Strange "lifepods" have crashed in the western mountains, bringing with them supernatural beings previously found only in the realm of folk-lore and fantasy. Vampires walk the Earth, at war with Humanity and each other, driven by the most terrifying of genetic imperatives. Like wasps seeking a spider, they have come to this planet for only one purpose: to perpetuate their species.
Selected scene from Kimera, 1996: An Air Force official maintains a roadblock on a rural mountain path. He is armed, and there are numerous uniformed soldiers clearly visible in the background, as well as the flaming wreckage of an overturned army-green transport. As a bystander approaches to, y'know, see what all the fuss is about, the official levels his assault rifle, its muzzle six inches from the man's head, and says “you can't be here, it's dangerous, run!” The bystander does the absolute last thing that any thinking human being would do: Pushes the barrel of the gun aside with his hand and demands to
know WHAT, exactly, is dangerous about this situation. Yes, it soon becomes clear that this particular OVA takes place in a very special setting, a hilarious pseudo-reality crafted with such bumbling ineptitude that it eventually makes the logic of our own world seem warmly inviting by comparison.
There’s nothing remarkable about the way Kimera looks. It’s cheaply made. The backgrounds are flat and minimal, and the color palette consists mostly of a muted mishmash of grays and dark greens which, combined with the generally low production values and lack of ambient lighting, give the OVA a very dull and industrial aesthetic. The design work isn’t much better; Kimera’s human characters have square, blocky, seemingly featureless faces with dime-a-dozen expressions, while its monstrous villains look like half-baked concoctions of various oozing creeps from B-grade sci-fi films the world over. The animation itself can vary, and at its best it’s actually not too bad, offering suitably squirmy movements for the abundance of disgusting, gore-seeking tentacles. However, speed lines, quick cuts away from action, and other budget-savers are just as abundant, providing for a weird fifty-fifty split between modest but acceptable animation and terrible animation. Quality control appears to have been skimped on altogether, and the show can’t maintain a constant level of visual detail for more than seven or eight minutes at a time. Some of the more consistently animated portions of its blessedly short running length include a gratuitous sex scene and a thirty-second shot of a man’s organs exploding out of his chest and forming a neat little pile on the ground. These serve as good indicators of where the priorities of the work’s creators lie, if nothing else.
Kimera’s score bats a perfect zero—without fail, when there was music playing, I found myself wishing there wasn’t. Oh, the music itself is plenty awful; its constituents include squealing, high-speed violin compositions, overwrought operatic organ pieces, and vaguely 80s-sounding synth-rock, none of which should have ever been allowed the privilege of existing, much less coexisting within a single forty-minute span of time. It’s all bad enough that I feel sorry for whoever was tasked with integrating it into the OVA in a way that would benefit all parties involved. That poor soul must have tried, because Kimera usually at least attempts to put two and two together and play music that is supposed to be sad over scenes that are supposed to be sad, fast-paced music over scenes of action, so on and so on…but, honestly, the effort was doomed from the start. The soundtrack is such an ill-considered, intrinsically conflicting mixture that it's pretty much unworkable, and it's the factor that pushes some scenes in Kimera over the thin line between “weird and nonsensical” and “unintentionally laughable.”
In fairness, it's hard to not laugh at a story like this one. Kimera posits that earthly legends about vampires are actually the result of alien beings from another planet (who survive by sucking the life force out of other beings) landing on Earth in the past. Lately there has been turmoil on the vampire homeworld, they're in danger of becoming extinct, and now three vampires/aliens have crash-landed their spaceships on Earth with the intention of starting a population of vampires there and using humans as their livestock. The key to doing so is the female vampire, Kimera, who is captured by the Air Force and kept in an underground lab. Our two lead characters encounter Kimera before she's captured, and one of them falls in love with her. Okay, so the concept itself sounds like the demon-spawn of many terrible, terrible things, but they could make it work if the execution were good enough. Unfortunately, it carries all the hallmarks of hacky storytelling. There are unexplained leaps in time, unexplained transitions from one scene to the next (at one point the setting changes, as if by magic, from an Air Force facility in the middle of nowhere to a bustling city). Most of the backstory is revealed through a short flashback which occurs thirty minutes into the OVA, which is quite untimely, to say the least. The progression of events is hectic, cluttered, and everything in between, and while it's not quite bad enough for me to say I couldn't tell what was happening, it's pretty close.
The next time a work of fiction introduces its two protagonists as “the hardest working corn cereal salesmen in America,” a fact seemingly slipped in just for the purpose of explaining why said characters know each other and why they are driving through a deserted, mountainous, Air Force-patrolled region in the dead of night, I'll probably take the hint and go watch something else. Their names are Osamu and Jay (or Main Character and Blonde Guy, if you prefer). Their personalities initially appear to be pretty clear-cut—Osamu is a tepid and uninteresting everyman, Jay is a constantly ribbing, buddy-buddy jokester type. We've seen them before.
However, there is a gaping discrepancy between what these characters are supposed to be and what they actually are. Our two “cereal salesmen” break into government laboratories plastered with warnings about biohazards seemingly on a whim. One of them spends a good portion of the OVA french-kissing a green-skinned alien succubus who has never even spoken one word to him. Jay is the bystander mentioned above who appears to think that swatting a loaded gun out of someone's hands is a good idea. It's one thing for characters to make devastatingly stupid and irreversible decisions; that's certainly not a problem in and of itself. To err is human, as humans like to say. However, in reality and in well-written stories, these would be weighty choices, potentially carrying great consequences; the kind of choices that nobody would make without putting some good, hard thought into it. But neither of these average Joes appears to have any regard for life and limb. With the exception of an initial, brief “this might not be a good idea” from Osamu, the two treat breaking into an Air Force laboratory like it's a prank, giggling with schoolyard glee about whether or not they'll need a password to breach its giant interlocking doors (and they don't, because that would make sense). And so Kimera rolls on, with nobody ever pausing to consider anything, gape at any of the fantastic events that occur, or do anything that would cause real human beings to understand them or feel a connection to them. Point being that these are only “characters” in the most cold and mechanical sense; they're wheels that turn thoughtlessly to carry the plot to whatever ridiculous landmark it wants to visit.
Ironically enough, it's something in the same vein as that quality which prevents me from giving Kimera the lowest possible score. I don't think this OVA is meant to be taken as a joke, yet, having seen it, it's very hard to think of it as anything but. Do I recommend watching this? No, definitely not. It's excessive, poorly written, poorly presented, cheesy, and constantly straining to cover its own screwups. But it's not truly mean-spirited, and there's a (very) little something to be said for this tiny universe where everyone, good guys and bad guys alike, are brick-stupid, and the switch for common sense, reasoning, and decision-making is covered with cobwebs which permanently tether it in the “off” position. In spite of and because of its silly incompetence, it inspires just the tiniest bit of admittedly condescending affection, enough for me to turn the dial one unit to the right of where it probably should be. Kimera says “take me seriously,” and we can only shake our heads and smile knowingly, as if gracefully rejecting the outlandish request of a child.
I picked this anime up a long time ago on a whim, boy I didn't know what I was getting into.
It's about a vampire wanting to use Kimera to continue the race. During this there seems to be a lot of Damsel in Distress on top of her being a vampire. The weirdest thing about her is that she has the upper body of a man and the lower body of a female. There appears to be a rape scene of some sort too, but it's just odd because Kimera looks like a woman/man or something.
She doesn't talk, which
is boring, she talks in flash backs but nothing else. She is fixated on this guy who helped her.
I like the art, it's beautiful and it uses a fun use of colour, but I have nothing to complain about but it wasn't anything super special.
The music was okay, it fit what it was being used for but it had no tracks I found amazing.
I think the characters were well developed during the story, but I honestly thought there should be more Kimera interaction and talking, I couldn't give a damn about her mostly because she was a silent character. Even in the end she had nothing to say.
Odd putting to say the least. Story is about vamps but doesn't really stick to what equals a vamp. Also, the 'Green creature' concept is puzzling. I am aware of what the green creature is but the makes it seem somewhat natural to the characters when it actually confusing to the viewers. Let's just say when it comes to frisky things you need matching tools which set of the two is missing on the 'green creature?'' Aside from those confusing elements it was an original story.
As for the ending... Not quite what i was hoping/expecting but it works i guess. It was
a interesting twist that way.
Matched the confusing elements of the plot. Artwork in general was beautiful and clean. Animation was smooth. No need to change the dials of your viewing monitor the eyes are supposed to be that way.
Sound- no issues
each character had a background. Some were better than others but no-one's was perfect.
true romance fans make like this. Goes with love conquers all idea.
This is one totally underrated piece.
I watch low rated films with my finger on the "skip" button, just to make sure that I'm not missing out. This time I didn't use it even once.
One of the rarest occasions when you watch fantasy/Sci-Fi/supernatural and in the end everything make sense. The plot is not too twisted, but well thought through. No Deus ex Machina, no "figure it out for your self" parts. The story flows smoothly and the ending is not trivial, but conclusive.
The style is a bit old, yet thoroughly done, nothing extraordinary, except for the fight scene, that was pretty intense and visual (blood
and guts all over).
Yea, that is the best part. Usually I'm not just picky, I'm fastidious. But in this anime every one was in his rightful place: the villain, the victim, the defender and the protagonist caught in between. The movie is short, so don't expect tonns of inner-world revelations, but on the other hand you won't see flat "fill the space" characters.
I've enjoyed it big time. Probably will rewatch it some day. Very simple, yet respectable quality action-anime, with Sci-Fi twist and a bit of romance. Btw, shonen-ai in this movie exists only for those who reeeally wonna see shonen-ai and will find it anywhere, for the rest its just romance.