Another

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What we have here isn’t so much an anime, but an experiment. At least I hope it’s an experiment, because as an anime it’s quite an atrocity. It deserves a place in the bottom of the barrel, not because it’s awful in a unique way. There’s no content, nothing particularly offensive that stick out. It’s just a series of mistakes piling up on one another.

If this is an experiment, it’s an interesting and important one. In fact, as an experiment it deserves the attention of all literary scholars. Finally, a piece of fiction tries to answer the age-old question of what is more important – execution or the idea. Since the end result is closer to vomit caused by excessive drinking (which itself was a means of coping with an awful party), the answer is execution.

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“Execution” is an ironic word to use in the context of this crappy anime, both because a lot of characters die and the anime ends up killing its brilliant premise. Most creators don’t have any idea what ‘horror’ actually means. They think we experience horror when someone holds a knife against us and we need to fight them, but that’s not it. A dangerous situation where there are a few predictable outcomes, some of them bad is thrilling and causes adrenaline but it’s not scary.

People are afraid of walking alone in the streets and of being on the stage, yet no one is going to kill you if you deliver a speech (Unless you’re a politician). The common ground between two is the unknown, and more importantly a fairly hostile unknown. Horror is effective when we know or speculate there is something hostile there and don’t know its nature. The best of horror is striking a balance – having a good enough idea what kind of danger there is, but not enough.

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Horror fiction often features weak protagonists. In order to effective, the protagonists need to know little so they won’t really have a way to defeat the Big Bad. Stories are the scariest not at the climax – it means very little in this genre. Experiencing the unknown is what’s important. A shot of Michael Myers standing outside the house is scary, because we don’t really know what Myers is except the fact he kills people for some reason. More than any other genre, Horror isn’t about a tight structure but strong, atmospheric moments emphasizing how the characters view the world.

The creators commit the horrible mistake of thinking that what works in video games also works in fiction. So the main character isn’t actually a human, but a distinct organism only found in shitty stories called Plotus Moverus. Exploring a mystery on my own is one thing. Merely watching someone else do it is something else. Shows on TV that show you how to cook things have more narrative thrust, more personality. People actually remember all those dudes in TV who talk about food, yet I’ll only remember Kouchi because he starred in this horrible anime.

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Kouchi gives a point of view with less personality than a Wikipedia article, so already we lack any kind of framing for this town. Look at this as a self-insert character, and you get zilch. If Kouchi had a psychology or a personality that would react to the horror, then I could insert myself into him and feel like I’m experiencing the same thing. I could use this story not only to explore the nature of horror but how we can react to horrifying things. Kouchi only gathers data.

The scenary is now responsible to frame this story as scary, and at the beginning it’s actually quite good. People criticized it because ‘nothing happened’, but they just misunderstand the genre. Things don’t have to happen and it may be for the best if they won’t. What should go on is atmosphere. The art and especially the background is fantastic. The colors are varied, yet there’s a slight dark tone to everything – not enough to make it monochrome, but enough to hint there’s something bad going on underneath. This balance is difficult to attain but the series does it. Every scene in the beginning is imbued with uneasiness, empty streets of a small, isolated town and a dark shade over thing because disaster can strike at any moment.

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An episode which takes place at the beach is a perfect example of how well the atmosphere works. There is silence and uneasiness all over it. Every interaction is a bit more hushed. A game of fishing ends with people capturing nothing interesting but kelp and a blowfish. Romance is right around the corner, but everyone is too preocupied with the horror to go with it

Here you get why the premise is so brilliant. By its very nature it’s horror, it’s a premise where people know disaster strikes but not really its nature or how to stop it or how exactly it will affect. Reduce the genre to its bare bones and you get that. Now all you need to do is let the characters do their thing. Let them react to the situation with their personalities. Let it affect their relationship, the structure of the town. Show us the effect of death and the unknown on us, tickle our sense of empathy.

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Mentioning the Saw film at this point, because they’re an example of how this anime failed. The first Saw film featured two dudes locked in a rusty bathroom which is quite frightening, but that’s also because of the mystery – what the hell is that bathroom? The anime does contain a mystery, but instead of letting it be one they solve it in – get this! – one episode. No, really, there is no build-up or any psychological thrust to the discovery. One day a character info-dumps the whole equation. Now the characters only need to find the X, literally.

Remove the mystery and the psychology and all you have left is a dull process of elimination. The side-characters are slightly better than Kouchi but even they don’t do much. The last episodes consist of fire and brimstone and that hardly makes for an effective climax. As an action scene it might serve, but its main role is to revel and swim in the blood of the characters.

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What it reveals is what I tried to suppress all along – that the mystery isn’t actually a symbol for our fear of death, but a plot tool to kill characters. Instead of experiencing this anguish and angt, understand the meaning of fear and trembling and reflect upon the nature of death you enter a guessing game. Every episode is a game of ‘who dies next?’ until it ends with a massacre that might’ve been effective with a different build-up. Too bad it’s just has everyone smiling psychotically while chanting the same sentence.

In the beginning of the anime Stephen King is dropped, a popular writer with great ideas and horrible execution. Even he wasn’t that bad, but the series is loyal to his style. It took an idea so good you can use it to explain the nature of the genre and turned it into a who’s-gonna-die game. The final twist isn’t that surprising either and doesn’t add any meaning, although it could’ve lead to a powerful character moment if Kouchi had something resembling a personality. Write off the popularity of this anime as pure shock value.

1.5 spooky stuff out of 5

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

Shinsekai Yori (From the New World)

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This is a story where the antagonists are the main characters. Either that, or it flips up the romanticized notion of revolution. Wouldn’t it be awesome to just go guns ablazing into Washington DC? Wouldn’t it be fun to kill all the powerful people that dehumanize us, make us work in low wages and study in their jails called schools? Only we forget powerful people also bleed. Beautiful people suffer from rape, and famous actors develop anorexia.

If only we could change.

Our relationship with beauty is odd. Although political bands make money off hating rich people, beautiful people may have more power. That’s thanks to the Halo Effect. If we perceive a good quality in a person, it makes all other qualities look better and the bad qualities look a little worse. Throughout the anime, we see a bunch of pretty kids/teenagers do their stuff. They fall in love, they have a lot of sex and they have fun out in nature.

Compare them to the queerats. It’s not that they don’t look human. They look ugly. They’re desexualized, have rough voices and do manual work. Surely, such stupid and ugly creatures deserve their place. When hundreds of people die, we can’t help but despise them. It’s not like the people of the villages are evil. They’re perfect, stick-thin intelligent people who care for the order of society.

“but they all forget somebody’s gotta scrub the toilets” – BioShock.

The anime is, at its heart, about power imbalance. Its way of exploring this idea is by deliberately making the powerful people sympathetic and appealing. There are two reasons for this. Evil people don’t really exist. There’s a coherent theory behind the oppression of the queerats. Also that often we won’t rise up against powerful people because we love them. It’s easy to hate the rich fat dude, but what if it was a beautiful women who enslaved people or send them to the gas chambers?

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The faction you side with tells a lot about your preferences. The story is the basic old tale of the oppressed rising against their oppressors. If you’re siding with the villages, then maybe justice isn’t in your priorities. The villages are more appealing, more like how we want to be. If you side with them, you just might be a victim of the Halo Effect.

If you hate the humans and relish all the death and destruction, then you also missed another point. There’s no difference between dehumanizing people for being powerful and dehumanizing them for being ugly. The anime makes the villains appealing both to reveal how the Halo Effect can make forgive terrible things, but also how people who do terrible things have their reasons for doing so.

Underneath all these philosophies of power there’s also an emotionally engrossing sci-fi story. Shinsekai Yori is a great argument for how sci-fi can be about human relationships and drama, not just showing off about possible technologies. Sci-Fi isn’t about predicting possible technologies – how a car works isn’t a story. It’s about how our society might look like if a certain technology emerges.

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It’s about what would happen if we’d become too powerful for our own good. If I were an expert in Japanese culture, I’d say there are parallels to the atomic bomb. The Cantus is a genetic mutation that gives human beings ridiculous amounts of power, but you can replace it with any possible mutations – super-strength, super-intelligence – that will cause a power imbalance.

Every human in the villages is a ticking time bomb waiting to explode. Despite the peaceful exterior, danger is ever-present. It can coming from inside – one of us loses their mind and goes berserk. It can also come from above. The masters can take you away because they consider you a danger.

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We humans have a hard time building an honest society. We feed our children a lot of things they later have to unlearn – there’s no tooth fairy, the people in TV aren’t your friends and schools don’t teach you anything. The ‘growing up’ the kids do is realizing that the world isn’t peaceful and cannot be. The Cantus is part of human nature. Reality is hostile from every direction – your servants can rise up, one of you can go berserk and someone from above can erase you from reality. You learn similar lessons when you grow up – the job market is cruel and being a programmer isn’t enough, rapists can be sexy and you might get sent off to war.

Like any other organism, we’re constantly trying to remake the environment in our own image. By constructing a peaceful environment, we could ensure our survival. Utopian fiction often portrays these environments as a jungle of machinery and wires. So the main lesson we learn is that technology is evil, savages are noble and we all should be one with nature. The villages are ‘one with nature’. Technology hardly exists there yet the world is still hostile. Cantus isn’t just a genetic mutations. It’s a physical manifestation of the power we hold over each other. Organisms by nature are dangerous. No amount of sex or being one with nature or creating a class of ugly people can solve it.

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Shinsekai Yori is so good that talking about the technical side is pointless. It’s fantastic in how it explores its themes and anime like this are why I put so much effort into writing reviews in the first place. Every year a thousand works of fiction come out, and books or live-action movies may seem more mature but I doubt many come close to the lows of this anime. It’s at once simple, emotionally engrossing and explores its themes to the fullest. There isn’t a reason for anyone to skip this.

If only we could change.

4.5 Queerats out of 5

Danganronpa: The Animation

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I could’ve written this review without watching the anime. For all its twists and turns, Danganropa works like you’d expect it to. Even the claim that it’s not as in-depth as the game doesn’t feel relevant. It’s a darkly humorous anime filled with hilarious characters. There isn’t much psychological depth, but everyone is memorable and no one gets demonized.

Danganronpa understands why Death Game scenarios work, and what are its strengths and weaknesses. These scenarios rely on a fairly unpredictable out come. We know the main character wins, but not always who will be his final match. The most important part is the characters. Their personality modify their interactions, the methods they use and how the ‘matches’ go.

By abandoning any characterization, you’re left with emptiness. All you will have is a show of violence, which can only be entertaining for so long. Thankfully this isn’t BTOOOM!. You can tell by just looking at the brilliant character design.

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Every character has a distinct look. No character is allowed to look like another. I haven’t seen a cast with this much effort put into the design. Everyone sports different hairstyles, outfits and even shapes of the eyes. The differences are more than just to tell apart the character. Each detail helps to point to the personality of the character. This is how character design should be – expressing the character using the visuals.

They are not psychological portraits. They are a collection of quirks, but these quirks never point to some realistic personality. The characters are, after all, chosen more for their skills rather than their personality. Normally this would lead to perfect, boring characters. In this guys, the talent points more towards some personality that’s exaggerated and made to feel alive, if not realistic.

It’s not that these are shallow without hope. There is hope for some depth and the show occasionally taps into it, but that’s not how we get to know the characters. We know them like we know our classmates – we know their patterns and learn to laugh about it. Even without the psychological aspect, it’s a vivid, entertaining cast.

They’re so entertaining that even the dullest characters (Who are for some reason the main ones. Someone was taking crazy pills) are entertaining. Neagi and Kirigiri are archetypes without much blood in them. The former is normal and means well. The other is a cold girl who always runs off to the writers, who tell her how to solve the mysteries. They never reach the heights of Fukawa or Junko or pretty much anyone, but they’re a cut above characters in the same style.

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The best of them all is Monokuma. He’s the embodiment of the series and why it works. If the premise and the characters don’t look weird enough, we also get a talking teddy bear that runs the school. He treats the violence and absurdity flippantly, as if it’s normal.

Isn’t this how comedy works? It presents an absurd situation where no one recognizes the absurdity. Although Danganronpa‘s story is a mystery, all the techniques are comic. It puts more emphasis on weird situations than a coherent puzzle. The mysteries aren’t exactly cleverly built. They’re messy and require some leap of faith, especially as the series goes on. The final twist is pure comedy.

Good mysteries are more than just predictable. They have an interesting structure and don’t rely just on the outcome. Absurdity is one way to do it. Even if Danganronpa‘s structure is fuzzy, it’s never boring. Every mystery is unique and memorable.

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The comedy also works because of its darkness. This is another case where darkness isn’t used to minimize the horror but amplify it. The bear is cute and the academy looks pretty, but it’s a cruel way of life. There seems to be no other solution than dying or killing, and yet the series knows this isn’t a good reason to sacrifice absurdity or characters. Just because a situation is harsh doesn’t mean it doesn’t have a funny side to it.

There is almost something meta about Monokuma. That route is never explored, which is a shame. It could’ve lifted the anime a little higher. Monokuma keeps telling the students to kill each other so he won’t get bored watching them. Isn’t this why you watch the anime? You watch it to see them kill each other. Wouldn’t be boring if the students decided not to kill each other, but just to kill time with each other?

The anime explores this question a bit, but not enough. Extending the time where the characters just being themselves could’ve put these two next to each other – School Life and Mystery – and we’ll have to ask ourselves what we prefer and why.

It doesn’t suffer from the over-abundance of ideas like its sister anime, Future Diary. In that one, ideas came and went. There were a lot of hints they could be explored but then they were dropped. While Danganronpa has these routes, it knows it can’t explore all of them in 12 episodes.

 

The few themes that appear – despair, violence, friendship – are used to spice up the story. The story is slightly shallower, but it’s also more organized and better paced. I’m sure the visual novel has more ideas, but in 12 Danganronpa manages to tell a hilarious mystery and not get sidetracked.

It’s in no way just advertisement for the visual novel. It’s a very entertaining anime filled with vivid characters, weird situations and a funny mystery. The approach to the genre is different, but better than the common one. It may lack substance, but it makes up for it in being entertaining. You don’t need a lot of episodes and fights that last for hours to be entertaining. You just need characters and situations that are odd enough to be memorable. You don’t need punchlines to be funny, you just to find the funny in already existing situations/characters.

3.5 upupupupupu out of 5 upupupupupupu

Deadman Wonderland

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The Nu Metal song in the beginning could’ve been a good sign of things to come. The anime could’ve been the visual version of Nu Metal – loud, heavy, violent, stupid and a lot of fun. Too bad it’s closer to early Drowning Pool than Mushroomhead or Slipknot. A lot of stuff happens, but nothing is fun.

The warning signs are in the first episode. Ganta (‘gangsta’ minus two letters) has no personality. Brief slice-of-life tell us nothing about him other than that his taste in women is generic, his best friend is more extroverted than him and that he’s nice.

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He’s a bland stand-in for the viewer. He’s defined by the most vague attributes – he’s nice, he wishes good for everyone and he feels a little weak. It’s a nice suit the viewer can insert himself into and feel better at the end at overcoming the pain along with Ganta.

A character defined by being normal and good-willing can work. The writers would have to be aware that this is his purpose, though. They will have to make sure his normality is constantly contrasted (because normality is in itself empty) and that his goodwill is active. This worked for Danganronpa.

Ganta isn’t Naegi and there are no one here as mad as Daganronpa’s students. We never get an insight into how the events actually affect him. Then again, the events are meaningless acts of cruelty. All Ganta can do is be depressed for a while, inner-monologue about how weak he is and then stand up to protect his friends.

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Wasn’t this what Sakamoto did in BTOOOM!? The major difference between the two is that Sakamoto had less people to talk to, so he also inner-monologue’d during fights.

Shiro isn’t much better. Her personality is amusing but runs out of steam before you notice it had any steam in the first place. Yuno is an obvious comparison, and Shiron is everything Yuno satirized. She exists to please Ganta and to help him. She doesn’t have anything beyond this.

Yuno was defined by being a yandere. The fact she needs someone is the center, not the someone she needs. Without Ganta, what can you do with Shiro? She walks around, acts cutsy and solves problems for Ganta.

It’s possible that the manga develops her differently. There’s a big twist thing that’s not revealed in the anime but is elaborated upon there. In this anime, she’s our hero cute female sidekick.

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The creators also can’t be imagnative with their cruelty. Buckets of blood are spilled and people get shot in the head. Many were abused in their past. It never builds towards anything. Everyone just suffers.

In order for us to understand suffering, we need to see the difference between one kind and another. We need to see how different characters approach the situation. Many in Future Diary had a difficult past, but they took it differently. They weren’t just senseless psychos. It affected their desires and worldview in a way that’s connected to their personality. There is a difference between Yomotsu’s rough justice, Tsubaki’s hatred, John’s megalomania and Yuno’s obsession.

Violence is just tossed here. It’s something to cheer for. How can you take a show seriously when everyone is so sadistic? The world is cruel, but it’s also strange. Stories from Holocaust survivors are more shocking not just because they’re real but because they’re going somewhere.

Humans adapt. People who live in harsh circumstances adapt or die. In the most intense times in the army I didn’t have time to inner-monologue. In this anime they just monologue. The reason the pain of Danganronpa‘s cast was believable was because they had more than pain in their lives. The show made it clear each of these characters could stand on its own.

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None of the characters of Deadman Wonderland can exist outside the anime. They’re all tied to the emotional core of doom’n’gloom. Without senseless violence they don’t exist. Characters who need senseless violence are senseless.

It’s ironic how the series tries to say something about brutal entertainment. The whole set-up is violent entertainment taken to reality. It’s an interesting concept, especially when we deal with prisoners. The rights of criminals and what to do with them is a controversial issue.

It seems the anime’s answer is that we should massacre them in entertaining ways. If this was supposed to be a critique, it should’ve made the violence truly shocking. Violence is shocking not when it’s extreme, but when it has some sort of meaning. This is why Yukki killing a bunch of orphans is more jarring than any ‘difficult past’ story here.

Yukki’s violent rampage was a result of a person who is sure he can bring everyone back to life. It’s an embodiement of ‘once people become easy to copy/resurrect their life lost value’. The Deadman Wonderland is brutal, but also cool. The people are using weapons made of blood. The race has them dying in all kinds of ways. The camera always lingers on the body so we will get a clear image of it. It’s pornography now.

I could’ve forgiven this if the series wasn’t so pretentious. I love aesthecized violence, and you can use it to give commentary on it. Borderlands is both violent and comments on violence in video games. What exactly Deadman Wonderland is trying to say about our relationship with violence is unclear. People are cruel, so?

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If it was more stylish, if the focus was more on the violent games than the psycho-drama thing it would’ve been better. There are some cool visual ideas. The race scene could’ve been fun, but instead it’s a celebration of gloominess – brutal violence with no energy that’s still pornographic. It’s just unpleasant.

It’s actually hypocritical. The series points to us how disgusting brutal entertainment is, but the show itself is nothing but brutal entertainment. Its violence only exists for our pleasure and the cruelty isn’t deep. It’s like how in the Saw films, Jigsaw talks about how we should appreciate life but forces others to kill.

At least it’s better than BTOOOM!. The series does reach some kind of conclusion. The grand story doesn’t end but they create a central enough arc that does. The setting and characters are also wild enough to be entertaining occasionally. People are getting their heads split open, there’s a loli with a sword-whip-thing and weapons made of blood. It’s pretty fun.

It does have a weird relationship with sexuality as expected. It’s not drowning in fanservice, but the female cast is hanging around with more nudity than practical. Shiro has a skin-tight custom that makes her look naked, another girl is half-naked and the camera literally pauses so we could stare at some G-cups. These type of anime generally fail at sexuality, but despite the occasional moment Future Diary was mainly concerned with the personalities. Danganronpa also never sank to these lows. Sexuality is fun but not when it’s off-topic. Why is the sexual features of every female character is emphasized? At least there’s a dude with killer abs here.

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At least the people in the sound design knew what they’re doing. There are some guitar riffs and industrial beats. It’s the perfect soundtrack. There are even Cannibal Corpse-like blast beats during the Carnival Corpse. If only they had a better anime to fit these cool beats to.

Deadman Wonderland is occasionally fun, but it’s closer to BTOOOM! than to . If doom, gloom and sadism are impressive you then you find some enjoyment here. I wouldn’t even recommend it for people who are into violence. The brutality is never stylish, never cruel in a way that stays in the mind. It’s halfway there and the result is just unpleasant. It’s a bad Nu Metal song – full of angst, noise, ‘brutality’ but no fun or depth.

2 killer lolis out of 5

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.  has almost everything I want in an anime, and wrecks it.

1.5 bombs out of 5

Dennou Coil

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You can’t talk about Dennou Coil without talking about Digimon Tamers. They don’t just use a similar technique to tell their stories. Their stories revolve around the same theme. The ending also includes a girl trapped in a visualization of grief. It never feels like a rip off. Both shows wanted to explore a subject that needs exploration, and found different inspirations.

The core difference between the two is the mode of storytelling. Tamers was a heroic journey, but Coil is closer to something like Mushishi. It’s more concerned with the world it created and what it means.

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Nature is odd, but so is technology. At some point, inventions become so advanced we can’t predict their behavior. Even the most simple ones contain surprises. They often spin out of control, and the internet is the perfect example of this.

Do the people who invented the internet thought it would be used to exchange Japanese cartoons, cat photos and have people’s suicide notes on them? The internet is now out of our control. It’s a constantly-changing frontier, with pages being born and dying. It’s a way to connect to others, where bullshit rumours spread and where you can escape your reality.

The technology in this show is just a visualization of this idea. It juxtaposes the exploration of the virtual frontier and the physical one. You might think kids today are all just stuck on their computers, but weren’t the astronauts stuck on exploring the moon, rather than the Earth?

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Space is not the final frontier. The internet is another one, but it’s one that we create. The spaces weren’t here before. Every piece of data was created by someone else, a product of their thoughts. Exploring the internet is exploring what others think, whether you’re looking for funny pictures someone uploaded, their writings or stuff they thought was cool and reblogged. I think once someone said we are the final frontier. If this is true, then the internet is how we explore it.

The kids in this show may seem too independent,but this isn’t a plot device. Kids on the internet are often more independent and loose than outside of it. If you play outside, your mom can still look out the window and see what you’re doing. If you go somewhere, she’ll want to know where.

It’s easier to build an independent culture when you’re on the internet. Close the door or minimize the window when mom comes in. If she doesn’t know the address, she’ll never know what’s going on. Even if she does, you’re creating a new identity she might not recognize.

The new culture the kids have built in Dennou Coil isn’t alien. I’ve seen it happen myself. I remember those message boards that were the beginning of Nerdom in my country. I still see communities with a distinct identity in message boards or video games.

Here, we got a physical reality along it. So the rivalries aren’t just name-dropping in forum posts but the old fun of shooting each other. That’s something people do online all the time. They shoot cyber-avatars of other humans.

These avatars can be convincingly real, even when they were just pixels. That’s the problem with the internet. A lot of it appears real, and the line between reality and the virtual blurs. Maybe it doesn’t exist at all. Densuke only appears when you put your cyber-glasses, but you can only see Jupiter with a telescope. Densuke is not a real, biological dog. A real dog is also not a virtual one. What makes one dog better than the other?

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Both dogs actually exist. Both respond to us. Even a virtual pet in an RPG game responds to your actions. The fact one is manmade isn’t much of a difference. Dog breeds are an invention of men. The difference is that the virtual world is full of data and information, but nothing sensory.

Stuff on the internet is not something you can feel. That’s why some people can be social on message boards but socially neurotic in real life. Densuke is a virtual dog and will never be a real one. If we try to program humans, they will just be virtual versions. They will never be a real human.

Grief does its thing, though. It messes with our minds, and we want more to find a new reality where the event didn’t happen than find good in our reality. A character gains the option of creating her own reality without the death of a close person.

A purely man-made reality is nothing, though. Nothing is purely man-made or exists on its own. A reality where nothing is connected is barren and dry. This is the same world of the D-Reaper. A grieving person can’t escape into his world. He’ll just dive deeper into his own sadness.

All we create is just a reflection of us. Isako couldn’t re-create with her brother. She could enjoy a projection of him, something similar. It’s not the real thing, and in the end it’s not a proper replacement. Things can’t be replaced with second hand versions.

If this sounds like it’s too heavy for children, then you’re not paying attention to the best of children’s fiction out there. Children deal with loss. Their stories need to address it.

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While Dennou Coil treats it with maturity and empathy, it falls short of Tamers. Its technology is more imaginative and conceptually deep. The Digimon are a plot device, but the idea of a ‘virtual reality’ isn’t explored. Tamers kept the technical stuff at bay. At too many instances the mechanics of the virtual reality will be explored. None of it is ever coherent. It’s just a physical manifestation of the internet and that’s it.

Dennou Coil also sports a problematic art style. There is a great difference of creativity in the character design and the virtual reality design. The designs of anything virtual are beautiful. They’re simple, but the little details are excellent. The Illegals’ black, blurry body, Densuke’s round shape, Oyaji’s lack of mouth and small eyes are all details that stick out.

The character design does the minimalist-realist Mushishi did. It’s not as bad as that one. They find subtle details to give them personality, but too often they feel dry. Auntie is supposed to be the beautiful character, yet nothing about her looks significantly different than the others.

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Two episodes are noteworthy. One is the comic apex of the series. It’s a brief history of humanity as if they were the hairs that compose a beard. The episode is complete with a bearded old lady. The other episode comes right after it, and is actually the most psychologically deep one of the series. The climax isn’t as powerful as Tamers’ D-Reaper. In that episode, it is. If only they could use the ideas there, reshuffle them and make a different climax.

Even if it doesn’t manage to reach the heights of Digimon Tamers, it comes close. It’s not treading the same grounds. It uses the same tools to tell an equally deep story with its own take on things. In some places, it’s weirder and bolder. Anyone who wants to see how good children’s fiction can be should watch this.

4 illegals out of 5