UlasanAnime.com – Red Garden presents a rather mixed experience for viewers. It’s important to note upfront that the 22-episode television run does not fully resolve the narrative, with the story continuing in an OAV format scheduled for release in August of the same year.
Despite the incomplete conclusion, the TV series itself was quite satisfying. It met expectations and provided an engaging journey, especially as the series shifted gears around the halfway point. This shift was notably accompanied by a new ending theme that offered clues to the show’s underlying themes.
If one were to draw comparisons for Red Garden, the anime Gilgamesh comes to mind. Those who enjoyed Gilgamesh might find Red Garden appealing as well. The persona of Kiyoko appears to be distributed among the four main protagonists, and the character of the Countess is embodied within the collective female cast.
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However, unlike the post-apocalyptic setting and Babylonian decadence of Gilgamesh, Red Garden paints a peculiar picture of an upper-class New York City urban utopia. While personal experience with aspects of the show might introduce a bias, it’s likely safe to say that much of what is depicted in Red Garden is not an accurate representation of New York City. The portrayal of Coney Island, for instance, seems questionable, even when it appears to be directly mimicked from actual films.
Beyond the general dysfunction and the anime’s failure to accurately mimic American urban life – it seems to have used Tokyo’s urban environment as a base for the average Japanese viewer and added a few New York quirks – the show suffers from pacing issues. A contributing factor to this is its unusual homage to musicals, music, and dramatic elements. The inclusion of sudden musical numbers in the first four episodes is particularly perplexing. While music undeniably plays a significant role in the show, setting the mood, signaling themes through the opening and ending sequences, and even containing substantive moments (as seen in episode 23), the abrupt song-and-dance routines remain somewhat inexplicable.
Setting aside these criticisms, the show concluded in a manner reminiscent of a classic tragedy. Once the narrative delved into feuding clans and ancient curses, the expectation was for a Shakespearean-style brawl, complete with tragic death scenes. The execution was amusing, dramatic, and at times bordering on farce, though not to the extent of Gilgamesh. Overall, it delivered solid entertainment, which is perhaps expected from Tomohiro Yamashita.
Furthermore, the series is visually well-crafted. The Japanese official website offers a gallery of sets and designs for viewers to explore. The sheer number of outfits Claire goes through in just 22 episodes is astonishing, and some of the homepage illustrations are particularly striking.
