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

JoJo’s Bizarre Adventure: Stardust Crusaders I

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The glass ceiling shines gloriously bright here. Isn’t the trouble with glass ceilings that they’re invisible? Yet the flaws here are so obvious. The series is no major experiment. Creators who fall to such obvious flaws often can’t get the basics of storytelling. I haven’t seen an anime that gave up so miserably since Sword Art Online. There’s no other way to describe what happens to the series halfway through. You literally see the band members running out of ideas, but the concert is still rocking.

It’s not a major disaster like Sword Art Online because the nature of giving up is different. That anime hinted at psychological and philosophical insight only to deliver a boring monomyth about an asshole and a helpless princess. Stardust Crusaders simply gives up on pushing its idea further. It’s content with sitting in the same place, offering good variations but never breaking out of the mold. I’m not sure what it says about the creator that they managed to create 10 episodes that barely add anything, yet are still a lot of fun.

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The improvement over the first installment is that this one lives up to the title of ‘bizarre’. The previous season gained its energy from pushing archetypes to the extreme. Nothing about it was weird, thought. It was all archetypical, tough guys posing and using battle startergies. Stardust Crusaders throws the same passion for archetypes into bizare-ness.

There are about 15 villains of the week here, and each of them is a puzzle in its own. Anytime you think they ran out of ideas, something new comes up. No villain is truly like the other. The creators use this to play with genres and story types. You get the dream narrative, the killer car, the hostile creepy-looking town and the ghost ship. It’s a prime example of why people who whine about good guys winning miss the point. Of course the good guys will win – there’s no reason for them to lose unless ‘the world is unjust’ is something you explore. The fun thing about these stories is how they solve the puzzle. Just like the first series, it’s never about shouting and brute strength. Each villain is a puzzle to solve. In a way, it’s a mish-mash of mystery and battle shounen.

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Yet this successful formula is exactly what keeps the series down. The series’ ideas never progress. There’s no gradual change in tone or characters. Events happen, but they’re too self-contained. It’s a heroic journey that’s told as a Slice of Life anime. The disconnection between the events lowers their meaning. An anime about a band of heroes fighting a different enemy every time can be fine, but it clashes with what the series is at heart. The result is something that’s stuck in-between. It’s too Slice-of-Life for the journey to feel like it actually progresses, and too journey-like for the episodes to truly deviate from each other.

It doesn’t help that the series gives up at some point. What’s worse, sitting comfortably behind your limits or trying fruitlessly to break them? The Stands eventually lose their meaning. They carry Tarot card names but their powers have little to do with it and the creators don’t even try to come up with names. What started off as using Tarot and colors as inspiration for villain was dropped in exchange for weird superpowers. They’re entertaining superpowers, but it only reinforces the disconnection between the events.

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The series stops halfway through the actual arc. You’d think that would be a problem, but the lack of conclusion comes more from the format rather than splitting up the series. It’s these aforementioned flaws that make the last episode feel anticlimatic. All these events and enemies, and in the end nothing changed. Our heroes arrive in Egypt, so what?

Stardust Crusaders is never bad. What’s frustrating is that it always threatens to be way better than its predecessor. The characters are way better – distinctively quirky and silly. They each contribute something to the group but have enough agency to create as much conflict as they solve. The focus also never locks in on one character. They each have equal screen time. It’s so balanced it’s easy to forget Jotaru is kind of meant to be the main character. Both the enemies and the characters are more bizarre, sillier, more mythic and lifelike than the predecessor. The art is also more colorful and varied. While it doesn’t play so much with colors, the scenery is varied and the characters suffer less from Same Face Syndrome.

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The glass ceiling is tough to break. Maybe the series didn’t even try, but chose to sit under a different ceiling. It’s still recommended to anyone who’s into fighting and macho dudes. The genre hardly gets better than this unless you’re going full retard with Kill la Kill. It dodges all the problems long-running shounen shows have – there’s focus, no babbling, no info dumps and it actually ends. Despite doing pretty much everything right, the result is only a good anime and nothing beyond this.

3 stands 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

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