While many only associate horse racing with gambling, the sport has generated stories of triumph, rivalries and even tragedy throughout its rich history, especially in Japan. Many racehorses have continued to be celebrated long after their prime. Now, their stories are being retold, shown in a brand-new light as these legendary horses enter the racecourse again as … anthropomorphic horse-girls?
This is the premise of “Umamusume Pretty Derby,” a Japanese multimedia franchise created by Cygames. Primarily a mobile game, this has branched out into other mediums, including a full-blown animated feature. Originally released exclusively in Japan back in 2024, “Umamusume: Pretty Derby – Beginning of a New Era” has finally been released in the West in select theatres.
Based on the 2001 Japanese Classic Races, the movie follows Jungle Pocket, an up-and-coming horse-girl who aims to become one of the best racers, a task that proves to be more difficult than expected. The mysterious and eccentric Agnes Tachyon ends up beating her in an upset, sparking an intense rivalry between her and Pocket.
The story takes an interesting turn when, seemingly unprompted, Tachyon announces her retirement after only a few races. This gives Pocket an entirely new conflict: being left without a rival against whom she can prove herself. Any victory she achieves afterwards becomes hollow with the haunting knowledge that there will always be one person that she will never surpass.
This conflict is part of what makes Jungle Pocket such an interesting protagonist. While aspiring to become one of the best is not a unique goal, the emotional element of this struggle is. This insecurity physically manifests as a shadow of herself that literally holds her back. Through this image, it becomes hard not to sympathize with her dilemma.
Her character gains even more depth through her relationship with Fuji Kiseki, her mentor and idol. While Kiseki had retired by the time Pocket started racing, she becomes a strong supporter of Pocket’s ambitions, even donning her racing outfit again in a mock race in order to help Pocket get back on her feet. Despite not being marketed as part of the main cast, Fuji Kiseki is undoubtedly one of the most important characters in the film.
Another standout character is Agnes Tachyon, Jungle Pocket’s main rival. While initially presented as an unstoppable force who leaves her opponents in the dust, the movie shows that she has her own struggles to endure. Despite her seemingly invincible reputation, she is held back by her fragile legs. Unlike Pocket, she lacks the support that could have ensured a long career in racing, making her a tragic figure. It becomes a case of dramatic irony, where most characters don’t know about her inner turmoil, while viewers can figure out what she’s going through. Behind her seemingly invincible reputation is someone held back by her limits, especially with her fragile legs.
Tachyon’s choice to retire and her subsequent deterioration become understandable in this new light, yet we can see how this only leads to her further deterioration. With this in mind, Pocket’s final race on-screen becomes satisfying not only for Pocket, but for Tachyon as well, since it’s what inspires Tachyon to race again. Much like how she drove Pocket to prove herself, Pocket drives Tachyon to give racing another shot.
Visually, the movie knocks it out of the park, especially during the racing sequences. For a sport as simple as racing, the film pulls out all the stops to make each bout feel as exhilarating as possible. From the strained, determined faces on the racers to the varying shots shown in 3D, there’s not a dull race. The sound design also plays a big role, especially when Tachyon breaks through her limits, sending an audible electric shock echoing throughout the theater.
Sadly, however, the movie doesn’t reach the finish line without making some major fumbles. One particularly egregious flaw is its struggle to develop some of its supporting cast. I’ve neglected to mention the other two main characters up until now: Manhattan Café and Dantsu Flame. This is because, unlike the Tachyoon and Pocket, Café and Dantsu aren’t nearly given as much time to shine. Café is meant to be one of Tachyon’s best friends, yet she doesn’t do much apart from partaking in a few races and scowling at Tachyon. Dantsu Flame acts as one of Pocket’s friends, yet feels just as disconnected from the main plot.
What’s sad about these two’s general lack of presence is that they have interesting conflicts of their own. Café not only struggles with her own injured body, but also wishes to catch up with a mysterious imaginary friend that tags along with her. Meanwhile, Dantsu Flame finds herself feeling inadequate among other talented racers and wishes to shine in the spotlight for once. These conflicts are hardly explored. In the case of Café, her struggles may even confuse newcomers unfamiliar with her character in other Umamusume media.
“Beginning of a New Era” does many things right and will leave a good impression on many viewers. However, the flat supporting cast prevents it from being a truly “umazing” film. Fans will love it, but newcomers may need more context to truly appreciate this world and story.
Joon Kim PO ’26 doesn’t have a preference between subs or dubs in anime and would rather stay away from the debate. Sometimes, he will watch the subbed version. Other times, he’s in the mood to watch with a dub.
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