UlasanAnime.com – In 1999, Sunrise released a moe anime centered around eleven girls and a Christmas holiday celebration on an island dedicated to academic studies and science. Had it incorporated X-men-style superpowers and a trashy light novel origin, it might have become something more than just a passing curiosity. While not an all-time favorite, the show, titled Seraphim Call, is difficult to forget, a fact I attribute to Mochizuki Tomomi’s direction, though I’ve since accepted that I simply like it.
During the era of the moe and Akiba boom, Seraphim Call was one of many projects designed to capitalize on the trend. In some respects, it may have been ahead of its time; the term ‘moe’ had not yet reached its current status. The series presented romance and that unique blend of lonely, chilly, heart-warming, and occasionally heart-rending emotions in one-episode chunks. Mochizuki, a creative cinematographer, applied these tropes in an extravagant 80s OVA style, resulting in an unconventional yet highly memorable experience for me. It’s fair to say the show was somewhat experimental.
The marketing for the anime was rather extreme, with individual DVDs and LaserDiscs released for each episode. Each episode focused on a single girl, who also performed the ending theme for that week, accompanied by a CD single. Yuko Sasaki’s moe voice blended beautifully with the opening theme, a reaction I hadn’t experienced again until Yakushimaru Etsuko entered the anime scene.
The primary issue with Seraphim Call was the franchise’s lack of a strong hook. It wasn’t consistently executed, lacking elements like idols or games beyond the anime and its characters. Kita E served as a better example, though it also didn’t achieve significant traction. Kita E is also a better comparison as it was released after 2000, but that’s a minor point. This critique isn’t about the experimental nature of the anime or franchise; looking back, it likely served as a lesson for creators on what to do and what not to do when developing similar projects.
One aspect of Seraphim Call that troubled me was its appeal to certain characteristics that I found bothersome, yet simultaneously drew me in. It’s akin to my irrational dislike for furries, yet my ability to engage with and analyze those tropes mentally. Seraphim Call taps into the trope of the “Asian winged sad female (with a male variant available) amidst piles of airborne white particles.” This is reminiscent of games with “Valk-” in their titles, carrying a certain “stench.” This theme was immensely popular in Asia during the late 90s and early 00s. Fortunately, Seraphim Call largely avoided these adhered tropes until its final episode. While I’m not particularly adverse to them, I generally steer clear of such content, with Valkyria Chronicles being my only other indulgence in this category.
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So, why revisit Seraphim Call? Because every so often, an anime reminds me of it. Given that perhaps only five people genuinely enjoyed Seraphim Call, it seems appropriate to cross-recommend it with fans of Sengoku Collection, as both shows share a similar appeal. I believe Mochizuki possesses considerable directing talent, making the series worth watching for that reason alone.
Perhaps I should focus more on Sengoku Collection; it might satisfy that particular craving. It could also appeal to readers seeking discussions about Sengoku Collection from those who don’t refer to the cast as “losers” or have issues with the Masamune episode. Honestly, are these individuals the prime examples of those who can appreciate shows of this nature?
Update: Homework: Learn more about Seraphim Call from JP!
