The 1980s are often referred to as a "golden age" for anime fans. Production budgets were through the roof, cel counts were high, and the OVA was taking root in the industry. Many of the popular classics, such as Dirty Pair, Dominion, and Bubblegum Crisis were hitting their strides. During that period, Sunrise's adaptation of City Hunter debuted on Japanese airwaves. However, the title seemed to slip under the radar of many western fans at the time, who were more interested in titles such as Urusei Yatsura and Outlanders. The phenomena is not outlandish, as anime was still a niche hobby that thrived on experiences that simply weren't available in the west. It is a shame that the title never picked up steam outside of Japan, since City Hunter seems to be the type of show that western audiences would have embraced with open arms[1].

The most fitting description of City Hunter would have to be "a series of short action flicks." The plots are straightforward, the girls are gorgeous, and gunplay is practically guaranteed. There really isn't much of an over-arching plot to speak of. Instead, City Hunter relies on a proven formula that keeps things simple, yet entertaining. Every episode begins with Ryo either accepting a job from a client, or being bilked into a mission by the sultry detective Saeko Nogami. Various events occur pertaining to the situation at hand before Ryo gets sidetracked by "mokkori"[2], which leads to the inevitable cock block (typically courtesy of a 100-ton hammer-strike from his partner, Kaori). This previous step repeats until the plot boils into an action-packed gunfight. Ryo kicks ass, and takes names, then the scene cuts to an often bittersweet ending.

Every so often, a particular episode comes up that challenges the norm that's been set. These particular episodes are typically darker than the rest of the series, and often have a greater impact on the standard action. A particular favorite of the reviewer involves Ryo being hired as a young girl named Nana's "instant papa," or temporary father-figure and bodyguard. The viewer is kept out of the loop for the first half of the episode, which focuses on Ryo, Kaori, and their temporary daughter. The audience is only clued into the whole story once a group of thugs tries to kidnap Nana, prompting an appearance from the child's mother. She explains that the Nana's grandfather, whom the child has never met, wants to claim custody of his granddaughter, because he never approved of the marriage of Nana's mother and father. The grandfather makes one more attempt to claim Nana, and Ryo offers little resistance, much to the chagrin of Kaori and the child's mother. The next morning, Nana awakens to a strange room, with a scary old man looking down at her. Naturally, Nana wants nothing to do with the man, and ignores his attempts at affection. Enter Ryo and Nana's mother, who are quickly showered with the child's love, as the old man is reduced to a sobbing mess. Only then, does Nana accept her grandfather, whom she calls her "papa's papa." The episode exits with Ryo and Kaori, who quickly weigh in on their job before the credits roll. While some may find the episode a rare miss, it stands as one of the author's favorites, simply because it was 25 minutes of character development. Viewers are treated to a side of Ryo that the show rarely touches on, and the secondary cast is one of the best in the title's 51-episode run.

It would be careless not to mention City Hunter's cast, since they provide most of City Hunter's entertainment value. Ryo in particular steals the show, as he plays the Jekyll and Hyde role between a suave, James Bond type and a shameless, drooling pervert. One can only admire Ryo's tenacity and almost childish glee as he tries to get his mokkori on, even though he fails with often hilarious results. The rest of the cast, which includes Umibozu, a mercenary with a fear of felines; Saeko, a sexy cop that knows just how to con Ryo into doing her bidding; and Kaori, Ryo's often-jealous, somewhat brutish partner, prove to be equally strong members of the cast who work together in any situation. This becomes especially apparent as the series progresses and various character quirks begin to emerge, such as Saeko's subtly manipulative nature.

The entire package is wrapped in a soundtrack that can only be described as "offbeat." City Hunter employs two catchy openings, City Hunter ~ Ai Yo Kienaide and Go Go Heaven. The title accompanies its credits with TM Network's Get Wild, which has seen several remakes since its use in City Hunter. Action scenes are framed by upbeat synth-pop pieces Footsteps and Want Your Love, both of which are performed in English. The rest of the soundtrack consists of a fairly generic selection of 1980s muzak that sets the mood, but doesn't quite stick as well as the vocal themes.

City Hunter proves to be a title where the production as a whole proves to be stronger than the sum of its parts. Had one of the elements been out of place, the title would have been mediocre at best, unable to overcome the weak story structure. Not every episode is a gem, but Ryo's antics prove to be enough to keep even the slowest segments afloat. City Hunter may be a bit of a buried treasure, as the show is now out of print. However, those willing to unearth it will be handsomely rewarded by one of the most entertaining experiences the '80s have to offer.

[1] As of this review's writing, an American live-action adaptation of City Hunter has been greenlit.

[2] "Mokkori" is Ryo Saeba's term for sex. Formally, the word represents the "sound" of something rising up from a flat surface, and is often used to indicate an erection. The word is not used in normal conversation, though it is a favorite of Saeba, who uses it in various unconventional ways. The closest English equivalent would be "schwing," popularized by Mike Myers' character in Wayne's World.