The show, released in 2008, was produced by studio Manglobe; it marked Sayo Yamamoto’s directing debut, which she followed with 2012′s Lupin III: The Woman Called Fujiko Mine. First, the animation is great. For me it was as close to a movie as something can be – not talking emulation or 3D, but in terms of gestures and dialog. Michiko is a free-willed “sexy diva” who escapes a supposedly inescapable high-security prison, while Hatchin is a girl fleeing her strict foster parents with Michiko who claims to be her mother. The two join forces on an improbable escape to freedom. These three elements are all closely related to each other, since in Japanese you typically have certain set dialogues for character types. What I mean by that is, a tsundere character has some certain set phrases and specific ways of saying things that usually stay extremely consistent throughout an anime. This does not happen here in Michiko to Hatchin. Many of the women in this series use very harsh and very masculine speech patterns and word usages, though many of them also refer to themselves with watashi or atashi, which are more feminine ways of referring to oneself.
We get a large variety of women. We have women who are minorities, women who are privileged women who are mean and cruel, women who are kind, women who are sexy and liberal, women who are conservative, women who are cute, women who have power, and women who are oppressed. The women in this series tend to be bound by men, though there are some who are bound by and to each other. The relationships shown between men and women in this series tend to have negative under and overtones with each other, while the relationships between the females are portrayed with positive under and overtones.There is some stereotyping found here (this can go for the male characters as well), since this is more about stereotyping races on occasions, such as the fact that many of the women who are depicted as being more sexual tend to be women of color and if they were not women of color, then they got there because they fell from grace or lost the wealth that they once had – once again due to a dependence on men.
Some of the characters in this series are presented as being gay, bisexual (or possibly pansexual), crossdressers, and so forth. They all have varying personalities and are show to have both positive and negative aspects about themselves – good qualities and flaws. Personally, I believe that these characters were, for the most part, handled quite well. I also have a preference for serialization. That is not to say that I hate series that lack serialization, but I do find it harder to find series that handle one-shot episodes that can carry an over arching plot, while also giving a good sense of closure to the subplots in the individual episodes.
Despite the interesting plot, the characters are what makes this anime special. Both Hana and Michiko have their strengths and weaknesses, and they are executed perfectly. Hana is responsible and good, but has problems trusting others until they prove themselves. Michiko is fiery and strong, but her prolonged love for Hiroshi is her weakness. I really enjoyed watching Michiko because she was an absolute badass. She could hold her own in a firefight and escape the scariest prison in the country without breaking a sweat, and that is really refreshing for a female main. This anime is a great watch for someone looking for action and excitement with a bit of sentimentality as well. Michiko and Hana’s little family is a wonder to watch and their search will have you watching straight through to the end. I give this anime a B for it’s stellar animation and character relationships.