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

Sundays Without God (Kamisama no Inai Nichiyoubi)

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This is such a bizarre anime. I’ve seen anime and movies with trippy imagery. I’ve read stories with pages of gibberish, yet few works of fiction left me with a sense of culture shock like this. Such anime are so original it’s hard to make them truly terrible, since the novelty value is there. Creators also tend to be as confused as the viewer, so they rarely reach their full potential.

When you have a unique premise on your hands that doesn’t owe anything to any tradition, there are two ways to go about it. You can either go full retard, mine the premise for anything it has and throw the kitchen sink along with everything. Since you have no idea how your anime is supposed to work, all you can do is try everything and hope something sticks. There’s a famous anime who did this and it’s called Future Diary.

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The other route is the safer one. You let your story flow, but you never try too hard to understand it. You let characters interact and explore your world, but you refrain from anything too attention-grabbing. The anime will narrow its focus. Its structure will become almost RPG-like, giving the protagonist a basic objective to complete and finish it off.

Sundays Without God takes the latter route, but the result isn’t a complete failure. Despite not playing with the structure, its setting and premise are so weird that the feeling of culture shock is persistent. The stories that make up the anime are also good enough on their own and take advantage of the setting. You cannot tell them in any other context. Still, something feels off. It’s not completely weird, not completely normal and leans towards the weird without mining it too much. The result is anime that’s enjoyable like an ordinary anime while feeling weird.

The best thing about the anime is it unique setting and tone. It’s a perfect example of how you don’t need a lot of details to create a unique world. The world here is simple. God is gone, no one can get born and dead people don’t really die. It’s apocalypse in slow motion. We’ve had a lot of stories about what happens after the apocalypse and we tend to imagine it as something swift and fast. Here, the world is in the process of ending.

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Human beings are resilient things, though. Even if the sun will explode, we’ll most likely try to save something. Survival instinct is so strong that it defies rationality and free will. In this case, the world isn’t ending so much as life reaches its epilogue. Life isn’t bad, but it keeps moving in an ordinary pace towards its ending.

What do you do when you’re the last generation? The anime is essentially about this, but it seems so weirded out by its premise it doesn’t really explore it. The first stories deal directly with these themes – one character is about to be the last of the last generation, which is the worst isolation you can have. The city of the dead is an interesting expressions of the Metaphysical Rebellion – how we can rebel against our circumstances and reject them.

The structure doesn’t prevent exploration of these topics, since many shows used shorter length with depth. The method of storytelling gets in the way. There’s an objective to solve, and the characters spend more time trying to solve it. While the pacing isn’t thriller-like, it’s too fast for such a premise. It doesn’t slow down enough to show how characters exist outside the story.

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Characters’ existence outside the story is one of the best ways to convince us they’re real, to make us care about them and see their humanity. Stories are something humans create and we don’t live in just one. A focused storyteller shows snippets of other stories the characters can have, but then goes back to the main one. A master storyteller can imply these side-stories and connect them to the main plotline. The anime doesn’t do this. Its focus is too narrow.

It’s a shame, because the storytelling is quite excellent. The format is familiar – we have a good, well-meaning character visiting people and helping them. Ai isn’t just a vehicle to tell the stories of these people. Her personality and position is directly tied to her role. In a world where everyone’s ready to die or desperately fighting death, she’s a piece of light. She’s the youngest person alive, a possibility that there might be a future.

She’s not a lantern, though. When things go bad, Ai doesn’t say some nice things and the story ends. Often, she gives those pep talks but stumbles. The world is, after all, ending. Problems still exist and are hard to solve. Ai may be an optimist, but she’s a struggling optimist. We see her doubts, how much she tries to cling to her optimism despite everything.

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This is where the anime’s faults lay. Although this is an excellent usage of such a character, they don’t take it far enough. Ai struggles, but the creators put her so much in the role of problem-solver she doesn’t have time to ingest the struggling. There’s no time to see how the possible failures affect Ai’s psych. Stories don’t always end just like she wants them to, and that should influence her worldview. How do you stay optimistic when things don’t go as expected? Do you blind your own eyes? Do you become pessimistic, or do you accept things as they are? The anime never addresses these questions.

The themes of wishing does make its appearance, but the creators aren’t sure what to do with it. People wish for things. Sometimes they come true, sometimes they don’t and sometimes they come true but the result is painful. It speaks volumes when a messy anime like Big Order addresses these themes better. They’re present, but wishing is not a plot device here and there aren’t enough angles to explore this topic from. It’s just there.

The art style continues the weird nature of the quality. The character’s looks are distinct and memorable enough, but the art style itself isn’t. You can put these characters in a school anime and they wouldn’t feel out of place (except for the outfits). There’s variety in how everyone looks and the school arc lets them show off their designs, but nothing connects it. Characters shouldn’t just look distinct but there should be a style that connects them, quirks that make the design memorable and make you wonder what else you can do with it.

On the other hand, the color schemes and backgrounds are beautiful. The anime finally fulfills potential. The colors are balanced. Light and dark tones are mixed. A burning red or a cold blue is are the dominating colors, and they have just enough brightness to make the world seem normal. There’s also a little darkness in them that reminds you that the world is dying. It’s a balance that’s hard to get. You can easily find yourself in bland colors, but here they’re the perfect mix of darkness and lights that fit the weird tone of the series.

Sundays Without God is a flawed anime, but nevertheless an anime like no other. Its failures hold it back from greatness, and but their nature prevents them from being offensive. When it falls, it’s not because it does stupid things. Rather, it’s too afraid to play with its ideas. They stand on their own, and even as basic storytelling it’s good enough. Someone might one day run away with these and render this irrelevant, but until then it’s worth your time.

3.5 sundays out of 5

Welcome to the NHK! (NHK ni Youkoso!)

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Here it is, people. This is no hyperbole. NHK is the worst anime of all time. It is one of the worst pieces of media you can conjure. A reality show about the Kardashians must be better than this. Pathetic YouTube parodies are better than this. In order to make something worse than this, you’ll need to let Ian Watkins brag about his pedophilia in the Lostprophets album that was never made.

There is no correlation between artistic quality and morality, as Lostprophets have displayed. Yet, you have to wonder what kind of awful person would subject the world to this. Worse, what kind of person would make an anime whose purpose is to make fun of anime watchers? Imagine if your ordinary school bully made an anime. There is so much wrong that I want to rant about it, shoot up heroin and watch Texhnolyze. That one was also bad, but it looks like a better version of Digimon Tamers over this, and Digimon Tamers is already brilliant.

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I’m not sure where to start with this mess, so let’s get with the art style. Art style is important. If not, you wouldn’t use a visual medium. Why, then, are the artists so unimaginative? Something makes me worry it’s on purpose, like those East Coast rappers who are so afraid of sounding ‘not real’ their beats barely have a drum. Everyone in this series is black haired and has no distinct facial features.

This may sound realistic, only it isn’t. People in real life actually look distinct. Even if you eschew wacky hairdos, your characters must not look like they came out of the assembly line. There are no odd touches to the hairstyle, different body structures, or an arrangement of facial features that stick out. In fact, the artists are so unimaginative that they can’t come up with a basic sexy design. Our main characters work on an eroge, and the design they come up with can barely touch the most obscure visual novels. Even when they could use anything in the artist’s arsenal – twintails split into 4, floating hair, purple lips – they still end up with a dull design. It’s worse than visual novels that have ‘same face, different hair syndrome’ because at least Da Capo’s girls have pretty hair.

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Everyone in this show is also fit and quite hot, despite being hikkies. Satou spent days in his room doing nothing (literally nothing, he’s not aware of the existence of porn). He doesn’t cook for himself and drinks a lot of beer. If you expected an overweight dude who looks like George Martin, you’re bound for disappointment. Satou looks more like Brad Pitt in his Fight Club era with a shirt on and a less aggressive stare. If these guys opted for anything realistic, we would’ve seen the consequences of isolation on Satou’s body. Instead, he looks like a side-character from Free!.

As for the story itself, don’t expect any understanding of what pushes people to be hikkies. Don’t expect a deep, dynamic psychology that reacts to the environment and is an active agent in the story. Any comparisons to WataMote are null, since this is the complete opposite. Tomoko struggled. She was lonely but she had to act and do things. We saw her failures, saw her difficulty and it made it so dark. What Tomoko goes through is our every social awkwardness, only every day.

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Satou doesn’t really have to struggle. In fact, he’s not much of a character at all. He has no desires, no life outside the story. He exists so others could pop at his door and force him to get help. It’s not much of a struggle if all you do is react to situations. Sure, it’s not enough to just be offered sex. You also have to go through the dilemma whether to say yes or no to that.

These are two different struggles. One man struggles with getting something, the other is being offered something and needs to accept it or reject it. The creators aren’t aware of the difference. They don’t know how to let a character drive a story, so they offer external conflicts he has to solve. The dilemma of whether to choose yes or no is hardly there, because the anime relies on events and not characters. If Satou chooses ‘no’, nothing actually happens. He doesn’t have a personality to move on from that ‘no’.

Satou, as a character, isn’t an exaggeration. He’s inconsistent. Despite spending years locked in his room, he doesn’t know anything about video games or internet porn or, well, anything. Keep in mind Satou isn’t an Unabomber-style hermit. Hikkies tend to have a hobby that keeps them in the house. Satou should’ve done something during all this time, should’ve gained some knowledge even if it’s only about non-canonical Star Wars planets. He’s completely ignorant of culture that it’s most likely he spent the entire time staring at a wall.

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That’s not impossible, but shouldn’t such a person be affected with a major disorder? Shouldn’t that disorder affect every aspect of their life? Socially, Satou is perfectly fine. Whereas Tomoko struggles every second, Satou is relatively confident. The only time social weakness rears its head is when the creators need him to scream for comic effect. Oh look, a hikkie yelled bullshit and emberassed himself! That’s some high-class humor!

The anime isn’t really about the pains of being a shut-in. The conflict is solved in a few minutes around episode 23 – no psychology, no development. Suddenly there’s a problem, so Satou walks out and he’s no longer a hikkie. Rather, it’s about the joys of conformity, how the world is a beautiful, welcoming place and you all should stop watching perverted anime and get in line. That’s ironic, coming from a country where people ‘conformed’ and let the military run the Rape of Nanking and Unit 731.

The ‘highlight’, if you can call it that, is the anime’s treatment of suicide. The idea life may not be worth living crosses the mind of the creators for no more than 5 seconds. Except for a brief moment, the creators go hammer about how irrational it is. The people in question have their reasons, but it’s pushed aside using ‘irrationality. At the end of the arc, some dude goes hammer about how their suicide will harm others and so they should stop. What an original argument. All of the philosophy behind is being shattered to pieces the size of the atom. Too bad the logic that fuels it can also be used to coerce people into rape, but better shut up before the thought police come.

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Darkness does exist in this anime, but it’s either skimmed over or played for laughs. Misaki’s and Yamazaki’s darker sides exist, but Misaki’s is barely allowed to surface. By the time it does, it reaches its expiration date and Misaki is the redemption. Her dark side never truly hurts Satou. The monologue that supposedly exposes her is to exaggerated, too comical to be a true confession. Like any other piece of darkness, it’s more funny and has zero insight.

Black comedy shouldn’t just have unpleasant topics. It should illuminate them. If you’re going to laugh about sensitive subjects, you need to do more than be funny. So WataMote put us in Tomoko’s shoes, dissecting her failures into little details, showing the absurdity and the pain. Even Borderlands takes violence seriously. Some of it is commentary on how lightly we take violence. By shocking us with how casually the characters treat violence, it gives us a mirror.

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Yamazaki is a lonely dude who’s inept with women. You don’t see his failures, or the pain of rejection. You see him spit monologues about how awesome 2D girls are. It’s quirky, funny and makes you feel good about yourself that you’re not such a loser. Satou’s inner monologues aren’t unhinged enough to show a mental instability, but also not coherent enough to show deep thought behind them. It’s funny that he ‘hallucinates’ weird, Doby-like things. Perhaps the voice actor is to blame. Satou reacts mostly by screaming, but that’s once in a while. In general, he functions well enough.

When they fail, it’s always because they were too weird. The world is mostly benevolent, with the occasional schemer here and there. A few scenes comment on the isolation of the modern world, but it’s always implied the characters brought themselves to this eternal isolation. It’s such an optimistic view, a ‘pull yourself by the bootstraps’ crap people tell others because they think luck doesn’t exist. Characters rarely deal with failure that’s caused not necessarily because they’re to blame, but because that’s how the world works. Things just sometimes don’t work.

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Based on Satou’s situation, he could’ve easily grabbed to Misaki and use her to increase her social skills. As a later character displays, in this world you can do anything if you only try. Said character starves from shutting himself in, so he crawls out and immediately finds a job. What a friendly world that is, where people walk to your door and offer to develop your social skills and where you can apply for any random job and be accepted.

is a ridiculously optimistic anime that refuses to acknowledge the world isn’t a happy happy joy joy place. Characters who feel bad are mocked or written as irrational morons. As we know, everyday other people walk to others’ doors and offer help. What? It didn’t happen to you? That’s odd. Perhaps this anime isn’t so realistic. Perhaps what makes something truly unrealistic is not things that cannot happen. Rather, it’s when the meaning underneath the symbols – in this case, the optimism – is completely detached from reality.

0.5 out of 5. I don’t come up with a unique phrase for this crap