Joking About Ariana Grande’s Terror Attack: A Few Scattered Thoughts

Irony culture is polluting the internet. Everywhere you go you see its tentacles, taking every good thing and getting ironic over it. As if saying something ironically is automatically a joke. Anyone remember those eyes when everyone was sarcastic all the time, as if that meant they were ‘tough’ or you were stupid for not reading between the lines? The internet’s irony culture of ‘shitposting’ is its heir. Like any major event, the terror attack on Ariana Grande’s concert became a canvas for these people to launch their jokes from. Actually, events like these – horrible, traumatic, death-filled – tend to be their favorite events.

Now, gallows humor is fine and all. Humor is important. It helps us keep a distance from things and break the ring of sacredness. If we can laugh at something, it’s not holy and we can criticize it and improve on it. Nothing should be beyond humor, but nothing is also beyond criticism. So now I’m about to explain why all these jokes about the terror attack are bad. Some people from the Irony Culture will call me ‘oversensitive’. I will call them ‘oversensitive’ for not being able to present a claim of their own.

I don’t know how to make this any clearer. A terror attack is traumatic. Many people will never be the same after this. It changed their lives forever. The songs and the artist will forever be connected in their heads to an attack whose purpose is to install fear and dread in them. 22 people have died, and that means at least 88 – and I’m being extremely minimal here – will live with a permanent loss nothing can replace.

Just to show you how trauma works, I live in Israel. Many here live under constant thread of rockets and are always afraid of the sound of the alarm. Some time ago there was a Post-Apoc LARP (Live-Action Roleplaying) called Sunburn. The organizers didn’t tell the players that there will be alarms. Not only the fictional alarms triggered these people, many also thought they were real. It wrecked their whole experience.

If you still don’t get what ‘trauma’ means, just ask someone to violently beat you up.

As I said, humor about anything is fine. However, we need to be careful when and where we post our gallows humor. Right now, when we’re still suffering from the fallout of that attack is not the time. That attack is fresh in people’s minds. They still need to truly realize that, yes, this happened and they are mortal and someone can blow them.

The internet is an unregulated mass communication tool that must not be censored, but that’s not a reason to spread it all over. We control the content we see only halfway. If I enter a meme site with hoping to manage my stress thanks to surviving a terror attack and I see memes about a terror attack and all the trauma rises up – who’s to blame? Why must it be this way?

Some did get that perhaps it’s nicer to wait a bit before making fun of other people’s trauma, so even that became a joke:

Another important element of gallows humor is that you need a joke. Without saying something actually funny about the subject, all you do is make fun of dark topics which cause pain and suffering to everyone – including you. There is no joke in this picture, unless the joke is about how memesters don’t have anything else to do but produce worthless memes. Then again, I think they’re too sensitive to actually joke about themselves.

I don’t know. I get it that you don’t like Pop music. Some of us are still stuck in the days of ‘real music’ where only Foo Fighters were considered good. Still, where’s the joke here? You found a pseudo-clever way of telling people you dislike Ariana Grande by making fun of a terrible event. I’m not sure how else to classify this behavior other than being an asshole and inconsiderate.

Oh man, I can’t help it. This is Dr. Strangelove-level of funny. Get it? The joke is, Grande is a horrible singer (Pop music isn’t real music, remember) and people dying – especially in terror attacks – is funny! Death is so funny, in fact, that we make sure everyone can experience it if they want to using assisted suicide! Aren’t funerals only second to the Holocaust in their funny-ness?

It’s kind of odd. Someone would actively take an image and write a semi-ironic text about how someone not dying is a bad thing. I’m trying to understand the psyche of doing this, of finding the bummer over someone not-dying a sentiment worth showing the world. Better yet, contextualize it in a meme so you could laugh about it and be ironic. There are so many layers of irony here I’m not sure what the joke is. Yes, some memes’ source of funny is only because they reference a pattern. Lord knows I find the ‘cracking open a cold one’ meme hilarious, but that’s only because I really like beer. Besides, the joke is rarely something cruel. Since there is no funny here, what is the joke?

“Oh, lighten up!” they say and I wish I could – or I wish I wouldn’t, since my ways of having include more than finding terror attacks funny. Every act of communication has a purpose. The nature of being is communicative. We communicate humor, emotions and ideas. By understanding what and why we communicate we can communicate better and face the communication of others better.

So I’m trying to get underneath all this humor. Since its surface is incredibly unfunny, maybe by getting down to it I can find insight into an alien culture. Sadly I face an empty well devoid of funny and full of laughter at the theatre of tragedy and the carnival of carnage that is terror and violence. If terror and violence were that funny, they wouldn’t be staples in horror films. Moreover, if you didn’t view this post as an attack – and this post claims you’re insensitive, unethical and that your sense of humor is dead like Nietzsche’s horse – you wouldn’t get all defensive over it.

The funeral of the irony culture will be a celebration. Bring your own stereo.

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.

Theodore Dreiser – An American Tragedy

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“intermingled and furnished it in some nondescript manner which need hardly be described.”

I dare you to find a funnier joke in all of history of the world. Only Robert Jordan’s death can compete with this. Theodore Dreiser overwrites like no other, and he is telling us twice that something is nondescript and there shouldn’t be described. I don’t know whether it’s a moment of self-awareness, or whether it’s definitive proof there was no editor.

You better laugh, because An American Tragedy is a heavy novel. It’s heavy in every sense of the word. The book is long. The writing is dense, overwritten, everything is repeated and reptition is everywhere. The subject matter is the same, the nature of crime and ambition and other big topics about life. The psychology is just as deep, with Dreiser refusing to cast anyone as pure evil.

Dreiser does the impossible here. Authors write great books by sticking to principles of good writing. They each have their own unique spin, but you can draw general rules that these books have in common.

Dreiser breaks every conventional rule. The end of the novel is obvious from the title. The writing is the worst you can find. I can never say enough how Dreiser overwrites. Plenty of things get described and every thought in the characters’ heads is spelled out for us. Dreiser never shows but always tells. The novel is just one psychoanalysis of his characters, but he doesn’t even give us the privilege of letting us do the hard work. He shows both the evidence and the conclusions.

Good thing that Dreiser can back it up. The reason all the overwriting is forgiven is because Dreiser has too much to say. By trying to show the story rather than tell it, he would have lost of the information he wanted to convey.

Is it the easy way out? I don’t know. Showing this story means writing a lot less. By telling everything, Dreiser has to grapple with his ideas head-on. An American Tragedy may be a busy novel, but it has clear themes you can follow. It also has an abundance of them.

It feels so epic, yet the story itself is simple. You could probably tell it in 5 pages. The thing is, what makes literature remarkable is less what happens. The meaning behind it counts far more. That’s why we can tell stories of rise and fall until the heat death of the universe and we don’t get sick of them because they each have different themes.

I doubt many of them can hold a candle to Dreisser’s work. He was blessed with the unique ability of reading minds. That’s the only way to explain the characters. They feel real because they’re each understandable. There’s a murderer, but there’s no villain. By the end, the reverend who constantly begs for mercy isn’t just the character but Dreisser itself.

Weren’t oracles always portrayed as being greatly affected by their visions? This novel shows how understanding the human mind can affect a person. Dreisser doesn’t just overwrite. He wrestles with the tragedy of the human condition. I know this is a huge word and it makes me sound pretentious (and a white straight male). How else to describe this novel, though?

We puny humans are always in conflict. All of us think we’re right. The man who can cure cancer, the soldier who kills a terrorist, Ian Watkins abusing kids, the person who prevents suicides and the suicidal person all sure that their worldview is current. They also all come in conflict. Now, when you only thing your side is right it’s easy. Just keep attacking the other side no matter what. What do you do when you can understand everyone? What do you do when you see both the selfishness of heroics and altruism of it? What do you do when you understand a cruel murderer but can’t ignore the pleas of the victims?

These questions always pop in the novel. American Tragedy is confusing not because of silly things, like ‘it could mean anything’ or because you can’t understand what’s going on. It’s confusing like real life is confusing. There are no shades of grey. It’s one whole kaleidoscope. Dreiser has some answers. Clyde is definitely guilty, but beyond that Dreiser leaves us with questions and keeps us wondering.

While it’s a tragic novel, it’s not a depressing one. A novel that tries hard to understand everyone isn’t a product of a nihilist. It’s a product of someone who loves humanity. Love is a problem like it is a blessing. Like Clyde, Dreiser is trapped between people because of his love for them. Unlike Clyde, Dreiser is trapped between more than just two women and he’s unsure who to choose. Seeing how much compassion he writes this novel with, it only inspires me to be as compassionate to others like Dreiser is to his characters.

Be careful when starting this. The novel takes time to read. The langauge is complex. The paragraphs are long and the plot is very slow. It also took me about 90 pages before I got used to the writing style. It might be inaccessible, but it’s well worth the effort. The novel wouldn’t work if it wasn’t so clogged with Dreiser’s own thoughts on his characters. That’s how he reveals to us all the grey areas in the novel.

As inaccessible and hard to read as it is, I’d recommend to everyone. If literature is about enriching our understanding of ourselves, then this is definitive literature. It loses a few points for dragging, but as difficult as it is I know I will return to it someday.

5 murders out of 5

Rihanna – Anti

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Rihanna wasn’t supposed to last this long. She’s talented and charismatic, but not enough. Her voice sounds unique now only because we’ve heard it in a dozen songs. She doesn’t have the iimmediatepersonas of other artists like Carly Rae or Melanie Martinez or Lana Del Rey. She always had good hooks and connections with famous DJ’s. That’s why so later in her career she could still make a crappy song like “We Found Love” a hit.

Her best songs were never creative. She just had good vocals and hooks. What makes Anti sounds so weird at first is because there was no build up to such an album. There was nothing weird or wild about Rihanna. She was always a conformist, so much so that she pretend to be a tough rapper on “Bitch Better Have My Money”. Even Bieber’s move to AltR&B makes more sense. He was huge. Rihanna doesn’t feel as huge as him, but just a talented vocalist with good hooks.

As brave as this album is, it’s misguided and pointless at the end. For a while I was sure it was incomplete, with the accidental leak at all. It takes a while until you realize “Kiss It Better” is pretty good. “Consideration” and “James Joint” are interludes which feel more like B-Sides recorded for the heck of it, just to try it. The pounding drums of the first track are interesting, but the novelty wears off quickly. There’s not much there besides Rihanna telling us she’s independent and we should respect her for who she is.

Who is she, though? When you adopt cliches that tell me you’re artistic, how artistic and original are you, anyway? Bieber didn’t just adopt the atmospherics of AltR&B. He experimented with it, putting the stripped-down “Love Yourself” right next to the moombahton of “Sorry”.

Anti is artistic and experimental in a predictable way. Instead of adding new things, it just removes club-friendly beats for ‘atmospheric and minimalist’ beats’. Instead of hooks, we get vocal acrobatics. Just because these things aren’t so radio-friendly doesn’t make them good.

These elements aren’t supposed to make your record inaccessible, anyway. Anyone who thinks experimental music is meant to be difficult on purpose never heard great experimental music. Experimental music ism’t merely different, but it find a way to make its difficulty and oddness enjoyable. Experimental music isn’t so much about ‘being difficult’, but about finding new ways to enjoy music.

Rihanna can’t find something to replace her club-bangers with. The last three tracks are all a throwback to ‘Good Ol’ Soul Music’ with vocal acrobatics. It’s just an obvious attempt to cater to ‘serious listeners’, sort of like how “Titanium” was for a while the only acceptable EDM song. What’s their point, though, besides being a throwback? Can’t I just listen to “Good Ol’ Soul Music” instead of Rihanna’s copy? Just compare “Never Ending” to “Stay”. The former is ‘stripped down’ by only having an acoustic guitar doing something in the background, and Rihanna doesn’t sound interesting. She just sounds serious.

Seriousness is another problem. A common misconception is that ‘quality music’ is always serious. It’s the sort of stupidity you expect from young people who just discovered guitars. Rihanna thinks that by never having fun we will respect her, but all it makes is for a joyless, boring album. The best tracks here are the most fun. The guitar of “Kiss It Better” and the bravado of “Desperado” are a lot of fun. Both are progress. They take the toughness of Rihanna and put it in a more melodic, soulful direction. It’s this mix of soulfulness and aggression which makes it genuinaly experimental, weird but fun.

You can imagine Rihanna in the studio, scowling like a character from Texhnolyze writing off ideas. A producer suggests bass wobbles there. Another one points out to Korn’s remix of “Bitch Better” and suggests adding a metalcore breakdown. Another one thinks that maybe she should try to rip off Black Moth Super Rainbow. “No,” Rihanna says. She’s a serious artists now, so we must not do something too crazy. Let’s just make everything vaguely atmospheric using a lot of small sounds and sings low-key. Let’s make none of the songs stick out, because serious artists make albums and not songs.

Too bad Korn’s addition of guitars to “Bitch Better” is wilder than everything here. Even if you take an album-centric approach, you still need songs that make the album worthwhile. I could enjoy an album full of “Kiss It Better”‘s and “Desperado”‘s. They may not be big singles, but they sound like complete songs with hooks. “Yeah, I Said It” just sounds like a collection of pseudo-atmospheric sounds and vocals. It’s almost a parody of alternative R&B.

Or maybe Rihanna just smoke a lot of weed and the whole album is meant to be enjoyed in a drug-induced haze. There are a lot of psychedelic albums that are very enjoyable without drugs, so I don’t see how it is a defense.

Anti is an important album, but only the surface. Rihanna officially becomes a ‘serious artist’ in the worst ways possible. It’s serious, uses the most predictable techniques to inform you it’s artistic but doesn’t contain an actual novel idea or weird. It doesn’t really challenge you or startle. It’s just boring and joyless most of the time. Rihanna could make a great album if she looked to “Desperado” but here, it’s mostly just posturing.

2 bitches who owe Rihanna money out of 5

 

Stephen King – Carrie

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It’s odd to read this now. King is a behemoth. People who don’t read books probably know his name and he’s synonymous with Horror fiction. It doesn’t feel like he wanted to be a horror writer in his first novel. There’s blood, cruelty and a general depressive tone. What defines a story is more than these techniques.

At its heart, this is a psychological novel. Its main concern is not with horrifying, but exploring different viewpoints. A lot of characters are pushed to the extreme, especially Carrie’s mother. It doesn’t make them any less understandable. King just makes everyone equally exaggerated.

Carrie’s mom is terrible, but she has reasons for what she does. While she’s an exaggerated portrait of an overprotective mother, she never becomes a strawman. King writes events that make her personality understandable. She was already predisposed to extreme religious views. When so many things happen that only strengthen that position, her already narrow view becomes narrower.

It’s weird to see King forgive his antagonist like this. He didn’t do it in other stories, where someone was evil because of something in the past and ruined the fun for everyone. Margaret White is more of a warning, showing us how we can become so protective (and thus dangerous).

The Evil Hot Girl gets a worse treatment, but it’s still there. Things make sense from her point of view. She’s used to getting what she wants easily. Such people react with anger when people challenge them, especially if it’s to protect a weirdo. Chris was raised in praise of normality. Her cruelty comes from hatred towards Carrie, but the hatred doesn’t come out of nowhere. Carrie was a challenge, a weirdo who made her presence known and that people sided with. Of course Chris will feel threatened.

The novel isn’t about horrifying readers. It’s about bullying. It doesn’t even use this controversial subject as an instigator to spill blood. The first half of the book is concerned with what bullying is and how it can affect people.

There’s an irony here. Parents want to protect their children, especially from bullies. This overprotectiveness can become bullying. Margaret has good intentions, but she still bullies Carrie. Confining, locking away and limiting a person’s freedom is a form of bullying. It’s just as harmful as insults. It’s a form of violence. Margaret tried to protect Carrie from the world, but her overprotectiveness made the world more dangerous since she never taught Carrie how to handle the world.

Bullying doesn’t start from pure sadism. A person becomes a target for bullying when he’s odd enough and don’t know how to react. This what makes the locker room scene so effective. The whole blood-from-vagina thing isn’t an a horror thing. It’s just texture. The purpose of that scene is to show what makes kids bully another. Carrie was a weirdo, getting her period late and not knowing what it is. It’s something the kids can use for their entertainment.

Yes, bullying is that cruel. There was nothing very exaggerated about it. Bullying escelates from insults to such acts of violence, complete with the crowd cheering. Not everyone is going to jump in, though. This is a surprising insight from King. Instead of painting everyone as just out to make Carrie miserable, he recognizes not all of them are evil.

Some of them may even regret. Some of the popular kids are probably busy having too much fun to care. That is far more realistic. Some people will get drunk with power being at the top of the popularity chain. Others will have too much confidence, enjoy their life too much to make time to make someone else miserable.

It’s hard to trust them when you’re used to bullying so much. When you’re a nail, everything looks like a hammer. Carrie isn’t an antagonist but a tragic character. She was pushed around so much that she couldn’t believe a good thing was happening. She is quick to look for how other people will hurt her and jump to conclusions.

The most horrifying thing about the explosion at the end is not all the blood and the damage. It’s the fact we understand Carrie and that her reaction seems reasonable.

There are excerpts from various fictional texts scattered around the novel, and they further emphasize that people were acting based on what they know and what seems reasonable to them. It’s not just a way to show off writing styles. The focus is how each text treats the case – an autobiography with a personal tone a cold interview and an academic text that remains skeptic of everything.

This causes King to spoil his own book. He would continue doing it in later novels, but it doesn’t matter here. The novel relies more in its exploration of viewpoints than withholding information. The fact King already dispenses How It Ends and the Secret Power allows him to spend the rest of the pages developing characters.

It does take a nose-dive in the climax. While it remains fun, all the depth is gone. It’s a typical King climax where everything goes batshit crazy. Gas stations explode, people die, blood pours like rivers and so on. It’s not scary anymore. It’s just one disaster after the next. It moves in brisk pace, but there’s nothing to it.

At least it never becomes too pornographic. King doesn’t waste two paragraphs on drop of blood and keeps the events moving. Still, it’s disappointing. It doesn’t have any of King’s weirdness which lifted his weird stories. It doesn’t develop the characters furhter. The editor went AWOL in that section and it shows.

Overall, it’s a tight book. I guess the reason King’s later works are so unfocused is because he was beyond editors. Here,

3 periods out of 5

High School DXD

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There’s an art to the ecchi genre. Sexual appeal may not require brains to react to, but it requires skill. Not everyone can be a stripper or a sexy dancer even if you have the right body. A good ecchi show would know symbolism and psychology aren’t part of the genre. It would know that it uses sexuality and energy to tell a fun, ridiculous story. High School DXD knows this, but doesn’t work on it.

The characters embodies the strengths and the weaknesses. Rias is worth all the hype and posters they made. You need more than big breasts to make a sexy character. Rias is sexy and not just because of her figure (which isn’t easy to design. See also: Divergence Eve). It’s also little touches like the hair, which is deliberately red. Red is both the color that attracts the most attention. Rias isn’t just meant to be pretty but she symbolizes sexuality.

Her posture, behavior and personality also help express this idea. She’s not a caricature nymphoniac who’ll be a sex slave for our main character. Rather, she’s comfortable in her sexuality. She doesn’t mind being seen naked. She’s in a position of authority that gives her a lot of power but she’s not drunk with it. Power is sexy, but being able to control it is harder and sexier.

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She’s a charismatic, powerful presence that holds the series despite the fact everyone around her is barely half as interesting. What’s weird is that all the failures are females. They’re supposed to be just as attractive as Rias, but they’re dull.

It’s hard to see something in them beyond archetypes. Rias was an embodiment of an idea. Everyone else is a dull archetype. Asia is the complete opposite of Rias, which is something. It’s not used to its advantage. The contrast between the two never appears. We know she’s a nice girl but we only know it. We rarely see it happen. Akeno has no personality whatsoever and Koneco is a quiet loli, which was always a terrible idea and doesn’t improve here.

The designers do have talent. Later in the series a rival group is introduced, and they all have more imaginative designs than the main characters’. It’s almost as if they had two different designers, and the less creative one punished the other. Things in the rivalry team include spiral twintails, X-shaped twintails, a bikini armor and a masked figure. Even at their worst, there’s more spark to their design. Why do the main characters get the generic long hair of Akeno?

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The male characters are actually more entertaining this time. They’re often mindless perverts or boring good guys in such shows. Issei is a combination of both, but it’s one that works. He has these attributes not because it’s convenient to the story but because they can create a personality out of it. Issei becomes both an overblown moral hero who’s just as selfish and horny as the person he goes against.

There’s irony there. It flips the story where two people beat up each other because they disagree and somehow their strength proves their idea right. I wish the irony was more developed though. Issei knows he’d like to be that asshole he’s fighting, the guy with the harem. The anime doesn’t take a step back to laugh at this, at least not enough.

The problem is that it’s not enough to just know you’re making an ecchi series. You still need direction, you need to aim somewhere. What prevents the series from becoming really enjoyable is its lack of direction. Is this about how stupid but kind of cute we are in high school when hormones drive us crazy? Or is this about a hero that’s going to push himself over the edge for a girl because he’s hungry for sex?

If the series would’ve chosen to alternate between the two, it would’ve been fine. Instead, it jumps back and forth between the two. It only gets focused at the end, where it sticks to the epic fight and nothing else. At least it’s victorious there. The fight is well-animated and has a pretty enough scenery to make it exciting. The exaggeration of the characters is also believable enough to make the final conflict feel epic enough.
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The fantasy element is one of the good parts. It’s a cute spin on the Devil/Angel dichotomy that doesn’t pretend to be profound. The idea of devils doing services for people is rife for potential comedy. They play around with it a little and then abandon it. The epic battle was fine, but it was more fun to see Issei trying to do things and being a loser. It’s an opportunity to create odd side-characters who can have their ideas summed up in one episode. There are more seasons and I hope they play around with this more.

Now comes the fatal part, where humiliation is passed off for sexiness. I don’t mind the camera finding its way to changing rooms or how clothes get ripped off during battles in sexy ways. What I don’t understand is, is it necessary to have the characters strip others naked against their will for our enjoyment? It’s not sexy and it’s not humorous.

High School DXD knows what it isn’t, but it also doesn’t know what it is. There is heart here. These people really wanted to make an anime that will capture the fun spirit Ecchi can have, but they didn’t know how. Maybe the next seasons have more focus. I hope so. Rias is too much of a fun character and Issei is a rare Harem protagonist who actually contributes to the story. It’s a fun show, but as crazy as it sounds I think we can do more with Ecchi.

2.5 devils out of 5