Schrodinger’s Rapist or: Stranger Danger 2: Electric Boogalo

There are all kinds of problems with Schrodinger’s Rapist. It’s fairly logical, but it only states obvious things that don’t further our understanding. It’s a nice-sounding buzzword, too. As far as trying to reveal greater truths about the existence of rape culture, it’s a failure. In order to reveal rape culture, you’ll have to reveal something. This is just Stranger Danger with a feminist paintjob.

I’m going to tackle it from various points.

First of all, the language switch. This is the quote from Rebecca Watson with the sexes switched:

When you approach me in public, you are Schrödinger’s Rapist. You may or may not be a woman who would commit rape. I won’t know for sure unless you start sexually assaulting me. I can’t see inside your head, and I don’t know your intentions. If you expect me to trust you—to accept you at face value as a nice sort of girl—you are not only failing to respect my reasonable caution, you are being cavalier about my personal safety.

Dear women, you are Schrodinger’s False Rape Accuser, or Rapist, or Heartbreaker, or Run-Away-With-Child-er, or Mugger. I’m afraid, too.

What if made this a race issue? Schrodinger’s Black Mugger. Assuming black people commit more crimes (for whatever reason – class or genes or rap cred or because of biased reporting), wouldn’t it be reasonable to think a black person is Schrodinger’s Mugger until he proves otherwise?

Schrodinger’s Rapist is true, but its logic also encourages distrust of women. Even if you confine it to rape, males still get raped. Even if it happens less often, it does. Men being in power doesn’t matter. It’s not going to make the experience of a raped male any better.

Schrodinger’s Rapist is also an extension of Stranger Danger. Stranger Danger is an idea that should’ve been discarded long ago. People remember it when they want to ‘keep their children safe’ (=locked in the house with only a math textbook) and forget about it when complaining about how antisocial everyone is.

Stranger Danger is promotion of asocial behavior. Don’t talk to strangers. Don’t respond when they talk to you. They’re all out to get you. What people forget is that everyone is a stranger until you get to know them, including the parents. The baby simply didn’t have any control.

Strangers might hurt you. Asocial behavior is certain to hurt you. Isolation is a common factor when it comes to depression and depression is a common factor when it comes to suicide. Stranger Danger didn’t contribute anything.

Stranger Danger (Schrodinger’s Rapist) also fail because it’s not only strangers who hurt us. These strangers have probably been brainwashed with being asocial, too. It’s often people we are close to who hurt us the most. Rape occurs more often by familiar people rather than strangers.

That makes perfect sense. If you want to rape, it’s easier and safer to do it with someone you know, who trusts you. They will be less resistant at first. You already know how to interact with them and how to coerce them to having sex. You can guilt trip them later. If you’re the dominating person in a social group, they will less likely to accuse you.

The idea can cause more harm than good. It will make women fearful of strangers, but it can make them more lax with familiar people who are most likely to rape them. Where does the circle end though?

It also misses the point. By telling people not to act like rapists, you’re actually telling rapists how better to conceal themselves. A person with little regard to consent doesn’t need to be told how ‘not to act like a rapist’ but why rape is so wrong.

Acting like a rapist and raping are two different things. A person can have an aggressive, loud behavior. He can even care little for personal space and accidentally touch you, but it doesn’t mean he’s a rapist. It means he’s loud, obnoxious and doesn’t care much for personal space. It doesn’t mean he’s inconsiderate (or sadistic) enough so he will harass you.

The only surefire way to tell if someone is a rapist or a sexual harasser is when they actually do it. We should not teach people how not to act like a rapist. We don’t people not-acting like rapists, but we want them to not rape at all.

I also saw a claim that talking to people who are currently in the middle of something – reading a book, on the laptop, browsing Facebook on their phone is rude. I fail to see rudeness in initiating social interaction. It’s rude to keep pushing if a person tells you s/he’s busy, but it’s possible that this person is browsing Facebook because there’s nothing to do on the train.

You will get hurt less by telling a person who approached you to leave you alone then by not being approached to at all. Loneliness is more damaging than we think. The fact some people won’t leave you alone is rude, but is a different story.

(Here’s some Hypocrisy With Natalists moment: You think it’s rude when guys approach you while you’re reading a book, but think it’s fine to force people into existence? That kid you just forced into existence and wants to die suffers way, way more than you.)

If Schrodinger’s Rapist is supposed to make us understand better the fear women have of rape, it fails. It’s Stranger Danger in disguise. It’s actually worse than Stranger Danger. Its main message is that you can’t trust anyone. In some ways it’s true. Anyone can hurt you. The key word is ‘can’. It’s possible they will and it’s possible it won’t. There is one thing that’s guaranteed – loneliness, isolation and fear of communication will hurt you no matter what.

BTOOOM!

btoom

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