A certain point in time, in the continent of Telesis. The great war which divided the continent into North and South has ended after four years, and the people are welcoming a new generation. Violet Evergarden, a young girl formerly known as “the weapon”, has left the battlefield to start a new life at CH Postal Service. There, she is deeply moved by the work of “Auto Memories Dolls”, who carry people’s thoughts and convert them into words. Violet begins her journey as an Auto Memories Doll, and comes face to face with various people’s emotions and differing shapes of love. There are words Violet heard on the battlefield, which she cannot forget. These words were given to her by someone she holds dear, more than anyone else. She does not yet know their meaning but she searches to find it. – ANN
Streaming: Netflix
Source: Light Novel
Episodes: 13
Review: This review contains minor plot spoilers for the TV Series.
I don’t like to get too hyped-up about upcoming anime because it’s so exhausting to be disappointed when the final production doesn’t live up to what was promised. I like to let anime happen on its own terms rather than measured against my often incorrect expectations. But I ask you, as one anime fan to another, what am I to do when Kyoto Animation releases a teaser trailer that’s such an incredible fever dream of flawless animation and the interplay of light and color? There was no possible way for me to ignore what I had seen and start with a completely blank slate once the series was finally posted to Netflix. Rather than try to fool myself into believing that it was possible for me to be impartial, I decided to embrace impartiality and read other reviews of the show, both episodic ones and those focused on the series as a whole. I prepared myself for possible disappointment by arming myself with information.
Was this the right tactic? I’m not entirely certain, but what I can say is that going into the experience expecting to be frustrated by certain aspects of the story left me feeling pleasantly surprised by how the series was not nearly as flawed as I had been led to believe. This sounds like faint praise, but I really did enjoy the show more than I had expected to and I’m left wondering why others were more disappointed.
The series is comprised of two concurrent story arcs – one about a country at war which has at this point reached an unsteady truce, and one about Violet Evergarden, the titular character, who comes from a place of darkness and must reacquaint herself with the subtlety and full range of human emotion. The former story is the weaker one of the two; it works well as a backdrop and helps to establish who Violet is and where she’s come from, but when it comes further into focus as part of the primary conflict it feels forced and uninteresting (one might even describe it as kind of “tryhard” if one wanted to be a little snarky). The latter is where the more meaningful and satisfying developments happen, and while Violet’s story occasionally gets a bit melodramatic, viewers like me who have a tendency to get emotionally-invested will likely eat this right up.
It does take a few episodes for Violet’s story to get moving, and as I commented to some friends after I’d watched the first three or so episodes I was concerned that the series felt overly-manipulative in its storytelling. Several of the early episodes feel like one-offs that serve to build the setting and put Violet where she needs to be, but don’t quite achieve the emotional highs they try to wring from the viewer using beautiful music and imagery. As a veteran of war remembered both for her youth and her emotionless brutality, Violet is clearly out of her element as an Auto Memory Doll. The Dolls are women who compose eloquent letters for paying clients by interpreting those clients’ feelings into written language. Violet, as an orphan who has seen (and committed) countless horrors as a child soldier, is more adept at reporting facts and taking people’s words at pure, functional face value. She may have emotions, but they’ve been so blunted by her tragic experiences that it creates a wall between her and others. Likewise, the first few episodes of the show where Violet stumbles through an ill-fitting civilian existence, feel like attempts at forced emotionality that are unsubtle and unnerving. I can’t say whether this was intentional or not, but looking back it’s interesting to me how much the structure and feel of the show mirrors Violet’s evolution.
As Violet becomes more accustomed to her work and begins to allow herself to feel and empathize with others, the show capitalizes on this to tell some of its most memorable stories. My two favorites were one in which Violet helped facilitate more genuine communication between a couple of soon-to-be-wed nobles (ignoring the squicky age difference between the two), and one in which she composed a large volume of letters from a mother to her daughter. Though both stories are still what I would qualify as one-offs, they also provided great snap-shots into Violet’s progression towards not only understanding others, but also understanding herself and the relationships that she values.
I’m what I would call an empathetic viewer and I generally pay less attention to plot and continuity than many others, since I find little value in picking that stuff apart. I find more value in thinking about broad themes and considering how I was made to feel. This is the perfect example of a series that I think was made for that mode of viewing, since I recognize that there are some issues with the structure of the show and feel like it could have benefited from some reshuffling of priorities. As I mentioned earlier, possibly the weakest aspect of the show is its sub-plot revolving around the tenuous peace between its setting’s warring factions. Violet herself obtains a kind of personal emotional climax a few episodes from the end of the series, and much of the remainder of the show is devoted to a sort of shoehorned-in plot about a rebellion hell-bent on mucking up the signing of the peace treaty. The last two or three episodes of the series feature some great action pieces – an attempted bridge bombing, Violet parachuting into a war zone, a fist fight atop a moving train… all things that are cool to look at, but which feel as though they come from a completely different series (though they also provide a poignant resolution to the loss of Violet’s father figure that plagues her throughout the series, so it’s not all fluff). They’re ostensibly there to prove that Violet is no longer a cold-hearted killing machine (as she eschews using her strength and speed to actually murder anyone despite the fact that it would more easily resolve the situation), but we’ve already been shown so much evidence of her evolution that the reminder is unnecessary. The series as a whole easily made it into my good graces on its other merits and I could look at these last couple of episodes as mostly-extraneous, but I can see how many people would find this much more irritating.
As emotionally moving as many episodes are, they’re matched or exceeded by Kyoto Animation’s cinematic visuals and animation. If I’m being truthful, being able to watch characters move in front of gorgeous backgrounds is one of the bonuses of watching almost any Kyoto Animation series (and the main reason why I’ve pushed on through more episodes than I’d like of shows like Miss Kobayashi’s Dragon Maid and Amagi Brilliant Park) and this series is perhaps their most striking, detailed effort to date. It was the original commercial for the show that captured my attention, and while the series doesn’t quite sustain that exact look throughout, it still maintains a visual lushness that’s so far above and beyond what I’m used to as a TV anime viewer that I can’t rightly complain. I can only really fangirl in a basic way over how the show looks, but if you’re interested in some more educated commentary, check out Sakuga Blog’s series of production notes on the series.
I’m not a huge fan of Netflix’s delays when it comes to streaming anime series that I’m really anticipating, but I do appreciate the fact that I can watch an entire show (or cour, at least) in one or two sittings, so I suppose it’s kind of a wash in that sense. In this case, I got a chance to listen to lucky folks in other regions post their reactions, and despite the fact that my expectations were high they were also tempered and honed by what I was hearing. As someone with an (apparently) offbeat point of view on how stories are told it seems like I didn’t have much to worry about, as a lot of the complaints aren’t necessarily my complaints, and I truly enjoyed the show as a whole for its primary focus on feelings and human interactions and not as much on its weaker political plot. It’s gorgeous testament to KyoAni’s draftsmanship skills, as well as Netflix’s apparently pretty decent skills at picking anime series to partner with. It also gets a “5” on the Jessi Silver Cry Scale (TM) (I cried/held back tears at least 5 times while watching). If you’re someone who’s more into emotional through-lines in your entertainment, you might have a very good time with this series.
Pros: Visually beautiful. The feel of the story seems to mirror its protagonist’s development in many ways.
Cons: Political plot feels unnecessary. The real character climax arrives around episode 9 and parts of the last couple of episodes don’t fit in with those themes very well.
Grade: B+