Big Order

 

Big Order poster
Sakae has a bizarre, messy mind. For all the flaws in Future Diary, it’s a masterpiece. The low points – and there are many – are there because there’s few anime like it. Future Diary had no main tradition to draw from, no main road to follow. A lot of great anime follow clear traditions, building on obvious flaws and emphasizing strengths. Even the abstract Serial Experiments Lain belongs warmly in pre-millenium tension art.

It’s hard to decide whether Future Diary falls more on its good side. Expecting Big Order to fulfill that series’ promise is silly, since there can never be another one like it. If the premise sounds familiar to you, you’ll be disappointed. The structures aren’t similar at all. Still, the little you can expect is that the anime will fail in a spectacular fashion.

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The crucial flaw in Big Order isn’t the lacking characters or the plot. The bad traits of Future Diary are amplified, but at least they have the same energy that one had. The problem is that the core of the anime is generic. Remove the layers, the odd designs, the violence and the messy plot and you’re left with some kind of a battle shounen about saving the world for this one person we love so much because we’re related to them by blood.

I never wanted to say this about a work by Sakae. Big Order is normal. Everything good about is just a cover on a generic story.

The beginning is good enough. The power of Orders is close to be symbolic rather than battle skills. There’s a little exploration about the nature of wills, how our wills are limited and they could even do something the concept of losing loved ones. Two characters get completely different wishes despite losing their family. The conflicting nature of wishes is addressed and by the time the antagonist is revealed, he’s given some time to express himself.

The character design isn’t as expressive, but Sakae still goes wild with it. There’s a nun with bunny ears, a twintailed girl with a flower in hair, two long-haired dudes and a square guy. Everyone wears weird outfits and the design plays with body structure and size. Characters who appear for barely 10 minutes in the whole show get a memorable design.

The highlight of the show is DAISY, a bizarre creation that deserved a better anime or at least a cameo appearance in the revamp of Future Diay, whenever someone gets around to make it. That little touch of having her hang upside down adds a lot. It emphasizes the distance she views humanity from. Although she’s meant to be a fairy who grants wishes, she’s always distant and slightly cynical towards the whole thing. It gets nowhere, but every time she appears she injects some life.

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Oddly enough, the most normal creations in the anime are the main characters. People who wanted a Future Diary copy were disappointed. In fact, it often feels like the anime tries too hard to distance itself from its big sister. Why is that? Future Diary is unique enough to be worth revisiting. If Sakae wants to do something new so much, why is he falling back on cliches?

Yukki/Yuno were deeply flawed human beings. People disliked them for their nature, but they missed the point. They were supposed to be imperfect. Everyone in that series was imperfect, was full of desires and selfishness. This gave them humanity and made it believable at its most surreal. Eiji is a likable guy who only wants to live happy with his sister, but he has no desires, no motivations whatsoever.

He’s responsible for humanity’s worst horror, and that concept of guilt is explored for a while but abandoned. Scenes showing how much everyone hates Eiji are that type of deep moments Sakae can conjure. How everyone gathers around televisions, how they wallow in their hatred for this one person is frightening. Even if he is that horrible, what about this hatred? It’s the cult of anti-personality, and even if you think it doesn’t exist just look at how everyone reacts to Trump or Hitler.

Since Eiji is, at his heart, a generic moral hero who only wants to defend his loved ones this means nothing. His only drive in the series is protecting his sister and the guilt kind of drives him, but was it necessary? He’d want to keep his sister safe even if he didn’t cause a great destruction. We never see the psychological effect of guilt, of knowing everyone hates you. Occasionally there are hints Eiji is actually working alone, but that’s never expanded upon. The whole ‘one man and his sister against the world’ could work even just as a fun show, but it never goes there. The guilt is just another element in the many tired speeches about protecting Sena.

As for her, she’s an object. Everyone cares deeply about her happiness, but why? Her connection to Eiji is only by blood. It’s not that we don’t know how their relationship is. It simply doesn’t exist. Whenever they interact, she’s simply being cute and he’s being nice. If her cuteness was integral, if that charm was emphasized, exaggerated and played with then fine. She’s never portrayed as a character that captures people’s heart. Rather, it’s the lifeless trope of hapless girl who’s convenient to rescue.

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It doesn’t help that the few times we get insight into other characters, it always has to do with protecting loved ones. The Future Diary had the ‘dark past’ cliche, but at least each character had a slightly different past and reacted to it different. Characters may have different Orders, but they all wish they could’ve rescued their friends or family and they don’t gain different conclusions out of the loss.

Loss is one of the worst experiences you can go through. If we all experienced in the same way though, it wouldn’t be so harrowing. Misery loves company, and by listening to how others felt when their parents or friends or spouses died would’ve helped us through. Loss is such a harrowing thing, and how you lose someone affects how you react to it. Big Order only plays with the emotional weight it has. It gives the characters a convenient excuse to do what they do. That’s better than making them plain evil, but it’s not enough to make them wholly human. They’re not given motivations, but batteries in different colors.

The only thing the show has going for it is Sakae’s wild imagination. The little he had left was for wacky set-pieces. There are odd situations and turns all over the anime. Gates open to mental spaces, characters become pregnant by touching their ears, an obstacle course – somewhere here an incredibly fun anime is hiding. But Big Order doesn’t have the conviction Future Diary had.

That one jumped from genre to genre, but it approached each with so much conviction you could create 10 seperate anime out of it. Big Order is more scared of becoming a clone, so it does away with anything resembling Thriller, chucks away most of the romance and piles on the action. There aren’t many tonal shifts and doing away with the death game scenario looks silly with what you have left. If it concludes with people sacrificing themselves to make a non-character happy, what’s the point?

There’s energy and verve here, but Big Order is a mess without directions. Notice the use of plural form. If it was an amalgam of genres that didn’t gel, it would be brave enough to be interesting. Instead, it’s too scared of its big sister. So it pushes forward, one wacky set-piece after another. Without a core, or multiple ones to rely on all it has is cliches. This is a perfect examples of when tropes are a bad thing. The anime uses them only because it has nothing to say, because it’s too afraid to explore its themes and too afraid to pile on the ideas. So yes, there’s a Rock God and a pentagram of some sorts and gates and an upside down fairy, but it’s just another story about protecting the little sister. Try BioShock instead.

2.5 floating girls out of 5

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One Punch Man

one punch
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

The End of Evangelion

Let’s get rid of the obvious first. The End of Evangelion is inaccessible to anyone who didn’t watch the series. This shouldn’t be a point against the movie, though. There are enough great sequels who needed the first film. The fact this is two episodes smashed together to form a movie has no bearings on its quality.

There are far worse problems here. Evangelion was a brilliant series with a disappointing ending. Instead of using intelligence to lift up its story of saving the world, it went full retard. The deviation is only impressive if you haven’t been to the edge of weird storytelling. It contributed nothing to the series but was just a scattered essay with moving pictures.

The film was supposed to fix that, but sadly it doesn’t. Evangelion was never as deep as people say it is. It attempted subversions, but it lacked a theme to unite it all together. Religious symbolism and psychological portraits do not necessarily mean there’s a grand theme. They are ways to express ideas.

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The problems are already apparent in the beginning. It kicks off into a huge action sequence that lives little room for character development. It also perfectly replicates the intensity that made the TV show so fun.

Nobody talks about how fun the TV show us. The drama was engrossing and the action scenes were beautifully animated. Every metal bending, every hit, every explosion is full of power. The enemies have the unique, Angel-esque design and the scene is clean. The environment is bare, making it easy to follow exactly what’s happening. Michael Bay has a lot to learn from this film.

The film attempts the same psychological-monologue-slideshow thing, and it’s just as unnecessary and messy as in the series. It’s a little better, but the core problem remains.

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Moving to such territory is unnecessary. The story isn’t made for such experimental methods. At its heart, it’s a simple story about saving the world from the Unknown Enemy while realizing that humanity can be its own enemy, too. All you need for this story are characters who are convincing enough.

The monologues just go in circles, bouncing from one subject into another with no ideas concluding or connecting. This technique works in novels, but not so for films. You read novels in your own pace, so you take your own time to digest the word salad.

Movies set their own pace, so Anno is throwing at you images and words in machine-gun velocity. This could still have a chance of being entertaining, but experimental films often have a plot that works well with the method. You couldn’t tell the story of Pi without going full retard. It’s an abstract story at heart that happens only in Max Cohen’s head.

There is something about loneliness and the desire to connect. I heard this before and searched for it in this film. While the conclusion does touch that in a symbolic way that works, everything else was over the place like I remembered. Shinji is a neurotic and angsty teen, but his type of angst isn’t focused on enough. Is he a person who gave up on connecting to people like Mirai Nikki‘s Yukki? Is he an obsessive person who sees everything in absolutes like Max Cohen?

Perhaps I missed something in the series, but nothing here connected to a single theme. It starts to look like Digimon Tamers is an attempt to remake Evangelion with coherency. At least Tamers has a theme and symbols that point to it.

I once read that Anno said Evangelion could mean anything the viewer wants to. If so, then the show is about nothing. This isn’t how vagueness works. A story should not give simple answers, but it still needs to ask questions. Asking questions means it confronts a subject, and it’s not just about anything. Medabots asks whether weapons only lead to destruction, or whether they can be used for fun. The vagueness is in how the series makes strong cases for both viewpoints.

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The film still gets by because of its visuals. Despite the attempts at philosophy, the second part works in the same way the first part. Its epicness is exciting. It’s not as meaningful as before. We get monologues, instead of seeing characters in action but the visuals are still beautiful, and there’s a sense of self-importance that actually makes it fun. It stretches itself so far so just seeing how crazy it will go is entertaining. Despite the philosophizing, the film never forgets it’s a visual medium and that it should take advantage of it.

It’s an interesting addition to the Evangelion canon, but it supports the haters more than the fans. Instead of giving Evangelion a coherent ending, it shows how the series never had a grand theme to begin with. Knowing your limitations is important. If Evangelion stuck to its story of saving the world, it would’ve been fantastic. Still, a scattered but creative mind still has plenty of worthwhile ideas.

3.5 Angels out of 5

 

Bring Back the Woolly Mammoth

Scientists successfully splice Woolly Mammoth DNA into Elephants

Finally, after thousands of years (Or millions, depending which book you read) humanity has made its first step towards manifest destiny. No, America is not the final frontier. Space is also not the final frontier. Neither of these frontier solve the crucial problems that people have been unjustly forced to deal with.

Our world contains no Woolly Mammoths.

The fact that people aren’t even aware that it’s a problem is proof that it’s a problem. Since both thinking and not thinking it’s a problem constitutes as proof in this case, I declare the lack of Mammoths to be set as the top priority at the UN.

We have made progress regarding our recognition of the problem. Ice Age was a pretty popular series of animated films, which starred a Woolly Mammoth. Skyrim, a terrible game known for committing the crime of not having Turn Based Combat with Pause Button, has mammoths in it. It wasn’t enough, though. Ice Age isn’t recognized as the most important film series. People still think Skyrim is at fault for not being Icewind Dale. No one is discussing mammoths.

Scientists do, though. After doing some reflecting, here are a few of the problems that we will solve by bringing back Woolly Mammoths

No More Countries

There will be no need for countries. Every place will be recognized as to whether it has mammoths or not, and it will be desirable to be only close to mammoths. Anywhere that doesn’t have mammoths will be abandoned. There will be no need to draw lines between zones. Mammoths know no bounds

No More Religious Arguing

Everyone will convert to mammoth worship. Atheism will become irrelevant. Who cares whether there’s a God or not? If he exists, he also worships mammoths.

People Will Stop Breeding

We will voluntarily extinct. Once the mammoth is back in the house, our job is done. We were put here to bring it back. It’s time for us to leave the Earth alone and let the mammoths enjoy it, instead of clogging it with more babies. Competing against them for resources is a crime punishable by being exiled back in time to an era without mammoths

Veganism Dies

We will have to eat any animal that is making the mammoth angry. You might see a contradiction here. We’re supposed to die off, yet also serve the mammoth? Yes. So long as we’re here, we need to do our best by eliminating anything that hurts a mammoth. We need to kill any animal that competes with it. We should also eat it, so the meat won’t go to trash.