I admire The Witch From Mercury. Not only did it introduce me to Gundam (something I have found great interest and enjoyment in) but even among the larger Gundam franchise, it stands out as the instalment that most resonated with me and the world as I know it. Indeed, the concept of the expansion into space being a corporate matter more than a national one as well as corporations outgrowing themselves is the reality of our world and, naturally, this opens up the horrific possibility of war for profit.

Personally, this concept of corporate expansion into space where, after the resource exploitation of Earth, it is now grounds for proxy wars to generate more and more profit is far more fascinating than some national, racial, and fascist conflict that is little more than historical fantasy re-imagined in space-age. Whereas, the school setting is an especially interesting part of this class division wrought from the wealthy exploiting the poor as it represents the discrimination that festers in the young and the possible ways the differences can be overcome through mutual understanding, communication, and overcoming difficult times and conflicts together early on for the sake of a better future. Even the biological matter of human settlement into space and the broader topic of disability are very interesting aspects of this show that you do not see every day.

Even beyond the political, capitalistic, and biological themes, WfM's most outstanding aspect is, perhaps, its classically tasteful Shakespearean drama, fantastic metaphors, and the lesbian romance of the two protagonists and their fateful family drama. It is so tastefully accomplished, Suletta and Miorine’s romance is, where nothing is left to extravagant declarations of “I love yous” and kisses but rather the nuances of exchanges, desires, and declarations as well as the sacrifices and actions all for the sake of the other in the face of adversity and pain as they journey towards their happy ever after. It is all made further appealing by the familial conflicts and drama as well as the parental and sibling love and irony that I want to sing songs of praise for.

Conceptually, it is masterful. Conceptually, that is. The execution, on the other hand, is somewhat problematic.

Ah, but, I will say that it is not what it does that is problematic nor how it does it, per se. No, rather, the problem is that it is entirely too cramped. There is so much to do and so much to explore but not enough time to properly accomplish them. It gets to the point where it feels like literal space magic was used to conclude the story in the face of such constrictive timeframe. Indeed, “rushed” is a fitting description as it would have much benefited from taking its time to address its different dimensions, conflicts, and characters with more care and thought because, as it stands, a lot of said matters are “gotten over with” instead of seen through to the end.

Furthermore, while it does try to normalise the aforementioned lesbian romance of its two main characters, in that no one questions the fact and at least one other girl tries to win Miorine’s hand in marriage, it also plays it safe and leaves Suletta and Miorine’s romance to nuances and subtexts a bit too much when juxtaposed with the heteroromantic love-interests, giving the impression that while it does do its part in trying to normalise the lesbian romance of its main couple, it still maintains the heteronormative narrative.

Ultimately, the Witch from Mercury is a somewhat misjudged endeavour. It is masterfully conceptualised but the timeframe to accomplish its concepts is miscalculated - where it will leave you thinking: I thought the magic was meant to be metaphorical, not literal, as it wraps its story. In spite of this, though, Miorine and Suletta’s romantic journey is tastefully accomplished to a happy ending and is worth the show.