Sundays Without God (Kamisama no Inai Nichiyoubi)

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This is such a bizarre anime. I’ve seen anime and movies with trippy imagery. I’ve read stories with pages of gibberish, yet few works of fiction left me with a sense of culture shock like this. Such anime are so original it’s hard to make them truly terrible, since the novelty value is there. Creators also tend to be as confused as the viewer, so they rarely reach their full potential.

When you have a unique premise on your hands that doesn’t owe anything to any tradition, there are two ways to go about it. You can either go full retard, mine the premise for anything it has and throw the kitchen sink along with everything. Since you have no idea how your anime is supposed to work, all you can do is try everything and hope something sticks. There’s a famous anime who did this and it’s called Future Diary.

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The other route is the safer one. You let your story flow, but you never try too hard to understand it. You let characters interact and explore your world, but you refrain from anything too attention-grabbing. The anime will narrow its focus. Its structure will become almost RPG-like, giving the protagonist a basic objective to complete and finish it off.

Sundays Without God takes the latter route, but the result isn’t a complete failure. Despite not playing with the structure, its setting and premise are so weird that the feeling of culture shock is persistent. The stories that make up the anime are also good enough on their own and take advantage of the setting. You cannot tell them in any other context. Still, something feels off. It’s not completely weird, not completely normal and leans towards the weird without mining it too much. The result is anime that’s enjoyable like an ordinary anime while feeling weird.

The best thing about the anime is it unique setting and tone. It’s a perfect example of how you don’t need a lot of details to create a unique world. The world here is simple. God is gone, no one can get born and dead people don’t really die. It’s apocalypse in slow motion. We’ve had a lot of stories about what happens after the apocalypse and we tend to imagine it as something swift and fast. Here, the world is in the process of ending.

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Human beings are resilient things, though. Even if the sun will explode, we’ll most likely try to save something. Survival instinct is so strong that it defies rationality and free will. In this case, the world isn’t ending so much as life reaches its epilogue. Life isn’t bad, but it keeps moving in an ordinary pace towards its ending.

What do you do when you’re the last generation? The anime is essentially about this, but it seems so weirded out by its premise it doesn’t really explore it. The first stories deal directly with these themes – one character is about to be the last of the last generation, which is the worst isolation you can have. The city of the dead is an interesting expressions of the Metaphysical Rebellion – how we can rebel against our circumstances and reject them.

The structure doesn’t prevent exploration of these topics, since many shows used shorter length with depth. The method of storytelling gets in the way. There’s an objective to solve, and the characters spend more time trying to solve it. While the pacing isn’t thriller-like, it’s too fast for such a premise. It doesn’t slow down enough to show how characters exist outside the story.

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Characters’ existence outside the story is one of the best ways to convince us they’re real, to make us care about them and see their humanity. Stories are something humans create and we don’t live in just one. A focused storyteller shows snippets of other stories the characters can have, but then goes back to the main one. A master storyteller can imply these side-stories and connect them to the main plotline. The anime doesn’t do this. Its focus is too narrow.

It’s a shame, because the storytelling is quite excellent. The format is familiar – we have a good, well-meaning character visiting people and helping them. Ai isn’t just a vehicle to tell the stories of these people. Her personality and position is directly tied to her role. In a world where everyone’s ready to die or desperately fighting death, she’s a piece of light. She’s the youngest person alive, a possibility that there might be a future.

She’s not a lantern, though. When things go bad, Ai doesn’t say some nice things and the story ends. Often, she gives those pep talks but stumbles. The world is, after all, ending. Problems still exist and are hard to solve. Ai may be an optimist, but she’s a struggling optimist. We see her doubts, how much she tries to cling to her optimism despite everything.

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This is where the anime’s faults lay. Although this is an excellent usage of such a character, they don’t take it far enough. Ai struggles, but the creators put her so much in the role of problem-solver she doesn’t have time to ingest the struggling. There’s no time to see how the possible failures affect Ai’s psych. Stories don’t always end just like she wants them to, and that should influence her worldview. How do you stay optimistic when things don’t go as expected? Do you blind your own eyes? Do you become pessimistic, or do you accept things as they are? The anime never addresses these questions.

The themes of wishing does make its appearance, but the creators aren’t sure what to do with it. People wish for things. Sometimes they come true, sometimes they don’t and sometimes they come true but the result is painful. It speaks volumes when a messy anime like Big Order addresses these themes better. They’re present, but wishing is not a plot device here and there aren’t enough angles to explore this topic from. It’s just there.

The art style continues the weird nature of the quality. The character’s looks are distinct and memorable enough, but the art style itself isn’t. You can put these characters in a school anime and they wouldn’t feel out of place (except for the outfits). There’s variety in how everyone looks and the school arc lets them show off their designs, but nothing connects it. Characters shouldn’t just look distinct but there should be a style that connects them, quirks that make the design memorable and make you wonder what else you can do with it.

On the other hand, the color schemes and backgrounds are beautiful. The anime finally fulfills potential. The colors are balanced. Light and dark tones are mixed. A burning red or a cold blue is are the dominating colors, and they have just enough brightness to make the world seem normal. There’s also a little darkness in them that reminds you that the world is dying. It’s a balance that’s hard to get. You can easily find yourself in bland colors, but here they’re the perfect mix of darkness and lights that fit the weird tone of the series.

Sundays Without God is a flawed anime, but nevertheless an anime like no other. Its failures hold it back from greatness, and but their nature prevents them from being offensive. When it falls, it’s not because it does stupid things. Rather, it’s too afraid to play with its ideas. They stand on their own, and even as basic storytelling it’s good enough. Someone might one day run away with these and render this irrelevant, but until then it’s worth your time.

3.5 sundays out of 5

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Attack on Titan (Shinkegi No Kyojin)

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We have a weird obsession with our own self-destruction. It’s not just stories about how we’re destroying the Earth. We are attracted to the sight of humans being butchered, cut up and eaten. The arts have constantly provided a safe place for people to view these things, knowing these people aren’t really dying.

As profound and deep as it sounds, it also gave rise to exploitation films. Sometimes, they get a budget and we get something like the Saw series. The worst offenders are those that use the grim’n’dark atmosphere of violence to shock. The audience for Saw is there for the visual spectacle, but many people are still sure grimdarkness is a sign of depth and maturity. Just look at all those crappy FPS games with monochromatic tough guys, or that very popular fantasy series that’s all about who will be the king.

The premise sure sounds like it will join these ranks. Anime is full of overblown violence, especially in shows with a very serious tone. There’s also a realistic art style to boot. After a few episodes, though, you notice you spent more time with the characters rather than looking at titans eating humans.

Attack on Titan never feels like it’s even trying to join the rank of shlock grimdarkness. This is a very humane story, one where the characters are much more important than what happens next. It doesn’t even sink into exploitating their suffering. It’s far more excited with the variety of humans to linger on one detail.

Calling Attack on Titan a story that loves humans sound silly. Heads are being chopped off and there are a lot of assholes around, but that’s the strength. It looks at humanity’s worst aspects, admits their exist and still refuses to give up on it.

In fact, it’s a criticism of such misanthropy. The titans are distorted versions of us. That’s a visualization of how misanthropes see humanity – as senseless animals just bent on destruction. Yet the whole purpose the titans exist, just to chop humans to destroy them all is the logical end of misanthropy.

It’s not a caricature, though. The creators understand why misanthropes exist in the first place. Cruelty is everywhere. Sometimes it’s cliches about how the elite only cares about themselves (Thankfully, the series doesn’t linger on that too much). Sometimes we get a more interesting look at how assholes are born. A military police officer can’t hear the explanation of how all these destruction is going to get humanity anywhere. Right now his own world is under attack. We care more about our home environment than we do about humanity as a whole.

Caring about the whole isn’t easy. The series presents two ways of doing it. Either persevere as if nothing is happening and hide behind the walls, or make great sacrifices, risk losing everything but also gain everything.

It’s not an easy choice at all. The ideal situation is that Erwin’s plans will work, but there’s no guarantee it will. We’re always encouraged to take risks, but the reason it’s a risk in the first place is because of the possibility of failure.

Failure is an ever-looming presence in Attack on Titan. Plans never go as expected, and sometimes even Erwin isn’t sure where to go from that failure. The series asks whether the risk is worth taking even if the plan fails. It doesn’t present a simplistic, complete failure. The characters always gain something from the risks they take. A complete loss is easy to write and doesn’t leave much to explore. Rather, it asks whether what was gained was worth the exchange.

While this focus on dealing with failure is admirable (and possibly pretty rare in these types of anime), it sometimes become repetitive. The series never sinks into milking its tragedy. We see titans eating humans, but just enough to understand the horror of it all. The camera never lingers on dead bodies and titans chewing on a human. We still get an overpowered enemy for the ending, though.

The last part of the series goes in a different direction. It’s a nice risk, but I’m still not sure whether it was worth it. It’s an extended action sequence that’s well-animated and exciting, but can feel too out-of-place. Up until then the series was concerned with the characters. We got various worldviews and personalities and saw them interact. The training arc is especially great. The action sequence relies on more on what will happen next than on the characers’ personalities.

There are still character moments there. A moment of banter between the elite soldier defines what makes this series so engrossing. The way each of them talks is modified by their personality (Oluo’s narcissism, Petra’s empathy). The action is also entertaining enough. It’s well-animated, unique to the series rather than just generic sword swinging and uses extended, moving shots. There is a kinetic energy to it. The camera moves as the soldiers fly with their gear, and that transmits this motion more effective.

Too bad their enemy is pretty dull. It borders on invincible. Fighting an all-powerful enemy can be used well, but only psychologically (As in Harlan Ellison’s story about mouths and screaming). An action scene against an enemy who can block each attack quickly becomes repetitive. There’s a reason why the last fighting scene in Medabots is so short.

The enemy is given the occasional downfall and these are the most intense moments. Anytime it breaks out and finds a way around there’s a sense of been-there-done-that. At that point, it just felt like the creators was dragging the series on and piling on tragedies.

Up until then, it constantly kept moving forward and didn’t linger on unnecessary details. The reason we get these time skips because we don’t need 40 episodes of Eren’s childhood to understand him. We’re given enough to understand and then it moves on. Why linger on the least exciting section? Maybe they’re trying to appeal to an audience who’s in it for the action. At least they gave them unique action scenes.

Overpowered enemy means the ending isn’t very different than what happened a few episodes before it. The lack of conclusion isn’t the big problem. The manga keeps going, and the series doesn’t put all its money on the Big Conclusion anyway. The conclusion is not satisfying enough, but it doesn’t negate all that came before. The problem is that not enough changed when it ends. Change is only hinted at, but the enemy hasn’t been really defeated and not a lot of progress was made. I did not want all points wrapped up, but I wanted a lesson learned. A good ending is one that wraps up the themes, not plot points.

The series also gets credit for changing my view on realistic character design. My previous experience was with Monster, where everyone looked like real people and no one looked interesting or unique. Animation gives total control. The animators decide everything – the size of the head, the shape of the eyes, the color of the hair.

There is supposed to be a good reason to include a detail. If not, it’s just meaningless fluff with no purpose. That’s why, in cartoons, the characters tend to have ridiculous designs that are either interesting to look at or to inform us about the character’s personality. Attack on Titan has this attention to detail. The facial expression especially have a lot of work put into them. Levi has small, narrow eyes that reflect his world that’s nothing but killing titans. Eren’s eyes are wide but muscular, which fit with his idealism, extremist views and desire to go to the world outside. Petra also has such wide eyes, but they’re softer. She’s more emphatic than anyone around here.

It also avoids the shounen trap and let women look like women. A lot of shounen anime give the women breasts, but not actual female beauty. It’s no attempt to subvert gender norms. The femininity is removed without something to replace it. Here, though, women are allowed to look like women whether they’re mother figures (Petra), hardened warriors (Annie, Mikasa) or wild eccentrics (Hanji, Sasha).

It’s a good moment to say that the series avoids all cliches of misogyny and feminism in its representation of women. The women in Attack on Titan are allowed to be human beings, not walking pin-up posters or bland strong women. They have characters and personalities just like the guys. They do drop the ball Mikasa, but that’s less because they try to make her strong and more because they forgot to give her a personality. Why do we waste our time, asking whether a sexy schoolgirl with a one armed scissor is feminist when this one gets it all right?

Despite the small flaws, Attack on Titan is well worth the fame. It’s good to easy it became so big. There are at times when it feels unstoppable, like it’s hell-bent on becoming the best anime ever. Almost every scene has purpose and every dialogue exchange contributes to the characters and worlds. Even when it becomes just an extended action sequence, it’s fantastic. That’s how good it is.

4 titans out of 5