“Rideback” is a story of a girl finding solace in the beauty of a machine which might be metaphor for other elements of life but, in finding the structure with her friends in tow and some specifics of international government, the progression, at times, while effective becomes over-indulgent.
Disc 1 The structure of which a ballerina becomes a robot cycle rider seems a stretch in certain ideals but the key is giving the lead character a means of connecting with humanity and herself. Otherwise it just becomes “girls and machines” motif. While the inset of the story seems to paint a completion trajectory because Rin, the former ballerina in question, wants to find a way to express herself after injuring herself beyond ever dancing professionally again, her follow-through shows her confusion. When she jumps aboard the Fuego, which gives faster than human reflexes but specially uses AI to fuse with its rider, reactions become more complicated. Halfway through the disc, civil unrest enters into the picture. The military is trying to develop these “ridebacks” into an extension of the soldier not understanding the physical prowess at times needed to make jumps and turns as Rin does. In a daring run, Rin ventures into a terrorist attack scene to save her friend and, through her acrobatics, evades a surface-to-air missile. After this intention, intrigue seems to follow her. Despite a news blackout she is eventually found out by the military and the press. When her brother tries to be cool and hangs with a motorcycle gang he is almost killed while Rin takes out the police contingent on her rideback. Rin as a character is interesting because she has moments of adrenalin followed by shame. She wants to be one with the bike because it gives her something she is missing yet every time she uses it she loses control. The balance between English and Japanese translation is a little more pronounced with the use of American slang being more prevalent. The commentary on episode 4 mixes the director and two of the female leads discussing the balance of silence and action as well as the gender traits of Fuego in question though the Shoko voice actor really has a thing for military guys.
Disc 2 Integrating the dark elements into the second disc, the tone takes on a specific downward trajectory. The first disc addressed the love that Rin has for the Fuego in that it completes her. At the end of the that progression, she uses her burgeoning powers to help save her brother. Afterwards as the GGP (the governing military organization) tries to keep her in custody to prevent her from becoming a martyr of the anti-governing protestors, the narrative takes on a more decisive tendency. The story becomes not one of riding, which the first disc plays to, but more to intrigue and a sense of identity. The intentions of specifically one supporting character being a beacon of light is cast out in a very brutal killing that takes places off screen which becomes a catalyst for the final battle of the show. However, the anti-climactic element of the final scene comes off a bit empty since the battle in terms of the larger picture is already won. It relegates a sense of full closure for the lead character and her need to be whole which plays a little bit too indulgent. The commentary plays too in deference to the catalyst scenario which the participants tend to get too emotional about. The textless opening music visuals are quite beautiful for sure. In terms of preview trailers, there is a balance between the old school coolness of “Trigun” and the futuristic 3D element of “TO”.
“Rideback” definitely creates a separate mindset from the norm especially within its more methodical second disc which reveals a more dark underbely. While the progression has its strengths, especially in the death of one of the members, the eventual resolution comes off as a bit too indulgent.