Fuck That Noise: Bruno Mars, The Weeknd and Ballads By Macho Men

Bruno Mars’ single, “24K Magic”, is badass. Mars doesn’t so much sing as he speaks throughout the song with every line meaning the same thing. He’s cool, he knows how to party and has women. The latter is especially important, because we live in a new feminist world where attractive guys are still allowed to flaunt their women like dollar bills. He’s so confident that, really, why attempt a chorus? The first spin of “24K Magic” makes it sound more like a spoken word track over a Synthfunk backing rather than an actual Pop song. It’s one of the year’s best songs.

It’s also a game-changer for Bruno Mars. From here on out, the only reaction to his ballads is ‘fuck that noise’.

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The Weeknd poses for his philosophy book

Music is acting. I don’t care who you are in real life. What’s important in music is that the character you play in your music is believable, and will somehow makes sense when we connect the songs. Eminem is unconvincing because he’s at one point mocking Pop music, whines about people not liking him and then makes a song with Sia. Ian Watkins is an all-around terrible person, but the sound of “Rooftops” didn’t change just because we discovered he’s a pedophile.

Balancing bragging tracks with ballads is tough. We all experienced the highs and lows of life, but you need to connect these two. If your character is sad, I need to believe this sadness is real and is relevant despite all the parties you had. It’s especially tough to come off as vulnerable or sensitive when a second ago you bragged how much sex you have and how all the women want you.

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I don’t think this is what you do with crosses

The Weeknd also released a song with a similar vibe, but “Starboy” is vastly different in demeanor and content. The Weekend also brags about having a lot of sex and a lot of money. He explicitly says he has a girlfriend and a mistress, both of which are out of your league. Along with bragging about cars, it’s obvious Weeknd’s life is overall quite kickin’.

What’s different is the context. Bruno Mars is carefree and happy in “24K Magic”, and only brags about how good his life is. You can understand nothing else about Mars, other than that he’s probably an inconsiderate asshole outside having fun. A line like “Bad bitches and ya ugly ass friends” promises great sex and treating you like dirt. Weeknd, however, is so dark that it’s obvious there’s something wrong with him despie how much he parties.

The Weeknd starts off his song with “I want to put you in the worst mood”. Already, this song is more than just bragging. He wants you to feel bad, he needs others’ jealousy so he could feel good about himself. Instead of the social butterfly who’s inconsiderate, Weeknd’s song is upfront about how pain exists in our world (and he wants to cause it). When he proceeeds in the verse to brag, it’s always about how his good things should make you feel bad. The line about using drugs to kill any pain makes it obvious that Weeknd does have a shitty day and needs to do things about him. The line “We don’t pray for love, we just pray for cars” is quite nihilistic, expressing a dark worldview of retreating to materialism.

Musically, “24K Magic” is a straight-up banger with funky backing, a great bassline and a synth that farts all the way. It only contains happiness. “Starboy”‘s drums are colder and jittery. It’s also more sparse, almost sounding like Joy Division tweeked for the dance floor. By the time drums kick in the chorus, they’re aggressive. You can party to it – it’s even recommended since it’s also brilliant – but it’s not happy-go-lucky and it’s more suitable to planning revenge than celebrating your anniversary with a significant other.

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Ain’t no fun if the guys don’t get naked too

These differences make me react so differently to the ballads. When Bruno Mars put out “Versace on the Floor”, I could think in terms of ‘fuck that noise’ and ‘are women still fooled by this?’. A little before, Mars was a social butterfly who didn’t care about anyone. He was the person you invited to the party, but once everyone had too much to drink and talk about life he gets kicked out. He’s the guy who never holds a conversation but only screams jokes¬†If Mars will be accused of raping a 16-year-old, I wouldn’t be surprised. Okay, I wouldn’t be surprised over any musician, but Mars is definitely in the top of musicians who have the highest chances of doing it.

I can’t connect the two. If “24K Magic” was less aggressive, more akin to Radical Something’s anthems of summer then it’d be different. Mars’ cocky aggression is integral to why his ballads doesn’t work. The line “Bad bitches and ya ugly ass friends” paint a picture of a guy women love so much he can afford to treat them bad without realizing it. Just ask Dessa. Neve in “24K Magic” do we hear a person who’s fun to be around, but a person who has a lot fun. It’s the type of person who fucks women instead of having sex.

When the Weeknd shows up his vulnerable side, it’s believable. He takes the dark side of “Starboy” and expands it, or takes the small cracks and zooms into them. “All I Know” is believable because it’s a direct contrast to “Starboy” instead of being unrelated. It was what he tried to hide so hard by bragging about praying for cars. “Secrets” is the flipside, with Weeknd being the man pining after the woman who has all the guys.

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About as romantic as quoting Gamergate supporters.

They also sing their ballads differently. “Versace on the Floor” is full of vocal acrobatics. Vocal acrobatics are impressive and a great way to terminate your acting abilities. Since they point out you’re actually a singer, you forget about the mood and the content. “Versace” is less about having time with a girl and more about seducing a girl using the promise of romance just to ditch her (Ed Sheeran’s character does it all the time). Shifting singing styles so radically only serves to show you were acting all along. Weeknd always sings as Starboy and never tries to show off. Imagine “Belong to the World” if Weeknd sang it like Mars. Actually, it would probably still be good because of the lyrics.

Perhaps it has something to do with me being a guy, but then again I consider Lostprophets’ “Rooftops” to be a highlight in music history. That song was made by your worst nightmare, a guy so sexy he could do anything he want and have women supporting him. Watkins never did Mars’ vocal acrobatics there. When it explodes, he screams more than sings and that’s crucial. Of course, good actors are also the best at sexual abuse, so maybe Mars isn’t that in person after all. I don’t know. All I know is that, as an actor, he’s horrible. Give me songs like “24k Magic” any day, because, from him, songs like “Just the Way You Are” makes me worry what happens backstage. I shouldn’t, since there’s always a good reason to worry about things happening backstage.

If that’s not enough, listen to “Versace” while watching the video for “24K Magic”. Tell me how different he is from how Nice Guys(tm) describe your boyfriend.

Slipknot – All Hope is Gone

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Normalization is the worst thing that could happen to a Nu Metal band. Back in the 00’s everyone whined about bands ‘selling out’, but they were concerned with the band’s image rather than quality. If a band decided to sing more and perhaps tone down the noise, it was wrong because it was accessible. Whether it lead to good music or not didn’t matter. So all the critics going hammer missed out about bands dropping elements, turning their vision more and more narrow.

The 00’s were surreal times, and pretty awesome. You could listen to Lostprophets without feeling guilt and overly serious EDM didn’t dominate the airwaves. A wave of loud rock bands rose, deciding that genres are silly. You can have funky rhythms, rapping, Dream Pop atmospherics and coherent screaming – sometimes all in the same songs. They weren’t afraid of being danceable or loud or poppy. “Eyeless”, a full-on rant with Jungle elements was considered unoriginal. It was unoriginal compared to, what, exactly? Long guitar solos and lyrics against Jesus Christ?

When Disturbed and Papa Roach dropped their quirks, it was a bummer but not too much. They weren’t too good at working with them anyway. Slipknot, however, are the band that suffered the most from the normalization. They didn’t distill their quircks into an accessible sound that still had shades of a unique personality. Korn still sounded out-of-place when they made “Make Me Bad”. Slipknot obviously read all the reviews that whined about how Machine Head does something other than an overly serious Pantera and decided, ‘hey, we’ll do it too!’

Why would anyone want to listen to “Gemataria” over “Eyeless”? What is it about the former that makes it more fun, more aggressive, catchier, more creative, more anything positive? Slipknot was so bizarre in their noisy rants that were somehow friendly to Rock radio. You would expect that the music would still have a shed of personality. If Slipknot makes ordinary music, it should at least sound like they’re playing the genre on their own terms.

Instead, it sounds like a creative band trying desperately not to come off weird, like a dude trying to hide his Slipknot shirt underneath a suit & tie. “All Hope is Gone”‘s chorus breaks into a Hip-Hop beat, and the chorus can be adapted into a Hip-Hop song. Since Corey displayed good rapping skills, nothing prevents him from breaking into a full Rap verse. It would be bolder to end the album with pure Breaks and rapping. The groove that drives it comes less from Pantera, and sounds more like the Funk-influenced ending of Prong’s “Cut-Rate”.

Elsewhere, “This Cold Black” and “Wherein Lies Continue” are more embarrassing examples of how hard Slipknot are trying to fit in. The latter has a slow groove that’s not danceable. It’s only ‘heavy’ in the sense that it’s not pleasant to the ear if your musical vocabulary consists of Backstreet Boys and the one Michael Jackson everyone knows. Imagine a Groove Metal track you’re supposed to brood too, rather than dance to. If you can imagine that, you need not ever listen to the song – or the whole album, actually. You’ll also desperately need something to make you forget this image. The former of these two track is the banding slamming their instruments seriously. There are no fun, catchy lyrics like ‘fuck you all, fuck this world’.

Really, people, why must anger be serious and dramatic? Vulgarity is informal. It mixed so well with Nu Metal because it gave it a lightness, a bouncy fun aspect to the music. Vulgarity makes the anger less serious, and the tracks more akin to venting than making grand philosophical statements involving fear and trembling. “Gematria” is limp and anemic, the band slams but can’t come up with anything truly hard-hitting. Spitting poetry about America being a killing name is so hilarious over these theatrical, brooding metal riffs. “We’ll burn your cities down” is the one highlight of the track, because Slipknot used to sound like they want to burn cities down for the fuck of it. Corey sounds more serious than angry, and you’re only allowed to be serious with Nu Metal if you’re weird enough.

Slipknot could’ve have justified their new, ‘no fun allowed’ approach since they were one of the few Nu Metal bands with an artistic bent. Vol. 3 didn’t suffer from it. In fact, it justified it by having fragile atmospheric ballads like “Danger – Keep Away” and weird noises during party tracks like “Pulse of the Maggots”. Nothing here is as brave and progressive like “Three Nil”, a track that was as angry as it was experimental as in was contemplative. It sees Slipknot utterly unrestrained by either Pop or Metal structures. Corey never once touches the conversational tone of that song, and no song has its unique, ever-changing structure except “Gehenna”. It’s an interesting song, at least, which counts for something in an album so lacking in spark or imagination.

The highlights are only “Psychosocial”, “Vendetta” and “Butcher’s Hook”. They don’t reach the heights of Slipknot’s older material except for “Psychosocial” – a fist-pumping stomper that tries to put a serious face, but still cares more about the party than grand statements. The other songs see Slipknot letting loose for a while. “Vendetta” may seem normal, but not because Slipknot are trying to be normal, but because they felt like kicking a straight-forward rocker. “Butcher’s Hook” sounds more like something out of Vol. 3 and has some fantastic atmospherics. DJ Starscream has always an important rib of Slipknot. His odd sounds made them sound more dangerous than any metal riff can, and the intro to the song is more intense than any Thrash Metal record.

Slipknot deserve so much more. While at first they seemed like they were Nu Metal’s most brutal band, they were also one of its weirdest. Even at their worst they sounded off-kilter and actually dangerous, like a band who can’t contain themselves. On this album Slipknot restrain themselves, and if this doesn’t sound awful to you consider this. “Danger – Keep Away” is an extremely soft ballad where the band jumps into its idea with full conviction. It has no build-up, just pure ambiance and creepy lyrics. Slipknot are unrestrained even in their soft songs. Nothing here sounds as dangerous or intense or authentic as that one. Here, they try to please those morons who whine about Machine Head being unoriginal since they expanded their sound. Such people you don’t want at your party, and you don’t want this album either (except “Psychosocial”, that’s Prong-level of party starting).

2 butchers out of 5

Ergo Proxy

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If to be great is to be misunderstood, then Ergo Proxy is truly one of the greatest anime ever. It’s second only to Future Diary in how everyone misinterprets it, both the fans and the haters. Some of what you heard is true. It’s experimental, bizarre and sometimes a little too vague. Yet no one talks about how it’s not experimental in the conventional, silly way. No one mentions how human the story is, or how traditional it is at the same time.

Somewhere at its heart is a very traditional story. It starts off with a mystery and later becomes a journey of self-discovery, a wild adventure with stand-alone set-pieces. Being experimental isn’t denying common structures but creating your own. The weirdest anime have a familiar side. They distort common tropes and structures and build something new out of them.

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The anime makes its intentions very clear at the beginning. You know this is a deep sci-fi story because there’s no info dumps. Techno-babble is common in sci-fi and its antithesis. Sci-fi is about exploring the implications of technologies and possibles futures. How exactly a technology will work is work for scientists. The purpose of storytellers is to try to predict how it will effect us psychologically and philosophically.

Human relying on intelligent robots is familiar, but the anime is more focused on what it means. Machines are just advanced tools. Humanoid robots aren’t meant to be actual humans, but serve various factions. How far does a tool advance before it stops being a tool? The companion model is important. Tools are supposed to solve technical problems – they help us build, repair and cook. Yet here’s a tool whose purpose is to address a psychological problem.

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Psychological problems are bigger than technical problems. The toaster is either broken or fixed and, in general, doesn’t have a will of its own. Psychology leads to wants and needs. Psychology is dynamic and is constantly changing. A tool that cannot solve a psychological problem without having long-term effects.

Intelligence is also important for the development of psychology. The more complex the problem, the more complex the tool has to be. Eventually we develop intelligent tools, but intelligence leads to psychology, to asking questions. But the AutoReives don’t have to ask too much. The main philosophical question – why live? – has been answered inside their programming. The designer of the tool decides its purpose. It designs the tool for a specific problem.

In a way, this is the argument for the non-existence of a God or for an indifferent God. Human beings don’t have their reasons of existence written in their code. The only humans who do are humans born in artificial wombs. Vincent is the prime example of the Absurd Man. If you’re confused over what happens to him, that’s okay. He’s just as confused like most people are. Unlike the AutoReives, he has to put conscious effort, to break out of his comfort zones to find meaning.

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Even the pre-programmed people aren’t safe from the nature of reality. Intelligence is only useful if it’s able to develop on its own. An intelligent tool has to continue to learn, or else it’s not intelligent at all and can’t deal with the most complex problems. Either reality shifts and make us question our purpose, or our intelligence develops and leads us to these questions. That’s what the Cogito virus really is, isn’t it? That’s Pino’s arc. She starts off pre-programmed with a clear purpose. As she gathers experience, she develops a worldview, wants and needs. The line isn’t between men and machine. It’s between men and tools.

Ergo Proxy is mostly about the search for meaning. It’s appropriate because the anime sometimes can’t hold on to that. The conclusion it reaches is a familiar one, but I don’t think anyone has yet to supply a better answer. We cannot stop the search. Romdeau may be sealed and ordered, but the Cogito virus still exploded. People still wondered what’s going on, and Lil Mayar found a purpose of her own besides merely existing. Human connection is also important. When everything falls, there are still people to hold on to.

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The anime mirrors the characters and humanity in general. It bumbles from style to style. The atmosphere is fairly consistent with the anime mainly borrowing from genres rather than jumping into them. Still, the theme is either pushed too upfront with name-dropping of philosophers or hidden in episodes that don’t relate to this. That’s why being aware of traditional storytelling is useful. Merely rejecting them is silly when they’re a useful crutch.

In general, falling back on tropes is a bad sign. Cliches without verve are offensively boring. Ergo Proxy‘s case isn’t giving up. Rather, it focuses on having a surface as attractive as its depths. There’s no reason to cover up a deep story with a boring surface, anyway. The mystery and the adventure are just as intriguing. While the tonal shifts aren’t huge with few moments of lighthearted fun, there’s variety in the set-pieces. It especially improves when the anime slides into its adventure arc. The set-pieces are varied and often bizarre. Episodes are told in different ways, and are often self-contained.

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Sometimes it feels like you missed episodes, but only because the focus is on making the episode an individual creation. The connection to past events is made later. The focus is more on the story. That’s another thing people miss about the anime. For all its talk about philosophy, Ergo Proxy isn’t a collection of weird images and stoic phases. It’s heavy on storytelling, on characters interacting and things happening. It rarely, if ever, stops to inform the audience on its philosophical nature. When the AutoReives cry for their ‘raison d’etre’, it’s more because this term is common in the world rather than trying to impress the viewer with jargon.

Its only flaw is its messy nature, but that’s forgivable. Any time that explores its themes so well, that plays both the philosophical angle and the storytelling angle is bound to be messy. It’s not even lying big themes on a traditional story. Ergo Proxy constantly breaks, constantly bounces from one thing to the next. The verve is engrossing, but the anime is also confused. Since it’s not a complete experimental work and not an adventure with psychological portait, it should be in the middle. A anime that’s at once traditional and experimental should be brilliant, but that’s too much to ask for. Still, it doesn’t matter if Icarus burned when he flew to the sun. The wings still worked.

There’s no reason to pass off on this anime. It’s bizarre, messy, intelligent, emotionally engrossing and accessible. It’s far-out, so I can imagine plenty disliking this. Still, this isn’t the impenetrable Texhnolyze or Serial Experiments Lain. In fact, its awareness of traditions actually makes it more bizarre. It’s truly unusual in a way that few fictional works are. If I have to present anime to an outsider, this is one of the first I’ll think of.

4.5 autoraves out of 5

Willaim Styron – Darkness Visible: A Memoir of Madness

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I shouldn’t be too harsh on William Styron. The book was published in 1989. Benatar hasn’t published his antinatalist manifesto yet. Alt-suicide-holiday probably didn’t exist back then. If it did, it was still fairly obscure. As Styron admits, suicide was a huge taboo at the time of writing. Many considered it shameful and tried to erase it out of the stories of people they admire. Pessimistic philosophy always existed, but Styron is oblivious to it.

Depression is harsh. It’s a disease and chemical imbalance has things to do with it. Yet Styron never confronts the question of whether his depression was right. Often you hear about how depression lies to you, but that’s the end of it. We’re hard-wired to believe depression is indeed a liar. Our genes don’t care about us so long as they can continue to exist. Love and affection also result in a chemical reaction, yet does that make them invalid? Not wanting sex with someone can easily be written off as a chemical imbalance. With the right chemicals, you can make anyone attracted to anyone.

Styron clearly suffered a lot. This is a slim volume and every line is dripping with pain and humility. Some snobs will scoff at Styron for feeling bad while winning awards, but depression’s grip on him is so strong. He’s aware of his privileges. He’s smart enough to complain about his state of mind, rather than how horrible it is when you win awards. Most of the book isn’t so much a recollection of events but salvaging a few thoughts from the depression era in order to understand it.

Yet how can you understand depression if you don’t address the perspectives it brings? How can you argue against depression and ‘defeat’ it, if you just write it off as a liar? Calling anyone a liar without proving it is barely an ad hominem. This is how it feels like when you attack someone’s depression. In fact, this is closer to gaslighting than helping.

Gaslighting is a technique of mental abuse that makes someone doubt their perception. By constantly insisting that the depressed person is wrong, that the world and their situation isn’t so bad you’re doing something remarkably close to this. If Jerry said his room is full of spiders but everyone else told him they don’t exist, yet he sees it, how will we feel? Of course he’ll feel even worse, since maybe his mind is so wrecked he’s seeing things that are not there. This idea is effective in horror stories, and the brilliant video game series Five Nights at Freddy’s uses it effectively.

He should know more than to write off depression so quickly. He admits constantly that depression is a mystery, one that we can know more about but never truly solve. The book’s best parts are when he details what depression feels like. At its worst, depression is a crippling disease. Yet it’s not a huge wound bleeding for everyone to see. It affects behavior and mood, which are dynamic and can’t be measured easily. The account of depression – the inability to get out of bed, anhedonia, the grinding hopelessness is addressed. Even as a fairly depressed (undiagnosed) individual whose worldview is pessimistic, Styron’s account was valueable in helping me understand it better. Many in my camp – the right-to-die supporters and antinatalists – view depression as another invented disease. Darkness Visible is a decent argument against it.

The last part of the book deals with recovery, and it’s also a disappointment. That’s not surprising, since recovering from depression also means defeating it in an argument. Styron didn’t address the philosophy behind the depression. What the pessimistic philosophers claim, which is often ignored, is that depression is a reaction. Just as you can’t blame someone for bleeding when they’re cut, you can’t blame someone for being depressed when their mother dies or they reach old age or lack of sex.

Unlike bleeding, what causes depression is varied and all over the place. Pro-choice suicide forums have people with all kinds of troubles – from people who have it all and are bored, to chronically ill to ugly outcasts. Your problems are right there in front of you. Listen to these people, listen to why exactly they’re so depressed. Styron is wise enough to admit that each person needs a different kind of treatment, but why is that? That’s because depression isn’t just a chemical reaction but a conclusion. The account of recovery is empty since either Styron couldn’t understand why he was depressed. Dependency takes most of the blame, but the death of his mother and old age get mentioned too.

If only he delved deeper into what these things mean. Things don’t just make us sad – that much he knows. Even sadness can be hard to communicate since it affects us differently. Sometimes it gives us a drive to fight, sometimes it makes us hate someone or something or another. Sometimes it makes everything around it seem pointless. There will never be enough words. We will never reach complete understanding of our anguish and sadness and all the other negative emotions, but we must try.

I forgive Styron, because his depression was clearly severe. Every lines feels like he went through great pains just to write it. Maybe his pain was too great for him to stare into the abyss. We’re wired for pleasure, so it’s reasonable for Styron to want more to escape his depression than confront its meaning. It’s enjoyable enough and worthwhile, but every mental disease deserves a much better book for its defining literary work. I hope writing this helped Styron, but it won’t contribute much to our understanding of suicide, depression and pessimism.

3 awards out of 5

Suicide: An Introduction to the Discussion

Suicide is a messy subject. There are a thousand angles to talk about, so many topics and sides that it’s easy to get lost. Debates can easily lose their direction with both parties talking about different things. Here I list the 3 main discussions around suicide. It’s important to know which of these we’re discussing. Each of these can be split up into more subjects, but I’m sure these are the main ones.

The discussion around the right to die is about the morality of suicide. The main question is whether people are morally obliged to live against their will, or whether they should be free to die. The most fundamental discussion is whether suicide has any moral weight at all. In general, here in the West we don’t view suicide as ‘immoral’, but we also don’t see it as a moral right like the right to live. What exactly the right to die means depends on who you ask. The most common definition is a painless, clean exit by euthanasia/assisted suicide. Most of the discussion about this right revolves around AS. Talking about the right to die says nothing about whether suicide is a good or bad option. It merely asks whether people should be able to do so, and how freely. It’s also connected to the right to self-harm.

  • Philosophical Suicide

This discussion is darker, less popular but it’s all over suicide networks. This is the discussion whether, in general, suicide is benefecial or harmful to the person committing it. It’s a general discussion that’s tied closely to antinatalism and Benatar’s asymmetry argument. The main question is, is non-existence always better than existence? It deals not with specific situations, but the nature of existence versus non-existence. Although a lot of suicidal people may not consider this question consciously, I don’t think you can talk about suicide without addressing them. Now with the more exposure antinatalism has and suicide communities, this discussion is integral to talking about suicide.

  • Personal Suicide

Whenever someone mentions suicide, the discussion will most likely slip into this. Considering the emotional weight of the subject, it’s for it not to. The discussion of personal suicide is about whether a specific person should commit suicide. Although it’s tied to the previous discussion, this one takes into account the person’s situation. Suicide networks generally avoid this part because they’re pro-choice, so they’re not out to convince anyone whether to live or die. This is the main (and possibly only) discussion suicide preventionists engage in. Many of the anti-suicide don’t seem to understand the difference between this debate and the former one, so they mix the two up and the discussion goes void. When talking to a suicidal person, it’s important to notice what they’re talking about, philosophical (general life vs. death) or personal (situations specific to them that make them want to exit). If you can’t distinguish what the person is talking about, you’re not really listening. Then again, if you’re against suicide you’re not listening anyway.

There are a lot of other topics involved and each of these can be split up into more and more specific debates. I don’t see anyone pointing out the existence of these. In truth, it’s the suicide prevention brigade that is doing the most harm. They do not discuss any of these. They handwave suicide, dismissing it as terrible and trying to use force to stop it instead of noticing the complexity beneath it. Only when we’ll acknowledge the variety of topics inside suicide we will be able to talk about it. All the research funds and we still get empty platitudes. So far, if anyone wants to actually talk about suicide, go to suicide communities. Be warned, especially if you work in suicide prevention. It’s harrowing.

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

Melanie Martinez – Cry Baby

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Melanie is late to the game. There has been a wave of Pop singers who sound like a response to the abundance of empowerment anthems. You know this style has been bled dry when Sia tries to write a vulnerable song about alcoholism and ends up ripping off “Titanium”.

Lana Del Rey was about the darker side of hedonism and hot bad guys. Tove Lo sang about the loneliness that finds even the sexiest women. Although they made great albums, Martinez feels like the true beating this genre needs. Tove Lo and Lana still sang like beautiful people. Melanie is the voice of the outcast.

Thematically, the album has more in common with Marilyn Manson and Nine Inch Nails. Its structure is similar to the famous album by these two. The songs don’t tell a story as much as they show a psychological journey of a character, who starts off as Cry Baby and ends up as Mad Hatter.

This is not the trouble of a beautiful girl who just needs to choose a different environment. Melanie’s protagonist is an outcast who finds rejection wherever she goes. On “Dollhouse”, she finds no warmth in a family that’s fine only on the surface. On “Carousel” and “Soap”, she’s rejected romantically. The former deserves special mention. It’s one of the few songs where the hopelessness of love is considered.

The rejection climaxes in “Pity Party” and “Tag, You’re It”. In the former, Cry Baby realizes she has nobody. On the latter, someone finally notices her and it’s a sexual predator. Eventually, she uses the same innocence and tenderness she had in the title track for rebellion. Poisoned “Milk and Cookies” get rid of the asshole. The ending is optimistic – she rejects society and its superficiality on “Mrs. Potato Head” and finds joy in “Mad Hatter”.

Superficiality is a big deal here, and in Pop music. How we look, in fact, is a plague that still infects women. Female musicians will still get praised more for their looks than men, as if it has any bearings on the quality. On Little Mix’s “Black Magic” music video, a change of clothes suddenly makes the guy interested.

Melanie is obsessed with how we use fancy covers to hide things. Almost every song here involves bad things having a nice cover, from the dollhouse that hides a dysfunctional family to the poisoned milk and cookies. That’s where Melanie’s childish aesthetic comes into play.

The whole album uses childish aesthetic to express dark themes. The music is the same. The melodies have a nursery rhyme-like quality. Nothing is actually aggressive or loud. “Worth It” is more abrasive musically, but then comes the chorus of “Milk and Cookies”.

While this aesthetic is often brilliant and Melanie sounds like a visionary, it also highlights how inexperienced she is. There’s a reason The Downward Spiral wasn’t Reznor’s first album. Melanie swings between being obvious and delivering just the right line. On “Dollhouse”, you get lines like “Pose with your brother, won’t you be a good sister?”. It’s brilliant in the way it creepily hints at sexual harassment. Then she bluntly states her Dad is having an affair.

She doesn’t stray from the concept, and that’s good. Only two songs feel slightly out-of-place. “Training Wheels” is a love song that’s great on its own but lacks the darkness that will connect it to the rest. “Pacify Her” is the sort of thing I’d expect from Lana Del Rey and Tove Lo. For a brief moment Cry Baby is an attractive girl that can steal others’ boyfriends?

“Mrs. Potato Head” has been already highlighted by many as the best song on the album. It should’ve spread like wildfire through Tumblr and become a meme. It’s an even better anti-beauty anthem than that Manson track. It has no subtly, it doesn’t need any. Someone need to sing “No one will love you if you’re unattractive”. It’s not about plastic surgery, but about our worship of beauty. We wouldn’t need plastic surgeries if we wouldn’t worship beauty like this. It’s also one of the softest songs on the album, and that only makes it cut deeper.

There will be weirder Pop albums, but Cry Baby is the one we need now the most. Its musical backdrop is unique, but not very attention grabbing. It exists to go along with Melanie’s ideas, but she doesn’t expand on them. The most attention-grabbing thing musically is the bass drop in “Soap”, which uses bubbling sounds. The album doesn’t need an overblown sound. Its smallness fits with the childish atmosphere.

The rough edges prevent it from being a classic, but it’s still a brilliant Pop album. It doesn’t even come close to being a “singles with filler” album. The singles are actually some of the weaker tracks. Melanie manages to create a persona of her own and not just create a collection of great songs, but a sequencing that works. It’s also another step forward from the bland empowerment we’ve been plagued with. I wonder what will replace Melanie’s brand of depressed Pop.

4 dollhouses out of 5