I reckon it took me about three-and-a-half years to watch Space Runaway Ideon, from the first episode to Be Invoked. This show’s plot tires you as you watch it, or at least that was my experience and the experience of several others I know—though I do also know one person who more-or-less marathoned it, so hmm.
I didn’t rate Ideon that high, in the end. But I was interested by the gradual revelation of what the Ideon is (scary) and what it can do (a lot). And doesn’t the Ideon just, well, stick out? It’s oversized within its own show, so big it has internal corridors and what look like its own point-defence weapons. When its ungainly red mass first hit my screen I didn’t expect the Ideon itself to become both an oddly cool sight and a puzzle.
This all culminates in Be Invoked, which I found a bit incoherent. That did not, however, matter, because I also found much of it spectacular and moving. I haven’t seen many other films with such a huge, huge, huge scale. Like, I’m sure there are plenty of stories which technically involve bigger spaces—I suppose Gurren Lagann‘s final fight comes immediately to mind for my generation—but while that was certainly awesome, it didn’t give the same impression that the distances are vast, the superweapons utterly monstrous, the casualty list endless.
By Be Invoked the Solo Ship’s crew have scraped together a half-understanding of how the Ideon functions. One of the more unhinged crewmembers tries to manipulate it by (stay with me here) standing on the outside of the ship with a toddler in her arms when it’s about to be hit by a comet. This works, in one way, and in another way it doesn’t. But whatever its result for the crew, for me it was a great startlement in a film full of startling things.
I was much happier to go along with this sort of thing in Be Invoked than I was when watching, say, Victory Gundam.