Each night it evolves around a woman suppressed by hostile actors in various dimensions and for every scenario the two of them always stumble upon each other and barely slip out of harms way.
Although if her employer wants to get their way the key to all their questions lies with a plain civilian - a young man that seem to have roamed in and just stole her tall project.
[7][8] Hirasawa wrote and performed all the music for the OVA, in his film score composer debut (previous soundtrack work amounted to commercial jingles and pro wrestling entrance themes).
[11] Hirasawa eventually got tired of working on the series, and considered Detonator Orgun 3 to be the worst album of his solo career, yet also considers the experience helpful in making later soundtracks, in particular the music for the Berserk series,[12] and regards the "grand and delicate" technique for orchestral tones he developed through this soundtrack as guidance for his later works in general.
[6][9] Series writer Hideki Kakinuma [ja] enjoyed the soundtrack, later commissioning Hirasawa to compose for his fantasy manga Glory Wars; this music was later released as an image mini-album of the same name.
[citation needed] The series' main theme was included on the 2007 compilation Music For Movies: World of Susumu Hirasawa Soundtracks.
A studio recording of this version, simply titled "FROZEN BEACH", was released a year later on the Scuba Recycle album.
Ben Carlton of Manga Mania praised the series' art: "Tomoru lives in a future world which is bright, clean, and scarily antiseptic.
He also noted that: "Tomoru's world is also sharp and crisp as only anime can make it, with every edge and colour defined, giving more tension to the robot battles and dream sequences, where with every major change or impact the image loses definition in a sudden blur of brightness or shadow."
On the other hand, Carlton criticized the UK dub's mixing, describing it as "sadly, disappointing, with uneven levels and what sounds like some nice music almost drowned out.
[16] Paul Thomas Chapman, writing retrospectively for Otaku USA, criticized the series, stating that "it starts off dull, proceeds to take an interesting twist and mangle it beyond recognition, and concludes in a manner that can only be described as complete and utter nonsense, even by anime standards".
When he talks about a scene where Kumi moves the sun with telekinetic powers, Chapman states "I don't have enough exclamations points to describe how ridiculous that is."
Comparing the series to other works by its staff, he notes that "it's no surprise that the themes explored in Detonator Orgun—trans-humanism, the loneliness of space, the cyclical nature of history, and the sense of futility experienced by cultures consumed by war—are so similar to those explored in Gall Force [...] But whereas Gall Force felt like a sincere work of popular science-fiction, Orgun feels like [Hideki] Kakinuma repeating himself, chewing over an idea he's already examined more thoroughly and with greater skill.
As for future utopias and transformation as a metaphor for self-actualization, I've seen this kind of imagery from Masami Obari before and since," comparing the series to Angel Blade.