So, BNA is one of those Netflix Japan shows that are always outliers.  I’m leaning towards covering it after a couple of episodes (which is a bit of a newsworthy thing in itself) but the question is – how?  Subs do exist (for the six episodes that have been released) but does it make sense to cover it now or wait until it turns up on Netflix in the West (whenever that is)?  Further complicating matters is that the series will be airing on Fuji’s “+Ultra” block (what a shame HeroAca never aired on it) as a normal weekly Spring series, and I don’t believe the rest of the eps will show up on Netflix even here until it’s finished airing on TV.

What a mess. As for BNA itself, well, it’s a bit of a mess but in a good way, if that makes any sense.  IMHO I think this show – and Nakashima Kazuki – are well-served by not not having Imaishi Hiroyuki directly involved with this project.  Brand New Animal isn’t over-the-top Trigger, constantly trying too hard and checking off a list of tropes as it goes.  It’s rather innocently loopy in a very (sorry, but it’s true) Gainax sort of way.  As with SSSS.Gridman, it feels more authentic to that retro vibe because it’s not obviously trying so hard to achieve it.

There are several things I like about BNA so far.  There’s the clever sight gags – Sgt. Pepper’s showing up in the premiere, McGruff the Crime Dog and “Burger Kitty” this time – are genuinely amusing.  The manic energy is, as I said, very authentically retro.  And there’s definite potential in the storyline here, which has elements of both class and gender commentary poking through in the first couple of episodes.  We know Nakashima can be a very smart writer, just as we know he often writes very lowbrow material.  And again, not being tethered to Imaishi may be to his benefit here.

Bits and pieces of story continue to fall into place.  The “Racoon or tanuki” question comes up already, ROFL – Oogami Shirou (the wolf superhero) refers to Michiru as the latter, but she tries to claim she’s a racoon because she “hates” tanuki.  And maybe she’s unique in having switched over from being human to beastman after all, because the inference here is that everyone is skeptical and surprised at her claims (which she can’t prove because her student ID is in her stolen wallet).  And – much to Michiru’s surprise – most of the beastmen in Anima City spend their time in human form (a problem for her because she can’t switch back).

One thing for sure in this sort of story – any place that’s promoted as a utopia is going to be a cesspool.  Crime is rampant, and so apparently is poverty and illiteracy.  There’s mention of a homeless problem, and Mary (the weasel mink) directs Michiru to a place called “Rabbit Town” where a gang of women under the leadership of “Gran Grandma” engages in petty crime (and as Michiru will find out, a lot worse).  The women in Beastmen society are obviously treated as second-class citizens, but these “victims” are engaged in human trading as it turns out.  And trying to hide it from their yakuza bosses, too, so as to sit on the profits.

I quite enjoy the grey morality here, which is relatively rare in anime these days (but which was a staple of both Gurren-Lagann and Oh! Edo Rocket).  I also liked the confrontation between Michiru and Shirou at the end, where she lashed out at him over his paternalistic attitude about “protecting every beastwoman and child”.  The rabbit women are victims but human traders; the hero is genuinely gallant but also a rampant sexist.  There’s a lot of story here still to be fleshed out, but the good news is I’m genuinely curious to see that happen.

So – if you could do me a favor, please use the comments section to let me know how you’d like me to cover this series, assuming I do decide to in the end (which I can’t say is a lock after only two episodes).  As always, your input is much appreciated.