Kikou Ryouhei Mellowlink

Mellowlink Arity is good enough. He dodges, snipes, and somersaults across the battlefield, and enables this OVA to be a fine, action-filled adventure. It's a boilerplate revenge story in high form, with an art style that faithfully follows the original Votoms - along with carrying the same level of quality. Most episodes are individual scenarios in different locales: jungles, deserts, etc. And all are opportunities for revenge for Mellowlink.

The story is mostly episodic, though the plots of earlier episodes contribute to the multi-episode finale. Unfortunately not a lot of these episodes are memorable, though there are some diamonds in the rough. A big problem with ... Mellowlink is that the characters are paper-thin: while Votoms has eccentric and comedic characters to contrast with its stone-cold protagonist, Mellowlink's cast is much smaller and everyone seems to carry the same flavor of bland, minus the love interest. While that may seem like a saving grace by mention, it's really not. She's a pretty face with more mercy than the rest of the cast, but disempowered by the plot and kind of boring anyways.

There's still a lot of good here. The character designs are faithful to Votoms, the armored troopers look great, and as a visual package the OVA really pops. I really like the choreography of the action, even if it gets a bit repetitive by episode 8 or so. Seeing Mellowlink outsmart pilots with his AT rifle is great, and as other reviews have pointed out it's solid David vs. Goliath fare.

I'd recommend it, honestly. It's a short action OVA with good action in a gritty world, and it's altogether reliable: when you start an episode of Mellowlink, you won't get any crazy curveballs. It's 24 minutes of solid battles in a gritty world. Although I wouldn't be in a rush to watch it: check out the original Votoms first.

By 1988, there had been a total of three separate OVAs for the VOTOMS series, which while serviceable, did little to distinguish themselves or make themselves truly feel distinct from the original anime and its accomplishments. Armour Hunter Mellowlink marks a change in that trajectory, as it doesn’t take the easy route and retread familiar territory, instead opting to take a new approach to the series, which while just as focused on action as its previous entries, manages to markedly improve the action through a much greater production value, providing it with a more potent emphasis on detail and immersion than its predecessors.

In a similar ... vein to Robocop, Mellowlink manages to seamlessly merge motifs, iconographies, and ideas from a multitude of genres, creating a genre hyperspecifity that it utilises to great effect, and allows it to carve out a unique position to occupy itself in. From the onset, it has plenty in common with a classic western with its wandering outlaw protagonist (cape included), barren desert landscapes, and its concept of an honourable duel between two professionals. However, the characterisation within the series and the manner in which it unveils plot details is much more in line with a noir, which is a particular form of stylisation that anime generally does not make use of. Through this noir-like approach to character, it manages to make its mostly basic plot far more engaging, by connecting the rising tension with an increased feeling of desperation within its protagonist. Elsewhere, it manages to apply similar noir principles of establishing fear and uncertainty, through both its lighting and use of music, which is demonstrative of a level of directorial talent that can’t always be guaranteed. The music itself is also remarkably different to that of the preceding series, it is far from being an extension of the musical motifs that have appeared previously, which also speaks to Mellowlink’s change in tone.

The change in direction and tone is made evident in multiple areas – alongside the new music, which carries with it a more sombre and sinister atmosphere during its quieter moments, this more Brian De Palma-esque sense of paranoia is also conveyed through the framing and editing. On its own, a single shot of an empty room means very little, but when put up against the wider context of the series and the viewer’s expectations, being exposed to silence can end up feeling unsettling rather than calming, especially when this change is marked by an extended continuous take, a technique lifted directly from De Palma. Further, the usage of cinematography is also far more ambitious than most its contemporaries, which can be illustrated by one particular example. During one episode, there is a scene in which the titular Private Mellowlink is hiding behind cover, and he shoots some explosive barrels, killing the soldiers who were pursuing him, after which point several ATs move in to finish the job. Even to a casual viewer of action anime, it is very easy to picture this scene in the form of a static medium shot of the protagonist, followed by a static long shot of the explosion, two specific shot compositions that are often used alongside each other within this specific scenario, which constitutes a cinematographic cliché that can make a work feel as generic and predictable as clichés in writing can. Instead, Mellowlink revokes this cliché via its much greater focus on detail, as in the span of a few seconds, there is a remarkable amount that it manages to portray. Once the context has been established, the barrels are shot, leading to a tracking shot as they tumble backwards (rather than being engulfed in flames instantly), which explode once they hit the wall, leading to an intricate collapse of the building, as the roof falls to the floor, which the ATs forcefully push aside as they move through. Although a short scene, no more than 15 seconds in total, within the context of the wider action sequence, and certainly when the entire show is looked at comprehensively, this example is a microcosm for the kind of detail that is present throughout the entirety of Mellowlink, with a significant amount of effort being directed towards both having well-choreographed action sequences, as well as always making sure that the camerawork never falls into generic patterns.

One particular area in which Mellowlink is able to stand out is through its depiction of blood and gore, which is something most mecha anime seem hesitant to portray – for all the war and murder that goes on within the genre, Mellowlink stands out as an entry that acknowledges the rather simple fact that people bleed when they are shot. In particular, this has the effect of being able to exemplify its unflinching tone, and this level of immersive detail is also utilised elsewhere, as while buildings might not bleed, they do suffer damage and decay, which is another aspect that is typically conveniently forgotten. When committed to paper, it sounds like a small and fairly insignificant detail, but when it appears with this level of consistency, it is something that really manages to accentuate the immersion and strength of the production. Mellowlink takes another cost-cutting cliché (the impervious chest-high wall) and proves it can do better, with walls suffering chipping damage, with small parts of the foundation fall apart as they do, and having physical bullet holes actually entering surfaces, providing both visual spectacle and a reminder of the actual danger that the protagonist is in, which in turn creates a greater deal of tension for the audience.

Although Mellowlink may have rejected a few specific cliches, it is far from avant-garde in its design. For that matter, even when accounting for its noir sensibilities, it is an undeniably conventional action series, with lots of car chases and firefights, establishing shots that generate atmosphere and draw the viewer in to the sci-fi setting and its inner workings, and a main character who, when not an audience surrogate and vehicle for exposition, portrays the fairly limited range of emotions that comes with the genre. Most critically, although the series is subject to exposition, it is never dry nor overbearing, which is representative of its directorial strength – it knows when to restrain itself and keep things short, but it is never unfocused, as it always has the background context of its protagonist’s personal journey to provide purpose for his endeavours. In all regards, it is a finely directed series, which is perhaps best demonstrated by its action sequences. Being its clear focal point, they are expertly paced, embedded in the fact that they can be as short or long as best befit the rest of the episode, but no matter the scale, they are always orchestrated with absolute finesse, just like every other aspect of the series. The animation is of a stellar quality, carrying with it details that generate greater immersion and visual power with every single point of minutiae, with an atmosphere that is captured and emphasised by the soundtrack, and the whole series is an absolute powerhouse. Mellowlink has a solidly pronounced level of craftsmanship that remains unparalleled. Catching lightning in a bottle is something most can only hope to do once in their careers, but Mellowlink managed to do it for twelve consecutive episodes without faltering.

Mellowlink is worth watching for VOTOMS fans but kind of childish for the most part. How episodic and formulaic it was killed all tension since everything would always be neatly resolved by the episode's conclusion. And it had too many lame gimmicks the creators must've thought 12 year olds would find badass like how Mellow would smear his face with blood right before killing someone and find some way to leave behind a pair of his comrades' dogtags also before each kill.

The ending though was really good and had a mature twist I wasn't expecting at all. And the animation really stepped up for the ... final episode.

The original was much better but for a hardcore fan this isn't bad. The music was also terrible; I never want to watch this again just so I can avoid hearing that lame cowboy whistle.