Cop Craft

TV (12 eps)
3.591 out of 5 from 2,175 votes
Rank #3,186

15 years ago, a hyper-dimensional rift appeared above the Pacific Ocean linking Earth with a magical world. San-Teresa City became a melting pot of cultures and species, but despite peace on the surface, there’s always an underbelly. That’s where Detective Kei Matoba and knight Tirana come in—partners with different perceptions of life and law, working together to keep the city safe.

Source: Funimation

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Copied from my MAL account: link I don’t consider myself easy to impress, and harbor a considerable amount of skepticism when it comes to anime in particular. The state of the industry and Japan’s own questionable ethics more often than not lead to incomplete adaptations, overreliance on tropes, tendency to pander, and plenty other undesirable practices in the medium.Suffice to say, anime as a medium has yet to evolve to the level of films or literature, and as such I choose to keep my expectations rather low with every coming season. Sure, you have your hard-hitters like Vinland Saga and Demon Slayer, but then there’s the expected boatload of isekai, or series with potential but fall into mediocrity--for me and plenty of others, To the Abandoned Sacred Beasts was one such show. And even then, the hard-hitters often are not something I personally find enthralling, since they tend to fall under specific tropes palatable to very young teenagers; or as we call them, shounen. Don’t get me wrong, I’m onboard with that every once in a while, but there’s only so much of it I can take before a medium of seemingly endless potential and imagination begins to feel surprisingly safe and sterile.To be clear, I’m not trying to diss anime as a whole. Plenty other mediums have their own problems, especially in their infancy period. Anime is a medium I love and support, and as such I’m all too aware of the drawbacks I’ve come to expect while digging my way through the depths in search of anime that are true standouts. And it’s because of this that the level of enjoyment I had watching Cop Craft is truly precious. If you’re like me, you’ve certainly had reservations or mixed feelings about Cop Craft’s reveal, particularly in the context of Japan’s ever-so-uncomfortable liking for small girls. Some of those same people went on to be pleasantly surprised, just like I was, at its first episode. As for me alone, I kept watching to where it would become one of my most cherished anime in recent memory.My love for crime-focused shows and films akin to Lethal Weapon, The Sopranos, and the like had sold me on the show within minutes. After some more time of watching, I was then engrossed by the character chemistry and splendid dialogue. And with wild supernatural elements, fantastical concepts, and bizarre sci-fi all welded cohesively into a thrilling buddy-cop drama, Cop Craft stands as another showcase of what anime as a medium, compared to live-action, is truly capable of pulling off.Before I go any further, however, I must address the elephant in the room. Yes, this show has serious problems with its production, which many people are aware of due to the damaging effect it's had on animation and pacing. Cop Craft's overall quality undeniably suffers as a result, but I feel like people should know the whole context of why this show is the way it is. I’ll go much deeper into this later on, but the basic story is this: this show was made with the passion of a driven and talented team in a very small studio with budget constraints and scheduling issues; a project far too ambitious for what the team is capable of doing. As a result, the animation quality is a horribly mixed bag, but this should not be attributed to laziness of the staff, as tempting as that is. As pressing of a topic as this is, I want to save it for later in this review. As of now I want to make the point that poor production is a tragic reality of what is otherwise a fantastic experience. The dynamic between Kei Matoba and Tilarna Exedilika is the essence of what makes Cop Craft such a worthwhile experience. The incessant passive-aggressive remarks between the grouchy nihilistic cop and the spoiled, ill-tempered young rookie is one of few aspects of their interplay that makes their first several hours together so immediately riveting. Not only is their interplay superbly written, varied, and sometimes comedic, they’re highly fleshed out characters whose relationship evolves from a bitter incompatibility to a dubious comradery. In general, Kei is someone who doesn’t get along with people, which is understandable since he’s one of the last people you’d ever want to hang out with. He’s a callous and largely inconsiderate man, making rude or judgemental comments towards people regularly with no signs of remorse. But he is not without a heart, as much as he tries to hide that fact from Tilarna. A man of few words, his sparse acts of kindness and courtesy are often dubious, with his true intentions left concealed in his own frigid mist of a personality. Even his most notable good deed, rescuing and adopting a stray cat after pursuing a perp, is reasoned with the idea of it being selfish instead of altruistic, saying he wouldn’t be able to sleep at night if he left the cat there.While ostensibly uncaring, Kei clearly has humanity as shown in his outrage over the death of his partner, Rick (which, by the way, happens within the first few minutes of the first episode, so no spoilers there), and the fact that he views his chief, Jack Roth, as a father figure. Likewise, it’s made obvious that in spite of his bitterness towards Tilarna, he does grow to care for her. His dialogue with her later on walks a fine line, making it uncertain which of his lines are playful, complementary, sarcastic, or tough love. In general, Kei appeals to the part of us that wants to be spared of the nonsense and get the task out of the way. His cold attitude is sometimes hard to tolerate, especially when he shows no gratitude whatsoever for when Tilarna saves his life, but that’s just part of what makes him so endearing. Kei and Tilarna’s rough interactions are what makes their sparse cases of growing closer all the more meaningful.Tilarna is always aiming to uphold her dignity and her moral code, making sure to never stray from either goal, excluding particular circumstances. Yet she’s also prudish and naive compared to Kei, often used to great comedic effect and is crucial to her development in much later arcs. Similar to Kei, her abrasiveness towards him isn’t exactly reflective of her actual feelings. More than anything, she just wants to feel respected by Kei and not be treated like a burden, which is an understandable frustration for anyone having to work with the man for so long. With such an entertaining banter between well-realized characters whose bond develops with every few episodes, topped with brilliant dialogue, Kei and Tilarna end up being one of the most compelling duos in anime I’ve ever had the pleasure of following.On another note, it’s strange and disappointing to see the stereotypical depiction of gay characters that plagues Japanese media appear in Cop Craft--by which I’m referring to Tony. Funnily enough, I initially approved of his character as I assumed *he* was a transgender woman. Because transphobia is just as much of a problem in Japan, my first impression of Tony was a pleasant surprise. And I was let down upon finding out that Tony isn’t a transgender, but a very effeminite and flamboyant gay man. Generally, his appearance and character alone isn’t all that big of a deal. But it does get a lot more off-putting with that one scene of Tony subconsciously feeling up a teenager only to be stopped by Aleks; and wiping drool off of his face as an added bonus. Although Tony is portrayed more tastefully than the likes of Puri Puri Prisoner from One Punch Man, they're both still sad reminders of how long of a way Japan as yet to go in terms of proper LGBT representation in media.This is a real shame since Tony is generally a good character apart from this, alongside his detective buddy Aleksandr, both of which are a treat to watch thanks to Cop Craft’s sheer aptitude with dialogue and comedy. And then there’s police chief Bill Zimmer, who is just about the closest to an anime Samuel L. Jackson since Afro Samurai. Although his spitting rage and humorous lines are a joy to witness, and with how respectable he was in speaking favorably of Tilarna towards a racist subordinate, Zimmer isn’t one of the more fleshed out characters of the show, unlike the doctor and ex-girlfriend of Kei, Cecil Epps. While it’s shocking to see someone actually put up with Kei’s rudeness, and even remain friends with the man, the main draw of Cecil’s character is how easily she befriends Tilarna. The friendship between the two feels genuine, with Cecil consoling Tilarna about difficult tasks and personal woes. Their playful dialogue about Kei also leads to one of the funniest moments I’ve ever seen in an anime. A lesser writer would simply use Cecil as a plot device or to flesh out Kei’s history, but she’s given the humanity needed to make her truly feel like a person with a physical presence in the overall narrative. With such an engaging main duo alongside almost equally great side characters, Cop Craft boasts one of the strongest casts of characters of any anime I’ve seen in recent memory. This setup for a buddy cop show is hardly a unique one, especially to those well-acquainted with Western TV and films, but it does stand out in the anime medium among its contemporaries at the very least. And besides, execution is everything. And Cop Craft’s execution in its story is as great as one could ever hope.As we’re welcomed to the fictional city of San Teresa, we venture into the unknown as well as the familiar. Conflict is abundant here as any Earth-dweller would expect a city to be, but the presence of the Semaani race brings forth a plethora of surprises among the crime scenes and detective cases, imparting a fantastical and arcane flavor to the adventure rarely seen in a police drama. With roughly 15 years of interaction with humans, the Semanians and their world is still largely alien to its human neighbors, with many discoveries to be made about them and what bizarre occurrences and fields of magic, or ‘Latena’ as it’s called, could be at play. To be a policeman in San Teresa means to expect the unexpected, a mantra that would benefit the viewer just as well.Of course, constantly throwing surprises at the viewer runs the risk of making the world feel incohesive and random, but these ideas are well-developed and properly built up to thanks to some impeccable world-building and (for the most part) remarkable pacing. The true depths of Semaani reveals itself little by little in the human world, pacing out these discoveries in such a way that provides intrigue and tension in a near-perfect manner. It also helps that Semanian arts have a logical presence as opposed to simple magic. Aside from the admittedly far-fetched “strong feelings create Latena” thing, practices and contraptions of Semanians operate on rules of their own, much like our technology. Perhaps the author, Shoji Gatou, was given a freebie by age-old concepts in Western fantasy when creating the Semanian race, but this world is so fleshed out to where it’s given an identity of its own. Semanians even have their own language, which when spoken sounds remarkably elegant and refined, unlike numerous other fictional languages such as Parseltongue of Harry Potter which sounds vague and almost like gibberish. To show just how refined this language is, aside from apparently being learnable, it’s worth considering Tilarna’s uttering of “Boliceman.” This is made to be an endearing quirk, but it also gives the implication that the Semaani language likely lacks a ‘p’ sound, with ‘b’ as a common substitute.After some time, the role of exploring a foreign world is passed over to Tilarna. Here we have the pleasure of watching Tilarna trying to cope with and adapt to facets of our planet Earth--specifically, pornography and vehicles of transportation--all bundled into an episode’s worth of hilarity, enticing chaos, and a grace of character bonding at the very end. It’s easily one of the most enjoyable episodes of anything in recent memory, as well as the few cases of anime humor making me laugh out loud. This is an episode that lingers in my memory continually, which is a very high honor to hold.A prominent facet of the setting is how the world of Semaani interacts with that of Earth. The many fields of Latena originating from Semaani unsurprisingly can accomplish certain tasks in a way that human technology cannot. And surprisingly, the opposite is also true. Coding, hacking, firearms, automobiles, photography, and night vision goggles are what the world of Semaani lacks, and play an equally vital role in snuffing out the perpetrator.Obviously the aptitude of your arsenal means little if the one using it lacks competence, as evident in many shounen and seinen that get away with artificially stretching out their arcs by having characters fumble around or arbitrarily bringing forth a greater power to stall the action. Cop Craft is the exact opposite case. The policemen of San Teresa are intelligent and capable as policemen are expected to be, using any strategy or asset at their disposal to gain the upper hand. I think anyone could remember a time they watched or read a piece of media, getting aggravated at characters for not seeing the obvious solution or making moronic decisions leading to their downfall, taking you out of the experience. Cop Craft almost never stumbles upon this, and crimes are dealt with efficiently through the use of Latena magic, Earth technology, and competent storytelling.That said, as praiseworthy as this is, it comes with a cost: conflicts in Cop Craft are dealt with relatively fast, and arcs can feel frustratingly brief and even anticlimactic as a result. Some could frame all this as a negative, but it ultimately depends on what you look for in an action show. I for one couldn’t be happier with how Cop Craft chose to execute this. The overall narrative of Cop Craft is akin to that of Cowboy Bebop and Samurai Champloo, and not just with its Western influences. It spends a brief enough time on an idea so as to throw a new one on the table. Cop Craft never gives anything a chance to get boring (excluding the fan-hated episode 8). Each arc is expounded upon enough to be satisfying in its own right, with the resolution feeling authentic and plausible rather than climactic.Apart from human tech and Latena, the interaction between Semanians and humans leaves sociological effects that are intriguing and applicable to reality. Heavy politics are in full force as would be expected in a city of mixed races, and Cop Craft is incredibly bold and proficient with this direction, especially for an anime--granted, it involves a fictional race, but the point stands. Multiple points of view regarding the presence of Semanians are touched upon and come into play during a much later arc, lending more weight and authenticity to an already fascinating world. A simple biased aversion towards Semanians or humans for what they are is obviously just racism, but one character in particular has a far more elaborate and justified viewpoint that comes from a similar place, whose quote is written below:“Coexistence, peace...just lies idealists tell. Earthlings and aliens can’t ever get along. We must keep apart.”“Some of them are getting by just fine!”“And their ability to adapt is what scares me. Look at their strength, their vitality; in three generations they’ll usurp us and rule the Earth! The invasion will be over before anyone notices. Yes, not even the invaders are aware of what they’re doing. The world needs to wake up and see just how dangerous these Semanians are.”If you’ve watched Cop Craft up to a certain point, you definitely know who these quotes are from, and where this exchange transpires. For spoiler reasons, I won’t say, but the crux of the matter is the ideology of what is said here. This is clearly in line with most conservative views regarding immigration; a fear that there is more to lose than to gain, and results can be disastrous. Obviously there are different viewpoints on immigration and I don’t wish to have this sort of discussion at the moment when it comes to real life issues, but Cop Craft is commendable in bringing this predicament to light in a setting where it fits like a glove.For a 12-episode season, it would be wrong of me to say that these issues are explored to their fullest, but that’s all the more reason to consider the ongoing status of the source material, and to acknowledge that the anime only covers a portion of what is, or will be, in the full story. If anything, this is a positive way of looking at the studio’s size. Since their budget is so small, there’s a relatively greater chance of Cop Craft making a good profit, thus hopefully leading to a second season being made.What’s really admirable in regards to the studio’s size is just how well the team could do in spite of such meager production. While Cop Craft’s animation is limited, the overall aesthetic is a feast for the eyes. While the show lacks in frames, it excels through well-directed framing and glorious attention to detail. The open nocturnal suburbs are coated in a softly-lit patch of neon colors, contrasting with the grim and subdued tones of the alleyways where conflict is sure to erupt. Bloom lighting is applied constantly in places to accentuate the bright urban life. Most indoor areas are rendered in modest colors where bloom lighting is sparingly used, creating a calm environment where the brutality of police work is given a rest. With such limited resources, the team has made a show that is not only pretty to look at, but with effective theming for different environments. All of this is to say, Cop Craft is one of those cases where the art is superb, but the animation is lacking--hopefully the anime community will finally know the difference between the two.When it comes to Cop Craft’s visuals, there’s no getting by without mentioning the action scenes, which are particularly of low quality past the second episode. This is where the studio’s size is made all too clear. However, lack of animation isn’t exactly the only thing holding back the action scenes, and this is an area where people are most inclined to blame the director. So here’s the way I see it: is the director, Shin Itagaki, at fault for Cop Craft’s shoddy action scenes?My answer is: yes and no.Shin Itagaki is an enigma of the anime industry. You might construe that as a word of praise but that’s literally what he is. Shin Itagaki is the director of shows like Basquash!, Ben-To, Teekyuu, and of course the infamous Berserk 2016/17. On top of being a director, Itagaki is also a freelance animator, sometimes doing his own work during production, and an extreme perfectionist. When discussing the animation quality of Cop Craft, an important thing to consider is that Shin Itagaki has a rather unusual way of directing fight scenes, putting more emphasis on impact than spatial awareness. This sort of style favors very dynamic camera angles and frames of impact, constantly breaking the 180-degree rule of cinema which all results in an action scene that feels visceral yet lacks sense of place. Cop Craft is consistently animated in 3s, and most of its action scenes are animated similarly to the likes of Studio Trigger, with limited frames, heavy smearing, and very dynamic pose-to-pose action facilitating impact in a way that fluidity cannot. However, with such wild storyboarding and constant breaking of the 180-degree rule of cinema, higher frames are a must for the scene to flow properly, and Cop Craft is proof enough of how much this can backfire.To see just how well Itagaki’s action can turn out, look no further than Ben-To. Fight scenes in Ben-To, as well as certain ones in Cop Craft, are evident of just how much increased frames make the difference with this style, creating enough flow between scenes that would otherwise end up disorienting and drain the scene of its tension. With the current state Millepensee is in, it seems most wise to ditch such strenuous methods and stick to basic, conventional fight choreography to make do with what little frames there are to work with. In the case of Cop Craft, this would have been the better approach in plenty of cases. Many scenes would have worked much better with the same amount of frames but different storyboards, but it seems that Itagaki hellbent on sticking with his vision no matter what, making demands that the studio just isn’t able to meet.This really hurts the anime in the long run, and it’s incredibly tragic. But there’s a reason I’m not putting so much scrutiny on this front. And it’s that I fully expect the DVD releases to amend this. Itagaki is clearly a very ambitious, passionate individual, and along with his team would love to take any opportunity to make this project exactly how they wanted to. For some episodes it’s not a huge deal if not many changes are made, but as for episodes 3, 5, and 10, Millepensee would be insane to not give them a makeover when the chance comes. Those episodes are infamous for containing some of the worst action in the series, with episode 3 commonly remembered as one of the most shocking dips in quality an anime has ever suffered. But I have faith in Itagaki and all of Millepensee, and wish them nothing but the best.Cop Craft, you deserve better. You deserved a bigger budget, you deserved better management, you deserve more attention, you deserve more support, and above all things else, you deserve a second season. This fascinating world, these splendid characters, the intriguing storytelling; Cop Craft is a project that is clearly too ambitious for what the studio is actually capable of, and it’s my earnest wish that the BDs improve upon this significantly, as it’s their one chance at polishing this product into what they truly wanted it to be. The heart is there, the team is competent, and the tremendous quality of the source material is for us to experience on a small screen. While I hardly ever excuse poor production, this is a team that deserves our sympathy and support. The story of Cop Craft feels like it’s only just begun, and I’m fully on board with what more adventures await our duo, as well as how much higher the studio will go from what is their biggest project yet.


I wasn't sure how well I'd like Cop Craft when I added it to my watch list. It seemed interesting, but also seemed like it'd be generic. "Portal to another world" isn't exactly a new plot device. Cop Craft actually managed to pull it off pretty well, at least that part of it. The setting and world building is the best thing about this show, even if it's not well utilized by the story or given justice by the animation. Unfortunately the story didn't end up being that great. There's a lot of potential set up in the show but plot lines are basically forgotten and new ones introduced every other episode. The entire show revolves around the idea of a portal opening on Earth connecting our world with a fantasy world that has magic, wizards, and fairies. Nothing revolutionary, but I found the way this was all set up to be very interesting. Humans can learn magic too, the fantasy and Human technology can be mixed together, as well as other interesting ideas. These interesting ideas aren't well explored however. If it was because they were too busy with the plot to explore the worldbuilding I'd understand that, but the story itself is a mess. The story follows Kei Matoba, a cop in the city established close to the portal. The show opens with his partner dying and the portal world sending a person of their own to investigate the magic related case that got Matoba's partner killed. This person from the other world is Tilarna, a young (appearance wise) girl who's a well trained knight (I think, again, it's not all that well explained). The show is primarily about following these two as they try to solve crimes in a complicated city. The initial case however is solved within the first 3-4 episodes. There's nothing inherently wrong with this but it leaves the rest of the show kind of aimless. The plots wander, don't make much sense, and barely affect our characters in any meaningful way. *Spoilers from this point forward* For example, there's one plot line where Tilarna infiltrates a brothel in an attempt to catch a politician. While there she befriends one of the prostitutes. Upon completing the job she meets the prostitute (who's no longer a prostitute since the brothel was shut down) and starts a friendship with her, all while the prostitiute is unaware she's been working with the police this whole time. When it gets revealed the friend is understandably upset and feels betrayed, and she is then killed to keep her silent about matters involving the politician. Tilarna is shaken by this in the episode itself, but it doesnt really show throughout the rest of the show, she's the same character just okay with wearing a swimsuit. Something that should have had a deep impact on her character and changed how she viewed what was previously a black and white world to her... just doesn't. Another example, early on in the show a character is introduced who's an ancient vampire. She was believed dead but it turns out she happened to survive and is brought to the regular world. But nothing actually comes of this. Because the vampire dies in the very same episode it has absolutely no affect on the overall story. The only thing this episode accomplishes is that Matoba knows vampires are a thing now, but this information doesn't aid him in any way. The vampire character, who I thought was really cool and would have liked to see more of, is here to cause a bit of trouble, drop some exposition, and die. You could remove her episode from the show and it'd be no different. The characters were alright for this kind of show.Matoba is the usual gruff and callous policeman that's actually a pretty considerate man on the inside. I actually rather liked him, he's a cool character. A war vet that lost his whole squad, he's trying to police a city where fantasy characters outclass him in basically every way. His character doesn't get a lot of development, but it doesn't really need to, he's already well adjusted to the life he's living and the situations around him.The villain was also apparently responsible for the death of his whole squad, but this isn't explained or touched on even outside of a couple scenes. The resolution we should have when the villain is defeated just isn't there, but the conflict wasn't there in Matoba's character. There was no weight to that situation, so the resolution was pretty empty. Tilarna is initially a girl that fails to understand the complexities of the human world. She frequently breaks the law in an attempt to solve a case, as well as attempts to murder suspects, because that's how her world is, very black and white. There's a lot you can do with a character like, and the show tries sometimes. As stated above though, she never really grows out of that. Even after all she experiences and learns she still tries to kill the suspect in the next episode. Events that should affect and change her character are simply ignored. The show tries to have her character make some changes in the last episode, but by this point it feels unearned and tacked on.A big problem with her character ended up being a two-part episode where she switches bodies with a cat. This plot line is already silly enough and has no relevance to the rest of the story, but it goes one step further and utterly humiliates Tilarna. Tilarna's body, while being controlled by a cat, is exposed to multiple characters in the show. Her body also soils her own pants, again, thanks to the cat. There was just no need to have a plot line like this that didn't contribute to the story at all, does nothing but grossly humiliates one of our leads, and is forgotten about by the next episode. The story could have been really good but squanders the great stuff it could have used. Plot lines come and go, are forgotten about, and have no effect on the story sometimes. I was pretty disappointed because at first I thought this was going to be a pretty good show. 5/10 on story. The animation is laughably bad, to the point it ended up being more akin to a powerpoint presentation than an animation. There's nothing noteworthy about the lighting or camera work either. It's not the worst I've seen but it's pretty bad. 3/10 The sound is actually pretty good. Ot's nothing amazing, but it does it's job of setting the mood and aesthetic of a lot of the show. The voice acting I liked a lot especially for Matoba. The Semanian language spoken throughout the show, while propably just gibberish, was also kind of neat. Solid 7/10 The characters I really wish I could rank higher, but a lot of them just didn't get any screentime besides some establishing scenes. Matoba was good, and I liked Tilarna for the most part but again, her characterization had some flaws and was just bad at times. The villain also wasn't that great and was just a "our races need to be seperate! change is bad!" character rather than anything interesting. 6/10 Overall Cop Craft is a 6/10. And it only gets that high of a rating because I liked some of the characters and the setting and world building were cool. The show is kind of a mess really, which is a shame because it showed some real promise.I wouldn't really recommend this show to anyone unless you're really into fantasy/magical elements and worldbuilding. Even then though the world building will probably let you down in just how underutilized it is.


Cop Craft es el resultado de un licuado entre Kekkai Sensen y Castle, o alguna que otra serie policiaca genérica, pero no es como si al mezclar dos malos elementos te vaya a salir uno bueno, por ende, la presente serie reseñada no es que sea una excepción a la regla de estos intentos de obras policiales que a veces anhela el anime colocando fantasía de por medio. Podríamos enumerar distintas cosas que se repiten en diversos títulos similares, como el hecho de tener un jefe rompe bolas que en realidad es un tipo comprensivo pero duro, algún traidor dentro de la fuerza que supuestamente tiene motivos pero nunca son explicados porque se muere y no tiene cómo, gente especializada en rastreo o hackeo, que en realidad sirven como salida fácil para cuando la trama se estanca y simplemente te da pereza pensar una resolución plausible, una pareja principal que no parecen compatibles pero que finalmente tienen una relación de amor/odio, un informante recurrente que por alguna razón se conoce todos los movimientos delincuenciales de la ciudad y problemas que se generan en los casos debido a las imprudencias de los implicados. Pero para poder explayarme, los pondré en contexto. En el Océano Pacífico se ha abierto un portal donde seres de otro mundo han llegado a la tierra, especialmente afectando la Isla Santa Teresa, estos seres oscilan entre hadas y monstruos, en otras palabras, semanianos, estos a su vez son los que más delitos cometen, entre robos, tráfico de armas y drogas, prostitución, etc. Para esto, se crea una unidad especial que lucha contra esta clase de crímenes, donde Kei Matoba es el que más participación tendrá con los diversos casos. Luego de que su compañero muriera, con el cual compartió labores por 4 años, se le asigna una nueva compañera, la cual es Tilarna, una guerrera del otro mundo que por razones de un tratado con Las Naciones Unidas, también está supuestamente capacitada para impartir justicia en la Tierra.  Desde el vamos podemos ver ciertas cosas que no funcionan correctamente y solo están para poder justificar de manera mediocre las cosas que suceden, como el hecho del tratado con la Tierra para que guerreros de otro mundo vayan a laborar sin un entrenamiento previo o un proceso de adaptación a ese mundo, porque Tilarna es realmente torpe en su manejo del mundo al que llega y más es una carga para Kei en muchos casos. Luego existe una especie de norma que se agrega a los Derechos Humanos, por lo que no pueden forzar a ciertas cosas a los semanianos, pero esto no solo no es anticipado, sino que es un conflicto artificial que solo tiene peso cuando conviene en la trama. El último que en el papel no debería ser un problema a gran escala, pero que la serie no sabe llevar, es su corte de caso por caso, por lo que en ocasiones se dejan cosas en el aire y se pierde el punto que tiene como principal, pero, como diría Exodia, vamos por partes. El primer caso es sobre el robo de un hada que es aparentemente especial para Tilarna y es el principal motivo de su llegada a la Tierra; estas hadas son capaces de soltar un polvo mágico que sirve como una especie de droga para que los consumidores luego puedan ser controlados por un mago llamado Zelada, el cual trabaja para un traficante que es la versión más caricaturizada de un tipo que no tiene ambiciones y vive el momento con el dinero ganado por sus actos delictivos. Al no tener un propósito este sujeto, deja limitado a Zelada a lo que su jefe pueda hacer, el problema con esto llega mucho después, casi terminando la serie, porque se supone que Zelada si tiene un objetivo, sin embargo, podemos ver como pierde el tiempo con un jefe que tiene un night club y trafica con polvo de hadas, siendo lo primero algo totalmente contradictorio con el ideal de Zelada, pero esto lo explicaré más adelante. Como dije antes, Kei cuenta con el apoyo de un informante, O’Neill, el cual también está metido en el mundo de tráfico, pero con objetos menores, por ello Kei solo lo usa para esa función porque es aparentemente inofensivo. Tilarna cuestiona el hecho de recurrir a delincuentes para encontrar a otros delincuentes, pero en lugar de hacer pie en esa propuesta y tomar a Tilarna como un elemento de exploración sobre temas de manejo policial y cómo funciona la corrupción en dicha ciudad, solo se hacen menciones superficiales, esto también nos deja la sensación de que el tono de la obra nunca parece claro, por momentos tiene toda la intención de tomarse en serio, pero en otras situaciones se ablanda con comedia culera y ver a Tilarna haciendo pucheros o comportándose como una loli tsundere genérica. Se presume que la primera pista es un grupo de mexicanos que van en un auto haciendo de las suyas, el informante confirma el paradero de los mismos, se va a revisar el lugar y esto solo sirve para exponer el tema de los muertos controlados por Zelada, luego de ello los mexicanos ya no son mencionados, y en realidad no es que sirva tanto porque aquí te dicen textual y visualmente que las armas humanas no pueden ir en contra de los muertos controlados por Zelada, pero más adelante esto no tiene coherencia con lo mostrado. En este tramo, Tilarna se molesta con Kei por su actitud de chico rudo y se va a investigar por su cuenta el tema de las hadas, llega con el responsable y es secuestrada para luego liberarse por medio de magia. Finalmente con una batalla se logra detener el atentado de Zelada, pero no muere, sino que cae desde el edificio; no encuentran el cuerpo y sabiendo que es un mago poderoso, no se hace absolutamente nada más. ¿Por qué no hay una orden de captura rigurosa con este sujeto que dijo abiertamente que puede controlar hasta 5 mil muertos para hacer el daño que quisiera? Dejar vivo a Zelada es una simple excusa para que Tilarna siga en la historia, ya que no puede regresar a su mundo sin haber confirmado la muerte del mismo, también está la traición del jefe de la policía, el cual estaba trabajando en secreto con Zelada para salvar la humanidad, aunque al final del caso muere y solo sabemos eso, no comprendemos realmente cuál es el motivo por que quiere salvar la humanidad, en qué sentido piensa que la humanidad está jodida o porqué es que cree que Zelada está en lo correcto. Luego de esto se nos deriva al segundo caso, donde poco o nada sucede, un cadáver encontrado en un operativo policial, perteneciente a una raza antigua de vampiros del mundo de Tilarna, se presume que hay un texto antiguo llamado “Libro de Niba” que dice la verdad sobre la profecía de la puerta que se abrió en el Pacífico y que hay cierto guerrero elegido, el cual aparentemente es Kei, y a Zelada detrás de este libro, sin embargo, la vampireza muere y nada más sobre el libro se sabe, hasta parece que fue borrado de la memoria de los personajes porque ninguna mención en específico sobre el mismo en lo que resta de la serie.  Entre el primer y segundo caso se nos intenta mostrar a Tilarna más adaptada a la sociedad humana y como va aprendiendo cosas, no es la gran cosa, pero al menos es algo, aunque esto no ayuda mucho en lo que personaje se refiere, Tilarna y Kei funcionan bien hasta este punto como pareja, pero más adelante comienzan a separarse para diversos casos, he ahí el verdadero problema con ellos, porque individualmente no es que creen un interés en el espectador, por lo mismo que no tienen un trasfondo definido y tampoco cuentan con carisma individual que los haga resaltar del resto de personajes, solo sabemos que Tilarna es una guerrera de élite en su mundo y que llega a impartir justicia, aunque en realidad solo vino a buscar a su amiga hada y una vez muerta esta hada, busca venganza, mientras que Kei es un militar que aparentemente luchó contra Zelada, el cual mató a todo su pelotón, es más se supone que hubo una guerra antes ¿cómo es que esto no tiene siquiera peso en la trama y en el universo planteado? El tercer caso es sobre el tráfico de pornografía, se supone que son revistas legales las que se muestran en el camión que las ha robado, lo que solo deja la idea de que las roban para venderlas a mayor precio, no es nada fuera de lo normal, pero el problema de esto es que el caso en su totalidad es irrelevante y solo cuenta como un intento de ver a Tilarna aprendiendo a manejar auto porque destruyó el de Kei mientras lo estacionaba y como se sorprende por la existencia de la pornografia. Para este punto Zelada ya ni siquiera es mencionado, y repito, teniendo en cuenta que asesinó un pelotón de guerra y fue la mayor amenaza en la ciudad, es realmente estúpido que pase a segundo plano, junto al tráfico de hadas, que es la droga que usa este sujeto para controlar a la gente. Cabe resaltar que hay un elemento mágico que permite realizar hechizos a distintos personajes, sobretodo los que vienen del otro mundo, se llama latena, la explicación sobre ello es bastante vaga, se remite a ser energía de un cuerpo vivo, por lo que cualquier persona viva con entrenamiento podría realizarla y esto conlleva a que más adelante hayan humanos metidos entre los delincuentes con los que se enfrentan los protagonistas, en el mayor de los casos solo se usa para poder salir fácilmente de la complicación mostrada en el episodio y mostrar batallas entre los personajes, con espadas y hasta golpes en el aire, en mayor número son hechizos que se usan para ubicar pistas, lo que saca a relucir la pereza del autor al armar su historia. El cuarto caso no se muestra de corrido ya que en medio del mismo hay un quinto caso, pero iré en orden, porque el quinto es realmente innecesario y tonto. El cuarto nos pone primero con Tilarna trabajando encubierta en un prostíbulo de élite, donde no se sabe si el objetivo era exponer al candidato a la alcaldía o simplemente allanar el lugar. Aquí existe otro cuestionamiento de Tilarna ante los procesos del mundo humano y como el poder adquisitivo del candidato está por encima de la justicia, sin embargo, de nuevo tenemos una visión muy superficial de la misma y solo se centra en intentar buscar las pruebas necesarias para meter preso al sujeto porque a Tilarna no le gustó que le toquen el cabello. También se nos muestra el proceso electoral y como van saliendo candidatos que luchan por el poder, aunque es realmente irrelevante viendo el foco que tiene la serie, se supone que estos candidatos tienen distintas visiones de cómo sobrellevar la ciudad, algunos promoviendo la igualdad entre los semanianos y humanos, el conflicto del asesinato de uno de los candidatos por un semaniano, temas de discriminación que parecen escupirlos en la cara, pero que al final no llegan a nada, el cómo funciona la democracia y cómo esto afecta a los habitantes, tampoco es visto con un tono serio y se supone que la obra aspira a ser tomada así, pero es tan banal que más le importa poner a Tilarna yendo a investigar en ropa de baño que profundizar en sus temas. Hasta es obvio que la esposa de uno de los candidatos es la que maneja los asesinatos de distintos testigos y otros candidatos, incluyendo su propio esposo, para llegar al poder, pero ningún policía pudo sentarse a unir cabos por un solo segundo, hay un tipo ex-marinero que tiene el poder de convertir acero en armas y es identificado, pero al final tampoco se hace nada con dicho sujeto, quedando sin un cierre y ni siquiera sabiendo cómo es que llegó a involucrarse en el caso, porque sabemos que trabajaba en conjunto con la esposa de uno de los candidato, pero no se sabe el porqué. También hay un interrogatorio por parte de un agente del FBI que solo quiere que cierto candidato llegue al poder para tener mayor ventaja y porque relativamente es manejable, pero en lugar de que el agente del FBI haga las preguntas, termina respondiendo las de Kei porque ello sirve de exposición y de esta manera se justifica las razones por las que se llegaron a este punto. El tipo del FBI trabaja con Zelada. ¿Cómo demonios Zelada llegó ahí?  Para este punto hasta ya parece que te van a sacar cualquier tontería más del sombrero y si lo veías venir, no te estabas equivocando ¿Recuerdan que mencioné lo contradictorio que era ver a Zelada trabajando para un tipo que manejaba un night club y solo vivía la vida como le plazca con el dinero que ganaba por sus delitos? Es porque Zelada quiere erradicar el hedonismo de la Tierra, de ser así no hubiera trabajado para un tipo de ese calibre desde un inicio, o podría entenderlo si al menos tuviera una razón convincente, como aprovechar sus conexiones o su poder para lograr algo más grande, sin embargo, dicha razón no existe.  A Zelada no se le ocurre mejor idea que controlar a todos con sus poderes mágicos para lograr su objetivo, se excusa en que su raza ha sido consumida por el hedonismo terrestre y es por ello que son delincuentes y pervertidos, lo cual termina siendo una razón culera, porque no tiene un punto de arranque y solo está actuando a puro impulso con lo que se encuentra en el camino. Esta última parte tampoco tiene coherencia con lo mostrado previamente con los muertos controlados por Zelada, porque Kei se abre camino hacía él, derrotando con una bendita pistola a un número nada despreciable de marionetas, ¿dónde se fue todo el peligro que representaba este sujeto? El último caso presentado, tal y como dije, es innecesario y una verdadera tontería, es una mezcla entre fan-service y un conflicto que no llega a ninguna parte. Se incautan ciertos objetos de contrabando y entre esos hay un arco con una flecha pequeña que se incrusta en el brazo de Tilarna, esto da paso a que ella cambie de cuerpo con el gato de Kei sin motivo aparente, lo cual es una excusa burda para mostrar a Tilarna en calzones y semidesnuda haciendo cosas lindas porque es un gatito. Mira nada más ese descaro de cojones, ¿de verdad pensaba el autor que podía ser tomado en serio de esa manera? Ah, espera, se supone que este caso mostraba un caso de corrupción en las aduanas, fíjate que casi ni me doy cuenta por estar viendo a la forense buscando un arco con un gato en brazos y a Tilarna haciendo huevadas calata en casa. Todo termina con la conclusión de Tilarna, la que simplemente está contenta de compartir momentos con Kei, así la ciudad en la que trabajan no sea la mejor, pero la gente buena siempre estará ahí, lo que hace pensar que ni siquiera le preocupan las verdaderas complicaciones de su lugar de residencia, sino que solo le importa pasar la vida ahí, teniendo en cuenta que es parte del cuerpo policial, el mensaje queda muy fuera de lugar con lo que pretendían en un inicio. Ya cubiertos los casos policiacos que presenta la serie, pasaré a los personajes y algunos detalles adicionales de la historia. Como dije, no hay nada realmente interesante en la pareja principal, solo cuando están juntos y las interacciones que presentan en un inicio no son desagradables, pero con el correr de los episodios se va haciendo repetitivo y cansino, Tilarna parece que va enamorándose de Kei, lo cual no tiene nada que ver con la serie porque sus interacciones no son suficientes para forjar un amorío, aparte que no es relevante para lo que la serie intenta contar. Los secundarios, pues, existen. Es realmente difícil recordar siquiera sus nombres, la forense solo se caracteriza por ser la ex-novia de Kei y ser forense, ningún aspecto explorable ni tampoco con una participación importante en la trama. Ayuda a Tilarna cuando está en el cuerpo del gato, pero como dije, de por sí ese caso está de más. Tenemos dos chicas que están en la parte de rastreo y son usadas sólo para fines de investigación encubierta o darle pistas de persecución a los policías cuando quieren atrapar a algún delincuente. También hay otra pareja de agentes que son un tipo grande y un gay, cumplen básicamente la misma función de las chicas previamente mencionadas, tampoco es que tengan gran relevancia. En el caso de los jefes de la unidad, el primero ya fue mencionado, por ser traidor y el segundo es un tipo que es molesto porque así se supone que son los jefes y nada más. Los villanos tampoco gozan de matices, Zelada vendría a ser el objetivo principal y solo tiene su ideal, más no tiene una idea plausible de cómo cumplirla, porque las relaciones que mantiene a lo largo de la serie no tienen sentido alguno. Teniendo este paupérrimo cast, podrías al menos esperar un desarrollo de los principales en cuanto sus relaciones como humano y semaniano, pues si bien esa mejora de relación existe, es más por la predisposición de Tilarna al estar enamorada de Kei y no es que se vea natural o que de verdad hayan tenido algún motivo, se intenta dar ciertos indicios de que Kei siente lo mismo, pero joder, una cosa es ser reservado y otra cosa es ser imbécil. En lo visual la obra cumple en los momentos mundanos o de investigación, tampoco es que necesite mucho en esas situaciones, como cuando estan conversando o simplemente en la oficina haciendo el papeleo de los casos presentados, lo jodido está en sus escenas de acción, que no son pocas, ya que tenemos elementos mágicos y personajes que luchan a un grado estrambótico, por lo que se inician las batallas con coreografías básicas, pasando a ser simples cuadros estáticos de los personajes tirando un golpe mientras gritan, veo eso y me deja pensando lo poco atractivo que es tener un elemento así en una obra que basa gran parte de su enfoque en las escenas de acción, a esto sumale el CGI de los autos o de algún sujeto caminando por ahí y sinceramente se ve muy mal. Más allá de eso, el diseño no me parece malo del todo, si pasamos por alto que Tilarna parece una chica mágica, pero de ahí son diseños medio típicos de este corte de series. En lo sonoro no es que destaque demasiado, algunas piezas rondan lo cliché, te ponen pandilleros con fondo de rap, lugares de tráfico acompañados de ritmos latinos, o música con sensación mística para cuando se nos muestra el día a día de Tilarna, no es un mal repertorio, pero sí es muy básico en su aplicación. El opening de la obra es otro cuento, y estamos ante ese clásico momento en que la canción de apertura es lo mejor que puede ofrecer el espectáculo, es un pop con influencias de latin-jazz, muy pegajoso y con una letra que refleja una ciudad como la que se supone que intentan venderte en el anime, el ending, pues existe, no es la gran cosa en realidad. Finalmente, Cop Craft intenta ser serio en su concepción, pero pierde este factor debido a la mala inclusión de su humor y elementos mágicos que no son plausibles en su ejecución, la obra tiene algunas buenas ideas, lanzando sobre la mesa temas de corrupción, delincuencia, discriminación, etc, pero de nuevo, se echan a perder porque no saben si profundizar o no, llegando al punto que hasta no parecen que las hayan mencionado, su narrativa no le juega a favor porque olvida el punto principal de su historia a la mitad y la recupera de manera muy forzada, quedando en un fallido intento de obra policial, los personajes son sosos en solitario, si bien la pareja principal suele funcionar en un inicio, se abusa de las mismas interacciones por lo que pierde carisma a la larga. Todo esto genera un mal sabor de boca y una recompensa casi nula para espectador al terminar la obra.

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