Ask John: Is Space Pirates on Par with BGC?

Question:
Is Bodacious Space Pirates the new Bubblegum Crisis? That is a sci-fi show which has good buzz in anime fandom, but not necessarily broad appeal. I’m saying that, because like BGC, I don’t find myself “getting” what people find intriguing about the show. To me, ‘Pirates is essentially a series incorporating the same techie jargon as the director’s other space show, Nadesico. But, again like BGC, it uses current anime female tropes as the highlights. Not to mention that it balances its sci-fi elements with slice-of-life situations like BGC. My theory for why BGC even took off in the first place was that there was a following for cyberpunk-themed stories in the 80s, but it was not yet the norm for anime to adapt cyberpunk just yet. BGC got out of the gate first, so it got the glory. So I imagine something similar going on with Bodacious Space Pirates. It’s not the norm to see traditional SF storytelling in anime anymore, so even though it does not stand out very well, BSP is embraced, simply for not easily going the harem route with its female entourage.

Answer:
Based on its first half, I can reflect upon the current Moretsu Uchuu Kaizoku anime series and make comparison to other anime, although Bubblegum Crisis is not a title which I personally would immediate think to compare it to. I’m opposed to the official English title of the show for two reasons. Having been a young teen in the 1980s, I inexorably associate “bodacious” with gagging by spoon. Furthermore, there’s absolutely nothing especially “bodacious” about the admirably restrained Moretsu Uchuu Kaizoku anime series. I respect the show’s deliberate, gradual narrative development and slow, natural construction of character introductions and relationships; however, I wonder if, at its current pace and style, it will be able to sufficiently explore all of its attributes. Among other considerations, I’ve noticed that the series has yet to even introduce one character prominent in the series’ cast photo. Perhaps as a by-product of the series languishing in development for so long, the tall black man in the cast shot at the end of the opening credits is not in the show, and prominent cyborg tactical officer Schnitzer is not in the cast shot.

Moretsu Uchuu Kaizoku may have earned some respect among viewers simply for being a serious bishoujo space anime, the first since 2009’s Sora wo Kakeru Shoujo and, prior to that, 2005’s Starship Operators. I’m consciously overlooking 2007’s Rocket Girls because nearly all of that series occurred on Earth, and 2009’s Kiddy Girl-and because it’s neither serious nor good. The first dramatic bishoujo space anime in four years is, in the context of the contemporary anime fan community, just a few months short of an eternity. So the show almost certainly has gained some praise for being relatively unique and different from contemporary conventions. The show additionally earns some praise for emphasizing believable, scientific drama and reasonable, rational situations and conflict resolution rather than overt sensationalism and gimmicky fan service.

But comparison to Bubblegum Crisis seems inappropriate and unjust, at least so far. Particularly the 1987-1991 Bubblegum Crisis OVA series remains quite beloved not due to rose-colored nostalgia but because it’s quite good. Bubblegum Crisis featured rational, thoughtful adult female characters with multi-faceted personalities, captivating mecha designs, a fascinating and believable cyberpunk world concept, and intense, genuinely affecting action. Particularly Bubblegum Crisis OVAs 1-3 and 5-7 still hold up today as excellent sci-fi action anime, even compared to contemporary descendants like Infinite Stratos. While Bubblegum Crisis has earned its position in the lexicon of anime history, the question this response addresses proving that very fact, I don’t feel assured that Moretsu Uchuu Kaizoku will be so fondly remembered and respected twenty years from now. Although Moretsu Uchuu Kaizoku is commendable for taking a respectable, serious narrative approach rather than the lowbrow exploitation route, its narrative is poorly fleshed out, and its supporting characters fare even worse. Bubblegum Crisis viewers know, understand, and love the Knight Sabers. Vision’s quest for revenge is passionate. Priss’ story arc related to Sylvie is emotionally devastating. Moretsu Uchuu Kaizoku viewers objectively learn Gruelle Serenity’s target within the golden ghost ship but never clearly understand, and more importantly never feel her motivation. Viewers are told, not shown, the impact of the reclamation of the golden ghost ship. The Bentenmaru’s bridge crew are unique characters, yet viewers don’t care for them, presently, as anything more than orbital supporting characters. Viewers hear plenty about “Blaster Ririka,” yet Rikika Kato contributes nearly nothing to the story. Chiaki Kurihara is one of the show’s most appealing characters, yet so far she’s proven entirely superfluous. She’s done absolutely nothing clearly vital to the narrative so far that couldn’t have been done by someone else. While Bubblegum Crisis draws viewers into its world, story, and characters, Moretsu Uchuu Kaizoku viewers passively observe and appreciate the story told without feeling personally invested in it.

Bubblegum Crisis is a classic. When it fires on all cylinders, it excels to an effective excellence that practically no other bishoujo sci-fi action anime has matched since, despite efforts from shows including Bakuretsu Tenshi, Kiddy Grade, Tetsuwan Birdy, Senki Zessho Symphogear, Shinkyoku Sokai Polyphonica, Strike Witches, and Infinite Stratos. Moretsu Uchuu Kaizoku is a praiseworthy effort, but at it half-way point hasn’t yet concretely embedded itself into the hearts of viewers. In fact, by its half-way point, even 2009’s SoraKake Girl seemed to be more popular in the otaku community than Space Pirates is now, yet a mere three years later SoraKake Girl is practically forgotten. Moretsu Uchuu Kaizoku still has another 12 episodes to earn its immortality among otaku recollection, but if it continues to develop the way its first 13 episodes have, it won’t create the same degree of memorable impact on viewers that six episodes of the original eight episode Bubblegum Criris OVA series did with a strong cast – not just a good protagonist – an engaging world setting, and impactful, affecting action that feels like it has gravity and emotional weight.