events, either in advance or shortly after the fact. If not, it’s usually because the consequence implies the cause. It’s not that big of a stretch to claim that the room that Ryohei ducked into, and narrowly escaped from, was the food storage room.
And then a helicopter appears from out of nowhere to supposedly give the story a kick in the right direction. It could be similar to the Vic Viper intervention, who happened to be based not too far from the combat zone at the time, but the series has been mum as to where this particular helicopter came from. Maybe I’m less willing to let such an omission slide given the show’s track record.
On the ship’s deck, there are pyros (with flamethrowers, duh), and then there’s the Sonic Diver team. It’s not at all certain that the outcome will be a victory, so put the brooms back in the closet and give those things a proper greeting. I swear, it’s all politics.
And now for something slightly different that has some correlation with the title.
Because an army marches on its stomach
Eika’s dismay capped several riotous minutes, where the whimsical (or perhaps ludicrous) collide with the pragmatic to produce innovation. I’m still a little fuzzy on just how one can get a handle on a net that’s being dragged into the ocean, increasingly out of reach, but details are just details, right? Right?
Regardless, it’s still far-fetched. Otoha is out there in left field most of the time, but all that separates her crazy ideas from her clever ones is one person willing to back her.
Giant robots have long been pigeon-holed into the weapon category. Helicopters are occasionally depicted doing search and rescue, but mecha is routinely relegated to blowing stuff up. Maybe it’s because to have them do anything other than fight would be over-engineering a solution, but those rare moments are a refreshing change of pace.
There isn’t much separating intent between Marine Diver and Pizza Knightmare, but Code Geass‘ take on the Nice Robot feels very much like a one-shot attempt, replete with typical frivolous atmosphere. Novelty ruled the day of that school festival, not hungry senior staff.
Propagating an idea up the chain of command creates a sense that Otoha’s crazy scheme is being taken very seriously, increasing the humour. By the end of it, everyone, even the viewer, is on board, eyes rolling out of their sockets or otherwise.
There’s also something endearing about the can-do attitude among the cast, not just Otoha. The pacing is quick because a lot of conflict is wrapped up in the span of an episode or two. For the most part, history and differences are set aside to get things done.
Weaponizing teens or children in anime almost inevitably leads to a bunch of individually talented but can-not characters wallowing in their self-imposed jail cells, but when it doesn’t, that’s a crazy idea that can be bought into without scoffing.