
The Testament of Sister New Devil: Departures
2018

2014
Director
Hisashi Saito
Runtime
49 minutes
Average Rating
No ratings yetSynopsis
Ikaros is an Angeloid and falls out of the sky. Tomoki Sakurai is a boy who believes the most important thing is to live a peaceful life. The two live tougher. Tomoki Sakurai has never seen Ikaros smile. Tomoki Sakurai sees Nymph and Astraea laugh after they got free from the master’s rule. He hopes Ikaros can laugh like an ordinary girl. This movie wraps up the story of Tomoki Sakurai and his relationship with the Angeloid from the sky, Ikaros.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The story centers on a romantic bond between a male protagonist and a female-coded Angeloid. It adheres to traditional romantic tropes without explicit depictions of non-cisnormative identities or same-sex intimacy.
Gender Representation
Female-coded characters like Ikaros and Nymph possess immense technological power that exceeds the male protagonist's capabilities. The narrative explores their transition from servant roles to achieving self-governance and autonomy.
Racial & Ethnic Diversity
The film utilizes a homogeneous aesthetic typical of the science-fiction anime genre. There is no evidence of diverse ethnic casting or significant racial blending within the character designs.
Religious & Cultural Diversity
The plot critiques absolute authority by focusing on the liberation of Angeloids from a master's rule. This emphasis on individual agency over systemic control provides a progressive narrative framework.
Disability Representation
The characters are defined by their status as technological Angeloids rather than through any focus on physical, sensory, or neurodivergent disabilities.
Strengths
Areas for Improvement
AI Analysis
The film is a character-driven science fiction piece that finds its depth in the subversion of power dynamics. It moves away from traditional master-servant hierarchies to explore the theme of personal agency. While the narrative succeeds in portraying the liberation of non-human subjects from oppressive structures, it remains limited by a lack of intersectional diversity. The aesthetic and romantic elements follow conventional genre patterns. Ultimately, the work prioritizes the emotional journey of autonomy over a broad representation of human demographics.
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