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A solid movie, it's not bad but it's not great either. It's a decent piece of work that entertains enough for you to enjoy the film. The animation and music are the best things about the film.
The characters do not fully develop, they are rather flat and the pace of the story is too slow for my taste.

The plot is good, several political actors involved, several interests at stake, but its potential is wasted, the interactions between the main characters are weak, the princess/queen does not appear.
For the rest, the duels and fights we want to see are there.

THIS REVIEW CONTAINS SMALL SPOILERS:
An anime that has very strong first two episodes, with a lot of action and in which, except for a general idea, one can find itself, lost. Despite this, it is a short anime that meets the expectations of a short anime, and even so, leaves a second season open if necessary.
The strong point of the anime is the construction of the characters, especially the two protagonists, and how their attitudes change, strengthening the relationship between them. Although several have pointed out that the central question that the anime addresses is: Can you kill someone you love? It is also ... true, regardin the topic of killing in general, and the aversion that people may have when it comes to holding and using a weapon. Another question could be: To what extent can one's feelings and relationship with each other overcome commands/manipulation of behavior?
The story is good enough to be worth watching, however, it can't compare to great anime like LOGH or Hunter x Hunter. Despite the few ingredients in the recipe, it is a well-made recipe and is an enjoyable anime. I don't think it's an anime that will change the view you have on a certain topic, but if you like action you might like this anime.
Regarding certain "mistakes", they leave without really explaining how "the enemies" arise and how it is possible that this organization has existed since time immemorial and there are still free riders and there is even little control by the Guild of those who "see". However, that also leaves a certain political game, which also adds to the anime although only in passing and in a very superficial way.
In conclusion, it is an anime that has the potential to make a good saga based on this world, mainly because it leaves open the future of the protagonist as well as the antagonist. I don't regret watching it, and it's possible that at some point I could watch it again

Taiyou no Kiba is an anime that highlights human conflict in the military and political spheres, and the repercussions that this has both on an individual and collective level. Trying to get independence through guerilla war movements, TNK shows us the hardness of liberation movements, how idealisms are transformed into realities based on blood and sweat. How these movements can be directed by elites (and also from the people) and the importance of economic power in diplomatic relations. How guerrillas cannot succeed if they are not transformed into a disciplined army (Jackie Zaltsev) and the need for officers. At the same time, specific moments can ... ignite the flame of revolution. The story is guided by emotions not by reason (Donan) and how, in the face of a revolutionary movement, it is possible to calm tempers with good actions, although it is a relatively difficult path (Rick Boyd). The grays of revolutions. There is nothing black or white. And therefore there are no good and bad, so one must follow the bat he believes in (Donan).

I recommend watching it, especially if you like politics and other similar anime like LOGH. Howewer bear in mind that this anime has some weak points, like Music, Animation not the greatest, 75 episodes felt too long though few episodes could be erased and also some incoherences regarding the character development, that in general is good. I consider that this anime shapes the POLITICAL world in a proper way and for me thats enough to watch it and recommend it.

More information AND SPOILERS:
From the military level there is a certain strategy and above all a lot of tactics, usually of good quality but there are some fights that really dont have any sense (Episodes 29 & 30), there gets a point where Dougram feels can beat anyone else and also military incompetence becomes evident.

As for the characters, I would say that in general terms, the series is concerned with developing the most important ones, which does not mean that it does it well. Since there are many subplots, this gives rise to many characters, which is appreciated. However, some of the main characters in my opinion remain unexploited. This is the case of Crinn. How is it possible that someone who risks his life does not know why he is risking it, and also risks it for those who tried to kill his father? The series tried to argue it, but I don't think it is a feasible point of view. (EPISODE 12, example). Crinn is a character that for me could have evolved into an insurgent leader, more than the mere soldier who pilots Dougram.His relationship with Daisy at the same time is undoubtedly empty. The same goes for Rocky and Cannary, two certainly flat characters. The only point where we see a different Rocky practically at the end. It could be said that being in a constant war does not give us time to reflect or be "more human", but the series does show us certain moments of unrest, which could have been used to develop these characters. Crinn comes to have deep reflections about what he is doing and why he is doing it. Also with his alleged harassment and demolition by enemies, which causes fever. But the mere fact that they came to suspect the professor at the last moment leaves a lot to be desired on the part of Fang of the Sun. When we thought we had reached a certain level of maturity, it is still not there. In the end it turns out that they are the most idealistic, wanting to continue fighting even without having sufficient resources. .

Does a person who leaves everything behind like Professor Shamalin really let a coup d'état hit him in the face? In this sense, it is credible, but I personally am not convinced. At that point, I think the professor would have done everything necessary to continue to the end, and not resign himself to being removed from power. At the same time, his last speech, in my opinion, makes little logical sense. He tells them to look for a new life to form a new society. But how will they achieve it if they will continue to be subject to the same ties of economic-political power? With what happens in the end with Lecoque it seems that Deloyer will gain some power, but deep down that is not the case. Even so, his idea of ​​human cosmopolitanism must be made compatible with the defense of the rights of his people.

In the end the most developed character is the villain Lecoque, who goes from seeming like a helpful secretary to boasting monumental ambitions.

It is true that the music can be repetitive, but this way the theme of each of the characters is precisely identified, which is fine. also some chapters are a repetion of previous ones, but maybe they are like 4 as maximum.

It's not an anime that I regret having seen, but I might think about it if I watch it again.

No Overture DELIVERS, and DELIVERS properly well.

Everything that can be gleaned from this episode is complex. War and ambition guide men, represent glory and social advancement (Reinhard). But at the same time they are the fruit of pain and hopelessness (Jessica & Yang's friend). On the other hand, battles can also be analyzed from a tactical point of view as beautiful, even magical (Rubinsky). Also, how battles can be affected by men personal thoughts, more related to social or diplomacy & personal aspects than military ones (Moore).

The other aspects of the show, good dialogues, music interpretation and a good direction of the scenes by ... the director follow the usual brilliant dynamic. Among the most remarkable, in my opinion:

Despite Reinhard's victories, on many occasions the most direct rival is at home. This idea is well reflected, and we can understand better the Imperial "old" guard. Very good scene the Emperor talking to Reinhard, is something that we dont see often in the real series. Specially as we see the Emperor is no fool, when he asks Reinhard directly if he considers himself above the clouds. Because this expression was used from Reinhard before. A pitty they didnt leave it there so he could answer it, instead they accompany with other things. Also curious that they didn't separate Kircheis from Reinhard for the invasion. It can be understood that perhaps this would be more difficult, since he is his second in chief, but if they have the power to take away the rest, why not him too? The fact that Kircheis could be removed just before departure would be too fancy a touch for the conspirators.

The scene of Yang Weng Li letting his friend ask for marriage is a bit strange. If Yang really loves her, why? Do you not consider yourself good enough for the task? In any case, the blond boy should also interpret what is happening, and he does. A little sad to be the 2nd option, but in the end he is the one who is going to get married. The wordless scene is quite well constructed and the background music in the restaurant is at least not typical Strauss. Great scene. The scene of Yag looking at himself is brutal. What am I doing? It's the best and yet what a pain.

In this sense, Yang's attitude towards Jessica is the same as Kircheis's towards Anne-Rose, perhaps with different arguments.
That "Drinking in despair" already tells us the magnitude of Yang's disciple.
The conversation between Yang and Trunhit. awesome. Although it is a problem for Yang, because its only hurts him beyond getting upper the ranks. Thats something Yang i think is wrong. He considers getting more power equal to be more autocratic. But the fact is that you can just try to get more power just for you dont die in the battles or your friends, without being autocratic. Besides, its a pretty well written character.

Anne-Rose's key question. And what will you do afterwards, Reinhard? Its curious, it is unknown to what extent Reinhard wants to conquer the universe or save his sister first. Of course his answer is one of a true politician. But, what would have he chosen if given the case?

OTHERS OPINIONS COMENT: Lastly, i agree with @kekekeKaj and @stonnyfor: "Overture to a New War" is more character driven, and is far better for it. We have good examples though of the latter on the OVA 110 eps series though. Regarding the battle, is true. Is less realistic this mistake but still is "you can buy it". It compensates with the Yang and Reinhard battle attrition strategy. Also true regarding the villains. Also true with sound department. Quantity not often means quality but in this case it does. In the case of the 7th sypmhony used on death scene, true but if you listen it dosent go to the "sad part", they mantained / they keep the momentum without reaching the next notes.

If one were to say that history of mankind is the history of war, few would disagree
If there is such thing as "progress" for mankind no one can say that "progress" was not born at war.
An anime that begins with these words has already set itself apart from the rest, by a long margin.

CONTAINS FEW SPOILERS: Read after watching. Or just the conclusion, all above.

I have seen it again and I have given it a higher score (9) compared to the previous one (8), because it is simply impressive. There is no place for rest, all the action is direct, and the few dialogues that ... there are, are not only justified because they contribute to the plot, they are also of good quality. Thus, it shows us the enmity of the admirals of the Empire with respect to Reinhard, the main protagonists of the main saga (Oskar & Mittermeyer) and also what is the difference between Reinhard's fleet and the traditional fleet. This is important because it gives the idea of a generational change, of values, represented in Reinahard's fleet and that directly affects the "endless war". All this is shown without forcing at any time, neither dialogues nor scenes. In the simplest way, the episode connects ideas and executes them brilliantly. For example, the scene that arises from the imperial soldiers' pursuit of pleasures before going into battle, it gives rise to explaining all of the above.

The first and second battles are a tactical work of art by Reinhard (and good saves by Wen-LI). Its hard to see such a level of realism and military quality in other series. War is death and yet the series accompanies the first entries with music by Chopin as if it were a dinner in a restaurant in Paris. In addition, the viewer is given enough information to know what elements are going to be important (the planet is made of helium) but without specifying the plan until the end. In the second battle, Ravel's bolero accompanies the battle until it reaches the point of not hearing anything but the music, accompanied by close-ups of the different characters, this achieves a high level of delicacy. Not to mention the situation of total silence as the ships pass one by the other, no one being able or willing to shoot. Despite the feeling that nothing is going to happen, the scene suddenly connects with Reinhard's own personality. Even though he is a genius, he is proud and willing to sacrifice himself in order to win the battle.
-Attack!
-Sir, as far as the command of the ship im concerned, I'm the one in charge. Admiral, please perform your duty has fleet commander.
Can we ask for more?

Perhaps the episode's only weak point is Yang Weng Li's own lack of intention. Although it is part of his personality, it may seem hard to believe that he would be willing to die following an incompetent commander. If he really were to die, he wouldn't resign himself and go to his room, would he? In fact, that he survived because his mate controls the engines and lifts the ship seems too convenient.
Above all, the weak point is how a ship that was also in the rear, manages to sneak under Reinhard's ship. But without counting this detail, the episode manages to take advantage of it, as it connects the two characters, "makes them look like antagonists" and leads to the final scene with Mahler's 3rd symphony in the background. At the same time it connects with the idea of the "heroes" exposed in the introduction at the beginning, giving a circular closure to the episode. The final scene of the President's speech, along with Yang Weng Li's disapproval also already takes us into the world of politics and propaganda.

CONCLUSION: In short, a work of art from a POLITICAL point of view (that sort of shit happens in the Empire too: 37:04) that shows us how authoritarian and democratic regimes are not as black or white as they want us to think, MILITARTY (with two great tactical battles, and a bit of strategy, related to the Iserlohn fortress) and the PLOT (it shows us the personality of the main protagonists, through good dialogues, and also what implications does this episode have, throughout the series), accompanied by great scenes, close-ups and great classical music.

NOT ORIGINAL. SPOILER ALERT.
@Shocked defines it like this:Weapons of mass destruction, human experimentation, totalitarianism, extreme xenophobia, non-people, war profiteering, using the guise of an emergency to usurp power, military operations acting independent of sovereign borders, and sacrificing people to enact a perceived necessary evil for some grand ambition for power and control. All of this while utilizing actual mysticism and the salty jingoism seasoned with old tales featuring warriors dying proud for a greater good.

@Washi: Gasaraki is one of those rare anime that manage to rise above what could easily have become a convoluted mess of a plot. With elements of military, romance, supernatural, ... sci-fi, mecha, history, and politics, Gasaraki is the product of an amalgamation of a whole slew of genres and plot-lines that manages to work. But the hectic plot also means that the show manages to be engaging for the majority of its run without ever resorting to an episodic format, which is a bit of a rarity in anime.
One of the shows biggest flaws is its characterization, largely in the first half of the series. > This is true, but it is consistent with the plot and the characters do develop later on, once the plot is "more consolidated".

By the end of the series I felt a strong affection for many of the characters, and the villains prove to be very satisfying in their antagonistic roles, with Gouda-esque scheming and cunning. The almost iconic Nishida was one of the most interesting characters, a tactical genius and a man of honor and strong values, he provided the backbone for the idealistic elements of the series. Unfortunately, Miharu is never quite granted enough development to make her anything beyond blatantly sympathetic, and Yushiro is often terminally quiet. The more outgoing members of the TA crew proved to be the best source of characterization from the whole show.

This down-to-earth, believable portrayal of mecha is something I hadn't seen done before (or since), and so I give the show credit for its pioneering mecha conception. This is true, it is a series that in general terms is very realistic.

@syncrogazer: Gasaraki is a slow-moving, dialogue-heavy, dark, and realistic anime that asks some of the most important and relevant questions about ourselves and our desires as human beings, especially of those human beings who have power over all others. It also serves as a decent predictor of what has happened since 1998

@syncrogazer: This anime shines in its literal discussion (not just exploration) of themes that define the will of human beings to take control of themselves, create civilization, and steer its progress. Therefore, it t is no surprise that politics and the military play such an important role in the anime because it is through these channels that modern man is able to accomplish change. The narrative mirrors this in a way I can only describe as ingenious: the content of the narrative becomes the movement of the narrative itself.

What this persons wrote i think describes the overall feeling and thoughts i have for this anime.