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

Code Geass

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First off, this anime ends horribly. People talk about anime suddenly ending with no resolution. Sometimes they overreact – Deadman Wonderland and Attack on Titan end an arc but keep the big story unfinished. It’s frustrating, since the arcs are integral to a bigger story and don’t stand on their own. Code Geass, however, simply ends. Worse, it ends on a cliffhanger. I know there’s a second season, but you don’t separate seasons (Or episodes, or books) for the sake of it. You separate them because they’re different stories. This one’s unfinished and this is a huge blow.

More news at 11.

At first, it’s tempting to view the anime as exploration of Japan under Western influence. World War II wasn’t so long ago, and we all heard about how the Japanese are poor victims. This story is false, and bones have a way of digging themselves out. Japan was an aggressor in WWII and responsible for some true horrors. So seeing a story in which they are oppressed can be bizarre – you have to wonder whether in the world of Code Geass they found the bones in Shinjiku. The big Western oppressor this time is the UK, whose main contribution to the world after WWII was Big Beat and Dubstep.

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It’s not about politics. The Geass is a physical manifestation of power. The creators wisely chose to never talk about how it actually works. There’s no D&D-esque magic system behind it, only a few limits to help us understand power better. A Geass is limited, because power comes in different forms. A Geass can also be used once, but can consume you.

Power doesn’t just come in isolation. Something drives power. The user wants to achieve something with that power. We hear about how some people just want to feel powerful, but why do they want to feel powerful? Powerful is ability and security. Power cannot be an end. If it is an end, it is only because power is the means to get many ends. Power never stands alone.

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Here’s your main problem with the anime. Power here stands alone. Excluding Euphie, the story is an ordinary one about oppressed people rising against their overseers, but so what? What does the British empire stand for? What do the Japanese stand for? You cannot just kill the tyrant but have to replace it with something. A person once said that anarchy is a ‘tyranny of people with guns’. Since humans are pack animals, leaders come by naturally and can be good for us. Leaders work differently, though even when they seem similar. Both the Nazis and the Japanese did unethical human experiments, but for different ends.

The series is soaked by the theme of power. The position of every character is established quickly, and is an important part of everyone’s lives. Notice how Rivalz is obviously inferior to Lelouch, how no woman swoon over him and he’s mostly just there. During high school scenes, we follow the most powerful people – the student council whose head is the daughter of the principle. Lelouch is a person who lost his position of power and that’s the same story for Jeremiah. Cornelia’s and Euphemia’s relationship isn’t just about protecting the little sister – one is clearly more powerful than the other.

It’s a fantastic stage to test what drives power and they squash it. The two sides fighting stand for nothing. Many stories use the typical Hitler-esque tyrant, which is cliched but at least something. Here, the British Empire only protect its own existence without ever answering why it exists in the first place. The Japanese want to free themselves, but they only free themselves into a vague ‘equality’ thing.

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Then again, it’s not a story of simple evil vs. simple good. Many scenes show us the Britinnians, their lives and how they’re actual human beings. The inclusion of school life comedy is brilliant. It shows us there are people behind the oppressors who might be used to their lives of privilege, but they’re still people. When everything falls apart, there’s no sadism but empathy towards the upper class.

If the creators can write vibrant scenes about everyday life, why can’t they imbue their characters with motives and ideologies? Relationships with the same structure work differently. Both Lelouch and Cornelia protect their little sisters, but Lelouch is the soft warm protector whereas Cornelia is the condescending one. A small character arc involving Jeremiah – a clear villain and an asshole – shows us the pain of falling from a position of power. Even while the series sides with Lelouch, it doesn’t shy away from how his power can hurt his enemies.

The ‘Grand Purpose’ is integral to any piece of art. Everything connects to it, and it makes the flaws more understandable. Without the grand purpose, there is nothing to review. Even shows whose only purpose is to show big boobs have this purpose. Often, average shows swing between two such purpose and commit. Code Geass doesn’t even swing between purposes but simply doesn’t have one. It goes through the motions, provides good storytelling that leads nowhere.

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Credit must go to the designers. The series sports one of the best character design I’ve seen. As pure beauty few anime match it. In fact, the characters are so beautiful that it feels like a plot point. Everyone radiates sex appeal, but somehow no one has sex with anyone. The overly-slender bodies do contrast with this. They’re not just thin but long, but every face is plastic-surgery perfect. Every stare is full of confidence with sensual lips. Even the voice-actors give a sexual smugness to it all. CC and Milly always sound teasing, like they’re just about to invite you to their rooms. It’s nice, but sometimes bizarre.

It’s also fairly expressive. Notice the contrast in design between Lelouch and Suzaku. Suzaku has a softer, cuter look with the curly hair. Lelouch has sharp eyes, black hair that falls in spikes. These designs amplifies their personalities. Rivalz is being stuck with a goofy blue hairdo. The decision to give characters similar but different hair colors is meaningful. Euphy’s pink is brighter than Cornelia’s purple, just like their personality.

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The gigantic robots don’t fare so well. The action scenes are a constant thorn in the anime. Although there are emotional moments in those scenes, they take the chess game technique to the extreme. They become more about Lelouch’s genius rather than the characters. Imagine JoJo but with giant robots. JoJo was nice, but its storytelling was built for shallow stories driven by excitement. Here, the storytelling always aims for something deeper. If the robots had a cool look to them, then fine. The designers went full lazy and just had gigantic hulks of metal with arms and legs. None of the imagination that fuels the character design (A character who appears for a barely a minute looks better than most anime characters) reaches them.

Contrast this anime with Future Diary. It’s another overly ambitious anime with so much going on it couldn’t flesh it all out. When Future Diary tackles an idea, it does so with full conviction. It may need more length, but when it’s about comedy it’s all about comedy. When it’s horror, it’s all horror. More importantly, Future Diary wasn’t about build-up but about arcs. Each arc had its own style. All of the elements in Geass aren’t spread evenly but crammed together into one gigantic arc that builds up to a huge climax. There is very little resolution in this anime. Some may enjoy the cliffhangers, the ‘what’ll happen next?’ but that’s boring. The most exciting anime are those that are exciting because what’s happening, in the present tense. They’ll keep you coming back.

Code Geass fails only because what it set out to do is be the best anime ever. It’s overall a good show with a dynamic story and a wide cast, each with their own point of view. Although it slips often to cheap thriller mode, the characters’ personality dominate it more than conventions. Even if it’s not the best anime ever, most creators can’t even attempt something this ambitious.

3 sexy homosapiens out of 5

Makai Senki Disgaea

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Without even trying, Disgaea steps over all those anime about a hero who Wants to Become to the Best. It’s not a deliberate, focused exercise in style or cliches. The only idea behind it is to deliver a simple adventure about becoming an overlord. This form will never die and that’s okay. You can fit many ideas into it. Somehow, Disgaea manages to get it right without fitting any ideas.

Other great works in this style – JoJo and Kill la Kill – have a bigger purpose than simply telling a story. One was about testing the limit of how macho you could get. The other comes from the head of Imaishi, and that guy never stops hallucinating. After all, we’ve seen this pattern of Hero Defeats Enemy plenty of times. Relying on it means falling back on cliches, and cliches are always terrible when they’re crutches.

Disgaea has no such lofty ambitions. It doesn’t push the monomyth further, or tries to get more steam out of its formula. In fact, it has no ambitions besides telling a fun story about an exciting adventure. Unambitious anime are rare, and often terrible. Plenty of time anime fail despite having big aims and trying hard. There was a lot less effort put into Disgaea than other shows, but the result is great.

That’s because telling a simple story isn’t that hard. You just need to remember your story is simple. The problem with doorstop fantasy series and long-running anime is that their size comes back to bite them in the ass. If your story is only about adrenaline and a few oddballs, why stretch it to be as long as life itself?

Free of these limitations, Disgaea lets loose with its wacky world. How it compares to the original game, I have no idea. As an anime, it gets everything right. The focus is both on memorable characters, unique set-pieces and a story that’s bigger than its initial premise. Although it’s mostly comic and light-hearted, it has its powerful emotional moments. It’s another anime that proves that if you make your characters feel alive enough, we’ll be swept away by their troubles.

The characters of Disgaea aren’t psychological. They’re of the grand-mythic type, but even there it’s in a basic form. A megalomanic, a pure-hearted angel and a conniving demon. These templates still work because the characters have an inner drive. Each of them reacts to the situations in their own unique way. Even if their personalities aren’t the most original or developed – they’re never as bizarre as Kill la Kill – they’re still lifelike.

The wacky nature of the world adds excite to the adventure. It’s a free-form world. There’s no internal logic to it. Hell is a bizarre place where weird stuff happens. If that makes the world shallow, these lone set-pieces still achieve the lifelike quality of the characters. The pacing is focused. Each episode stands on its own and has its own arc.

It’s important for your story to consist of such arcs. Stories that only build up put all their eggs in one basket, and can easily fall apart (Especially if your adventure goes on for a lifetime or two). Disgaea‘s adventure is fun because every moment is meant to be fun. In fact, the series often puts its big climax on the afterburner. It’s more focused on what happens now.

These set-pieces are often bizarre and silly, but why shouldn’t they? Adventure stories are that their best when they’re wild. We’re attracted to adventures because the events are often bizarre in exotic places. The silly nature of Disgaea‘s world makes it both more lifelike and more immersive than any WHOA WORLDBUILDING work by Western fantasists. Sure, Maritn filled with world with details and names. He never made something as attention-grabbing as the Prinnies.

Looking back, the expansion of the climax isn’t so unexpected. The hint that the show is more than Laharl becoming overlord are at the very beginning. It’s still a great decision. When the climax arrives, it’s huge. One climax leads right into another, but it never overloads. Every episode has its own inner story. Thus the climax doesn’t explode from too much content. Rather, it’s divided up and allowed to build tension.

While it gets the basic formula right, Disgaea is still an unambitious anime. That’s the flaw that follows it in every episode. It doesn’t feel like only an advertisement, but the art and the basic nature of things point to an unambitious team. The art is great, but the animation quality is fairly low. It’s not a minimalist art style yet the lack of details in the background make it feel like the creators didn’t think it deserved it.

The character design is also great, but everyone on the side is piss-poor. One episode has a one-time antagonist that looks like it was designed in one minute. The creators are clearly capable of great character design and good background. The visuals drastically improve in the climax (The Prinny redemption episode is especially beautiful). Until then though, it looks so basic and uninspired it takes you out of the anime. Animation quality isn’t everything and art style is far more important. Here, though, the animation quality affects the art when the character design is boring and the backgrounds aren’t as wild as they should be.

The story is also, in the end, about nothing. As the mighty Digimon Tamers proved, an adventure story can definitely be full of meaning. Disgaea doesn’t even try although it’s capable. The Prinnies are a brilliant creation. They’re hilarious and an episode proves they can be emotionally powerful. The series never plays around that. The series never pays too much attention to Laharl’s psychological development although it could. It’s not pretentious. It simply doesn’t try to add psychological depth or even cover it up. I don’t know what is worse – not trying, or covering up.

The flaws prevent Disgaea from being great, but it’s highly enjoyable as a light adventure. Many anime can still learn from this – the characters have inner drives, each episode is focused on a single arc and the climax is bigger than the synopsis says. There really isn’t much to dislike here, although some will be turned off by the lack of ambition.

3 Prinnies 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

Shinsekai Yori (From the New World)

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This is a story where the antagonists are the main characters. Either that, or it flips up the romanticized notion of revolution. Wouldn’t it be awesome to just go guns ablazing into Washington DC? Wouldn’t it be fun to kill all the powerful people that dehumanize us, make us work in low wages and study in their jails called schools? Only we forget powerful people also bleed. Beautiful people suffer from rape, and famous actors develop anorexia.

If only we could change.

Our relationship with beauty is odd. Although political bands make money off hating rich people, beautiful people may have more power. That’s thanks to the Halo Effect. If we perceive a good quality in a person, it makes all other qualities look better and the bad qualities look a little worse. Throughout the anime, we see a bunch of pretty kids/teenagers do their stuff. They fall in love, they have a lot of sex and they have fun out in nature.

Compare them to the queerats. It’s not that they don’t look human. They look ugly. They’re desexualized, have rough voices and do manual work. Surely, such stupid and ugly creatures deserve their place. When hundreds of people die, we can’t help but despise them. It’s not like the people of the villages are evil. They’re perfect, stick-thin intelligent people who care for the order of society.

“but they all forget somebody’s gotta scrub the toilets” – BioShock.

The anime is, at its heart, about power imbalance. Its way of exploring this idea is by deliberately making the powerful people sympathetic and appealing. There are two reasons for this. Evil people don’t really exist. There’s a coherent theory behind the oppression of the queerats. Also that often we won’t rise up against powerful people because we love them. It’s easy to hate the rich fat dude, but what if it was a beautiful women who enslaved people or send them to the gas chambers?

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The faction you side with tells a lot about your preferences. The story is the basic old tale of the oppressed rising against their oppressors. If you’re siding with the villages, then maybe justice isn’t in your priorities. The villages are more appealing, more like how we want to be. If you side with them, you just might be a victim of the Halo Effect.

If you hate the humans and relish all the death and destruction, then you also missed another point. There’s no difference between dehumanizing people for being powerful and dehumanizing them for being ugly. The anime makes the villains appealing both to reveal how the Halo Effect can make forgive terrible things, but also how people who do terrible things have their reasons for doing so.

Underneath all these philosophies of power there’s also an emotionally engrossing sci-fi story. Shinsekai Yori is a great argument for how sci-fi can be about human relationships and drama, not just showing off about possible technologies. Sci-Fi isn’t about predicting possible technologies – how a car works isn’t a story. It’s about how our society might look like if a certain technology emerges.

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It’s about what would happen if we’d become too powerful for our own good. If I were an expert in Japanese culture, I’d say there are parallels to the atomic bomb. The Cantus is a genetic mutation that gives human beings ridiculous amounts of power, but you can replace it with any possible mutations – super-strength, super-intelligence – that will cause a power imbalance.

Every human in the villages is a ticking time bomb waiting to explode. Despite the peaceful exterior, danger is ever-present. It can coming from inside – one of us loses their mind and goes berserk. It can also come from above. The masters can take you away because they consider you a danger.

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We humans have a hard time building an honest society. We feed our children a lot of things they later have to unlearn – there’s no tooth fairy, the people in TV aren’t your friends and schools don’t teach you anything. The ‘growing up’ the kids do is realizing that the world isn’t peaceful and cannot be. The Cantus is part of human nature. Reality is hostile from every direction – your servants can rise up, one of you can go berserk and someone from above can erase you from reality. You learn similar lessons when you grow up – the job market is cruel and being a programmer isn’t enough, rapists can be sexy and you might get sent off to war.

Like any other organism, we’re constantly trying to remake the environment in our own image. By constructing a peaceful environment, we could ensure our survival. Utopian fiction often portrays these environments as a jungle of machinery and wires. So the main lesson we learn is that technology is evil, savages are noble and we all should be one with nature. The villages are ‘one with nature’. Technology hardly exists there yet the world is still hostile. Cantus isn’t just a genetic mutations. It’s a physical manifestation of the power we hold over each other. Organisms by nature are dangerous. No amount of sex or being one with nature or creating a class of ugly people can solve it.

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Shinsekai Yori is so good that talking about the technical side is pointless. It’s fantastic in how it explores its themes and anime like this are why I put so much effort into writing reviews in the first place. Every year a thousand works of fiction come out, and books or live-action movies may seem more mature but I doubt many come close to the lows of this anime. It’s at once simple, emotionally engrossing and explores its themes to the fullest. There isn’t a reason for anyone to skip this.

If only we could change.

4.5 Queerats out of 5

Mashiro-Iro Symphony

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Why is it so hard to produce a decent harem? If harems were pointless excursions, it would’ve been fine. If they were unpleasant, completely generic without a hint of originality than fine. Then it’d be easy to review them and dismiss them. It’s rarely the case. Often the anime hints it could be something fun, even as a light drama. All it would take is a little more character development, a few more quirks and a little more conflict.

Mashiroiro Symphony perhaps deserves credit that its path is less common in the harem genre. The harem aspect is the only thing in it that makes it male-friendly. Anything else is so gentle, so fragile and cute that it fits the negative usage of the word ‘gay’. Nudity and sexuality are mostly absent. Hairstyles are all over the place, complex and detailed. Even Miu’s hair, which goes straight down has a unique shape. Each piece of hair has its own curve.

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It’s refreshing, since darkness is a persistent feature in fiction. Stories are rooted in conflict and changes, but the serenity of Mashiroiro Symphony is convincing. Many things point towards it – the characters’ fairly pleasant nature, the gentle art style. Its limit shows quickly, but I doubt the limit is in the style itself. Rather, the creators stopped at creating a unique atmosphere and everything else is lifeless.

Our tsunderes (yes, there are two of them) are out-of-place, especially Sana. Airi’s insecurities become integral to development, but when Sana gets into tsundere mode she makes sure to kick the main character because she saw it on other harem shows. Somehow in a world where’s little conflict and everyone’s nice to each other, nobody points out how violent she is. Kicks to the face are quite serious.

Other characters fare better, but their ideas don’t work. As a male lead, Shingo is a little better. Then again, his competition isn’t difficult. Not being a pervert or a dense idiot aren’t praiseworthy qualities. You’re praising him for not being something. What he is, is a tired character type that was done well one in big series but then everyone failed with it. Shingo is the good guy. He reads everyone, knows what they want and take every bad thing people throw at him with a smile.

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You might remember this archetype from the Ender’s Game series. Ender wasn’t just a good guy, though. The psychology of it was apparent. Being such a person means containing others, understanding them and putting them above you means pushing yourself to the side. Humans are inherently selfish, so any effort to understand others won’t be easy. Any sacrifice we make for others will affect us. Shingo’s never really affected by all the good deeds he does. He faces the tsunderes like a Charizard facing a Rattata. Laughing it off once is fine, but every episode of self-sacrifice should take its toll. Shingo is just as dull as any harem lead.

The other characters fare a little better, but only Miu is actually interesting. The creators had no idea what to do with the serene atmosphere, so characters end up either incredibly dull or pointlessly wild. Ange decides her sole purpose is to be maid, and what do you make of that? It comes off like a psychological problem, but the anime is too bright for this. As a funny personality it doesn’t work since the world is too serene for it. Only Pannya (an adorable furball that should’ve been Maromi famous) and Miu are interesting. In fact, Miu’s personality is directly related to the show’s nature and it gains steam when it starts exploring it. By the time it arrives we’re at the last episodes, and there isn’t time to explore it.

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The basics of a decent harem is here. It’s not annoying, and it focuses more on character interactions rather than embarrassing situations. The romantic conclusion is actually fitting. The two lovers have a clear basis for their relationship and if you seen it coming, that’s only because it makes sense. It’s all just a surface, a pleasant one but that’s it. There isn’t even surprise character deaths or a big explosion to notify you it reaches the climax. How bad is it to be stuck in the position of being pleasant, but not getting much of a reaction?

Pannya is awesome though.

2 pannya’s 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