Had to invoke Wolpaw’s Law on this one - - not too long after the first commercial break.
As you might’ve noticed, I’ve got this ongoing thesis about how a show can get away with basically any exploitative ingredient as long as it isn’t the only thing on its spice rack. In less poetic terms - - there’s a noticeable difference between crews who use sex ‘n violence because they’re smart about what they can do with it and crews who use sex ‘n violence because that’s all they’ve got to use. That’s how I can enjoy something garishly over-the-top without having any hang-ups about being “beneath me.”
Along these lines, I really have an impatience for most vampire stories. (Why, I even put my thoughts into a feature for Screened, once). The vampire works for me, again, when the crew have an understanding of what they’re using and employ the vampire as a metaphor for something pertinent; be it forbidden sexuality, class warfare, death or even parasitic film directors. It doesn’t work for me when the crew’s just going with vampires because they’re kewl and there’s no sense on screen that they have any understanding of the creature beyond, say, what they’ve picked up from CASTLEVANIA. At the point, it’s honestly more interesting if you just make up some new creature to suit your needs like CLAYMORE did.
Maybe the original HELLSING’s better than this follow-up series or whatever it is. All I know is that I really struggled through the familiar scene of the invincible good guy coming to rescue an innocent from attempted murder/rape/whatever by the bloodthirsty bad guy. Yes, that’s a reliable set-up to push some buttons. And again, the difference here is that other series (CLAYMORE) knew what to do with it, and what else they can do beyond it, while this seems like the only thing the crew could go for.
So, I don’t know, animation’s kind of cool and polished, but that’s not enough to make lame material interesting. So I clicked out early... and here we are.
Watch this episode, "Hellsing 1” here and decide for yourself.