Well, looks like we know what Madhouse is now up to.
Madhouse Studio Animates Short Based on Schulz's Peanuts
Madhouse Studio Animates Short Based on Schulz's Peanuts
Winter 2012 Anime Thread 2.22: You Can (Not) Outpost Cajunator
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Neko Mimi Mode
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The animation quality really isn't that great in this show anyway, at least this way you can blame it on my over-riding the aspect ratio!
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Romanes Eunt Domus
Dedication Through Light
Member
The Knight in the Area 7
There may not be an "i" in team but there is one in Araki. That was so good, Mako, Araki, Kakeru, and Kaoru are all great with teamwork. Oda should defect. The announcer dude was getting all exciting, lol, jumping onto the table. I hope future matches are as awesome as this and with such amazing music. None of the songs during the match were bad at all.
There may not be an "i" in team but there is one in Araki. That was so good, Mako, Araki, Kakeru, and Kaoru are all great with teamwork. Oda should defect. The announcer dude was getting all exciting, lol, jumping onto the table. I hope future matches are as awesome as this and with such amazing music. None of the songs during the match were bad at all.
Your soul will die too when you finally see the emptiness of those squiggles.
On the contrary, we need to go wider.
Hoootoo peppa piipo de pappi popo pape hoto pee pi po nfqowfoh
Now I can't get it out of my head.
SonicX_Zero
Member
Jex
Member
[The Sky Crawlers]
This is a good movie that I recommend you should watch. I didn't even fall asleep one while watching it - it's a fairly engaging movie that I would recommend to anyone. Well, anyone who isn't looking solely for a dog-fighting action movie.
Maybe those of you who have recently enjoyed Angel's Egg should fit into your Oshii-marathon, after you've seen Beautiful Dreamer, Patlabor and all that other good stuff.
The Story
The protagonist of the film is Kannami, a pilot recently transferred to airbase in an undisclosed (although very European) location. There he meets his fellow pilots, a group of people known as Kildren - people who can 'never grow up' - are engaged in a protracted battle with their enemies. What, exactly, it means to be a Kildren and why they're engaged in a war are subjects that I don't want to discuss because those questions are the most important ones in the shows story. To talk about them openly would be to to reveal the plot of the whole movie.
Characters
Well, I suppose that I've already mentioned that the key issues in the film relate to the characters and their story, so once again I won't be going into too much detail in this part of my write up.
Still, there's stuff that I can talk about. For the most part this story works because I believe that the characters act in a believable fashion, akin to how a human might react when put into these circumstances. Now, that doesn't sound like much, but I consider that saying your work 'believable characters' to be fairly high praise (assuming that's what the writer was aiming for).
I suppose detractors might well complain that this crowd is filled with the usual sour Oshii characters that don't smile, laugh, or have any passion whatsoever. Well, I think these guys have a pretty good reason for acting how they act, one which dovetails perfectly with the movie as a whole.
Still, there's one guy who never got told that he's in an Oshii movie. Poor Tokino, no one wants to live it up him. Still, his presence in the movie is pretty important, even if just as a contrast to everyone else.
Still, I think that the writing is not without it's faults, the largest of which is an Oshii classic - an exposition dump where a character tells you what's really going on with the story, in case you were too stupid to work out the themes and plot of the movie for yourself. I really don't like these scenes - they detract from the work as a whole on two fronts. Firstly they turn characters into devices to deliver themes and meaning rather than people. Secondly they infantilize the audience by suggesting that we're too stupid to keep up with what's going on and that we need to be literally told the message and plot of the movie.
Visuals, Cinematography, Animation and Style
Let me get this out of the way up front - this movie doesn't look as good as many other Oshii works. This is especially clear after coming directly off Angel's Egg (a bit unfair, I suppose) where nearly everything is perfect. Strangely enough I don't think CG planes are as big of an issue as I assumed they would be - they're merged with the traditional animation about as well as one would hope. It's not perfect, but it's better than I expected.
No, I really dislike the look of the characters. Sometimes they look like CG models with a cheap hair layer dropped on top - this isn't a constant thing, but it annoys me when it pops out at me. Another, although much more minor thing, is the CG doors. Does Production IG not have the manpower to animate wooden doors opening and closing? I've seen them do this in other shows as well and it does not look good, especially when all the rest of the backgrounds are traditional and look great.
Still, there are lots of things to celebrate about the direction. I was never bored by the pacing, the story flowed properly and the scenes never took too long. Instead most scenes were allowed to 'breathe' in that very Oshii fashion where the camera will linger for a few extra moments on some location of person where another director might have already ended the shot.
Importantly for the film as a whole I think Oshii did a great job setting the mood. It was very tricky to pin down a location, date, time of year or anything concrete about what we were seeing. In the air the pilots were hard to hear and understand, which left the audience as trapped and confused as the characters themselves, constantly unsure of what was going on and where the enemy was in relation to themselves. This worked really well, although some of the Engrish was off-putting.
Oh, and if you're going to watch this film don't stop watching until AFTER the credits. There's another scene there.
Stuff Oshii likes to discuss in all his movies/Oshii traits (look at me not using the word 'Auteur')
There's quite a bit of basset hound in that movie, you know, whenever it was necessary to have it appear, and even when it really wasn't.
In all seriousness, there's lots of ideas/themes here that tie back into his other works. There's stuff you can link directly into Angel's Egg, Beautiful Dreamer and Ghost in the Shell. I suppose this makes the movie 'more Oshii' than, say, Patlabor, but some of that comes from the source material.
Oh my god spoilers
This is a good movie that I recommend you should watch. I didn't even fall asleep one while watching it - it's a fairly engaging movie that I would recommend to anyone. Well, anyone who isn't looking solely for a dog-fighting action movie.
Maybe those of you who have recently enjoyed Angel's Egg should fit into your Oshii-marathon, after you've seen Beautiful Dreamer, Patlabor and all that other good stuff.
The Story
The protagonist of the film is Kannami, a pilot recently transferred to airbase in an undisclosed (although very European) location. There he meets his fellow pilots, a group of people known as Kildren - people who can 'never grow up' - are engaged in a protracted battle with their enemies. What, exactly, it means to be a Kildren and why they're engaged in a war are subjects that I don't want to discuss because those questions are the most important ones in the shows story. To talk about them openly would be to to reveal the plot of the whole movie.
Characters
Well, I suppose that I've already mentioned that the key issues in the film relate to the characters and their story, so once again I won't be going into too much detail in this part of my write up.
Still, there's stuff that I can talk about. For the most part this story works because I believe that the characters act in a believable fashion, akin to how a human might react when put into these circumstances. Now, that doesn't sound like much, but I consider that saying your work 'believable characters' to be fairly high praise (assuming that's what the writer was aiming for).
I suppose detractors might well complain that this crowd is filled with the usual sour Oshii characters that don't smile, laugh, or have any passion whatsoever. Well, I think these guys have a pretty good reason for acting how they act, one which dovetails perfectly with the movie as a whole.
Still, there's one guy who never got told that he's in an Oshii movie. Poor Tokino, no one wants to live it up him. Still, his presence in the movie is pretty important, even if just as a contrast to everyone else.
Still, I think that the writing is not without it's faults, the largest of which is an Oshii classic - an exposition dump where a character tells you what's really going on with the story, in case you were too stupid to work out the themes and plot of the movie for yourself. I really don't like these scenes - they detract from the work as a whole on two fronts. Firstly they turn characters into devices to deliver themes and meaning rather than people. Secondly they infantilize the audience by suggesting that we're too stupid to keep up with what's going on and that we need to be literally told the message and plot of the movie.
Visuals, Cinematography, Animation and Style
Let me get this out of the way up front - this movie doesn't look as good as many other Oshii works. This is especially clear after coming directly off Angel's Egg (a bit unfair, I suppose) where nearly everything is perfect. Strangely enough I don't think CG planes are as big of an issue as I assumed they would be - they're merged with the traditional animation about as well as one would hope. It's not perfect, but it's better than I expected.
No, I really dislike the look of the characters. Sometimes they look like CG models with a cheap hair layer dropped on top - this isn't a constant thing, but it annoys me when it pops out at me. Another, although much more minor thing, is the CG doors. Does Production IG not have the manpower to animate wooden doors opening and closing? I've seen them do this in other shows as well and it does not look good, especially when all the rest of the backgrounds are traditional and look great.
Still, there are lots of things to celebrate about the direction. I was never bored by the pacing, the story flowed properly and the scenes never took too long. Instead most scenes were allowed to 'breathe' in that very Oshii fashion where the camera will linger for a few extra moments on some location of person where another director might have already ended the shot.
Importantly for the film as a whole I think Oshii did a great job setting the mood. It was very tricky to pin down a location, date, time of year or anything concrete about what we were seeing. In the air the pilots were hard to hear and understand, which left the audience as trapped and confused as the characters themselves, constantly unsure of what was going on and where the enemy was in relation to themselves. This worked really well, although some of the Engrish was off-putting.
Oh, and if you're going to watch this film don't stop watching until AFTER the credits. There's another scene there.
Stuff Oshii likes to discuss in all his movies/Oshii traits (look at me not using the word 'Auteur')
There's quite a bit of basset hound in that movie, you know, whenever it was necessary to have it appear, and even when it really wasn't.
In all seriousness, there's lots of ideas/themes here that tie back into his other works. There's stuff you can link directly into Angel's Egg, Beautiful Dreamer and Ghost in the Shell. I suppose this makes the movie 'more Oshii' than, say, Patlabor, but some of that comes from the source material.
Oh my god spoilers
I'm not sure how other people felt about the 'twist' in the films story. I figured it out near the beginning of the movie, when Kannami talked stated that 'this feels familiar' a few times and Kusanagai examined his bent matchstick far too closely. I was already vaguely aware that the story was about genetically engineered child soldiers, so clones with implanted memories seemed like a logical next step, especially when Kannami discovers that no-one will talk about the fate of the last-pilot to fly his plane.
In fact, it seemed so obvious that for a moment there the movie wasn't going to head in that direction. However, it did, with the very deliberate and noticeable newspaper-folding scene. I felt that this scene was enough to let all the audience know what was going on. I mean, there had been lots and lots of hints before, but that kind of sealed the deal. Which is why I was very disappointed when Midori did a massive exposition dump about how it 'feels' to be a Kildren and her own personal fears about her own identity.
This was really unnecessary because literally the WHOLE movie had been doing nothing else but making us feel like a Kildren. Oshii does a number of things to make the characters and the world feel dislocated and out of time.
We never really get a good feel on the location, the time or the year. The technology is clearly 40's era, but the car designs are from the 50's - yet the technology to engineer humans, clone their memories and make then never age must surely come from a different time? I suppose as it's an alternative history anything is possible, which just helps to make the whole world feel distinctly 'off' - it's that thing you cant put your finger on which never the less bothers you.
As I mentioned above, the way cockpit scenes are handled does a great job in confusing and obfuscating the viewer from the action and even the characters themselves.
Now, I've stated above that the main character is Kannami but in may ways he's a blank slate that other characters interact with. This is, of course, deliberate because he's living his life in a trance-like state. However, this does mean that the movie needs someone more concrete to ground itself. Luckily Kusanagi is that character. As she's survived her time as a pilot without dying she's the Kildren who actually knows what's going on with the world, or at least the one who has felt the stresses of such an existence more than others. This has, naturally, taken a toll on her and the self-destructive behaviour she displays feels like a natural result of this.
I guess we're approaching the films message, or messages. There's a few to discuss, I suppose. The nature of man and war, the role of corporations in such an exercise and the fate of the people who live in such a system. Still, we never really get a good feel for the corporations or their motivations for engaging in this war. As Kannami points out, they're not a very profitable business and it doesn't seem like their battles would really have much impact on the many and varied reasons 'real wars' break out. Neither do I really the argument that people need to 'see war' on TV a very convincing one.
On a more general level, the more interesting idea is that of people trapped into a (literally) endless cycle, a system which has no escape or end. Of course Oshii has explored these ideas before in his earlier works so it's interesting to see them crop up here. In the end, of course, we see that Kannami cannot break free of the system, he can't kill the ace or change the rules of the world. This ending might seem very bleak, but in the final scene Kusanagi welcomes the new 'Kannami' with a smile - perhaps suggesting that she has hope in the idea that change is possible given enough time.
In fact, it seemed so obvious that for a moment there the movie wasn't going to head in that direction. However, it did, with the very deliberate and noticeable newspaper-folding scene. I felt that this scene was enough to let all the audience know what was going on. I mean, there had been lots and lots of hints before, but that kind of sealed the deal. Which is why I was very disappointed when Midori did a massive exposition dump about how it 'feels' to be a Kildren and her own personal fears about her own identity.
This was really unnecessary because literally the WHOLE movie had been doing nothing else but making us feel like a Kildren. Oshii does a number of things to make the characters and the world feel dislocated and out of time.
We never really get a good feel on the location, the time or the year. The technology is clearly 40's era, but the car designs are from the 50's - yet the technology to engineer humans, clone their memories and make then never age must surely come from a different time? I suppose as it's an alternative history anything is possible, which just helps to make the whole world feel distinctly 'off' - it's that thing you cant put your finger on which never the less bothers you.
As I mentioned above, the way cockpit scenes are handled does a great job in confusing and obfuscating the viewer from the action and even the characters themselves.
Now, I've stated above that the main character is Kannami but in may ways he's a blank slate that other characters interact with. This is, of course, deliberate because he's living his life in a trance-like state. However, this does mean that the movie needs someone more concrete to ground itself. Luckily Kusanagi is that character. As she's survived her time as a pilot without dying she's the Kildren who actually knows what's going on with the world, or at least the one who has felt the stresses of such an existence more than others. This has, naturally, taken a toll on her and the self-destructive behaviour she displays feels like a natural result of this.
I guess we're approaching the films message, or messages. There's a few to discuss, I suppose. The nature of man and war, the role of corporations in such an exercise and the fate of the people who live in such a system. Still, we never really get a good feel for the corporations or their motivations for engaging in this war. As Kannami points out, they're not a very profitable business and it doesn't seem like their battles would really have much impact on the many and varied reasons 'real wars' break out. Neither do I really the argument that people need to 'see war' on TV a very convincing one.
On a more general level, the more interesting idea is that of people trapped into a (literally) endless cycle, a system which has no escape or end. Of course Oshii has explored these ideas before in his earlier works so it's interesting to see them crop up here. In the end, of course, we see that Kannami cannot break free of the system, he can't kill the ace or change the rules of the world. This ending might seem very bleak, but in the final scene Kusanagi welcomes the new 'Kannami' with a smile - perhaps suggesting that she has hope in the idea that change is possible given enough time.
Neko Mimi Mode
Member
So I can watch it on my TV without unsightly black bars at either side of the anime? :\
I really hope they step it up with next season. I just watched the trailer for Zetman and it looks really good. Ozuma, Fate 2, Medaka, who knows maybe even shining hearts. The only show i'm still following this season is Highschool DxD and I found the latest episode to be somewhat lacking. So pumped for the S-cry-ed movie 
Next you'll be telling me you use the zoom feature on your HDTV D:
There is no way next season will be worse than this season.I really hope they step it up with next season. I just watched the trailer for Zetman and it looks really good. Ozuma, Fate 2, Medaka, who knows maybe even shining hearts. The only show i'm still following this season is Highschool DxD and I found the latest episode to be somewhat lacking. So pumped for the S-cry-ed movie
Jex
Member
I've been complaining about those things for ages!
So says Ben Franklin, manwhore of the 18th century.
Last Exile: Fam, the Silver Wing 16
A Last Exile S1 recap. This better mean that there's a widescreen BluRay remaster on the way, or this episode is totally annoying.
It did remind me of how much I loved the original, and hearing that opening brought back some memories. Thought they STILL didn't explain how the fuck
Dio survived! Despite showing him losing control in the grand stream!
Neko Mimi Mode
Member
WHO TOLD YOU.
No wait, I'm not that bad. Really though, I'd as soon put up with a little stretching as watching 4:3 on an HDTV. Clearly I'm in the minority here, so I'm just going to change the aspect ratio back for future GAF posts and hope you guys forget all about this little incident :x
Femmeworth
Banned
Hellsing321
Member
hosannainexcelsis
Member
I liked the Professor.
Neko Mimi Mode
Member
Regulus Tera
Romanes Eunt Domus
Femmeworth
Banned
*readies the rope*
PdotMichael
Banned
just gross
edit:
professor
and the 16:9 freak
Jex
Member
It's too late to hide anyway!
I agree, even last season was weak. A lot of my friends are losing interest in anime, but I think it will make a big comeback soon.
I don't think Denpa has a plot, it's just a slideshow of hnnnnnnngh and moe
and a glorious OP
Hmm, I said that
Madoka's only defining trait is that's she's genki, and then all the problems with her character are built on that. She never wavers from the genki girl path. If she did, that it might have more of a chance of being good. And she never breaks free from it either, her reaction at the end would only have been commendable if it happened right away, since then it would have deviated from the formula. As it is, it is (once again) simply following the genki girl route of righteous-anger-when-someone-has-insulted-friendship-and-the-protagonist's-morality.
as for the
mass production ovids, it would have been helpful to have at least a little information about them. Are they piloted? are they simply drones? who makes them? we're left completely in the dark, their only purpose is to provide an action scenario for the episode. If we had found out more about them, then they could help expand our knowledge of either the characters or the world. If they were pilots, for example, we would know that Vilagio doesn't care for his men at all, and that Madoka and Co. have no qualms with savagely killing dozens of soldiers. That would be a good thing, since then it would add more depth to Madoka: she isn't above killing enemies in a war. If they were drones, Madoka can fight with a clear conscience. That could then lead to a situation where she is confronted by actual humans ( if we can call the enemy pilots humans), and has to face her position on war and killing. As it is, they serve no purpose other than taking up screentime.
I hope that clears up my thoughts a bit!
Regulus Tera
Romanes Eunt Domus
Can we at least agree that Sakamoto was the best character in Nichijou?
Or they could watch, you know, old animu. There's plenty of old animu that's great.
No, since the professor is the best!
Jex
Member
I think lots of people would need to buy it for that to happen. I think it's more likely that it will find a comfortable niche, now that it's moving towards the streaming model as opposed to problematic retail model.
But we expect that sort of criticism from you! I thought my fellow Denpabro wouldn't call the waiter to complain when he finds a fly in his moe soup, but would instead wordlessly fish it out and keep eating.
PdotMichael
Banned
it sounds pretty biased to
Or got we ever an explenation for all the things in EVA, Eureka Seven, Gundam and all the other mecha animes? And we are still in episode 6 of 24.
We are alike, you and I.
The crow is probably one of my favorite anime comedy bits.No, sorry.
Basileus777
Member
Well, Rinne no Lagrange doesn't really have much going for it other than the hnnng and pretty visuals. The characters are annoying or dull outside of Lan and pimp villain, and even Lan is just a standard moe character that says wan. The scenario and plot are underdeveloped and mostly nonexistent. I don't like the characters as much as some people here so that's probably why I don't enjoy it as much, but even if that weren't the case, the entire scenario is so poorly developed/explained that I'd still have issues.
Regulus Tera
Romanes Eunt Domus
Fuck that scarf-thieving piece of shit.
darkside31337
Tomodachi wa Mahou
Ultimadrago
Member
Haibane Renmei 1
This is pretty cool. The settings seem interesting and the show has some nice atmosphere about it. Really didn't expect the
Hope they can keep things fun for the next 12 episodes.
This is pretty cool. The settings seem interesting and the show has some nice atmosphere about it. Really didn't expect the
violent visuals when the wings grew. I thought this was going to be a cute slice of life type of thing
Hope they can keep things fun for the next 12 episodes.
Dedication Through Light
Member
Sket Dance 45
It feels good to be caught up, thats was like 44 in a week, kind of slow. Regardless, Onee is really nice and her part of the episode was fun.
It feels good to be caught up, thats was like 44 in a week, kind of slow. Regardless, Onee is really nice and her part of the episode was fun.
Jex
Member
You're making me sound like some kind of nit-picking critic or something.
Denpa and lagrange are such different shows it would be unfair to compare them. One is a slow paced slice of life pseudo harem by shaft with incredible doses of moe, the other is a slow paced mecha show with poor pacing and large doses of moe.
I haven't seen Eureka 7 or many of the Gundam shows, so I can't comment on those. As for Eva, a very complete and full explanation is given for the Mecha.
Although the explanation was bad.
I acknowledge that we're only on episode 6, but do you seriously think that
the masses of Ovids in this episode will receive an explanation? I personally consider it very unlikely, but in the chance that they do, I will happily admit I was wrong!
Furthermore, Eva was consistent in it's approach to the characters, the tone the show takes, and the world they live in. Lagrange, so far, is rather obscure about the world they live in (I don't count this as a negative, just so you know, I'm looking forward to the backstory of the origins of everything), the tone flipflops between highschool hijinks, super robot show atmosphere, and
DARK MYSTERIOUS PAST
I am sure that line will come back to haunt me someday 
Not my intent, I promise.
I'm (jokingly) trying to marginalize Envelope's criticisms, not any potential ones you would make.
Ahh OK. That helps a ton as I was mostly going off these points:
From what I understand about looking around for an answer your second point, I think they
are just unmanned. The prequel manga seems to indicate it to some extent, and the fact also is there that Villagiulio is part of a small renegade faction that is outnumbered and small in personnel that he forces la garrite pilots to work for Kiss. He can't really afford to waste men since after all, they were just a means to accomplish his true goal. If you were talking about them taking up screentime, they were just a diversion/tool for Villagiulio to goad Madoka into doing whatever the hell happened at the end of the episode one way or another.
dakkumauji
Member
Zan Sayonara Zetsubou Sensei 3
This must be literally the only way Rin is allowed to be introduced on screen.
Another good episode. We got an updated OP with all the apple picking beam goodness.
And, it goes on about flipping switches, picking the third choice and over protectiveness.
I did like the group zetsubou-ing in the middle of the episode.
This must be literally the only way Rin is allowed to be introduced on screen.
Another good episode. We got an updated OP with all the apple picking beam goodness.
And, it goes on about flipping switches, picking the third choice and over protectiveness.
I did like the group zetsubou-ing in the middle of the episode.
Aha, with that first quote, I am saying
the tone of the SHOW clashes with Madoka's genkiness, not a character change for Madoka.
I think you might have mixed up
madoka and mugi a bit there as well.
I agree that
they're most likely unmanned, my point of contention is that they didn't do a good job of introducing them. In the first 5 episodes, 3 Vox's are shown. They are described as rare, powerful, mysterious - in other words, these mecha are unique. It's the same with the ovid's - they all have individual designs, and are quite powerful - again, unique creations. The sudden introduction of mass-produced ovids would have been fine, if just a little focus had been given to them. as it is, they are completely throwaway. I know that it's pretty standard to have a battle against all the faceless grunts, and that's not really where my issue lies (apart from the general silliness of hundreds, thousands of soldiers/mecha being taken out by a few individuals). Indeed, if they had named them something other than Ovid, I don't think this would have bugged me. Call them Lyres or something. To keep it simple, I would say that ovids were revealed as unique creations - almost a particular class or tier of mecha - imagine a general. when it's revealed that Ovid can also mean a generic massproduced unit, the definition of what an ovid is changed, but for no purpose. Well, I could say that the change of definition was the purpose - maybe I should think about it on those terms
To keep it simple, I would say that ovids were revealed as unique creations - almost a particular class or tier of mecha - imagine a general. when it's revealed that Ovid can also mean a generic massproduced unit, the definition of what an ovid is changed, but for no purpose. Well, I could say that the change of definition was the purpose - maybe I should think about it on those terms I need to watch this again. I remember expecting it to be that kind of movie so I was pretty disappointed with it. That was a few years ago though. I recently watched Beautiful Dreamer, and Angel's Egg (thanks to this thread) which I both enjoyed so I'll probably watch this next.
I would be in agreement if I didn't like Mio's troll-sister more.
Yuuko is definitely the best.
Ahhhh ok, I didn't know you were doing it like that. I've not yet had my coffee today you see. Also I added a little more about the mass-produced units too in my above post. I think when we get into theAha, with that first quote, I am sayingthe tone of the SHOW clashes with Madoka's genkiness, not a character change for Madoka.
I think you might have mixed upmadoka and mugi a bit there as well.
I agree thatthey're most likely unmanned, my point of contention is that they didn't do a good job of introducing them. In the first 5 episodes, 3 Vox's are shown. They are described as rare, powerful, mysterious - in other words, these mecha are unique. It's the same with the ovid's - they all have individual designs, and are quite powerful - again, unique creations. The sudden introduction of mass-produced ovids would have been fine, if just a little focus had been given to them. as it is, they are completely throwaway. I know that it's pretty standard to have a battle against all the faceless grunts, and that's not really where my issue lies (apart from the general silliness of hundreds, thousands of soldiers/mecha being taken out by a few individuals). Indeed, if they had named them something other than Ovid, I don't think this would have bugged me. Call them Lyres or something.
galactic war between the three factions as a heavier plot focus, we'll eventually see more into that, well, if that happens. We're only 6 episodes in and I have no clue where the show is gonna end up because it can literally be anywhere in the universe at this point.
As for the other thing, now that I think about it, I suppose Ovid is just what they call their robots,
but then beyond that there's maybe classes of it? The Vox are obviously above all them, and maybe there will be more to the others and so on soon. I would surmise that we haven't gotten names for them because it's just not the time yet. I have no doubts we'll get all that information once they become more integral to the plot, and I definitely am assuming that the show is definitely not going to only stay on Earth at this point.
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