Great Pretender
a review by AnimeDweeb
a review by AnimeDweeb
If you can’t tell by my stupid username, I’m a pretty big fan of these cartoons. However, there are some localized quirks and tropes that would turn potential weeblets from giving anime a shot. How do I introduce friends to this cool catalogue of shows without them getting too big of a shock to their system and distancing themselves from me? Unless you grew up watching Pokémon or a “Big 3” show, I wouldn’t know many titles that would make for a good entry point into the medium. But ask me that same question today and there will be one name, right on the tip of my tongue. Spoiler-free coverage of both halves of the show, skip ahead to my Tl;Dr if you prefer to go in blind.
as he dangles off the Hollywood Sign, tethered by his feet. Such an opening is probably one of the more memorable ones I’ve seen recently, yet that’s not even the most ambitious of this story’s intentions. Director Hiro Kaburagi previously demonstrated his Western sensibilities with 91 Days. But with GP, he trades that grimy noir tale for a homage to heist films. He’s playing a wildly different ball game, like a traveling team playing Away at the home of a foreign sport. There’s no falling back on familiar shounen tropes or localized references; the show is decidedly a Western, and an underdog at that. Yet, GP punches far above its weight and proves itself more-than-capable to sit right up there with the very best in the genre. Against insurmountable odds, not unlike those Laurent and his crew face, GP cooks a perfect plan for success rooted in style and confidence.
As to be expected with your caper story, the show has tricks and twists aplenty. Laurent’s Band of Merry Men (and Laughing Ladies) take money from the rich by turning their own weapons against them. With millions of dollars on the line, there is no room for error;
One mistake and you’re gone.
I’ll leave to your imagination the wacky plays our misfits come up with, as it’s an absolute joy to discover the many ways GP pulls the rug out from under you. Really respectable is how the show actually explains the secrets behind the many illusions, while adhering to the tropes it commits itself to and common sense. Shows along a similar vein, like No Game No Life for example, do this only when its convenient (still liked it quite a lot, DW.) GP plays by the rules but still carries a plethora of tricks up its sleeve. What’s fun is that on the off-chance you see the outcome a mile away, putting two-and-two together is still an engaging exercise likely to leave you with a goofy grin on your face.
The show teeters on a tight-rope walk between the improvised and the calculated. A frantic energy dominates adrenaline-pumping action, ranging from car chases to dogfights. But the show never gets distracted with insane antics, instead meticulously building towards cathartic climaxes that cumulate in further excitement. There’s hardly a dull moment throughout the show, with a measured momentum that few stories can effectively match. Each episode provides a substantial sense of progression that I’d be hard-pressed to find anywhere else. GP achieves this with its brilliant use of parallels, foreshadowing and motifs. Elements throughout the show can both hint at how the various cons will work, while depicting a deeper picture of our characters – a story nested within a story. Be it the small capsule toys Makoto picks up or the fiendish criminals Laurent’s Merry Men (and Laughing Ladies) encounter, every detail in the plot says something about the direction our story is headed. As such almost all the scenes feel weighty and purposeful in a way, as if every step is going according to keikaku.
The music is memorable stuff. Its OP is the second coming of TANK!, and few shows can brag about the great Freddy-frickin’-Mercury name-dropping the series title as their ending theme. Also notable are the specific music choices for each arc, which fit nicely^ as the story progresses. GP art style is easy on the eyes while showing more love for the genres it emulates. The show doesn’t shoot for hyper-realistic composition or lighting effects, choosing instead to derive its distinct look from clear straight lines and a diverse color palette. Neon-like backgrounds hammer home the vibrant pulp aesthetic its going for, and it makes sense. GP isn’t the most grounded of shows, with its globe-trotting escapades and zany twists. Such an off-kilter atmosphere revels in that playful tone and looks fantastic. GP maintains its creative liberties while being flexible in its approach;
"L.A. Connection" introduces Makato Edamura, the self-proclaimed best conman in all of Japan, as he steps into the City of Dreams – and the world of crime. In "Singapore Sky" Abby, the de facto muscle of the crew, risks everything the clouds and is asked why she welcomes danger with open arms. "Snow of London" sees the sophisticated Cynthia return to the titular town and the love she left behind. GP’s episodic storytelling is takes on different appearances as a crafty chameleon would, with each arc as tightly-constructed as the cons themselves. It’s not dissimilar to the “Watanabe” approach, with the key difference being that Bebop and Champloo prefer to go all-in with its stylistic influences. GP may not display that level of versatility but balances that out by giving its themes and characters just enough room to grow. The series places a great deal of narrative confidence in its confidence men/women, compounding the stakes of their elaborate high-wire acts.
“Wizard of Far East” was both the strongest arc in some aspects and the weakest in others. The few "cons" (pardon the pun) throughout the series rear their head in its last leg. It’s the story arc that stretches believability the most and is built around the uncomfortable recurring gag of Makoto getting manipulated by his friends. But although GP looks the closest its ever been to falling completely off the rails, it’s in these same conditions where the series performs its best. One might say the show takes on a “fake it ‘till you make it” attitude, but isn’t that exactly how cons are meant to work? The series as a whole is the master plan, and we’re its dumbfounded marks. GP’s ambition lies not just in scamming rich crooks, but in playing tricks on the audience as well. Every arc strives to surprise, and this last arc is more of the shocking same. The schemes, more intricate than we’ve ever seen; the stakes, as high as ever; the buildup, deliberately paying off thematic threads introduced within the arc and revisiting story beats from prior cases; the presentation, well-handled, the central conflict; dark and compelling – all culminating in an explosive conclusion, an Abby-esque middle finger to anybody expecting any less.
Great Pretender is masterful in execution. With the chips stacked against it, GP effortlessly translates Western story conventions over to anime in convincing fashion. A pastiche of the caper pulled off with panache, GP pays faithful homage to Hollywood. The team behind the project make their love for these Westerns known, while creating a fantastic piece of fiction of their own. Expect countless surprises and much more in store; effective storytelling, themes and pacing make this 2020 offering a must-watch. GP, my hands are up. You got me. Oh yes… 9/10~
And that's a wrap! Calling this a little early, but I'm pretty confident we have a great contender for AOTY in Great Pretender. Here's a fun idea: take a shot for every time I used alliteration in this article. I'll send you two cups of coffee and a hug once your hangover's over. If you happen to like my verbose rants, feel free to check out my other reviews for seasons past and present, peace~
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