Gachiakuta Episode 1 & 2 Review: Just The Right Momentum To Build On!

Coming into Gachiakuta anime, my expectations were, to put it mildly, sky-high. Partly because I am a manga reader, who is very invested in the story. But then, even for a newbie, it would’ve been hard to ignore the deafening buzz surrounding a series.

It was given life by the powerhouse animators at Studio Bones— its sub-studio Bones Film to be precise —and fueled by a manga fanbase that speaks of the source material in hushed, reverent tones. With a “world takeover” promotion push rolled out by Crunchyroll, Gachiakuta was supposed to be the next big thing.

After watching the first two episodes (at the premiere held in Mumbai by Crunchyroll), I found myself completely sold on the idea. But yes, its not as if there ain’t any reservations.

First things first, Gachiakuta presents a world that is dripping with style, has a fascinatingly grim premise, along with moments of genuine artistic brilliance. However, when you strictly look at the first two episodes it’s an experience hampered by rushed pacing, atleast for some.

World-building and themes:

The series unravels as a tale of two cities. A pristine floating fortress with an affluent, sterile society walling off the the squalor of the slums which are inhibited by the tribesfolk. The first thought that came to mind (while I was reading this part ofcourse) was Attack on Titan.

But despite its Marleyan similarities, the world building here is unique. Because, after all, the core of the narrative here is trash. And as a metaphor for classism, systemic injustice, and the rot of consumer culture, the narrative is potent. But then, the problem is that it doesn’t last long.

By the end of the first episode, our trash loving protagonist Rudo is condemned and forced to take the fall for a crime he didn’t commit. And as bids farewell to the Sphere in a beautifully animated sequence, so do we. Then the core concept switches abruptly from trash to revenge.

The Sphere had enough material to be explored, be it the politics or the society. However, by the time we are done with the second episode, we are introduced to a whole different world, a new power system, and even a new mentor for Rudo, who was still reeling from the loss of his foster father.

If you ask the fanboy in me, I won’t fault anything about any of it. However, the point is, all that exposition about two entirely different worlds, can be a tad bit off-putting.

In the first episode, the prejudices are spelled out so explicitly that it leaves no room for nuance. This problem persists in the second episode, where the newly introduced character Enjin literally yells a list of facts about the Ground (Pit) at Rudo.

Coming to the Pit, or the world below the sphere, this is where all of society’s refuse—both inanimate objects and people deemed criminals—is unceremoniously dumped. But that’s Sphere logic.

The floating pristine city has simply been treating this world below as a garbage dump. And there is a very convenient reason as to to why groundsfolk are having to endure all the trash raining down on them – there is no real way for them to get to the sphere. No airplanes or rockets it seems!

And so, as Rudo thirsts for revenge, he is forced to content himself with playing along to collect information.

However, there is no time to let the emotional weight of these events land. I understood Rudo’s anger intellectually, but I have noticed that there aren’t many who actually were able to feel it. But then, this is where the story really starts to blossom.

By the time we are done with the second episode, we’ll find that there are lot of questions that need answers. While the worldbuilding was rather heavy-handed, creating mysteries and character development is Gachiakuta’s strong point.

As it stands after two episodes, our protagonist, Rudo, feels less like a fully-fledged character and more like a collection of shōnen archetypes. The angry, misunderstood outcast with a tragic past and a hidden power is a well-worn path in anime.

However, Rudo stands out among them too. While other manga might use this trope for comic relief, or just to make our ears bleed, Urana has done a good job with Rudo. While two episodes are not enough to prove it, the upcoming ones surely will set the tone for what you can expect.

Art and animation are spot on!

Coming to the animation itself, Bones Film has done a phenomenal job translating Kei Urana’s unique, graffiti-inspired art style from the page to the screen.

The world has a tactile, gritty texture, and the deliberate inclusion of graffiti designs by Hideyoshi Andou preserves the manga’s punk-rock soul. The sound design is equally impressive. There are moments of truly striking animation that beautifully convey Rudo’s chaotic state of mind.

Now, before the anime aired, I was truly concerned about the Trash Beasts and their CGI animation. The monstrous “Trash Beasts” that roam the Pit are rendered in 3D, and while I understand the practical necessity given their complex designs, I was afraid that their visually jarring nature would ruin the experience.

But when I actually saw it on screen, I was more than surprised. True, the beasts did stand out. But then, there was something about those beasts that made it feel as if they belonged there. It was a really unique way to portray those abominations if you ask me.

In the end, the choice worked. It elevated the hellishness of the Pit, creating bleak and otherworldy experience.

The Verdict: A Promising Work-in-Progress

Ultimately, my review of Gachiakuta is almost perfect. The series has a fantastic premise, a killer aesthetic, and an interesting power system where cherished items turn into your weapon.

Episode 2, by plunging us into the action of the Pit and introducing Enjin, gives a much stronger narrative potential.

Gachiakuta can build on this momentum and could very well grow into the powerhouse it was hyped to be. You can catch the latest episodes of the anime on Crunchyroll!