A long time ago, in a galaxy not so far away, season one of Star Wars: Visions—a series of animated shorts produced by anime studios—debuted on Disney+ to strong reviews (including our own). Following a second season of international shorts, season three of Star Wars: Visions debuts tomorrow (!) with nine more films from famed anime studios like Production I.G, TRIGGER, and WIT! Just as exciting as receiving brand new content that crosses the line between Western nerddom and Eastern otakudom is that Disney is fulfilling the promise of several shorts from the original season that practically begged for sequels, with three of the new anime connecting directly to their first episodes. The Force is certainly with this production!
We’re going to be bringing you individual episode reviews over the next few days, meaning we’ll be updating this post throughout the day until the entire season has been covered. Twwk will be reviewing from the perspective of a specialist, as a die-hard fan of the Star Wars franchise, while claire will be writing from the more general perspective of anime and science fiction fan. Either way, we’re both pumped for this new season of Star Wars, Japan-Style!
Episode Links:
3.01 The Duel: Payback (sequel to The Duel) • 3.02 The Song of Four Wings • 3.03 The Ninth Jedi: Child of Hope (sequel to The Ninth Jedi) • 3.04 The Bounty Hunters • 3.05 Yuko’s Treasure • 3.06 The Lost Ones (sequel to The Village Bride) • 3.07 The Smuggler • 3.08 The Bird of Paradise • 3.09 BLACK
*Synopses below taken from this press release
3.01 The Duel: Payback
Studio: Kamikaze Douga + ANIMA
Directed by: Takanobu Mizuno
Synopsis: With the help of some unexpected allies, Ronin faces off against his greatest foe – a twisted Jedi known as the Grand Master who is bent on revenge. Sequel to The Duel
REVIEWS
claire: Despite being a sequel, this episode does not rest on its laurels, trading on former success by simply providing more of the same stunning aesthetics and Kurosawa-esque cinematic storytelling as the S1 original. Instead, the ambitions of Kamikaze Douga and Anima studios have mounted with the passing of time, so that this episode reaches truly epic proportions. First off, the world is far more expansive here than the narrow “town square” focus of “The Duel,” so that we see not only grand vistas but a great many more alien races, too, including some that were new to me, as well as the most beloved of all, Ewoks and a Wookie! Diverse languages pepper the dialogue, too, complementing the hints of “multilingualism” in terms of film genre too, with flashes of humor and even a hint of romance balancing out the central tale of honor, justice, and revenge. Finally, the color design has really been levelled up here, with more use of highlight colors and attention to details such as the bleeding of the lightsaber’s colors, blue and red, into purple during high-impact clashes. To put it in terms of Kurosawa’s oeuvre, if the original duel was an homage to Yojimbo (even re-creating some of its iconic shots), then the continuation of the story is more akin to A Distant Fortress with its broader scope, less predictable arc, and mobile cinematography—which is fitting, considering that George Lucas was inspired by that very film in developing Star Wars. In this sense, “The Duel” and particularly its sequel, complete the circle of influence and homage between Japanese cinema and Star Wars, making for a profound fusion of traditions. But in doing so, “The Duel: Payback” also pushes against the balance at the heart of Star Wars, as the fusion creates something altogether new in the figure of the Ronin. I won’t give away the result of the duel, but let’s just say it’s one that will keep you thinking. Brilliant! Now, please excuse me while I go find a “making of” video about the animation because it is truly magnificent!
Twwk: Claire is absolutely right in declaring that this short is epic. I’ll so a step further and add the descriptor, “masterpiece.” I enjoyed and appreciated, but didn’t love the original short—and I couldn’t get into the novel written about Ronin (Star Wars Visions: Ronin), but this sequel short got me in every single way. It is at once unsettling, highly creative, Kurosawan, thrilling, and even cute (these might be the cutest characterizations of the Ewoks there’s been!). It feels shorter than some of the rest of the episodes because everything is tightly woven and all of it compelling, maybe nothing more so than the world that Kamikaze Douga and Anima have created, and alternate universe that is (more) Japanese in aesthetics, morality, and storytelling than the canon Star Wars universe. Fans of Star Wars, Japanese films, anime, and sci-fi will all embrace this short. Now, pardon me while I go back and give Star Wars Visions: Ronin a second chance.
3.02 The Song of Four Wings
Studio: Project Studio Q
Directed by: Hiroyasu Kobayashi
Synopsis: A princess-turned-rebel protects a child from the might of the Empire on a snowbound planet.
REVIEWS
claire: And the award for Best Score & Sound Design goes to…! Seriously, Project Studio Q may be the only newcomers in the lineup of Big Name Studios in this anthology, but they’ve blown it out of the park when it comes to the sonic storytelling on display here. Not only is there funky diegetic music (and I’m always a fan of music that is in-world like this, especially the funky kind), but it is of that particular brand of electronic music that uses classic video game sound effects to build the beat, and then, in a brilliant move by composer Towa Tei, actually incorporates the sound effects on screen into the score as well, so that the sounds of walkers and weapons fire spiral into harmony with the music! The fact that much of this plays out during a beautifully animated speeder escape scene is the cherry on top. The worldbuilding here, too, is full of intriguing little details that speak of a strongly Japanese influence, like the clearly Shirakawa-go-inspired village and Himeji-like castles in the flashbacks, to the cranes and the Princess’s aforementioned taste in music, and best of all, the blink-and-you’ll-miss-it magical girl transformation sequence, er, mecha-girl transformation sequence? Anyhow, what a creative mash-up between anime and the galaxy far, far away! I’d definitely watch more from this corner of the stars!
Twwk: “The Song of Four Wings” is definitely an anime playing in the Star Wars universe, and would be unrecognizable as being Star Wars at all without the presence of Mon Calamari, AT-ATs, and snowtroopers. But unless you’re a purist, you’ll still thoroughly enjoy this whimsical and sonically pleasing romp through a rebel mission. As Claire mentioned, it’s so much fun hearing the gaming-style music work in tandem with lasers and explosions and other sound effects. This episode is so much fun to listen to, but also beautifully animated—full of bright colors and thoughtful, fun action sequences. At times, I felt that season one failed the experiment of crossing anime styles with Star Wars, but here in season three, it’s episodes like this that demonstrate what can happen when a creative, smart team plays in this universe.
3.03 The Ninth Jedi: Child of Hope
Studio: Production I.G
Directed by: Naoyoshi Shiotani
Synopsis: Pursued by Jedi Hunters, and blasted adrift into space, Kara encounters a seemingly abandoned ship tended to by a mysterious droid. Sequel to The Ninth Jedi
REVIEWS
Twwk: After watching the first episode of “The Ninth Jedi” in the original Visions, I was desperate for it to become a full series. After watching this new episode, I am more excited for an entire series devoted to this story—which will be the first one developed from the Star Wars: Vision brand—than I’ve been for any Star Wars property since The Force Awakens! You’ll see why once you watch this second episode, which splits Kara apart from her newfound Jedi team and facing Jedi Hunters alone…or not quite alone, as she finds another solitary figure in the toddler-like droid, Teto, who is the newest in a long line of memorable Star Wars droids. This episode accomplishes exactly what I want to see out of a Star Wars anime—capturing what’s so beautiful about the franchise—namely, the sense of wonder, heroism, and hope (plus a little existential danger in setting the stage for Sith temptations for Kara)—with what anime can convey so well. The episode has a very strong Studio Ghibli feel with its gutsy heroine, lovely background art, and, at times, whimsy, conveyed especially through music. But what grabbed me the most was how moving this episode is—from Kara’s relationship with her dad (voiced by Simu Liu in the English dub version) to everything Teto. No joke—I almost cried several times and just kept myself from ugly tears at the climax. This is my favorite thing I’ve watched all year, and it has me primed for more Production I.G, Kenji Kamiyama, Star Wars anime goodness ahead!
3.04 The Bounty Hunters
Studio: WIT Studio
Directed by: Junichi Yamamoto
Synopsis: A rogue bounty hunter takes on a job for a shady industrialist that has unexpected consequences for her and her droid.
REVIEWS
claire: Sevn is a bounty hunter on the run for her life, accused of double-crossing the deadly group that trained her, and it’s all that rotten Jedi’s fault! Paired with a medical droid whose dual personality is a snarky assassin, she’s just trying to find someplace to lie low for a little while, like, the rest of her life. When a cushy job offer comes from a charming businessman, there’s no way it can be too good to be true, right?
Wit Studio does not disappoint! This is a slick story, both in terms of the animation, which is fulsome and lively, with some great action sequences, and the characterisation, which is the real strength here, as the two leads, Sevn and her droid IV-A4, really carry this one. Their dynamic is a lot of fun—one part business partners, one part adversaries, and ninety-eight parts siblings at each other’s throats (except for when they’re looking out for one another)—with IV-A4’s extra personality adding a bit of spice into the mix. The plot is pretty simple, but some clever framing with flashbacks is enough to make it feel satisfying rather than thin. Ai Farouz’s voice acting adds depth and range to Sevn, making her the one new character this season I’d most like to see a sequel for in the future. Bring on the buddy movie with these two! And man, when she finally finds that Jedi again, watch out!
Twwk: Assassin droid? Always welcome! Wit Studio takes on bounty hunters with their short, and they do a fantastic job with it. This is how you make the most of your short, as the studio drops bits of the main character Sevn’s past via flashback, but stays in the present by animating a bounty that works to show her heart and the heart between her and said assassin droid (well, half-assassin), IV-A4. The relationships between droids and humans have always been a major marker of Star Wars productions, and took a step even further with Rogue One, where that core relationship evoked such emotion; “The Bounty Hunters” is certainly a callback to that. I have no doubt that this duo could support a full series, though the shonen quality of it all may not lead to the depth of story that I would desire. Nonetheless, for at least one episode, this is a fun, thrilling ride!
3.05 Yuko’s Treasure
Studio: Kinema citrus Co.
Directed by: Masaki Tachibana
Synopsis: A sheltered orphan teams with a street rat kid to rescue his droid caregiver and find a long-lost treasure.
REVIEWS
claire: Ah, what a sweet tale of the love shared between a child and her giant Teddy Ruxpin droid, BILY (Baby I Love You), who has a microwave in his front instead of a tape recorder in his back! This is an all-round satisfying episode. It’s got humor, it’s got action, it’s got cute kids and a giant centipede lizard that can’t seem to figure out cliffs, or maybe the problem is gravity. Anyhow, this is a fun one, pulling on one of the most heart-warming of Star Wars themes, found family. The animation is more on the cartoony side, like Sand Land, which is also streaming on Disney, rather than the more elegant style of episode 6 here, “The Lost Ones,” also by Kinema citrus. But it suits the story. One thing that bugged me, though: the subs and press release synopsis misgender Yuko, who, going by the name at least, is a girl. Unless he’s a boy named Sue… *shrugs*
3.06 The Lost Ones
Studio: Kinema citrus Co.
Directed by: Hitoshi Haga
Synopsis: After assisting refugees escape a natural disaster, an incognito F is forced to confront the ghosts of her past when their refugee ship is intercepted by the Empire. Sequel to The Village Bride
REVIEWS
claire: The revelations about F, our stoic Jedi protagonist, come thick and fast in this sequel. Some are shown—such as her prosthetic leg—and some are told, such as her aptitude as a teacher. There’s a fair bit more exposition here than in “The Village Bride,” which is a shame, as it was the silence of that Season 1 short that so made it stand out for me and earned it top spot in my S1 rankings. The music direction is also more predictable here, in contrast to the unique tones of the original. Nevertheless, the same clean, sharp animation that drew my eye last time continues to shine here, with strong 3D compositing in nearly every instance. There is a lot packed into this short, from flashbacks to F’s mysterious master, to the rise of a new mortal enemy, to the introduction of new allies, and, rather surprisingly, the resolution of all three of these plot threads. The writing is nothing if not tight! (The mystery remains, though, as to why her Padawan braid was on the left and not the right!) The insight into F’s mindset and values is rich, while her approach to preaching the gospel of Jedi is thought-provoking and something I may well circle back to at some point. But I’m also left feeling a little underwhelmed when it comes to the emotional impact of the story. Perhaps if Kinema citrus had leaned more heavily into the “show not tell” approach of “The Village Bride,” it may have hit a bit harder.
Twwk: I fully agree with Claire—the short didn’t strike quite as close to the heart as it means to. I think this because much of the episode’s material comes too soon; these revelations, not to mention the showdown, are better left quite later in a full series, or at least spread out over several episodes. There was too much to digest too quickly. Still, I’m entranced by the possibilities of where the story may lead, and by the character of F; she’s brought to life in all her Jedi stoicism and their emotional side, too, by the wonderful Asami Seto. I also appreciate the aesthetics of the episodes (much like in “The Village Bride”) and all the callbacks to the original and prequel trilogies, including a very live-action-looking Star Destroyer, discussion of the Clone Wars, and, most thrilling of all, Carbonite playing a major role throughout the episode. A disappointing sequel, perhaps, but here’s hoping that, as with “The Ninth Jedi,” the story of F will get a fuller future treatment.
3.07 The Smuggler
Studio: TRIGGER
Directed by: Masahiko Ōtsuka
Synopsis: Desperate for a quick payday, a smuggler takes a job to rescue a fugitive from the Empire.
REVIEWS
claire: Plucky smuggler Chita may be small, but she is mighty—or at least she has the potential to become so in the story that unfolds after this very-much-a-prologue short. Don’t get me wrong, this is an okay origin story, hitting all the usual beats on cue and adding up to a believable enough start to an adventure, but there’s nothing particularly noteworthy about it either. I kept waiting for the twist or a reveal that wasn’t obvious from the outset, but it never came. The animation is finely executed—TRIGGER doesn’t seem capable of sloppy inbetweens!—but it’s not as dynamic as I was expecting from the studio that gave us SSSS.Gridman and Dynazenon, Cyberpunk: Edgerunners, or even the advertisement music video, Chocolat Cadabra. Where’s the studio’s famed forced perspective and funky color design? The energetic fight sequences? It feels to me like TRIGGER played in incredibly safe here.
Twwk: TRIGGER upends all expectations by going…traditional? Indeed, this is almost as “normal” a Star Wars story you’ll find across the two anime seasons of Visions by focusing on a trio of main characters (think Luke, Han, and Leia), which consists of a (SPOILER!) royal, Jedi, and smuggler (think Luke, Han, and Leia). While it sounds perhaps too usual—and it is somewhat a waste of TRIGGER’s talent at being bright and loud—it’s also well done and compelling in its own right. The character of Gleenu is particularly unusual as a major character, being an older woman, and Judith Light is perfectly cast as her in the English dub. Meanwhile, Chita and Arluu bring the young energy (and hint at a possible romance should this—let’s just call it what it is—pilot episode become a full series). I also think it feels better by comparison to “THE TWINS,” the doubly-disappointing short created by TRIGGER for season one that felt absolutely like that studio made it, but wasn’t compelling in the slightest. “The Smuggler” on the other hand? Well, this Star Wars fan would definitely watch an entire season or series based on this story.
3.08 The Bird of Paradise
Studio: Polygon Pictures
Directed by: Tadahiro “Tady” Yoshihira
Synopsis: After she is blinded in battle, a hot-headed Jedi Padawan must undergo a series of spiritual trials in order to overcome the temptation of the dark side.
REVIEWS
claire: Nakime is not built for serenity. Instead, a fiery fury practically spits from her every gesture, whether she’s in the midst of battle against a fox demon Sith, or raging against the rocky terrain that she can no longer see, after being blinded in combat. But it was always her heart, and not her eyes, that was blind. And so she begins her journey to encounter the Force, very much against her will, but it is the only direction remaining to her.
Now that surprised me—twice over and in a very good way! First off, as you can see from the still above, this short is fully 3D animated, which isn’t the surprise, given that it’s coming from Polygon Pictures, who already showcased their considerable accomplishments in developing immersive 3D anime with Kaina of the Great Snow Sea and the sequel movie. But what is striking is just how far they’ve come in creating pure, breath-taking spectacle to captivate the eye. I’ll never be a huge fan of the default anime-style 3D character model; however, the extra effort taken to push Nakime’s face model beyond the usual flat expressions so that she actually emotes, and the eye-popping colors, design, and details of the fantastical sequences representing her blindness, blew me away. If this is the future of CGI anime, maybe it won’t be so bad.
The second surprise was just how heavily this short leans into the Zen Buddhist facet of the Force and the Jedi “religion”. Although I’ve come across many a post extolling the parallels between Star Wars‘s Force and Christianity, this is the first presentation I’ve seen for its Buddhist analogies, and I must say, the parallels are compelling. Altogether, although the ending is a tad rushed, “The Bird of Paradise” is a deep, emotional, and spectacular exploration of Jedi spirituality. I’ll be rewatching for sure, and not just because Tomoyo Kurosawa (one of my favorite seiyuu) does a fantastic job as Nakime.
3.09 BLACK
Studio: david production
Directed by: Shinya Ohira
Synopsis: A psychedelic battle between past and present, light and dark, and life and death plays out in the haunted psyche of an Imperial trooper who is on the cusp of defeat.
REVIEWS
claire: It starts with an attack on a Death Star—a familiar montage for any viewer with even the most glancing acquaintance with the Star Wars franchise. But before there is time for fears to set in that this may be some watered-down homage to a new plucky pilot character, the entire battle is revealed to be contained within the brilliant blue eye of a stormtrooper whose helmet has been mangled and half blown away. He is locked in brutal single combat with a compatriot, equally the worse for wear, each man’s suit of white armour limned with another color, recalling light sabres, green versus red, though no such dignified weapons feature in this grappling fight to the death. There is nothing of art or elegance in this martial encounter—except, of course, that the animation itself is absolutely stunning. The figures devolve into smears of color and motion and resolve back into painfully maimed human form, time and time again, spiralling through space and cycling through what must be the high points of a stormtrooper’s life, as a jazzy soundtrack, bright and playful, negates the need for dialogue. But like the imagery, the sound too devolves into sound effects, grunts and growls and scratches of white noise, then to a silence so complete as to give the impression there may have been a technical glitch in the screening, only to resolve back into a vibrant psychedelic jazz, before being overwhelmed by a cry, repeated over and over and clarifying into something on the verge of a word or a name, when it stops before it can form fully. And all the while, the two figures are locked in conflict, and the visual clues begin to mount as to what is really going on: this is a fatal moment for a nameless stormtrooper, and more than just his life flashing before his eyes, it is the battle within him that we see in this moment of death; he is both the green and the red stormtrooper. Faceless in life, he gains individuality only in his dying, helmet and body mangled, hand reaching out like Adam to God as fingers at last meet. Rather than a last gasp, there is the final grasping of hands as the battle comes to an end.
This is a stormtrooper like we’ve never seen; this is a vision of Star Wars like we’ve never seen. Director Shinya Ohira has done the impossible. He has humanized a stormtrooper without dialogue, without plot, without character arc—with only the art of color and line and soundtrack and a blur of mind-blowing creativity to capture the significance of the end of a life, however futile, and however anonymous it may be. It is shocking in the best way possible. (posted previously in Daily Dispatches from Annecy 2025)
Star Wars: Visions, Season 3 is streaming on Disney+
