JoJo’s Bizarre Adventure

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Imagine if Dragon Ball Z was actually good, or if Kill la Kill wasn’t so weird.

I feel sorry for this anime. It takes a stupid, pointless idea and makes the best of it. The world has dozens of stories about macho dudes beating up other macho dudes because they don’t agree with their morals. In the worst cases, these stories are filled with overcomplicated fight systems nobody cares about, and silly monologues.

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The world of macho dudes who never really die, where time doesn’t exist is a bit tired now. Franchises like Naruto, One Piece and Dragon Ball will outlast the heat death of the universe. It’s bizarre how no author of these mangas pulled a Robert Jordan, but nothing is as bizarre as this anime.

Macho-ness, like most tropes, is bad because it’s boring. The problem with using tropes has nothing to do with sophistication. It’s just that after seeing the same technique for 100 stories, you get bored. You become like JoJo and can predict their next sentences. Bad cliches are used by storytellers who don’t know what kind of story they want to tell. Is it an epic adventure? A silly show about silly people beating each other? An examination of good an evil?

JoJo‘s strength is the focus, unlike all these shows. The anime makes it clear what it wants to be early in the beginning. Then, every single thing that happens connects to that. JoJo wants to deliver a simple story of good and evil. The bad guys are really, really bad. The good guys are really good and charming. If the fate of the world was really in the hands of a macho dude, we’d all be filled with adrenaline. When it’s a bunch of colors on the screen, you need more than this.

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Since JoJo knows its purpose is to deliver excitement, it will do everything it can to raise the stakes. Bad guys don’t come back after being defeated just because you can milk the show a little more. They come back because it raises the stakes, makes us wonder how they can be defeated. The anime establishes that everyone knows what everyone’s next move is, which is exciting because we wonder when will one of these will fail.

Battles in anime always have pre-determined results. Every battle in anime is a man playing chess against himself. So a battle is only as exciting when the writers can challenge themselves, when they find ways to overturn their own schemes. The set-pieces drive the battles, not just meaningless shots of people using fists. Each battle is a progression of moves. It’s an odd way to describe a fight but they’re like a chess game in how every move has a clear influence on what happens next. There’s something thrilling in seeing a person trying hard to beat himself up in chess.

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It’s not the animation that sparks up the battle, which is weird. Most of the time, exciting fights are well animated. They have fluid movements that create a kinetic energy. JoJo opts for more still shots, but its set-pieces and beautiful progression saves it.

The art style itself is very old school and gloriously macho. It’s so old-school it’s jarring at first. Everyone has a Schwarznegger build and dangerously low amounts of fat. Even characters who don’t fight look muscular, with square faces and bodies of an endomorph. This style can be ugly. It does suffer from Same Face Syndrome, but they make up for it in other ways. Where it fails to dazzle in character shapes, it succeeds in customes and hairstyle. Every important character has a unique, often elaborate dress style.

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In fact, beyond the endomorph build, JoJo‘s version of macho is unique. Perhaps it was common in old times, but today it’s rarer. We now love our heroes rebellious, slightly selfish and enforcing their morality in brutal ways. We want Deadpool and Iron Man, heroes who are only good because the plot requires it. The macho-ness of JoJo is the ‘respectable gentleman’, a man who respects even his enemies. The first part drills this the most, but even the second arc with the rowdy second JoJo has it. Wham is an honorable villain. JoJo duels him fairly and with respect, rather than with malice.

So the characters don’t look gritty and tough. Rather, in the language of 12-year-old kids, they look gay. Their customes are elaborate and decorative. They look like men who are so sure of their macho-ness that they don’t mind looking so ridiculous.

The female design also enforces this weird form of macho-ness. JoJo doesn’t downplay the female’s femininity. In fact, it shows it with all the glory. Although there are no ecchi moments, the female characters look distinctly feminine – lipstick, eyelashes, gentle features. A common problem in battle shounen is that everyone is so macho, the show is afraid of femininity. So besides having longer hair and breasts, the females look like men. JoJo doesn’t need sexuality to remember its female characters are female. It’s a macho series that doesn’t view femininity as a weakness.vlcsnap-2016-03-05-23h15m50s208

For all its fun (and it’s a lot of fun), there’s a glass ceiling it cannot break. It’s a great macho adventure about saving the world, but that’s all there is. It does a lot with its style, but it’s always limited by it. Dragon Ball Z looks pathetic next to it, but JoJo is overshadowed by Kill la Kill. For all of its weirdness and energy, it never becomes as absurd Kill la Kill. It aims there and it succeeds enough to not become useless. I’ll definitely check out the sequels, but Imaishi’s cartoon prove there is so much more you can do with macho bullshit and saving the world. The fact JoJo keeps up with it and and is still worthwhile is a point for it.

JoJo is excellent at what it does. There are plenty of silly people who think there’s no value in adventure stories about saving the world. It may not be Kill la Kill, but it gets everything else right – the pacing is focused, the art is beautiful, the fights are coherent. It’s the sort of thing that inspires a lot of anime that can’t measure up to it.

6 skedaddling out of 5 here

 

Cassandra Clare – City of Bones

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Other reviewers listed the stories that this novel borrows from. Characters are, apparently, plucked from someone else’s movie or book, given a different name and a slightly different attire. I’m not familiar with the Big Things of teen fiction. I’ve never watched Buffy and never immersed myself in Harry Potter. This still felt so derivative.

This is another book that came out of fan fiction. You’d expect it to have more verve, more energy. Copy your favorite story, but at least show the passion you have for it. If the novel had the rabid energy fans express over Harry Potter or Star Wars then the unoriginal story wouldn’t matter so much. It’d at least have excitement.

City of Bones feels tired all the way. It’s written by an amateur author who has little experience with what stories can be. It never imagines stories can do other thing than just become more convoluted. We all had this phase when we thought that plot twists was proof the writer was clever, but I thought we’d outgrown it. Surely, even the overrated Nolan proved thrillers have more than just “Surprise!”.

Clary does nothing. Calling her a ‘weak female protagonist’ would at least means she has some sort of role. A female whose role is only to help the main male character at least does something, active in some way. Clary is an observer. She stands around and things happen.

It’s amazing how many events rain down the characters and how little of them are instigated by them. It’s not the examination of “life is out of control” idea. The events have nothing to do with the characters and Clare doesn’t examine their reactions. She introduces a conflict, the characters solve it because of brute force and then they wait until something else happens.

If Clary helped solving the cases, it’d add some intensity. She tends to sit back and look at everyone do their thing, Shadowhunters shadowhuntin’.

There’s something tempting about such protagonists. They’re easy to write and they give the reader (or more important, the author) a hole to insert themselves in. This way, you can watch the story happen through someone’s eyes.

This character is never actually a part of the story though. The camera is never a part of the film’s plot. Some stories deliberately create such characters, but this ‘observer’ nature is addressed in the story and a part of the personality. Clary’s personality is never meant to be a shy observer.

Perhaps she’s meant to be some sort of sassy heroine. She sometimes slap people or gets mad at them, but that’s not enough for a character. A character’s personality is established by multiple incidents that can be connected. More importantly, how the character reacts needs to be connected to the personality. Even if all your characters are cruel, they each need to do it in their own way (something Future Diary does well, for example). Clary just gets angry.

The other characters don’t have much going for them. The other female is supposed to be much prettier (although Clary gets the red head), there’s a gay dude who could have been interesting and the Nice Guy/Brooding Assole dualism. Is daddy issues a new thing in this type of fiction?

You know these characters are different because the characters themselves say it. Somehow, they see things that Clare didn’t write or left off. Everyone talks in the same way. Everyone makes the same sarcastic jokes. I know sarcasm seemed like the newest thing when you’re at your teens but isn’t it a little old? So the books are set at a time when sarcasm is still new. There’s no way everyone is witty.

Her world borrows every fantasy staple. She adds nothing we haven’t seen before and none of the staples she uses are interesting. Vampires still suck blood and have pale skin. Werewolves learn to control their shape-shifting, mostly because one of the good characters is a werewolf and that would be inconvenient. Warlocks are more interesting. They’re hedonistic party animals who dress like they’re in a rave. Here’s a way to modernize a fantasy staple. Too bad that the warlock only appears for one scene and his role is (like everyone else’s) to give us more exposition.

It always happens with such books. The side-characters end up being more interesting because they’re more conflicting. Even Alec, who gets little page-time is a more interesting idea. He’s a gay who’s into a straight dude. That’s a worthwhile situation to write about, but that would require focusing on psychology and character interaction. Such a story couldn’t rely on events just happening.

Using Biblical names and fantasy staples doesn’t make your fiction fantastical. The world here is so familiar, so ordinary and I’m not even well-versed in fantasy. I also watched High School DXD while reading this and the whole devils ‘n’ angels things kept getting mixed up. The difference between the two is that Clare has no purpose for what she does. DXD knows it’s just an overblown ecchi show.

We also get an evil character who wants to purify the world and kills what he considers bad. As Fallout 3 displayed, this idea is still worthwhile. It can be used to explore racism and bigotry by giving the bigot some reasonable basis for his beliefs. Clare had a potential here because the creatures the bad guy wants to kill are a bit in the morally grey area.

Instead of showing the issue from different perspectives, we just have the bad guy laugh maniacally and dream of strength. Then again, halfway through the book or so it’s revealed the series is named after a series of plot coupons.

Clare’s writing isn’t too dense, but it’s also not smooth enough. There are a lot of similes, many of which are pointless. Clare doesn’t overdo descriptions. She lingers on the odd details, the type that stick out to the eye. Her description of a party room is great, pointing out all the colors and odd shapes.

Her way of writing is devoid of personality. The smilies are random, exists mainly because Clare can’t think of describing something without a simile. At first, the huge variety of them is fun. After about fifty of them it gets tiring. It’s a sign Clare has no interesting way of looking at things or of writing about them.

The novel relies mainly on things happening. Werewolves arrive, parties are getting rocked, someone turns into a rat, swords clash and blood pours. This can be exciting even if your characters have no reason to exist but enact these events. Clare’s writing isn’t exciting. It doesn’t drag the scenes down but doesn’t add energy to them because she has no interesting phrases. The event themselves can’t stand on their own. It’s mostly blood pouring and swords clashing.

There’s some fun to be had in this novel, but I expected more. Even as just a Young Adult adventure about hot brooding guys, paranormal beings and saving the world this could’ve been more fun. Clare writes like she’s just trying to please herself. I hope she’s passionate about generic werewolves and passive heroines because it sucks to write about things that bore you. Still, if only a little passion leaked to the page it’d elevate the story. The only remarkable thing about this is the controversy surrounding it.

2 cities out of 5 bones

One Punch Man

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Many bad shows are a case of good ideas poorly executed. It’s rare for a show to miss its target in the premise, but One Punch Man does. For a while, the series assumes that powerful characters are a problem in fiction.

They’re not. Anyone who’s concerned with how intelligent or strong or agile a character is should stop talking about fiction. These aren’t role-playing characters. They don’t have charcter stats and skill trees. If a character has a trait, it’s supposed to be meaningful to his personality.

A character isn’t defined by how strong he is but by simply being strong. It’s not hard to write intelligent characters. Just have someone solve mathematical problems and put the answer in the character’s brain. It doesn’t matter that Max Cohen is a walking calculator. What’s interesting is how his genius affects his worldview and isolate him.

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In the first episodes, the series piledrives into the ground the idea that overpowered characters are silly. I don’t think anyone thought otherwise, so we get something like Kill La Kill only with less charisma. Everyone looks like Arnold Schwarznegger. Everyone screams and every conflict is solved with one punch. Mr. Krabs also makes a cameo appearance in the first episode, but he’s transformed into another bodybuilding loudmouth.

There’s only so much you can do with a character who solves everything with one punch. Thankfully, Saitama is not as bland as his skill. He’s a great protagonist with a personality that’s connected to his super-strength. It’s almost psychological how bored he is of all the macho bullshit, but he’s also vain and wants the attention. The anime remains satirical and exaggerated but the protagonist has a realistic psychology.

It’s Saitama’s desire for stardom and everyone’s megalomania that shapes the main arc. At this point the anime abandons making fun of obvious targets and starts creating actual absurd situations. The villains are rarely interesting. Their purpose is to always get knocked out by one punch. Rather, it’s stardom that’s being satirized.

How ironic it is to discuss the Bandwagon Fallacy in a review of a popular anime? Popularity doesn’t prove quality. Just because you don’t have a diploma from an Intelligence Institution doesn’t mean you’re stupid. Yet we take these things very seriously. People are often more curious about whether my writing is popular instead of how good it is.

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Diplomas or popularity don’t prove you’re talented. They only prove someone thinks are you are. Popularity is even worse than diplomas, though. Diplomas are given by people of authority who take their topics seriously. People can be easily swayed.

The most popular people on earth aren’t the hard workers or the life savers. The most popular people are those with the highest social value. They are the charismatic, the beautiful, the entertaining. Taylor Swift is more well-known than a person who saves a baby from a fire. That’s because Taylor is charismatic, beautiful and writes catchy songs. Just because you save a person from a fire doesn’t mean you’re a desirable social presence. It gets even worse with peolpe who Famous Because They’re Famous.

The series is wise enough not to pull that strawmen. There are these silly celebrities, but here the popularity of most heroes are justified. They’re both charismatic and talented, but they’re never as talented as Saitama.

That’s because, unlike them, he never worked on being popular. He became the strongest hero because he only put effort into being strong rather than being popular. That’s the cost of talent. Sometimes you focus so much on it that you forget to make people notice you.

There’s a major rise in quality once the series finds its satirical target. While it presents it well, pointing absurdities without resorting to strawmen it can never attain a sense of madness it aims for.

In the first episodes, it thinks it will get by having everyone scream and some stupid ideas like a muscular crab and a kabuto macho dude. I used different words but this is the same idea. It tones down later but the series never gives up on this.

There are some interesting visual ideas, but almost everything is given the macho look. It fits with themes, but after the 10th dude who looks like sirloin steak it becomes boring. When Tornado appears and we get a cute girl it’s a shock.

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Just as they are all macho dudes, their personalities are all macho. Besides Saitama’s everyman personality and Genos, who acts like he walked into the wrong anime, characters blur into each other. It makes for a consistent world. At least the anime tried to find variety in macho bullshit rather than pretend their kaleidoscopic. Still, it makes for a world that’s always less exciting than how the characters perceive it.

One Punch Man isn’t amazing and quickly stops acting like the Most Hyped Show of the Season. That’s a good thing. It’s when it realizes its limitations (the world is monochrome and tame, overpowered characters aren’t worth satirizing) and its strengths (satirizing celebrity culture, finding variety in macho bullshit) it becomes a worthwhile show that has enough personality to appeal to those outside the genre.

3.5 one punches out of 5

Star Wars VII: The Force Awakens

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A film that’s such an event can’t be this unremarkable. The seventh episode of Star Wars was supposed to be either a rejuvination or a complete disaster. It either proves the franchise has another lifetime in it or destroy its Death Star for good. For all the references, new faces, re-hashed concepts it’s just okay.

The most interesting about it is how it updates the series to 21st century worldviews. Aside from Kylo Ren, who’s a more flawed and humane villain the update does mostly damage. In fact, the movie doesn’t stay true to the spirit of the old films at all.

Millenium Falcon, cute droids and Cloak-and-Mask villains are props. They are not the spirit of the series. The original series was a pulp adventure. It was silly, overblown and never meant to be serious. Everything in it was insane, but it was never cruel.

When the Death Star destroyed planets, all we saw was the explosion. The camera didn’t linger on the suffering because it didn’t matter. Darkness was not important. It was only important to establish that the Empire is so evil they’ll destroy planets for the fuck of it because they’re evil.

This cartoonish approach doesn’t mean you can have emotionally effective or shocking moments. It’s because of the contrast that Vader’s cruelty was frightening. He was a heartless leader backed by an Army of Nonsense. That madness imbued characters with humanity and made Luke a generic moral hero with charisma.

It takes about half an hour until something light-hearted comes in. The opening scene has the massacre of a village which is depressing in its cruelty. It’s a scene more at home for a film about the horrors of war. The presentation doesn’t add any depth but just removes joy.

Compare Jakku to Tatooine. Tatooine was an insane planet. Everyone was weird. Jabba was menacing partly because everything around him was so bizarre. We had aliens with oversized heads playing music and walking cloaks who collected droids.

Jakku is a gloomy post-apocalyptic landscape where nothing happens. Everyone struggles to get by. Life is harsh and that’s it. There are no odd moments, moments of madness and absurdity. Rei is a scavenger who has a hard time making ends meet and the guy shells stuff to is just an unpleasant asshole.

There are enough Fallout games to draw inspiration from to make a convincing Post-Apoc landscape. There’s no reason to settle for this boring gloom. Junktown or Megaton are more lively and realistic places than Jakku.

It’s not that the film fails to capture the magic of the previous chapters. It doesn’t even try. Gone is the wide-eyed approach. Instead, it’s replaced with more serious grimdarkness. Perhaps they know their target audience, which are fanboys who take the films as serious mythologies rather than great adventures.

Rey is also more of a joke than a character. She walks around looking tough and screams at Finn to stop holding her hand. This is a not-so-subtle way to tell you it’s feminist and doesn’t put women into traditional gender roles. It just puts them in new roles, but Rey is just as one-dimensional if she were a damsel in distress.

The makers forgot. Furiosa was a boring character whose purpose was to hold a shotgun. It was Max’s shaking and paranoia that made him real and charismatic.

Finn is much better, and alongside Kylo he provides some grey morality that was missing from the original trilogy.

In most stories, the heroes struggle against a powerful villain. No matter what ideas the character holds, it boils down to who’s a better swordfighter. Kylo Ren isn’t a powerful villain. He simply desires power. He’s not just similar to Darth Vader to evoke nostalgia. He wants to be him and Vader is a shadow that looms over him and affects him.

Kylo is dangerous because of his personality. He’s not in control but impulsive. It’s actually that impulsiveness, that desire for power that makes him so weak. As an expansion of the Dark Side, it’s brilliant. He’s also aesthetically fun. His mask and voice are different enough than Vader, but similar enough to make him a worthy successor.

As for BB-8 who is going to be the mascot of the new trilogy, he’s more needed than it looks. The original droids were brilliant, but BB-8 injects a sense of fun that’s missing from the film.

In many scenes, he’s the only relic of Star Wars’ energy and silliness. He’s a great addition to the droid trio. He’s not a copycat of R2D2 even though he’s another attempt at taking an inanimate object and making him cute. He has a childish, jumpy personality that makes him different than C-3PO’s nervousness or R2D2’s heroism. R2D2 is perhaps Star Wars’ weirdest achievement, creating a vivid character out of a machine. BB-8 is a great successor, but hopefully we’ll see the two interact.

The story itself re-hashes A New Hope, sometimes too much. Some ideas are turned on their heads in an amusing way that expands upon them. They failed in replicating the Death Star’s menace. It’s transformed into a huge gun that’s a hole in a planet.

The first Death Star was menacing because it nonsenscial (why’d you go out of your day to wreck a whole planet?) but symbolizing ultimate destruction. The second was frightening because of its wrecked look, which shows how it leaves other planets. The 3rd one is bigger, but that’s it. There’s no unique features to it and we don’t even a cool shoot that makes us admire it.

Speaking of visuals, the old style isn’t back. The effects are technically better, but they visual ideas aren’t as interesting. I kept looking for some background detail that will catch my eye, a random alien or a ship. The best shots are those that show old Empire vehicles wrecked.

All the details don’t necessarily make for great visual details. Now we can film in darkness, but darkness still obscures the view. That’s the problem with working without limits. With nothing to limit you, you have no obstacles to overcome. You can throw everything in and you don’t think of ways to make it catch the eye.

It’s a good film. It’s not the disaster it should’ve been and it often points that there’s still life to this. It can move the franchise towards a more psychological and morally grey area, but it also points to a worse angle. Grimdarkness and Hollywood Feminism also have a strong presence, suffocating creativity for the sake of looking cool. It’s just a stepping stone. The sequels will tell us more whether this was a good idea.

3 Death Stars out of 5

Iron Man (2008)

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I almost wish she was the center of the film

“Has he lost his mind?
Can he see or is he blind?

There’s a reason why the film ends with the riff from the famous Black Sabbath song but without the lyrics. Black Sabbath’s song described a flawed and conflicted person. He might be interesting, but nothing we’d hope to be. The same thing can’t be said of Iron Man‘s Tony Star. Black Sabbath said about their character that nobody wants him. You couldn’t find a more unfit description for Tony Stark

If this was just a dumb superhero film, I might have forgiven that. It wouldn’t work well as one anyway, though. There isn’t enough violence and the characters aren’t insane enough. Too many moments hint that the creators wanted to make this an important superhero film. The nature of weaponry is an obvious theme. The creators understand a superhero should be a symbol for some idea, not just a human with superpowers.

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A time before duckface

Tony Stark’s suit leaves little room for exploration, though. It’s not a Medabot. Medabots symbolized toys as weapons, and were an exaggerated portrayal of violent toys. It’s not a Terminator, which was a weapon with the appearance of a human being. Tony Stark’s suit is just a means to save people and instigate the final action scene.

There is something about how weapons can be harmful in the wrong hands, but that’s an idea that goes nowhere. The film never asks if there is more to do with weapons other than attack other human beings or if weaponry (and violence) is a part of being human.

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No hair, no heart?

The people who represent the bad way of using weapons are evil clowns. The Ten Rings are just a gang of mooks who are like the bandits from Borderlands without the humor. As for Obadiah, he was stuck under Tony’s shadow and for some reason we’re expected to dislike him for his evil deeds. No matter how hard the film tries to make Obadiah look like the devil, his story remains more interesting psychologically.

Obadiah’s development happens off-screen, but his is a story that can never get old. He’s a man stuck under another’s shadow who felt like he never got what he deserved. This is a common sentiment and the fact Obadiah still lives a kickin’ life makes it even better. Even as a villain, these ideas could’ve been explored. Why Obadiah wants Stark’s place so much? Why can’t he be content with still being stinking rich? They say no matter what you do there’s always someone better than you. What if there’s only one person who’s better than you?

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This is a sci-fi film, in case you didn’t notice

Obadiah’s motives have nothing to do with these. He’s evil so there will be someone to fight with (and also because he’s not as pretty). These so-called motives are here to put a cover that a film is serious and that its villains have motives.

Tony has some sort of arc, but it barely qualifies as a cheap psycho-drama. His development happens in 20 minutes. After spending some time in a cave and seeing that people shoot each other in real life, he develops a desire to save the world. That’s all that happens. It doesn’t affect anything else. He’s still a womanizer and he still loves being funny.

He was a selfish person in the beginning. That was why we saw him have sex with a lot of women and being told he has nothing because he doesn’t have a family. You’d think that such a person would change dramatically along with his desire to save the world. You don’t have to make a complete 180-turn. Impmon became less of a bully but he still retained his sarcastic personality. Tony doesn’t become anything new but is just given a desire to save the world.

Allow me to be cynical, but that’s because the film wants to keep Tony’s coolness. The beginning isn’t meant to satire the lives of the rich and famous. It’s meant to portray them as cool, charismatic and living an ideal life. Tony may have given up selling weapons, but no way will he give up the cool lifestyle of casinos and having sex with anyone he wants. Even if the rich truly live such perfect lives with no problems at all, isn’t it insulting? Most people will never live this way, so why dangle the carrot?

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Tony aims for Chris Martin’s ex

The seriousness of the film is ridiculous when you look deeper, but there’s a good side to this. The storytelling is so focused that it feels much shorter than it is. No scenes are unnecessary. There are no extra characters that don’t serve some purpose later. Action scenes don’t clog the film with incoherent explosions. In fact, there are few of them and even in those scenes they don’t go full retard. They’re not a series of endless explosions but a collection of set-pieces that build up to a conclusion. It’s not one of the best action scenes ever, but it’s purposeful.

Pepper Potts is also a unique character to see in such a film. It’s been a while since we had a female side kick that could be worthwhile without packing heat. She’s not developed, but the script never lets her fall into cliches. She never becomes pure eye candy, or a woman whose character is passed off as strong because she kills people. She almost ended up as an empty character, but Paltrow’s performance gives her a humanity everyone else lacks. Everyone is charismatic enough, but Paltrow is the only one who plays like her character can star in a variety of other stories.

Guitars also make constant apperance in the musical score. It’s a bold decision. It’s not the most uncommon element yet but it’s still rare compared to cliched orchestras. This adds some punch to many scenes. If the only point of Tony’s character is that he’s cool and macho, add some macho guitars to go along with it.

Iron Man became popular because it’s a well-constructed film. All the professionals in the film industry and I still see a lot of incoherent stories. Simplicity is rarely a death sentence in films, especially when you want to make some easy fun. Iron Man’s attempts at depth aren’t convincing, but it’s fun enough.

3 cool suits out of 5

Charlotte (The Anime)

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“No one man should have all that power,” – Kanye West

Watchmen was a response to the explosion of superhero comics. Charlotte feels like a response to the explosion of superhero films. The Marvel Cinematic Universe helped to keep superheroes in the public’s consciousness, but it was just a dumbing-down of what Sam Raimi did before. Charlotte has a more interesting take.

These teens are superheroes. They may not have capes and a one-eyed boss (although an eye does get plucked out), but they got superpowers that can be used for saving the world. Why should they, though? A superpower is just an extension of any kind of power.

How many powerful people use their power to contribute to humanity? Musicians use their talent to vent their frustration and sell records. Programmers build websites to get traffic. Most people I know become doctors¬†because it’s a respected profession and gets money. The mindset that you should use your power to contribute is rare.

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Yuu and Nao are two different sides of the coin. For the first two and a half episode, they’re an interesting exploration of power. Yuu uses his to move on up, taking advantage of people but not actually hurting them. Nao’s desire to protect others leads her to plenty of physical confrontation.

Being a moral hero isn’t easy. Nao may have¬†good intentions, but she leaves a trail of beat up people and isolates herself. Yuu’s achievements rely on a skill he gained by luck, not by hard work. There could be an interesting examination of how we shun people who work hard and praise those who just won the genetic lottery.

Nao also has a reasonable motivation for being moral. Her moral behavior isn’t convenient but results in isolation. Sadly, this is where the character development stops.

Yusa is brought in as much-(un)needed cuteness, as if Nao isn’t pretty herself. Ayumi already does the forced cuteness bad enough, so what does Yusa contribute? Worse, she makes another character turn into a drooling fanboy. Takajou first looks like a middle ground between Nao’s vigilance and Yuu’s selfishness, but after Yusa appears all he does is worship her.

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This forced cuteness clashes with the occasional grim tone. Yusa and Ayumi are too-much-sugar cute. They’d be overly-optimistic in Azumanga. Their cuteness is plain happiness, with no unique design or quirk. Next to the cuteness there’s grief, overcoming it, time traveling and what power does to the user.

The treatment of grief does acknowledge the darkness. We see the downward spiral, the isolation and how a person is so overwhelmed he abandons life. Then after 2 episodes he rises up and things are going well. Grief is supposed to change us forever. It doesn’t automatically make us good guys. Nao’s grief turned her into a vigilantee. When Impmon’s whole world was wrecked, he changed but part of him remained. There’s no hint in Yuu that he used to be a selfish brat. He transforms into a moral hero with no relation to what he used to be.

It’s not that the story of Charlotte is convenient by nature. The core premise is an attempt at subverting a common trope. The problem must be in the length. Charlotte has too many ideas and stories which can’t be crammed in 13 episodes. Mirai Nikki couldn’t develop it all in 26.

At least Mirai Nikki played by its own rules. Charlotte often gives up any time it could get interesting. The last episodes is where its most harmful. A senseless enemy appears whose contribution to the story is nil. The only contribution is the killing of another character, but it they don’t do anything meaningful with it. The death doesn’t affect the story in anyway. We don’t see how the characters deal with grief, or how that death is a meaningful conclusion to that character’s story.

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They already touched on grief. The only thing that conflict adds to the story is to make Yuu be heroic while killing a device that makes Yuu work a little harder in the climax. Yuu is interesting because he’s the opposite of a moral hero, so turning him into one works against the story. The climax also didn’t need such a dramatic brush with death to start.

At least the final episode redeems the series. Like the detour to Dealing With Grief, it’s too short for its own. Still, its idea is intriguing and the psychological development is well-paced. It’s further development on the original ideas the series started with.

While Charlotte does suffer from rushed pacing, it overcomes it by well-structuring its episode. The last episode is an epic journey that often takes more than 10 episodes in other anime. The creators managed to sum it up in 20 minutes without the journey losing too much impact. There is talented people there, they just took on too much.

Charlotte‘s main problem is that all its detours don’t always rise from the premise. Mirai Nikki explores both an ensemble cast and the Nature of Time and Space, but these are things that are found in the premise. Nothing about Charlotte’s idea of superpowered teenagers has anything to do with exploring the nature of death or time travel.

All these detours also lead to too many characters who aren’t given enough to do. Too many events are external. The puzzle-solving of the first episodes was fun, but after that it’s all big events. The creators can’t imagine a way to approach them that’s not dull heroism, so there’s no emotional payoff.

That’s why the sentimental moments often feel manipulative. This is a criticism that’s been directed at KEY often, but here it feels even more out-of-place. Charlotte is either too plot-driven or too psychological for such convenient wrapping-up. It’s been a long time since I watched Kanon (2006), but it was a pure drama. The sentimentality rose naturally, instead of feeling tacked on.

Some credit must be given to the soundtrack. It seems originality in soundtracks is now common in anime. There is attention paid to the textures and use of rhythm that is rare in Western scores. In this case, it borrows some cues from Bass Music to create the right intensity – one that is not world-altering, but still so.

Charlotte is a clever idea that took unnecessary, if interesting baggage and didn’t have enough episodes to connect everything. It’s more enjoyable than annoying. The episode are somehow paced well, even if the overall pace isn’t. It manages to make a final turn at the end so the journey won’t be futile. Wasted potentials are everywhere, but Charlotte works more than it doesn’t. It’s not brilliant, but it’s good enough to show there are still creative minds in anime.

3 comets out of 5