Deadman Wonderland

DEADMAN
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

Markus Zusak – The Book Thief

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Do we need another Holocaust story?

The Holocaust was horrible. I doubt anyone will argue otherwise. Even those who claim it was nothing special are redundant. No massacre was as systematic and well-organized as this. The Holocaust comes with built-in emotional appeals, so you can’t blame me for being skeptic about The Book Thief. The fact that it’s for Young Adults, became popular and is narrated by Death makes everything worse. It looks like something that aims for the heart strings. It will manipulate you with tragedy and then give you some easy answer.

Only it’s not what happens. This is more like Fault in Our Stars. It’s a novel that feels like the result of harrowing research. Zusak writes like he’s trying to cope with believing that the Age of Social Catastrophe really happened. It’s not about a Holocaust. It’s about trying to come to terms with how reality shifted since WWII.

It was a nightmare. The Nazis, Pol Pot, the Russian Communism, the War – it sounds like an extinction event. It must’ve shook everyone. How does civilization continue from such a devastating event?

Zusak creates a character whose own story could somehow encompass this mess. His protagonist isn’t a Jew or a slave in the Gulag. This would make his book too specific. She’s also not a person from the highest echelon of society, for whom death was a complete shocker. Liesel is somewhere in the middle. She knows what death is and she knows what happiness is. She doesn’t know what so much death is.

Zusak wants to prod into what grief is. He’s trying to come to terms with it and while the story doesn’t rely on ass-pulled happy endings, it’s less dark than Green’s famous novel about cancer. People die and bad stuff happens, but Zusak’s attempts at staying optimism aren’t convincing. They sound like denial of tragedy rather than confronting it.

Hans’ character is the worst bit. He’s like Atticus, remaining moral and good-willing no matter how terrible things are. We don’t get a reason why he’s like this. He’s an angelic figure at reads more like Zusak convincing himself that there were good Germans,

You don’t need Jew-loving Germans to make us sympathize with them. A bolder move would be to show us the German who either bought into Nazism, or just cared only about his own skin. This would be harder to do, but more insightful. Zusak already chose to tell the story about Germans and not Jews, for a change. Despite all their power, the Nazis were the losers and their story wasn’t heard. The novel reminds us that there was more in that time period besides dying Jews and the assholes who ran the camps.

Hans is better than Atticus, though. Around the middle Zusak lets him fall like he should. In fact, Zusak puts a lot of characters through breakdowns and allows each to have his own way of coping. He doesn’t manage to create a convincing enough psychology. His characters are too quirky. They stick to their quirks rather than reveal new things about their personality. Still, he gives each of them their own way of coping. It’s hard to write a convincing psychology, but an honest attempt gives extra points.

He also avoids the trope of showing a happy life that’s followed by a tragedy. That’s easy to do. Zusak’s Himmel Street isn’t a happy world of quirky people who are happy despite being poor. It’s a world of ups and downs, childish fights, hunger and friendship. It’s often disconnected from the big story of WWII but isn’t that the point? While war goes on, people are trying to live as usual.

It’s also interesting to see a 21st century view of war applied to WWII. There are no heroes and villains in this war. It’s just people doing their job. People are afraid of bombs, but don’t care much who they’re fighting against. War is ugly, regardless of which side you on. Thankfully, Zusak doesn’t take the leap to conclude there’s a grand conspiracy at works. He avoids ranting about fat white men smoking cigars, planning to bomb children for their own amusement.

His take on Hitler though, is a mess. He obscures his view in a children’s book. It’s either a cop-out or a clever way of saying how childish it is to paint Hitler as some senseless bad guy. There are some philosophizing about words, but they don’t lead to anywhere. Books are pretty important, words have power but is war the result of the failure of words? Or can war be caused by and solved by words? Zusak knows that portraying the Nazis as hating books is a straw man. Mein Kampf is their Bible. Where does he draw the line? He raises questions but never explores them enough to help me come to answer of my own. It’s just there.

While the idea of Death narrating the story is pretty cool, it’s also not used to its advantage. Death’s tone is interesting. Current Western society (and a lot of cultures in general) despise death and view it as the most terrible thing. Check the panic around the idea that everyone has the right to die. Death’s tone is not cruel but almost detached. It’s a sad inevitability that we must accept.

There’s not much insight beyond this. Death is a psychopomp, but not much else. It’s not even a new spin. The problem is that death is presented as this general thing. There are various causes of death and we treat each of them differently. It would be better if Zusak used this to make Death more complex. Suicide, war, old age – we react differently to those deaths. Digimon Tamers gave us an original spin by personoficating suicide specifically. Zusak had a chance to portray all kinds of deaths, but instead it’s monolithic.

The stylized prose also doesn’t always work. Zusak knows what he wants. He’s trying to be poetic by creating a rhythm and separaitng paragraphs. His descriptions are sensual and not precise. Cliches still attack him. The weather is always mentioned, which is such a redundant technique that it doesn’t matter how much purpose it has. The poetic style also often leads to more telling than showing. While there are interesting reactions to disaster, in general the characters don’t have enough to do. We’re being told about them, and they end up more quirky than humane.

It would’ve worked if Zusak was more determined what kind of book this was. If the whole thing was supposed to be pseudo-poetic all the way, then the occasional ‘manipulative’ moment could be excused. If your whole story is one large poem, everything will probably be exaggarated and an angelic figure like Hans would be easier to swallow. Too often the poetic stylings cover up the characters instead of revealing them.

It’s an interesting enough book that doesn’t justify the hype, but doesn’t deserve to be lumped as another brain-dead best seller. It resorts to failed tricks as much as it has original ideas. It reads more like an interesting experiment by a writer who has a great book in him, rather than a hack who can only pull the heart strings. Hopefully, the sales will make Zusak take his craft more seriously.

3 stolen books out of 5