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

Kyoukai no Kanata (Beyond the Boundary)

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At some point, someone had a vivid dream with a lot of cool visuals. He pitched them to a studio with a lot of budget and they said, yeah, we’ll run with it. Perhaps some asked about character design and plotting and symbolism, perhaps not. If they did, the production committee just said ‘oh, what the hell’. They hoped that by the force of sheer charisma and some visual inventiveness, it’ll be easy to miss how empty the whole thing is

What producers miss about anime like these is that you can’t mask emptiness. Great anime with great visuals who do bizarre things but somehow succeed don’t rely on a single element. Grand experiments like Future Diary work because they leave no stone unturned, and no element unfocused. That anime wanted the whole thing – psychology and philosophy and character development and action and romance. It wasn’t successful, but it was brave and that made it exciting.

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Beyond the Boundary¬†doesn’t seek to replicate this specific method. Rather, it tries to impress by sheer volume and energy. Wackiness is the essence and it works in some places. The dreamshades never look like ordinary enemies. An arc concludes in a surreal fight which includes a train floating in free space. In the climax, there is some kind of paralell world floating above ours. Inside it there’s terrain that’s always shifting. The main antagonist trap himself and another person inside empty white space. That’s quite cool, at least visually.

Our characters, in the beginning, are given more than stereotypes. Slight differences in dialogue, like how the little sister’s insults tend to drag on – add life. Even quirks that have nothing to do with personality, like Mirai collecting bonsais helps to add life. These tiny details are the differences between actual human beings. Usually, adding quirks without connecting them to a personality is a sign of sloppy writing. The series finds ways to balance those, with Mirai’s collection only cropping up occasionally – enough to show us he has interests outside the story, not enough for the quirk to beg for importance.

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Then it’s over. Nothing happens to these characters across 12 episodes. I didn’t expect deep psychological portraits, but I expected versatility. A one-dimensional character isn’t one with one trait. Rather, it’s one that reacts in a predictable, repetitive and almost mechanical fashion. If a character uses the same sentence in each situation, it’s one-dimensional.

Now, catchphrases can be fun but the characters have nothing but catchphrases. Once they stick to a quirk, they never let go of it. In the early light-hearted moments, the right comic timing makes these invisible. This flaw is more apparent in the last, ‘serious’ part of the series. The world is about to end, people might die and we still get the old joke about how Hiro’omi loves little sisters. In the midst of the apocalypse, characters still kick the silly woman

A character doesn’t have to change through the course of the story. What must happen is revelations. The new events need to reveal something new. Even if your character is defined by one trait, different events should show different sides of this trait. When the apocalypse finally kicks in, everyone behaves in exactly the same way as in the first episode. The only difference is that they’re slightly more serious. I know about Hiro’omi in episode 1 just as much as I know about him in episode 12. In fact, I actually know less.

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The Serious Turn is a problem for many such shows. You’ve seen it in High School DXD and in Big Order, where an external enemy comes in and everyone works together to defeat it. The laziest storytelling is to give the hero some external thing to do, some sidequest and have them perform it. You don’t have to be bothered with writing a personality. Just have the dude solve the murder or help the girl. Your typical airplane detective novel features such characters.

When the Serious Turn arrives here, the anime loses all its vitality and quirkiness. Suddenly there’s a whole conspiracy in the works that doesn’t add anything. Characters become forgotten, vanishing for scenes and showing the authors had no idea what to do with them. They couldn’t imagine how their personalities would react to the gigantic enemy, so they just have them stand there. If they move, it’s because everyone needs to gang up on the bad guy.

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Our hero also loses his quirks and saves the world because he doesn’t want his loved one hurt. What the Serious Turn shows us is how empty these characters are. If the quirks were connected to something bigger, the climax would’ve been vastly different. Every character would have a unique way of reacting to it. The anime got me when Akky decided the world isn’t worth living without the person sacrificing themselves to save the world. This cliche is only acceptable in ultra-ridiculous heroic stories. If your stories are ultra-ridiculous, your characters will be too and they’ll actually react to events in ridiculous, memorable ways instead of convenient ones.

Only Mirai rises above the mire. She could’ve been better, being pushed towards either the psychological direction or the ridiculous direction. As it stands, she’s a beacon of charisma in an otherwise empty cast. She has a personality that adjusts her reaction. The clumsy, hesitant and bumbling persona isn’t the most original. Mirai’s at least a convincing portray of it. When the climax hits, she’s still a mess, still uncomfortable in her own skin. Her personality might not be particularly original, but at least it exists and affects her reactions. It makes her the most alive character in the anime.

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She’s also the only one blessed with a good character design. It’s bizarre that in an anime with perchance for odd imagery, everyone will look ordinary. Akky looks slightly better than most harem protagonists, but he has nothing going for him besides blonde hair. Hiromi has a nice bowl for a hair and that’s where the distinctive details end. Some characters look so dull that it’s a wonder they still put effort into giving them voice-actors. I don’t expect them all to be as iconic as Mirai. As an expression of personality, Mirai’s design was is fantastic. At least give me something to look at.

This anime could’ve been a lot of fun. It does start off wild, with a wacky fantasy element and total disregard for making sense. Sadly, the creators didn’t have the gusto – or the imagination – to fully go there. If it would’ve been a nonsensical mess, it would’ve at least been bizarre enough to ponder. Instead, it’s another anime that settles on everyone being nice, saving the world from a dude who pushes up his glasses.

2 people who got lost beyond 5 boundaries

Paranoia Agent

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Bla bla bla this is experimental you won’t know what’s going on it can mean anything therefore it’s brilliant and not stupid like school harem fanservice bla bla

Now let’s get to the actual review

This anime is, first and foremost, about the atomic bomb. It’s also about a bunch of other stuff, mostly actual psychology. By that, I mean the anime is deeply concerned with humans, their emotions and how they view the world. It doesn’t stick philosophical jargon in the dialogue or has trippy imagery in order to insist how important it is. The situations demonstrate ideas, and psychology rears its head in character actions and thoughts.

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We need to talk about the bomb first. The general stort you hear in the West is that America is Big Bad mostly because it’s powerful and has a lot of money (As much as I love Star Wars, people watch it too much). Therefore, if they dropped an atom bomb on the Japanese then the Japanese are automatically innocent. They haven’t done a single bad thing in the war but were hapless victims of humanity’s worst weapon.

Of course, that’s not the actual story. Read about the Rape of Nanking, about Unit 731 and the Kamikaze. Japan was one of the main reasons why that era is humanity’s darkest hour. Thanks to the atom bomb, though, Japan could feel like a victim for a while. Victims don’t bear responsbility. They’re passive. Things are being done to them. The atom bomb saved Japan from the position of villain they might’ve been placed in once Unit 731 and Rape of Nanking were exposed to the world. Sure, you can buy books about these subjects but what do you hear about more – the Holocaust or these incidents? Germany was the loser, but Japan was the victim.

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Shonen Bat and his victims mirror this. Notice how American-looking Shonen Bat is. The baseball bat is a distinctively American symbol, belonging to the country’s most beloved sport. The manner of his dress – the hat, the hoodie is also more common in American than Japan. Furthermore, he has a peace sign on his hat (which was originally the anti-nuclear symbol). How he acts is by targeting people who are cornered, some innocent and some are not. By beating them up, they become victims. He releases them from that stressful position, whether it is being a bully, juggling identities or a big debt. Oh, and his name is very similar to ‘Little Boy’.

Maromi symbolizes Japan’s obsession with cuteness. Many took it as a criticism of that. Supposedely after the war the Japanese escaped to these cute cartoons and figures. They rely on them for solace and escapsim. Its type of cuteness is called ‘yurui’, which tends to mean bumbling and mild. Japan was turned into ‘yurui’ after being devastated by the war. All the people who got beat up become like this. They become passive, smiling, mild and without much content. They vanish after Shonen Bat releases them from their victimhood.

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Maromi isn’t a total rejection of that aesthetic. In the last episode Maromi fights Shonen Bat. Maromi represents hope. It may be false one, but it’s some kind of hope. He came from a pet dog. Shonen Bat, on the other hand, is a weapon whose purpose is total erasure. These are two different things.

Cuteness isn’t just an escape. It’s a total rejection of war and its stomping aggression. The problem isn’t in cuteness itself but how it becomes a slave to the technological aggression. By that, I don’t mean that Paranoia Agent is luddite and that it takes an anti-technological, nature-only stance.

It does take a look at how a deeply technological society, how humans’ attempts to build their own worlds cause isolation. The show opens with dozens of people rejecting others using their phone. The origins of Maromi are in the death of a dog by a car – a device integral for big city life. The work and school complexes put big pressure on their subjects. A failure at work doesn’t get help in improving himself, but his superiors constantly bully him instead of letting him go. A kid who’s used to being number one can’t imagine being anything else. The atom bomb wouldn’t be possible without a huge military complex.

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It’s not impossible to use technology and cuteness for connection. The only people Shonen Bat rejects are a group of suicidals who meet thanks to the internet. It’s their connection that keeps them from being cornered. The possibility of suicide sets them free, and it gives them a better escape than anything Shonen Bat does. They work for their death and find human connections through it. Everyone else is trapped in systems they can’t exit.

Maromi isn’t free of the work system. It has appropriated him, turned him into another device. Now the people behind Maromi puts tons of pressure on Tsukiko to design another character and for the producers to get the show on time. The people behind the symbol don’t follow its idea. Neither the consumers – they storm the stores, instead of relaxing with the little plushie they have.

Such ideas about the nature of work and how it leads to pressure may promote laziness. The anime doesn’t. Work is necessary, and we do see the police officer who works two jobs so he’ll wife will be okay. Here’s why Shonen Bat doesn’t go after him. Like the suicidal three, the police officer has a way out. He forms connections with both his co-worker and has a wife to come home to.

They say Japan has a high suicide rate and puts a lot of pressure on their students and workers. That doesn’t sound like a culture that follows the ideas in cuteness. If the above statement is true, Japan isn’t one big child. Rather, it’s a man whose had so much pressure put on him that only a state of victimhood can give him escape. It’s not just a mirror to the atom bomb, but how the Japanese culture is too harsh on its subjects and encourages them to be victims.

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The world in Paranoia Agent isn’t full of privileges, with problems existing only in the characters’ heads. It paints the modern world as claustrophobic. Social circles trap you in their gossip. Workplaces beat you when you fail but don’t let you go. Even the glory of being the best is trapping. In a society that has few options, victimhood is a way out. That’s very similar to war. If you can’t win, at least be a victim. It’s better than to lose.

You’ll hear often how weird the anime is, but that’s beside the point. Yes, the anime isn’t exactly linear. It blurs the lines between fantasy and reality in the last episodes. It’s never from a conscious desire to be weird. The anime locks on its themes. By the time episodes with unrelated characters arrive, it doesn’t feel out of place. Since the episodes are connected themetically and progress the ideas, they feel like necessary part. Paranoia Agent doesn’t rip the traditional structure for the sake of it. It has a structure of its own because that’s how it expands on its themes.

is the sort of brilliant narrative that doesn’t just define why anime is a worthy medium. It’s a brilliant piece of hard that’s worth your time regardless of what you like. It may be deeply concerned with the Japanese experience, but the atom bomb is a subject that should touch all of us. We’re talking about the worst weapon in the history of humanity. It also connects this to the universal human experience. Don’t let the tags of ‘experimental’ scare you. It’s accessible as it is brilliant.

5 plushies out of 5