Laura Weiss – Leftovers

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This book is angry. Weiss fires off a lot of bullets from a variety of weapons to plenty of targets. Often, the targets contradict each other. Both strict parenting and loose parenting are getting the blowtorch. The education system is mocked in its treatment of violence. Hot popular guys and ugly lonely creeps get the crosshairs. It’s like a literary equivalent of a Slipknot song. Perhaps when parents complain that teens don’t read enough, they should realize what’s their favorite music and act accordingly.

Then again, anger in music and anger in literature are two different things. Music can be senselessly angry. Music isn’t intellectually stimulating. It’s not a presentation of ideas, arguments, conclusions and proof. Music works as emotional release. Slipknot tell you more about what being angry feels like. Literature is an intellectual experience, not sensory. A lot of anger may be affecting, but it can lead to a shallow work. Weiss’ book isn’t completely shallow. It does more good than bad, contains more shades of grey than black’n’white, yet her failure tells us exactly what’s good and what’s bad about anger.

Anger is a good thing. We know when we’re angry that something is wrong, like how the pain from a wound tells us it exists. Anger also drives us to act. It stimulates and awakens your body. I doubt many changes in the world would’ve happened if it wasn’t for anger. So it’s a great thing Weiss is angry and such anger can drive young people to things. It sure did cause Weiss’ heroes to act. Anger also makes us lose empathy for others, though. While Weiss is aware of it, she’s just as guilty.

Something about anger narrows our focus. Depression can connect people or put a wall between them, but anger gets people hostile. Either you’re angry with someone about the same problem, or you’re against them. As an author, you must not fall to this lack of empathy. You created these characters, gave them personalities, backstories, wants and ordered them how to act. If you never bother to understand why they are the way they are, you set up strawman. It’s worse than that, since how can we solve a moral problem if we don’t understand why people do it?

‘Empathy’ doesn’t equal ‘justification’. You can understand why someone does what they do without agreeing. It means you can imagine yourself doing it. That’s why villains that we understand are more horrifying than those we don’t. I can understand why Ian Watkins committed his crimes. I can understand why, in such a position of power with charisma and a busy life I may push my sexuality towards these places. By understanding this, I can also avoid commiting his crimes if I am in a similar situation.

All of Weiss targets lean closer to comically evil than deep portraits. The topics she address are relevant and varied, but all we can understand is why someone would be angry at that. Blair’s mother is a neatfreak who cares so much about appearances she neglects everything else. Weiss tries not to make her too evil, but she lacks a moment of vulnerability, a moment that shows her us reasonable. Sometimes Weiss gets too close to making her sociopathic. She constantly ignores her daughter’s feelings with some hints that she deosn’t mind if Blair has horrible sex with douchebags if it advances her career. Now, if she was supposed to be a ridiculous career freak then fine. Weiss can’t get enough into her character to either make us understand why they’re extreme, or show us their other side.

The hostile world here is also one-dimensional. Often authors who portray a hostile world fail because of a self-centered view. They show how the world is hostile to their characters, but not much how others are a victim to it. It’s important since if your idea is that the world is a cold, unwelcoming place – which is true – then it’s like this for everyone. The situations in Leftovers are mostly us-against-the-world cases. Shy, socially inept guys are rarely present. Ardith’s parents are just alcoholics. The only pain we see is the main character’s, and that’s not a good excuse. Other characters have plenty of lines.

Where the pessimistic worldview does win Weiss victories is in her main character. Oddly, the flaws in the book are the exact flaws the two heroines suffer from. Their flaws were deliberate, too. The big, tell-everything prose says so. The same lack of empathy that made Weiss to write weak antagonists is also the downfall of the heroines. It’s also the best part of the book, the moment where she truly shocks the audience. In truth, the Ardith and Blair don’t commit a crime but only nudge pieces to take revenge. Nevertheless, they used someone’s pain for their own gratification and it’s not glossed over. It’s the one instance of hostility that we can understand, and that makes it more powerful than any description about how Ardith’s brother is an asshole.

The writing is precise, catchy and expressive. It’s also not subtle, which leave you feeling empty at the end. Most of the events don’t have much meaning but build up to the great sin. Still, the climax is powerful enough. Why shower it with explanations? It shows how difficult it is to do a confessional style right. Even when writing in a confessional style, it’s not just what’s being written that’s important. Holden isn’t defined by what he says, but also what he lingers on. The writing doesn’t give any new insight and Weiss doesn’t try. She has some skill, but it’s more like a hardcore band who breaks for a beautiful chorus of 30 seconds at the end of a show. The problem is Weiss doesn’t believe enough in her skill to write without explaining.

Still, it’s a decent book more concerned with exploring teenagers and their messy life, rather than offering a comfortable fantasy. It’s neither propaganda about how the world is actually beautiful nor how teenagers are misunderstood heroes. Perhaps Weiss has a great YA novel in her, because Leftovers shows she can capable of complex thought. It just shows she can do it, not that she does it.

2.5 leftovers out of 5

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BTOOOM!

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It’s like Future Diary, only with all the good stuff ripped out.

Using characters as plot device is hard. Do it once or twice and it’s okay. When everyone becomes a plot device, your story becomes hard to believe. A world where everyone is a plot device is less believable than a notebook that kills people.

It doesn’t seem so bad at first. It’s dark and cruel, but this is a game where people are forced to kill each other. The first to die is boring as hell, but Future Diary‘s Third didn’t have a personality. He at least had an idea behind him. He was supposed to be a simple Unknown Danger. He has given a design that looks scary to make that convincing. His role was small and was the only plot device character.

No such things happen in BTOOOM!. Everyone exists for two reasons. Their purpose is first to be terrible human beings, and the second is to die. It’s hilarious how everyone is terrible, but no one has a personality flaw. One guy is a rapist. Another is a cold-hearted killer. Another one is a con artist. They’re unpleasant, but not interesting.vlcsnap-2015-11-27-17h25m51s139

Such a dull edge

The cruelty is so monochrome. These are not the crazies of Future Diary. No one in that anime was sadistic for sadism’s sake. When they had a cruel streak, they had reasons for it. It was also specific. Third just wanted to kill everyone. Reisuke cared about having a mother figure. Yomotsu had a retarded sense of justice.

There was almost something comic about it. None of that exists in BTOOOM!. No one has an alternative moral system. No one’s sadism is understandable. A fat guy attempts rape and we get to see it graphically, yet we don’t know what’s behind him. The creators try to shock us with Himiko’s pain, but it’s only unpleasant to watch. More shocking would be if they made understand the rapist and his point of view. This way the viewer might find he shares some thoughts with him, which is both horrifying and meaningful.

Some get a half-assed explanation, like abusive parents or a military past. These are just placeholders. The characters aren’t very different besides one being more sadistic. Both Tsubaki and Reisuke have a sad past, but it’s a different kind that transformed them differently.

The creators miss the best part of the Death Game scenarios. The Death Game throws a bunch of characters in a situation that forces them to confront each other. It needs different personalities. The clash between them is what creates tension. Some explosions will never be as exciting as a blind crazy, a yandere and a misanthrope meeting in the same place.

These personalities make us view these characters as human. We’ll care about them, understand them and have empathy for them. The deaths will be sadder because we’ll see a human who is like us fail, perhaps of his own undoing. That’s how tragedy works. Tragedy isn’t just making characters suffer but have them (and us) understand it. Characters just explode here.

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Random unimportant asshole

If BTOOOM! chose the way of Saw it would’ve been better. It’s not a show of aestheticized violence. Such violence is overblown and disconnected from reality. It can be fun to see limbs being torn and people explode, but there’s no sense of fun here. The action scenes are tedious, consisting mainly of pointless inner monologues. The fact characters suffer is emphasized more than how fun it is to throw a bomb.

Any momentum that a scene generates is immidiately smashed. There are a lot of inner monologues. It’s a wonder the series didn’t pull an Evangelion. They had enough for 3 episodes. Action scenes are about movement and set-pieces. Some dialogue can also help if the interaction is meaningful enough. Thoughts are static. No one has room for introspection during such scenes. You don’t have them running in your head in a video game, so in real life?

It’s the stereotypical edgy anime that thinks violence, gore and suffering makes for something profound. It tries to something about how humans are cruel, but when everyone is cruel for no reason we it’s hard to believe that message. How can be believe humans are as cruel as the players when the strings behind them are so obvious?

The symbol for caring and companionship is your typical harem protagonist, without the harem. Sakamoto has no personality whatsoever. He kind of cares about others, but why? He’s the main character because it’s easier to sympathize with him, rather than the rest of the meanies. More correctly, it’s safer to make him the main character. Following one of the bad guys would mean they’d have to to do more than be cruel for a while than die.

Himiko isn’t much better. She’s an insutling portrait of the Clinging Woman. Everything Yuno satirized is in her. The parallels are so obvious, you have to wonder whether it’s a response. Both girls rely on their men, but differently. Yuno relies for psychological stability. She acts less to please the guy than to fulfill her own desire for love. Himiko exists for Sakamoto and no other reason. Her love isn’t related to personality. She’s a reward Sakamoto wins twice, first for being a great player and second because he’s saving her.vlcsnap-2015-11-27-17h28m47s108

For the glory of Satan

She’s also an object of sexual gartification, both for characters and the viewer. She gets near-raped a few times, and these scenes are filled with nice shots that give you a clear picture of Himiko’s body. These are not the expressive flashbacks of Tsubaki. You might be able to catch a nice shot there, but they’re too expressive and short. The don’t emphasize just the sexual part of it but the pain.

It made Tsubaki hateful of the world and everyone in it. It was her undoing, but she was portrayed as a tragic character. Himiko is turned into a silly tsundere who slowly learns to ‘trust men’, as if she should just get over it.

The ending is also insutling. It’s the definition of ‘inconclusive’. This criticism has been brought up a lot, but many short shows have some arc that concludes. The grand story of Freezing isn’t over, but there is an arc that concludes which defines the two seasons. BTOOOM! just ends. It makes it all feel like an advertisement for the source material.

There are tiny worldbuilding things that come off as moronic. There’s no sensible explanation why the game exists. Hints point toward the good old cliche of human experiments or evil corporations. The bombs also somehow can tell whether their owner is dead or not. Then again, I keep praising a show about diaries that predict the future. If the world doesn’t make too much sense but serves the purpose, it’s okay. If your story is full of holes, it’s a magnifying glass to how stupid your world is.

At least the art style is nice. Since this is supposed to be deep, we get a realistic art style with no crazy ideas. The designers still managed to give everyone a distinct look. At least in that department, BTOOOM! has something to teach others. Even characters that appear for a few minutes get their own unique look. It’s too bad these designs weren’t used in a different, better anime.

The OP ends with all the characters standing and looking towards the horizon. It reminded me of the first shot of Future Diary‘s ED. It summed up what made that one so good – a cast of crazies, which with flawed personalities that make them understandable even at their worst. BTOOOM! has no such empathy. It treats its characters like they’re from a video game. They exist to kill and die. The protagonist has as much character as a silent protagnsit. It’s amazing how bad it is.  has almost everything I want in an anime, and wrecks it.

1.5 bombs out of 5