Ransom Riggs – Miss Peregrine’s Home for Peculiar Children

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The world has its outcasts. They often have unique talents, like creating fire out of nothing or transforming David Bowie’s music into worthwhile. This gives them power. Emma can burn you down, and Marilyn Manson has sold a lot of records. Power makes people to react to you in funny ways. Some hate you just because you’re weird, others because you’re a danger. Some follow you, either because they’re afraid or they think you’re some sort of badass God.

How the outcast manages their situation is a question for many authors to answer. After all, not all powers are the same. The hatred people have for Justin Bieber is vastly different than the hatred people have for Manson. People hated Manson because he ruined kids, told them God isn’t real and that they should remain weird. As for Justin Bieber, people hated him because girls loved him. How does this work I don’t know – maybe they were simply jealous. The X-Men series is supposed to be an exploration of this question. It’s about two factions with two different views on their position. Riggs’ novel features almost direct copies of these factions.

Now, the common platitude of “everything’s been done before!” will rear its head if you’re inexperienced in literature. That’s not how originality works. Copy a template, fine. Just fill it with different materials. For a while, Riggs is successful at that. His characters, in a way, live up to their ‘peculiar’ title. Their powers are small, often coming off as genetic defects. The levitating girl doesn’t control her levitation. She’s like a balloon and has to wear weighted shoes so she won’t slip off. The invisible person takes advantage of that, but it’s a radically different life when people can’t see you.

For a while, Riggs is interested by what being an outcast is like. Our hero is thrown into that position and everyone around him calls him mentally ill. They either feel sorry for him or reject him. He’s too confused in that position, so all he can do is shoot everyone including himself. His only solid connection is with his grandfather who’s an outcast like him. He can only connect to peculiar children like him.

There’s an interesting parable here to mental illness. Look at subreddits like Sanctioned Suicide. Many mentally ill people can only connect deeply to people in the same boat as theirs. Pro-ana communities develop their own culture and jargon. We’re so quick to judge them. X-Men was meant to parallel the struggles of LGBT people, but mental illness is different. Even with social acceptance, anorexia and suicidal thoughts and self-harm are weights people carry. Even with social acceptance, peculiar people are a minority. No amount of acceptance will give the floating girl the ability to control her power.

Too bad all these ideas are blended with a dull mix of genres. If Riggs wanted to write a multicolored story, hopping from genre to genre for fun then fine. It never feels like this. He never throws the story convincingly into the elements. There’s some conviction when he dabbles in horror. The spooky monster remains shrouded in mystery for a while, and even pushed aside for some pages. Focusing on the uncertainity of the spooky monster makes the horror aspect more convincing. Unknown things are pretty scary.

All mysteries dissolve when a character just spits out exposition. In fact, no information is actually discovered or figured out. People just hand over the answers to the questions when it’s time to advance the plot. It’s like a Game Master telling you the background and name and disposition of every NPC. The knowledge descending on your character makes it stronger, but also makes the game more boring.

The bad guys want to take over the world and subjugate humanity. That’s fine, since a lot of people in real life actually did that. Why, though? Hitler, Stalin, Pol Pot and Caligula were real people. They had philosophies, personalities, and inner lives. They didn’t laugh maniacally when they ordered massacres but saw their vision of their bright future taking shape. The villains may view themselves as right, but we never get the philosophy behind their desire for power. The reason they want power isn’t because power is attractive, but because that makes them evil and useful antagonists.

Their disease infects all other characters, too. Very few characters have unique reactions or talk style. Some are silly quirks that can’t be taken seriously. The two rapper dudes are straight out of a horrible John Green novel. The natives of an island talk with broken English because that’s how people in the sticks must talk like. Others fare a little better, but Enoch’s cynicism is never elaborated upon.

He’s a great potential wasted. His power is to put actual hearts in material and make it kind-of alive. That’s the sort of power that leads one to view the value of life differently. He can bring back people from the dead but only halfway. He uses hearts as tools. Enoch often slides into a cynical, detached speech. Even among the peculiars he’s an outcast. Yet Riggs never expands on that. What is his philosophy? To which kids he relate to more, to which less? What kind of things did he do besides building a miniature army?

The protagonist is the worst insult to character development. Again, there are seeds of something worthwhile – a little cynicism, insecurity and pessimistic worldview that might lead to something. It plays instead like a side-quest in a cheap RPG game. Person meets dying man, dying man leaves some clues and person goes on to explore these clues to discover a bigger mystery. Video game protagonists are rarely well-written since it’s the player doing all the acting. Fifty pages or so into the novel, Jacob loses all personality and follows clues. He’s sometimes not sure whether he can do something, but the only drive for his decision is the reader’s desire to know more. There’s even a silly romance there that doesn’t pretend to be profound. Green mined the trope of weird girl loving a skinny dude who’s sure he’s ugly (despite skinny people being all over magazines), but Riggs merely puts a few make-out scenes. It’s too boring to be creeped out by the fact the girl is actually 80 years old or so.

The last pages of the book are a long-winded action scene. This is too sad to talk about, because it makes the book seem entirely worthless when it isn’t. The idea of a loop is quite brilliant. These kids may live long but they haven’t matured a bit, and here you have a chance to mediate about time. Riggs occasionally paints a pretty picture in his prose. The few paragraphs about the bombs and reset have enough to suffice for a short story. Why does he fill the last pages with chasing the bad guy, shooting people and a cliffhanger that relies on reading the rest of the trilogy?

Riggs’ prose is easy and pleasant enough. It’s fast, sometimes slides into introspection but never too much. That makes a decent story bearable. It’s not offensively boring, just kind of ‘there’. If Riggs did something wild with his ideas and failed, fine. He barely tries since it concludes in info dumps and shoot-outs. The photographs are actually real, which is cool but doesn’t add anything. Riggs intergates them by saying “here’s a photograph” and showing them. It’s like illustrations, only pictures instead. Maybe if Riggs tried to write a single short story surrounding them, he’ll have a safer but wider space to work his ideas.

It’s not a terrible book but not a great one, either. Maybe, as a distraction, it’s good enough. There are good ideas that may stick around and the prose is pleasant. Life is too short for distractions, though. If you like X-Men or stories about hidden strange worlds just beneath our own you might enjoy this. It’s too inoffensive for me to tell you to avoid, but also too unremarkable to offer it to anyone.

2 photographs out of 5

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BTOOOM!

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It’s like Future Diary, only with all the good stuff ripped out.

Using characters as plot device is hard. Do it once or twice and it’s okay. When everyone becomes a plot device, your story becomes hard to believe. A world where everyone is a plot device is less believable than a notebook that kills people.

It doesn’t seem so bad at first. It’s dark and cruel, but this is a game where people are forced to kill each other. The first to die is boring as hell, but Future Diary‘s Third didn’t have a personality. He at least had an idea behind him. He was supposed to be a simple Unknown Danger. He has given a design that looks scary to make that convincing. His role was small and was the only plot device character.

No such things happen in BTOOOM!. Everyone exists for two reasons. Their purpose is first to be terrible human beings, and the second is to die. It’s hilarious how everyone is terrible, but no one has a personality flaw. One guy is a rapist. Another is a cold-hearted killer. Another one is a con artist. They’re unpleasant, but not interesting.vlcsnap-2015-11-27-17h25m51s139

Such a dull edge

The cruelty is so monochrome. These are not the crazies of Future Diary. No one in that anime was sadistic for sadism’s sake. When they had a cruel streak, they had reasons for it. It was also specific. Third just wanted to kill everyone. Reisuke cared about having a mother figure. Yomotsu had a retarded sense of justice.

There was almost something comic about it. None of that exists in BTOOOM!. No one has an alternative moral system. No one’s sadism is understandable. A fat guy attempts rape and we get to see it graphically, yet we don’t know what’s behind him. The creators try to shock us with Himiko’s pain, but it’s only unpleasant to watch. More shocking would be if they made understand the rapist and his point of view. This way the viewer might find he shares some thoughts with him, which is both horrifying and meaningful.

Some get a half-assed explanation, like abusive parents or a military past. These are just placeholders. The characters aren’t very different besides one being more sadistic. Both Tsubaki and Reisuke have a sad past, but it’s a different kind that transformed them differently.

The creators miss the best part of the Death Game scenarios. The Death Game throws a bunch of characters in a situation that forces them to confront each other. It needs different personalities. The clash between them is what creates tension. Some explosions will never be as exciting as a blind crazy, a yandere and a misanthrope meeting in the same place.

These personalities make us view these characters as human. We’ll care about them, understand them and have empathy for them. The deaths will be sadder because we’ll see a human who is like us fail, perhaps of his own undoing. That’s how tragedy works. Tragedy isn’t just making characters suffer but have them (and us) understand it. Characters just explode here.

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Random unimportant asshole

If BTOOOM! chose the way of Saw it would’ve been better. It’s not a show of aestheticized violence. Such violence is overblown and disconnected from reality. It can be fun to see limbs being torn and people explode, but there’s no sense of fun here. The action scenes are tedious, consisting mainly of pointless inner monologues. The fact characters suffer is emphasized more than how fun it is to throw a bomb.

Any momentum that a scene generates is immidiately smashed. There are a lot of inner monologues. It’s a wonder the series didn’t pull an Evangelion. They had enough for 3 episodes. Action scenes are about movement and set-pieces. Some dialogue can also help if the interaction is meaningful enough. Thoughts are static. No one has room for introspection during such scenes. You don’t have them running in your head in a video game, so in real life?

It’s the stereotypical edgy anime that thinks violence, gore and suffering makes for something profound. It tries to something about how humans are cruel, but when everyone is cruel for no reason we it’s hard to believe that message. How can be believe humans are as cruel as the players when the strings behind them are so obvious?

The symbol for caring and companionship is your typical harem protagonist, without the harem. Sakamoto has no personality whatsoever. He kind of cares about others, but why? He’s the main character because it’s easier to sympathize with him, rather than the rest of the meanies. More correctly, it’s safer to make him the main character. Following one of the bad guys would mean they’d have to to do more than be cruel for a while than die.

Himiko isn’t much better. She’s an insutling portrait of the Clinging Woman. Everything Yuno satirized is in her. The parallels are so obvious, you have to wonder whether it’s a response. Both girls rely on their men, but differently. Yuno relies for psychological stability. She acts less to please the guy than to fulfill her own desire for love. Himiko exists for Sakamoto and no other reason. Her love isn’t related to personality. She’s a reward Sakamoto wins twice, first for being a great player and second because he’s saving her.vlcsnap-2015-11-27-17h28m47s108

For the glory of Satan

She’s also an object of sexual gartification, both for characters and the viewer. She gets near-raped a few times, and these scenes are filled with nice shots that give you a clear picture of Himiko’s body. These are not the expressive flashbacks of Tsubaki. You might be able to catch a nice shot there, but they’re too expressive and short. The don’t emphasize just the sexual part of it but the pain.

It made Tsubaki hateful of the world and everyone in it. It was her undoing, but she was portrayed as a tragic character. Himiko is turned into a silly tsundere who slowly learns to ‘trust men’, as if she should just get over it.

The ending is also insutling. It’s the definition of ‘inconclusive’. This criticism has been brought up a lot, but many short shows have some arc that concludes. The grand story of Freezing isn’t over, but there is an arc that concludes which defines the two seasons. BTOOOM! just ends. It makes it all feel like an advertisement for the source material.

There are tiny worldbuilding things that come off as moronic. There’s no sensible explanation why the game exists. Hints point toward the good old cliche of human experiments or evil corporations. The bombs also somehow can tell whether their owner is dead or not. Then again, I keep praising a show about diaries that predict the future. If the world doesn’t make too much sense but serves the purpose, it’s okay. If your story is full of holes, it’s a magnifying glass to how stupid your world is.

At least the art style is nice. Since this is supposed to be deep, we get a realistic art style with no crazy ideas. The designers still managed to give everyone a distinct look. At least in that department, BTOOOM! has something to teach others. Even characters that appear for a few minutes get their own unique look. It’s too bad these designs weren’t used in a different, better anime.

The OP ends with all the characters standing and looking towards the horizon. It reminded me of the first shot of Future Diary‘s ED. It summed up what made that one so good – a cast of crazies, which with flawed personalities that make them understandable even at their worst. BTOOOM! has no such empathy. It treats its characters like they’re from a video game. They exist to kill and die. The protagonist has as much character as a silent protagnsit. It’s amazing how bad it is. ┬áhas almost everything I want in an anime, and wrecks it.

1.5 bombs out of 5