Another

another
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.

vlcsnap-2017-04-16-22h23m37s246

“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.

vlcsnap-2017-04-16-22h23m55s169

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.

vlcsnap-2017-04-16-22h24m11s56

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.

vlcsnap-2017-04-16-22h25m17s223

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.

vlcsnap-2017-04-16-22h24m27s220

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.

vlcsnap-2017-04-16-22h24m40s78

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

codegeass
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.

vlcsnap-2017-03-11-23h24m44s201

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.

vlcsnap-2017-03-11-23h25m00s101

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.

vlcsnap-2017-03-11-23h25m17s24

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.

vlcsnap-2017-03-11-23h25m40s5

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.

vlcsnap-2017-03-11-23h25m31s163

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

Kyoukai no Kanata (Beyond the Boundary)

kyoukai_no_kanata_2
At some point, someone had a vivid dream with a lot of cool visuals. He pitched them to a studio with a lot of budget and they said, yeah, we’ll run with it. Perhaps some asked about character design and plotting and symbolism, perhaps not. If they did, the production committee just said ‘oh, what the hell’. They hoped that by the force of sheer charisma and some visual inventiveness, it’ll be easy to miss how empty the whole thing is

What producers miss about anime like these is that you can’t mask emptiness. Great anime with great visuals who do bizarre things but somehow succeed don’t rely on a single element. Grand experiments like Future Diary work because they leave no stone unturned, and no element unfocused. That anime wanted the whole thing – psychology and philosophy and character development and action and romance. It wasn’t successful, but it was brave and that made it exciting.

vlcsnap-2017-02-01-19h25m58s115

Beyond the Boundary¬†doesn’t seek to replicate this specific method. Rather, it tries to impress by sheer volume and energy. Wackiness is the essence and it works in some places. The dreamshades never look like ordinary enemies. An arc concludes in a surreal fight which includes a train floating in free space. In the climax, there is some kind of paralell world floating above ours. Inside it there’s terrain that’s always shifting. The main antagonist trap himself and another person inside empty white space. That’s quite cool, at least visually.

Our characters, in the beginning, are given more than stereotypes. Slight differences in dialogue, like how the little sister’s insults tend to drag on – add life. Even quirks that have nothing to do with personality, like Mirai collecting bonsais helps to add life. These tiny details are the differences between actual human beings. Usually, adding quirks without connecting them to a personality is a sign of sloppy writing. The series finds ways to balance those, with Mirai’s collection only cropping up occasionally – enough to show us he has interests outside the story, not enough for the quirk to beg for importance.

vlcsnap-2017-02-01-19h26m11s242

Then it’s over. Nothing happens to these characters across 12 episodes. I didn’t expect deep psychological portraits, but I expected versatility. A one-dimensional character isn’t one with one trait. Rather, it’s one that reacts in a predictable, repetitive and almost mechanical fashion. If a character uses the same sentence in each situation, it’s one-dimensional.

Now, catchphrases can be fun but the characters have nothing but catchphrases. Once they stick to a quirk, they never let go of it. In the early light-hearted moments, the right comic timing makes these invisible. This flaw is more apparent in the last, ‘serious’ part of the series. The world is about to end, people might die and we still get the old joke about how Hiro’omi loves little sisters. In the midst of the apocalypse, characters still kick the silly woman

A character doesn’t have to change through the course of the story. What must happen is revelations. The new events need to reveal something new. Even if your character is defined by one trait, different events should show different sides of this trait. When the apocalypse finally kicks in, everyone behaves in exactly the same way as in the first episode. The only difference is that they’re slightly more serious. I know about Hiro’omi in episode 1 just as much as I know about him in episode 12. In fact, I actually know less.

vlcsnap-2017-02-01-19h26m55s176

The Serious Turn is a problem for many such shows. You’ve seen it in High School DXD and in Big Order, where an external enemy comes in and everyone works together to defeat it. The laziest storytelling is to give the hero some external thing to do, some sidequest and have them perform it. You don’t have to be bothered with writing a personality. Just have the dude solve the murder or help the girl. Your typical airplane detective novel features such characters.

When the Serious Turn arrives here, the anime loses all its vitality and quirkiness. Suddenly there’s a whole conspiracy in the works that doesn’t add anything. Characters become forgotten, vanishing for scenes and showing the authors had no idea what to do with them. They couldn’t imagine how their personalities would react to the gigantic enemy, so they just have them stand there. If they move, it’s because everyone needs to gang up on the bad guy.

vlcsnap-2017-02-01-19h27m08s34

Our hero also loses his quirks and saves the world because he doesn’t want his loved one hurt. What the Serious Turn shows us is how empty these characters are. If the quirks were connected to something bigger, the climax would’ve been vastly different. Every character would have a unique way of reacting to it. The anime got me when Akky decided the world isn’t worth living without the person sacrificing themselves to save the world. This cliche is only acceptable in ultra-ridiculous heroic stories. If your stories are ultra-ridiculous, your characters will be too and they’ll actually react to events in ridiculous, memorable ways instead of convenient ones.

Only Mirai rises above the mire. She could’ve been better, being pushed towards either the psychological direction or the ridiculous direction. As it stands, she’s a beacon of charisma in an otherwise empty cast. She has a personality that adjusts her reaction. The clumsy, hesitant and bumbling persona isn’t the most original. Mirai’s at least a convincing portray of it. When the climax hits, she’s still a mess, still uncomfortable in her own skin. Her personality might not be particularly original, but at least it exists and affects her reactions. It makes her the most alive character in the anime.

vlcsnap-2017-02-01-19h27m24s196

She’s also the only one blessed with a good character design. It’s bizarre that in an anime with perchance for odd imagery, everyone will look ordinary. Akky looks slightly better than most harem protagonists, but he has nothing going for him besides blonde hair. Hiromi has a nice bowl for a hair and that’s where the distinctive details end. Some characters look so dull that it’s a wonder they still put effort into giving them voice-actors. I don’t expect them all to be as iconic as Mirai. As an expression of personality, Mirai’s design was is fantastic. At least give me something to look at.

This anime could’ve been a lot of fun. It does start off wild, with a wacky fantasy element and total disregard for making sense. Sadly, the creators didn’t have the gusto – or the imagination – to fully go there. If it would’ve been a nonsensical mess, it would’ve at least been bizarre enough to ponder. Instead, it’s another anime that settles on everyone being nice, saving the world from a dude who pushes up his glasses.

2 people who got lost beyond 5 boundaries

Haibane Renmei

haibane
Death and suicide are the ultimate questions. Anyone who writes them off as a first world problem doesn’t interact with human beings. Humans are the only organism that’s aware their life will end someday. We make a mostly conscious decision whether to live or die, and that includes people in war torn countries.

Death is so confusing though. Can you imagine the complete ending of all of your consciousness, all of the data inside your head? That’s why I can’t blame Haibene Renmei if its exploration of themes is fuzzy. If someone couldn’t climb Mt. Everest but still took a picture of a summit, that’s something.

The portrayal of common concepts such as purgatory, heaven and hell are slightly modified. They make a big psychological difference. Almost by accident, Haibane Renmei comes close to understanding the suicidal mind. This is a great achivement. Years of research and everyone is still stuck at ‘suicide is irrational’ and then wonder why people kill themselves.

The most radical approach of the show is how it overturns the communal argument against suicide. The communal argument is one of the few argument that are valid against suicide. It points out that since the person is a part of a community, the community owes them and the person owes the community. The result is symbiosis, a ‘no one gets left behind’ approach that forces people to comply but rewards for being a part of society.

Yet the community of Giles is different. It’s meant to allow people to tie up loose ends and exit painlessly and cleanly. At the same time, the person is obligated to contribute to this society in order to make their exit. If they won’t, they will be doomed to a long life of isolation – a common complaint of suicidal people.

This ‘painless clean exit’ is important. Notice how the characters whose view is negative have a different exit. They hate themselves and are filled with guilt. The only exit they can imagine is a violent one. Yet the source of their guilt is causing harm ot others, which is exactly what they’re doing. The harsh suicide causes a paradox. Both parties refuse to accept and forgive.

We also get a harsh view of the people left behind. Suicide prevention is, by nature, selfish. People who stop people from killing themselves only do it to benefit themselves. In a moment of suicide, all the good attributes that Rakka mentions are good ones. She can tell the person how they benefit the world, but that’s the only thing she experiences. She doesn’t experience how the suicidal person experiences themselves, the inner demons of guilt and self-hatred.

This is just one interpetation. In many places Haibene Renmei suffers from the same flaws of Texhnolyze and Lain. It’s rich in symbolism and clear signs of depth, but it’s vague. Even if suicide is made slightly obvious by the end, it’s still hard to connect every thread to it. Nevertheless, the slight vagueness isn’t a problem this time around. The anime is deeply humane.

Nothing in serenity or in the Fantasy genre prevents it from being character driven. It may be serene for most of its first half, but every character reacts to the situations in their unique way. Their personalities are established quickly and stay consistent. Their character design is according to their personalities.

ABe is mostly a dull designer and not good at creating the unique touches that make each face different. Here his style works for him. It’s still subtle and minimalist, but meaningful. Rakka’s messy brown hair fits her confused persona. Kana’s more muscular look fits with her rougher nature.

haibane1

The setting of the series also gives him more to do. While the color grey still dominates, there are contrast to it. It’s not the barrage of grimdarkness that was Texhnolyze. There is warmth in those greys. The peaceful setting and characters make the grey slightly gloomier, but it still looms just like death. The animation is sometimes too choppy, but such technical difficulties can be forgiven when the art is so beautiful.

ABe needed a balance between life an death in the art. Haibane Renmei is dominated by characters who are clearly alive and feel real. The events are often cheery and carefree. The contrast between the greys and the cheerful part isn’t obvious. It’s not a bad thing happening after a good one. Rather, the two opposites are right next to each other. We see the good times the Haibene experience, we see the kindness of the people next to the caging walls.

It’s so lifelike that despite the vagueness, it’s a powerful drama story. The emotions run deep with living characters and setting. The Fantasy setting is taken advantage of – it’s fantastical, clearly symbolic and not just a set of rules. There a lot of confusing anime which are confusing on purpose, just to look cool. If Haibene Renmei is confusing, it’s only because of how original it is. I hope to return to it soon with more to say.

4 angels out of 5

Makai Senki Disgaea

disgaea
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!)

nhk
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.

vlcsnap-2016-12-19-10h31m11s179

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.

vlcsnap-2016-12-19-10h32m15s59

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.

vlcsnap-2016-12-19-10h32m33s209

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.

vlcsnap-2016-12-19-10h30m23s194

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.

vlcsnap-2016-12-19-23h44m37s87

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.

vlcsnap-2016-12-19-23h45m27s42

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.

vlcsnap-2016-12-19-23h46m20s78

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)

water_clouds_anime_boys_skyscapes_anime_girls_shinsekai_yori_akizuki_maria_aonuma_shun_asahina_satoru_ito_mamoru_watanabe_saki_shin_sekai_yori_1920x1200
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?

vlcsnap-2016-11-20-13h59m37s183

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.

vlcsnap-2016-11-20-14h03m17s72

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.

vlcsnap-2016-11-20-13h59m05s117

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.

vlcsnap-2016-11-20-13h58m33s50

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