Sundays Without God (Kamisama no Inai Nichiyoubi)

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This is such a bizarre anime. I’ve seen anime and movies with trippy imagery. I’ve read stories with pages of gibberish, yet few works of fiction left me with a sense of culture shock like this. Such anime are so original it’s hard to make them truly terrible, since the novelty value is there. Creators also tend to be as confused as the viewer, so they rarely reach their full potential.

When you have a unique premise on your hands that doesn’t owe anything to any tradition, there are two ways to go about it. You can either go full retard, mine the premise for anything it has and throw the kitchen sink along with everything. Since you have no idea how your anime is supposed to work, all you can do is try everything and hope something sticks. There’s a famous anime who did this and it’s called Future Diary.

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The other route is the safer one. You let your story flow, but you never try too hard to understand it. You let characters interact and explore your world, but you refrain from anything too attention-grabbing. The anime will narrow its focus. Its structure will become almost RPG-like, giving the protagonist a basic objective to complete and finish it off.

Sundays Without God takes the latter route, but the result isn’t a complete failure. Despite not playing with the structure, its setting and premise are so weird that the feeling of culture shock is persistent. The stories that make up the anime are also good enough on their own and take advantage of the setting. You cannot tell them in any other context. Still, something feels off. It’s not completely weird, not completely normal and leans towards the weird without mining it too much. The result is anime that’s enjoyable like an ordinary anime while feeling weird.

The best thing about the anime is it unique setting and tone. It’s a perfect example of how you don’t need a lot of details to create a unique world. The world here is simple. God is gone, no one can get born and dead people don’t really die. It’s apocalypse in slow motion. We’ve had a lot of stories about what happens after the apocalypse and we tend to imagine it as something swift and fast. Here, the world is in the process of ending.

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Human beings are resilient things, though. Even if the sun will explode, we’ll most likely try to save something. Survival instinct is so strong that it defies rationality and free will. In this case, the world isn’t ending so much as life reaches its epilogue. Life isn’t bad, but it keeps moving in an ordinary pace towards its ending.

What do you do when you’re the last generation? The anime is essentially about this, but it seems so weirded out by its premise it doesn’t really explore it. The first stories deal directly with these themes – one character is about to be the last of the last generation, which is the worst isolation you can have. The city of the dead is an interesting expressions of the Metaphysical Rebellion – how we can rebel against our circumstances and reject them.

The structure doesn’t prevent exploration of these topics, since many shows used shorter length with depth. The method of storytelling gets in the way. There’s an objective to solve, and the characters spend more time trying to solve it. While the pacing isn’t thriller-like, it’s too fast for such a premise. It doesn’t slow down enough to show how characters exist outside the story.

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Characters’ existence outside the story is one of the best ways to convince us they’re real, to make us care about them and see their humanity. Stories are something humans create and we don’t live in just one. A focused storyteller shows snippets of other stories the characters can have, but then goes back to the main one. A master storyteller can imply these side-stories and connect them to the main plotline. The anime doesn’t do this. Its focus is too narrow.

It’s a shame, because the storytelling is quite excellent. The format is familiar – we have a good, well-meaning character visiting people and helping them. Ai isn’t just a vehicle to tell the stories of these people. Her personality and position is directly tied to her role. In a world where everyone’s ready to die or desperately fighting death, she’s a piece of light. She’s the youngest person alive, a possibility that there might be a future.

She’s not a lantern, though. When things go bad, Ai doesn’t say some nice things and the story ends. Often, she gives those pep talks but stumbles. The world is, after all, ending. Problems still exist and are hard to solve. Ai may be an optimist, but she’s a struggling optimist. We see her doubts, how much she tries to cling to her optimism despite everything.

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This is where the anime’s faults lay. Although this is an excellent usage of such a character, they don’t take it far enough. Ai struggles, but the creators put her so much in the role of problem-solver she doesn’t have time to ingest the struggling. There’s no time to see how the possible failures affect Ai’s psych. Stories don’t always end just like she wants them to, and that should influence her worldview. How do you stay optimistic when things don’t go as expected? Do you blind your own eyes? Do you become pessimistic, or do you accept things as they are? The anime never addresses these questions.

The themes of wishing does make its appearance, but the creators aren’t sure what to do with it. People wish for things. Sometimes they come true, sometimes they don’t and sometimes they come true but the result is painful. It speaks volumes when a messy anime like Big Order addresses these themes better. They’re present, but wishing is not a plot device here and there aren’t enough angles to explore this topic from. It’s just there.

The art style continues the weird nature of the quality. The character’s looks are distinct and memorable enough, but the art style itself isn’t. You can put these characters in a school anime and they wouldn’t feel out of place (except for the outfits). There’s variety in how everyone looks and the school arc lets them show off their designs, but nothing connects it. Characters shouldn’t just look distinct but there should be a style that connects them, quirks that make the design memorable and make you wonder what else you can do with it.

On the other hand, the color schemes and backgrounds are beautiful. The anime finally fulfills potential. The colors are balanced. Light and dark tones are mixed. A burning red or a cold blue is are the dominating colors, and they have just enough brightness to make the world seem normal. There’s also a little darkness in them that reminds you that the world is dying. It’s a balance that’s hard to get. You can easily find yourself in bland colors, but here they’re the perfect mix of darkness and lights that fit the weird tone of the series.

Sundays Without God is a flawed anime, but nevertheless an anime like no other. Its failures hold it back from greatness, and but their nature prevents them from being offensive. When it falls, it’s not because it does stupid things. Rather, it’s too afraid to play with its ideas. They stand on their own, and even as basic storytelling it’s good enough. Someone might one day run away with these and render this irrelevant, but until then it’s worth your time.

3.5 sundays out of 5

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Big Order

 

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Sakae has a bizarre, messy mind. For all the flaws in Future Diary, it’s a masterpiece. The low points – and there are many – are there because there’s few anime like it. Future Diary had no main tradition to draw from, no main road to follow. A lot of great anime follow clear traditions, building on obvious flaws and emphasizing strengths. Even the abstract Serial Experiments Lain belongs warmly in pre-millenium tension art.

It’s hard to decide whether Future Diary falls more on its good side. Expecting Big Order to fulfill that series’ promise is silly, since there can never be another one like it. If the premise sounds familiar to you, you’ll be disappointed. The structures aren’t similar at all. Still, the little you can expect is that the anime will fail in a spectacular fashion.

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The crucial flaw in Big Order isn’t the lacking characters or the plot. The bad traits of Future Diary are amplified, but at least they have the same energy that one had. The problem is that the core of the anime is generic. Remove the layers, the odd designs, the violence and the messy plot and you’re left with some kind of a battle shounen about saving the world for this one person we love so much because we’re related to them by blood.

I never wanted to say this about a work by Sakae. Big Order is normal. Everything good about is just a cover on a generic story.

The beginning is good enough. The power of Orders is close to be symbolic rather than battle skills. There’s a little exploration about the nature of wills, how our wills are limited and they could even do something the concept of losing loved ones. Two characters get completely different wishes despite losing their family. The conflicting nature of wishes is addressed and by the time the antagonist is revealed, he’s given some time to express himself.

The character design isn’t as expressive, but Sakae still goes wild with it. There’s a nun with bunny ears, a twintailed girl with a flower in hair, two long-haired dudes and a square guy. Everyone wears weird outfits and the design plays with body structure and size. Characters who appear for barely 10 minutes in the whole show get a memorable design.

The highlight of the show is DAISY, a bizarre creation that deserved a better anime or at least a cameo appearance in the revamp of Future Diay, whenever someone gets around to make it. That little touch of having her hang upside down adds a lot. It emphasizes the distance she views humanity from. Although she’s meant to be a fairy who grants wishes, she’s always distant and slightly cynical towards the whole thing. It gets nowhere, but every time she appears she injects some life.

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Oddly enough, the most normal creations in the anime are the main characters. People who wanted a Future Diary copy were disappointed. In fact, it often feels like the anime tries too hard to distance itself from its big sister. Why is that? Future Diary is unique enough to be worth revisiting. If Sakae wants to do something new so much, why is he falling back on cliches?

Yukki/Yuno were deeply flawed human beings. People disliked them for their nature, but they missed the point. They were supposed to be imperfect. Everyone in that series was imperfect, was full of desires and selfishness. This gave them humanity and made it believable at its most surreal. Eiji is a likable guy who only wants to live happy with his sister, but he has no desires, no motivations whatsoever.

He’s responsible for humanity’s worst horror, and that concept of guilt is explored for a while but abandoned. Scenes showing how much everyone hates Eiji are that type of deep moments Sakae can conjure. How everyone gathers around televisions, how they wallow in their hatred for this one person is frightening. Even if he is that horrible, what about this hatred? It’s the cult of anti-personality, and even if you think it doesn’t exist just look at how everyone reacts to Trump or Hitler.

Since Eiji is, at his heart, a generic moral hero who only wants to defend his loved ones this means nothing. His only drive in the series is protecting his sister and the guilt kind of drives him, but was it necessary? He’d want to keep his sister safe even if he didn’t cause a great destruction. We never see the psychological effect of guilt, of knowing everyone hates you. Occasionally there are hints Eiji is actually working alone, but that’s never expanded upon. The whole ‘one man and his sister against the world’ could work even just as a fun show, but it never goes there. The guilt is just another element in the many tired speeches about protecting Sena.

As for her, she’s an object. Everyone cares deeply about her happiness, but why? Her connection to Eiji is only by blood. It’s not that we don’t know how their relationship is. It simply doesn’t exist. Whenever they interact, she’s simply being cute and he’s being nice. If her cuteness was integral, if that charm was emphasized, exaggerated and played with then fine. She’s never portrayed as a character that captures people’s heart. Rather, it’s the lifeless trope of hapless girl who’s convenient to rescue.

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It doesn’t help that the few times we get insight into other characters, it always has to do with protecting loved ones. The Future Diary had the ‘dark past’ cliche, but at least each character had a slightly different past and reacted to it different. Characters may have different Orders, but they all wish they could’ve rescued their friends or family and they don’t gain different conclusions out of the loss.

Loss is one of the worst experiences you can go through. If we all experienced in the same way though, it wouldn’t be so harrowing. Misery loves company, and by listening to how others felt when their parents or friends or spouses died would’ve helped us through. Loss is such a harrowing thing, and how you lose someone affects how you react to it. Big Order only plays with the emotional weight it has. It gives the characters a convenient excuse to do what they do. That’s better than making them plain evil, but it’s not enough to make them wholly human. They’re not given motivations, but batteries in different colors.

The only thing the show has going for it is Sakae’s wild imagination. The little he had left was for wacky set-pieces. There are odd situations and turns all over the anime. Gates open to mental spaces, characters become pregnant by touching their ears, an obstacle course – somewhere here an incredibly fun anime is hiding. But Big Order doesn’t have the conviction Future Diary had.

That one jumped from genre to genre, but it approached each with so much conviction you could create 10 seperate anime out of it. Big Order is more scared of becoming a clone, so it does away with anything resembling Thriller, chucks away most of the romance and piles on the action. There aren’t many tonal shifts and doing away with the death game scenario looks silly with what you have left. If it concludes with people sacrificing themselves to make a non-character happy, what’s the point?

There’s energy and verve here, but Big Order is a mess without directions. Notice the use of plural form. If it was an amalgam of genres that didn’t gel, it would be brave enough to be interesting. Instead, it’s too scared of its big sister. So it pushes forward, one wacky set-piece after another. Without a core, or multiple ones to rely on all it has is cliches. This is a perfect examples of when tropes are a bad thing. The anime uses them only because it has nothing to say, because it’s too afraid to explore its themes and too afraid to pile on the ideas. So yes, there’s a Rock God and a pentagram of some sorts and gates and an upside down fairy, but it’s just another story about protecting the little sister. Try BioShock instead.

2.5 floating girls out of 5