I think we may be in it now. Last episode saw Casshern Sins embracing narrative continuity for the first time, bringing back a handful of characters from earlier episodes in order to answer a couple questions and set up some dramatic dominoes. The nature of Luna is still unclear, but Casshern’s nature is becoming a bit more concrete – he was used as an agent of violence, he could not necessarily control his actions, and his tendency towards violence seems to take over his body altogether.

That episode also saw Casshern represented as a figure of both ruin and salvation, bringing Ruin upon this world but also standing ready to sacrifice himself to pay for his crimes. This show’s symbolism often feels more concrete than its narrative, so I’ll be keeping an eye on everything I can as we continue our adventure into ruin. Let’s get to it!

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Let’s dive into another episode of Casshern Sins! I should be a bit more familiar with the show’s style at this point, given the gap between watching episodes has shifted from around ten months to about six hours. The last episode offered perhaps the first glimpse of lasting hope for the series – in contrast with the doomed church of two and dying human of three, Sophita provided both friendship and hope to Casshern, giving him someone to return to in this wasteland. Given that dash of optimism, I’m expecting this episode to counterbalance with some oppressive, beautiful sorrow. This world won’t decay into forgotten tombstones all by itself, so let’s get right to it!

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Hey everybody! Casshern Sins just got a huge boost courtesy of one generous, beautiful, intelligent patron, so we’re back on for the rest of the ride. I’m very happy to be back on this one – Casshern Sins is a unique and compelling production, and the most fully realized statement of purpose by one of anime’s most underrated directors. Shigeyasu Yamauchi turns up from time to time to direct an episode or a beautiful ED sequence, but Casshern Sins is basically his only “original” production, and the first three episodes have been excellent. Let’s get right into it with episode four!

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The third Casshern Sins contained a slower, smaller story than the second, more reminiscent of the first episode’s long walk on the beach. Though it wasn’t as rich in character or narrative, it did fill in gaps in the story so far; Casshern met his first human, and that experience lent a necessary warmth to counterbalance the show’s usual solemnity. We’re still wandering through archetypal vignettes in a desolate wasteland, but Casshern’s cumulative experiences are slowly building him into a person worth following on this journey.

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In my first writeup on Casshern Sins, I worried that the show’s distant and deliberately mythic tone might prevent it from succeeding on a personal, emotional level. That issue remains a possibility, but this episode certainly didn’t reflect it; it was sad and intimate and remarkably successful, maintaining the sense of inevitability the show consistently demonstrates while offering up enough personal moments to make the Ruin succeed as small-scale tragedy. Things are still progressing as an intentionally archetypal epic story, but intimacy of telling and strong execution could make that work as well here as it does in something like Madoka Magica.

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Casshern Sins is a weird one. Coming out in 2008, it got in at the front end of our recent “heavier reinterpretation of classic cartoon” trend, which has more recently given us Gatchaman Crowds and Yatterman Night. Casshern Sins takes off a ‘70s anime about the android Casshern, who fights evil robots; this new version seems more focused on ambiguity and melancholy than justice. The writer, Yasuko Kobayashi, has a resume that mixes a bunch of tokusatsu shows and recent hits like JoJo’s Bizarre Adventure and Attack on Titan (as well as 2014’s Garo, which splits the difference). The director Shigeyasu Yamauchi’s credits are more scattered – he’s handled a number of DBZ and Saint Seiya movies, but beyond that it’s mostly episodic directorial work, including the, er, Ami/Mami Detectives episode of Idolmaster. Perhaps his most notable credits I’m familiar with are two of the most visually compelling episodes of Shinsekai Yori – the controversial fifth episode, where people originally complained about the divergent visual style, and the transcendent tenth, where his evocative interpretation of Saki and Shun’s conversation represented one of the clear highlights of the series overall.

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