Looking back on recent entries, it occurs to me that I never summed up my final thoughts on the anime Angel Beats!, so let’s rectify that right now, shall we?
Angel Beats! was an excellent show, tragically cut short by a not-insignificant degree: about 7 episodes, to be exact. What ended up as a 13-episode show was originally intended to be explored more fully across a larger number of episodes, but it never got the opportunity; there is supporting material in other forms of media, apparently, but the anime itself leaves a significant number of unanswered questions and rushes through its latter half at a disappointingly rapid clip.
Despite this aspect, however, it’s still a great show, and shouldn’t be passed up on just because it has stuff “missing”. On the contrary, it has the feel of a great, unfinished work of art about it, and one can’t help but wonder if, on a different worldline, the world was ever graced with a full 20-episode run of Angel Beats!
But enough about what the show doesn’t have; what it does have is a whole lot of personality. Like Clannad, which a lot of the same people worked on, Angel Beats! features a combination of light-hearted humour and tearjerking scenes that will put your heart through a wringer. The juxtaposition of the two elements is, I feel, even more considerably pronounced than it was in Clannad; while Clannad had a few silly characters — Fuuko and, at times, Kotomi being probably the most obvious examples from the main cast — Angel Beats! has a lot more in the way of self-consciously silly, slapstick scenes. There’s a beautiful sequence in one episode, for example, that sees the main cast attempting to create a distraction in class — a distraction that is achieved by, of all things, several cast members’ chairs being equipped with small rocket engines that send them blasting off into the ceiling. The sheer unexpectedness of this sequence coupled with its deliberately melodramatic presentation — when they’re blasting off, they do so in slow motion, accompanied by the heartfelt, tearjerking main ending theme to the series — makes it genuinely hilarious.
But then, often within the same episode where something ridiculous happened, there’ll be at least one moment that will have all but the strongest souls in tears. These moments normally revolve around the series’ central concept of the afterlife’s inhabitants being “obliterated” and reborn as soon as they find true peace; rather than presenting a character’s obliteration as the dramatic, over-the-top moment suggested by the word “obliterate”, some excellent direction tends to mean that they just disappear — they’re there in one frame, then the moment the camera angle changes, they’re gone. Simple, beautiful — and often heartbreaking.
I know that some people aren’t a big fan of how the whole series ends and while I agree to a certain extent — the last few episodes are very rushed, and the show both introduces and shows an antagonist the door with alarming rapidity — I found the actual finale to be a wonderful way to wrap up the whole series. Despite the obviously missing content — most notably, a number of main cast members lacking backstories — there was a satisfying sense of closure to the final scenes, and I was both impressed and surprised to note that the show didn’t exactly end up in the place where I thought it was going to go when I first started watching.
And that’s a real strength of the show as a whole. Most things about it start out as a mystery, and you’re given a gradual drip-feed of information as the series progresses. By the end, you feel like you have a good understanding of at least the cast members positioned as the “main” characters; it’s a shame that distinctive secondary characters such as TK (a blonde guy who speaks entirely in Engrish bastardisations of American clichés) remain completely unexplored, however.
I’d love to see a “director’s cut” one day that features the “missing” episodes. I’m not sure it’ll ever happen, even with the show’s good reception and popularity, but it’s certainly a nice possibility.
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