I’m tempted to say that Oh! Edo Rocket is an anime unlike other anime, but in fact I am reminded of several other shows. Like Jubei-Chan I, it oscillates between farce and drama; like Excel Saga, it’s wildly off-the-wall; like Noir, there’s potentially a complex story behind the story (as of episode ten — there are sixteen more to go, plenty of time for the writers to make a hash of things). Nevertheless, there really is nothing quite like Oh! Edo Rocket‘s combination of broad comedy, science fiction, history, horror, romance, parody and nonsense.
The premise is that in early 1840’s Edo, where all “luxuries” are outlawed, the strange girl Sora asks the fireworks maker Seikichi to make her fireworks that will reach the moon. By a curious coincidence, the residents of the row house where Seikichi lives include an expert carpenter, a tile-maker, the best mechanic in Edo and two mathematicians, among other eccentrics, all of whom are fascinated by the idea of a rocket to the moon. Meanwhile, “sky beasts” appear in the area, some of which have a taste for the blood of young women.
Overall, silliness dominates, from the character designs to the blatant anachronisms. The writers will do anything for a laugh. ((They do draw the line at offensive and gross-out humor.)) Ginjiro the locksmith goes fishing and catches a teevee set. Shunpei the proto-nerd keeps a pocket calculator in his room. There’s a henshin sequence involving a sort of sentai team; however, instead of cute magical girls, the transformees are homely adult men. At one point four of the characters are turned into cats, who perform a jazzy musical number. And then there is the crazed fireworks maker Tetsuju the Fuse, who drinks at a bar staffed by tanuki. And a flaky magistrate. And a girl with Tenchi Muyo-esque hair. And so on. (I’ve uploaded clips of Tetsuju’s first appearance and the singing cats to the video weblog.)
Despite all the absurdities, the story moves steadily forward. It’s not all foolishness. Some parts of Oh! Edo Rocket are nightmarish. Although the opening animation focuses on Seikichi and Sora, the central character is actually Ginjiro, who early on declares that he only does what is fun. As his past is revealed, it becomes clear that his attitude is inspired by bitterness, not frivolity. He is involved in nearly all the sub-plots, and he will likely face the most complex decisions of any of the characters as the series reaches its climax.
The art and the music deserve mention. The backgrounds (and occasionally foregrounds) look like paintings and contrast with the crisp lines of the character art. The effect is that Ginjiro et al seem like actors on a stage. The opening and closing themes may be listenable J-pop, but the background music is mostly big-band jazz.
