Kaiba

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Great works of art are not easy to review. They are not common like the cesspool of bad art. Bad art is easy to deconstruct, to show how pathetically horrible they are. “So bad it’s good” exists because these works are so bizarre, so extraordinary that they become unique. Bad art is never unique its badness. In contrast, great works of art always end up redefining what ‘good’ is, so any review of a masterpiece will never be analytical and conclusive. It always end up chasing something that we can only grasp a piece of, like a poet looking at a beautiful line he wrote and knowing he can never write a worthy poem of it.

Kaiba is one of those artworks. I say it deliberately. Judgment of it is not confined to anime. It transcends media, reaches something so deeply human and awe-inspiring that it becomes a part of you. Do not expect a rational explanation of why this anime is better than pretty much anything. If we understood completely why it’s so good, we’d have masterpiece dropping from the skies. I can try, though.

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The key to understanding Kaiba is understanding how it tells a story, specifically how it takes advantage of the personal nature of fiction. All art, including fiction, is personal. It is a product of human thought, a translation of your entire Being – your experiences, philosophy, unconscious, passions – into some kind of experience that another being can take on. Kaiba is a ridiculously expressive work. Every scene is imbued with emotion. Every object says something about what it represents. It’s so emotionally draining because of that.

Memory is the big topic, but Kaiba isn’t just about memory. In a cliched way, it’s existentialist, asking what we are. Its answer is memories, but memories are also information. The anime explores this intersection of information that defines us. Notice the symbols. When memory isn’t converted to information, it is organic and free – it is lifelike memory eggs. These are also tiny, fragile and fleeting. The memories float away and are easily lost.

The roe is us, so they use to show how tiny we are when death strikes. When a character dies, their bodies become liquid and vanish completely. The ‘self’ becomes just a bunch of yellow pieces floating way. It expresses the loss of death, how death completely erase us and we become nothing. The memory chip – a drill-like thing – can also die so easily, if it’s lost it’s gone forever. Sure, we can try to capture those roe or to protect the chip, but it’s so difficult. It’s an expression of how fragile we are.

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Yet converting ourselves into information makes us so much easier to control, and easier for us to control others. Altering other people’s memories is a sci-fi trope, but this anime is concerned with how it affects everyone, how it affects our personal lives. We see the small results of this – how erasing someone’s childhood erases who they are and they end up becoming nothing but a memory. How this power to change personal reality blurs into thinking we can change reality itself – a direct link to megalomania and tyranny.

Our memories are our personality. Once we control them, edit them, change them all lines break down. The world of Kaiba looks funny by design, but that’s because how the people experience it. People can also put their memories into a whole new body. In one episode this results in a world where bodies are manufactured like clothes. Its reality is grotesque, a mass of weird shapes that’s disorientating. Somehow we ended up creating a more chaotic reality than nature.

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Leaning towards a socioeconomic critique of society, the anime shows a world in which memories – selves – become products. So a character sells her own body with hopes that her memory will be kept. Selves are no longer precious. This society isn’t painted with strokes of black to show you how evil rich people are. Rather, to illustrate the chaos of it, we see selling your own body and putting yourself in a chip is no guarantee. You’re relinquishing control of yourself, your grip on the world.

Yet this ‘information’ is never just ‘information’. Consciousness was the result of accumalating all these pieces of data and connecting them. So we’re never really dead, and using memories this way is using people as objects. The anime is deeply concerned with living things. In a gallery of memories, the people who own these memories cry out to be released.

Everyone’s concerns are always personal. Although the characters are simple, they have motivation and a humanity. A sheriff who really wants a girl at first seems like a greedy bastard, but he’s a person. That’s his wants, and when we see this want doesn’t make him just an asshole but a good person we’re encouraged to sympathize with him. In the end, he’s a ‘human’ being – with people he loves, things he wants, and dreams lost when death comes.

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Although there are antagonists, the series always reminds us that they’re people in the most simple way. People want power, but not because they’re evil. They want it because they’re human beings, so we see the ringleader of the resistance crumbling to tears when he realizes what he’s done. He had to erase memories that painted him in a bad light, but the result was losing a friend.

This anime is in the end about treasuring people. The idea of memory is just a tool to show us how we can lose people, no matter how hard we work to keep them. We put their identity, their whole being in a chip but then that chip is lost. We sell a loved one’s body, hoping the salesman will keep the information in a chip. A friend blocks our ambition, so we erase some memories only to realize the whole person is gone. Eventually this anime reaches an important conclusion about being – we need each other, we’re social animals, power doens’t make up for it.

The castle of Warp is a lonely place. The only person he has is an all-seeing robot. He’s not happy and the only thing he can talk about are who to execute. He may be the king of memories, but these are his own memories. What good are they? In a beautiful scene Popo and the resistance at the palace, and it has a huge opening to a black void. That’s the height of power to you, a lonely high place looking out into nothing. The only thing that’s there are themselves, yet they’re craving control.

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The romance between Neiro and Kaiba isn’t a symbol for romance, but what’s really important – connection. Even during oppression, they found something of their own, a precious shared memory that’s enough. Separate yourself from the struggle for power. The privileges of the rich to put themselves in memory chips and live forever aren’t that worthwhile in the end. Every world touched by this is grotesque, people are lost yet they are still people.

You cannot talk about the art without mentioning the Neverhood, which seems like a direct inspiration for the anime. Both endings and beginning borrow from it. It opens with a man seeing an unknown, bizarre world. The ending includes a darker version of the hero and a gigantic, self-sacrificing robot. Like the Neverhood, the design is cartoonish, nonsensical and imbued with meaning and emotions. Look at the planet where the only thing that matters is the story of two old people. The planet itself is nothing but their tower. The underworld is almost colorless – but almost, since it still has some life in it. The club is colorful and weird but has a dominating shade of purple – a disorientating effect. Vanilla looks like what we expect from an asshole with the fat belly and aggressive face (Only his character later proves to be more). There is even a creature who flies by a propeller and doesn’t speak – like the sidekick from old video games. It’s as unrealistic as you get, but no scene is without emotional overtones just like life – and that makes it far closer to reality than anything else.

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Likewise the soundtrack couldn’t be better, a collection of gentle electronic sounds. It fits with the slightly childish designs, but it has the same fragility of the world. A lot of it sounds like Boards of Canada, only it takes it to less nostalgic tones. The soundtrack mostly expresses a reflective, introspective atmosphere, one of both awe and terror. Some tracks are colder and harsher that reminds us that this world is still harsh, a world where selves can be sold. Some tracks have beautiful, intimate melodies to go along with the theme of connection.

There is no other anime like Kaiba, an anime so expressive, where every shot is charged with emotion, wonder, terror and humanity. ‘Depth’ isn’t the right word. It’s not an intellectual, symbolic exercise like Paranoia Agent or a psychological exploration like Digimon Tamers yet it’s somehow better than these two. Perhaps because it takes anime to the origin of art – the expression, not explanation, of human experience. Nothing I could write would do this anime justice.

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Kino’s Journey (Kino no Tabi)

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This anime is also known as The Good Mushishi. I almost wish it wasn’t so. While that descriptor is true, its existence points out the anime’s shortcomings. For all its imaginative moments, it settles into a pattern early on and never deviates. Even the last episodes which aim for some harrowing ends up slotting nicely without breaking up picture.

It’s almost like reviewing Mushishi all over again, but the bigger scope makes Kino’s Journey better with more apparent flaws. Some anime can make it through with a narrow range of emotions, especially if they’re short. Narrow focus on themes is often the source of fantastic exploration of them. By nature, this anime has a wide scope. It follows a person through various countries, each one dominated by a theme.

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This anime sets itself up to be big no matter what. The stories aren’t small and intimate. They’re more about big issues like war, fate, religion and technology than personal issues. A single character from a country may stick out, but everyone in it are mostly the same person. Such shallow characterization can work, but you need someone to react to this symbolism.

Character’s views and reactions are integral to exploring themes. It’s not enough to just have ‘fear’ or ‘technology’ as a dominating presence in your story. You need to connect it to the human condition. You need to show how it affects the people, how they react to it and live with it. The best stories show us characters in such crises, gain their emotional punch from a meaningful struggle.

Kino is better than Ginko, but she shares more with him and not just a similar name. There are literally less than 5 moments in which some kind of personality is hinted at. Mostly, Kino does nothing but observe. When she acts, she’s pure convenience. She helps characters solve their problems by being nice, but what’s Kino’s stake?

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Decisions are another way in which we learn about characters. Decisions that relate to themes are even more meaningful. They illustrate a viewpoint and demonstrate it. Kino makes no choices. She comes to a country, observes what’s going on, does the thing that causes the least conflict and moves on. It’s hard to remember what exactly was Kino’s role in many of these stories. In the last episode, she’s interchangeable with any passer-by. Nothing about her is important to that story, only her role.

That’s a problem you encounter with shitty role-players. A character is far more than their little role. If characters are symbolic of human beings, then human beings have various roles depending on who you ask. Even a soldier trapped in the army will have more roles than just a soldier. He’ll be someone’s good friend, perhaps the commander’s most hated and so on. Kino is defined only by her role as a traveler and does nothing else.

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A role can be a part of the personality, but we need to see how Kino views traveling. A soldier can be patriotic or just in it for the money. Both are different takes on the same role that leads to different characters even if they do the same thing and come from the same background. The anime never provides a view about traveling. There’s something vague about how the world is both ugly and beautiful and this grey area is appreciated, but what else? What do we do about the grey?

Grey areas are difficult and I don’t expect answers, but great storytellers show me how they wrestle with the themes. If you can’t answer any questions – and you shouldn’t, because there are no definitive answers – at least throw something. A question shouldn’t drag itself for 10 episodes. The series barely asks a question, let alone provides angles to look at it. Asking questions is fairly easy. The difficult part is trying to find the answers. That’s when you deal with the ramifications. No question has an effect until you check the possible answers.

Some episodes provide moral choices for Kino to make. They’re generic, morally clean choices. They don’t reflect a coherent moral worldview. Kino only chooses the least offensive path. She doesn’t even struggling with these decisions. Remember that this character has been around the world and to many different countries. Traveling and experiencing new worldviews should either give birth to a new, original one or leave you confused and full of doubt. Kino acts instead like a cliched ‘wise Zen master’, viewing things mostly through indifferent eyes. It’s believable, but only if there was a worldview behind it.

The series is capable of darkness. An early episode shows the humanity of slave merchants. Even if it ends by vilifying them, it shows how they can enjoy family and raising kids and company just like us. It’s odd that in under 20 minutes they create simple but lively characters. Nothing about the slave merchants is particularly unique, but the juxtaposition of their ‘good’ and ‘evil’ side is effective for side characters. Kino never gets such interesting characterization. In the arena episode, she always offers her opponent a chance to surrender. Why?

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The slave merchants aren’t the only memorable characters here. This is where the series trumps Mushishi. Its side characters are driven, sometimes flawed and sometimes immoral. Many of the stories cannot be re-modeled for Mushishi since they deal with humanity’s dark side. The variety in characters and themes also lead to a variety in tones. Although the series is often stuck in its ‘contemplative’ atmosphere – a style which, except for Haibene Renmei, always comes off as pretentious – it experiments with tragedy, satire and adventure. The anime doesn’t dig deep enough. It offers themes but rarely shows their complexity, but the sheer variety of them makes the surface attractive enough.

Some have pointed out that Kino’s Journey is very obvious in its themes. Often characters say exactly what the story is about. In one episode, it’s cringe-worthy. An oppressed tribe literally admits to killing people for the sake of revenge, because oppression. At this point, it’s the artist’s critique of an ideology sneaking up into the character’s mouth. Imagine if a Nazi in a story admitted how wrong Nazism is, but they have to do it because of economic hardships. It’s a lone case. The anime is all surface anyway. The only reason to put things under the surface is because your surface is already full, but Kino’s Journey already has little to say. Such an anime shouldn’t make the viewer put effort. It’s a wise decision to reveal everything, since it prevents an unpleasant air of pretense.

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The art is decent, with strong backgrounds and decent character designs. The character designs are distinctive enough. Town folks get different looks and important side characters look like they can be main characters in their own show. It’s minimalist almost to a fault – the lack of details don’t do anything – but it finds variety in things like mouth size and eye shape. The backgrounds, while similar, capture a unique feeling. A running theme is the idea of the world being ugly and beautiful at the same time. The backgrounds use a mix of bright colors and pretty shapes with a darkened atmosphere to achieve is. It’s not particularly impressive, but it’s nice to see colors that fit the themes.

Kino’s Journey isn’t brilliant. Its popularity has more to do with it not being traditional, rather than quality. Some people are just dying for something without fan service. I’ve seen anime with weirder premises, deeper psychology and better art. Still, the variety in stories and the thematic focus makes it a show that’s worth most of its running time. No one yet knows how you achieve the greatest heights in art, anyway.

3 talking motorcycles out of 6

Toradora

toradoraNote: this series has been dropped at episode 14

Unlike the main protagonist of this anime, I do not have much strength to withstand torture. Put me in the clutches of a diabolical serial killer/torturer, and I have no idea what I’d do. Ryuji, our hero, is one of a kind. Bards should sing about him in taverns all across Tamriel. For 14 episodes, he stands Taiga’s relentless abuse with a smile.

In one of the greatest songs ever written, the extremely white lead singer of the Smiths sings about how it’s so easy to laugh and so easy to hate. Kindness and gentleness are difficult, and I do agree with him. That said, I wonder if the band and their fanbase would change their mind if they saw the anime. Actually, considering how huge this anime is, becoming iconic in the school genre – I think they won’t.

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I’m a defender of the school genre. Many rant about how immature and derivative it is, but few people didn’t go to school. A lot of things happen in school and you meet a lot of people, so it’s a place rife for stories. Its low-key and stable environment actually makes it excellent for stories driven by characters. Conflicts will have to rise from within and not an external UFO coming to wreck the party. These shows rely heavily on their characters, and it’s enough to have a decent, odd cast – see Haganai – to make something decent. Toradora is a major failure because of how insufferable its cast is.

Since we’re talking about symbols and not actual human beings, I need to find a way to explain why and how disgusted I was with them and how that lead me to conclude this anime is horrid crap. Many a great story are about horrible people. In fact, one of the best novels ever is about such a terrible murder. It’s their darkness, their psychology and reasons for being so that makes them so intriguing. How frightening these characters are because we understand them and see us in them. Part of our obsession with villains and their backstories, or with serial killers’ childhoods is because we want to know why they’re like this.

Everyone in Toradora is a bit of an asshole. Actually, only two characters are but they’re so dominant that it’s easy to forget about the rest. Taiga is the big problem, since she’s both the main character and the worst. Tsunderes can often seem creepy, sometimes borderline Gacy-like sadistic. None of them are as bad as Taiga.

The archetype can be funny. Tsunderes’ appeal is their insecurity, how they address the Presentation of Self in Everyday Life – we put up a front in every social interaction, putting a different front in different places. The best Tsundere, Neptunia‘s Noire is all about this. Humor never comes from her being violent – she’s rarely is – but how hard she works on her image.

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In contrast, Taiga is nothing but violence. She reacts to everything with violence, like a 10-year-old playing Elder Scrolls and thinking that it’s supercool to kill every NPC. She may not kill anyone, let alone essential NPC’s but it doesn’t make it any less creepy. In every episode, she beats up people at least 5 times. Her reactions are always with force, causing clear pain to the other characters. I’d expect anyone to beat her in return the first time.

The fact Ryuji stays there is flat-out creepy. Moreover, she treats him with pure condescension. Rarely, if ever, she addresses him in a way that’s not hostile. Early in the series they make a pact to help each other, but Taiga doesn’t actually help him until the middle of the series. All the episodes are about the characters doing stuff and Taiga beating people up. The anime never answers why, exactly, Ryuji puts up with so much physical abuse.

Yes, ‘abuse’ is the only word that can describes their relationship. Switch the sexes. Imagine if Ryuji was constantly beating up Taiga, calling her ‘bitch’ and so forth. It’s nothing but sick. You can only watch it for so long before getting tired of this torture porn thing. Not only Taiga is violent to everyone, she also has a weird entitlement problem. She expects Ryuji to take care of her and do everything for her. She never asks, demands with the expectations that Ryuji must do it for her.

In the end, she’s nothing but a horrible person who beats up everyone but also thinks everyone owes her everything. Now, a character being a terrible human being isn’t enough. How their actions are framed is important and now we get to the main problem. Taiga is framed as okay.

A backstory occasionally rears its head, feelings of insecurity do show themselves. None of is it actually dark, none of it gives us a glimpse into a troubled psych that can only react with violence and cannot connect to people. The backstory may justify anger, but the anime never acknowledge how bad Taiga’s case is. No one around her also reacts like they should. They treat her like she’s a quirky friend, someone who occasionally goes off, like that friend who swears a lot. This is a person who’s in desperate need of help and a lawyer. It’s no longer a person having anger issues but a criminal that everyone tolerates because the plot demands it.

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Such light framing of dark material is unforgivable. Humor doesn’t have anything to do with it, but how the frame never addresses the darkness of it. Physical abuse leaves people with trauma. People react harshly to physical abuse. If people stay for a long time with a physical person, being nice to them and doing what they want it means they got issues of their own. I can’t stress how dark this material is, yet the light framing is disrespectful to anyone who went through physical abuse.

Taiga and the framing of her behavior towers over the anime, so everything else ends up pointless. No matter how hard they try, the creators frame Taiga as quirky and cute. Nothing can salvage the anime, but then again it doesn’t seem they try. There isn’t much in the way of stories or characters. Ryuji is like that dude from Haganai only not as hot. Somehow he manages to be perfect and eventually the center of the harem because he’s nice to everyone and doesn’t have wants of his own. To the anime’s credit, the secondary male actually has a purpose here and he’s a bit hot, but besides being a more energetic nice guy there’s nothing to him.

Other females consist of a wacky redhead who’s entertaining for five episodes and then becomes tiresome. As for Ami, she’s another generic asshole who’s overall unpleasant without the darkness. Like Taiga, she treats people like crap but the cruelty is never meant to shock or make us reflect. Funniest thing is how the anime passes her off as sexy. Not only the characters can’t drive a story, but they look bad.

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Art style is another problem the anime suffers from. No one has a distinctive look. School anime, at worst, create pleasing to look at characters. You may not experience anything profound but there is aesthetic value in the designs, in understanding human beauty. Designs don’t have to break boundaries, but little touches like Sena’s butterfly and deep eye color make an anime more pleasing to look at.

Toradora does nothing like this. Taiga does have a weird hairstyle, but Minori isn’t memorable at all. She has huge eyes and short red hair. End description. Worse offender is Ami who is meant to be the sex symbol. To express this, they gave her a longer hair and slightly bigger breasts. Unlike shows where the characters are actually sexy, her figure isn’t defined or emphasized – which is necessary if the character’s beauty is important to her personality. Her hair is just long without hairstyle quirks. Look at any anime that has a character whose beauty is important and you can always spot details expressing it – just as I described Sena in the above paragraph. The designers decided to do the bare minimum.

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Character designs are integral to how we view them. How people look is a part of them. It doesn’t mean characters should all be sexy (that’s actually quite odd) but their looks should somehow find their way to their personality. If your character is meant to be beautiful, make them beautiful. Toradora is satisfied with just sending the signals, mistaking low effort for minimalism. Minimalism is when you have few details but these details are important. Ami’s design and everyone else’s has no effort put into it. A simplicity that has no elegance, that emphasizes no details is just a product of no effort and laziness.

Maybe the anime drastically improves. I have a hard time believing it. Watching this anime became painful. Witnessing the abuse Taiga inflicts on everyone, and expecting to be entertained and amused by it is too much. Torture porn at least acknowledges its characters suffer even if it expects me to find entertainment in pain. This anime pretends physical abuse doesn’t cause any pain. Truly, it’s objectionable almost on a moral standard.

1 abusive partners out of 5

Another

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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.

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“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.

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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.

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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.

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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.

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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.

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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

Shinsekai Yori (From the New World)

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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?

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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.

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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.

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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.

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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

Paranoia Agent

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Bla bla bla this is experimental you won’t know what’s going on it can mean anything therefore it’s brilliant and not stupid like school harem fanservice bla bla

Now let’s get to the actual review

This anime is, first and foremost, about the atomic bomb. It’s also about a bunch of other stuff, mostly actual psychology. By that, I mean the anime is deeply concerned with humans, their emotions and how they view the world. It doesn’t stick philosophical jargon in the dialogue or has trippy imagery in order to insist how important it is. The situations demonstrate ideas, and psychology rears its head in character actions and thoughts.

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We need to talk about the bomb first. The general stort you hear in the West is that America is Big Bad mostly because it’s powerful and has a lot of money (As much as I love Star Wars, people watch it too much). Therefore, if they dropped an atom bomb on the Japanese then the Japanese are automatically innocent. They haven’t done a single bad thing in the war but were hapless victims of humanity’s worst weapon.

Of course, that’s not the actual story. Read about the Rape of Nanking, about Unit 731 and the Kamikaze. Japan was one of the main reasons why that era is humanity’s darkest hour. Thanks to the atom bomb, though, Japan could feel like a victim for a while. Victims don’t bear responsbility. They’re passive. Things are being done to them. The atom bomb saved Japan from the position of villain they might’ve been placed in once Unit 731 and Rape of Nanking were exposed to the world. Sure, you can buy books about these subjects but what do you hear about more – the Holocaust or these incidents? Germany was the loser, but Japan was the victim.

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Shonen Bat and his victims mirror this. Notice how American-looking Shonen Bat is. The baseball bat is a distinctively American symbol, belonging to the country’s most beloved sport. The manner of his dress – the hat, the hoodie is also more common in American than Japan. Furthermore, he has a peace sign on his hat (which was originally the anti-nuclear symbol). How he acts is by targeting people who are cornered, some innocent and some are not. By beating them up, they become victims. He releases them from that stressful position, whether it is being a bully, juggling identities or a big debt. Oh, and his name is very similar to ‘Little Boy’.

Maromi symbolizes Japan’s obsession with cuteness. Many took it as a criticism of that. Supposedely after the war the Japanese escaped to these cute cartoons and figures. They rely on them for solace and escapsim. Its type of cuteness is called ‘yurui’, which tends to mean bumbling and mild. Japan was turned into ‘yurui’ after being devastated by the war. All the people who got beat up become like this. They become passive, smiling, mild and without much content. They vanish after Shonen Bat releases them from their victimhood.

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Maromi isn’t a total rejection of that aesthetic. In the last episode Maromi fights Shonen Bat. Maromi represents hope. It may be false one, but it’s some kind of hope. He came from a pet dog. Shonen Bat, on the other hand, is a weapon whose purpose is total erasure. These are two different things.

Cuteness isn’t just an escape. It’s a total rejection of war and its stomping aggression. The problem isn’t in cuteness itself but how it becomes a slave to the technological aggression. By that, I don’t mean that Paranoia Agent is luddite and that it takes an anti-technological, nature-only stance.

It does take a look at how a deeply technological society, how humans’ attempts to build their own worlds cause isolation. The show opens with dozens of people rejecting others using their phone. The origins of Maromi are in the death of a dog by a car – a device integral for big city life. The work and school complexes put big pressure on their subjects. A failure at work doesn’t get help in improving himself, but his superiors constantly bully him instead of letting him go. A kid who’s used to being number one can’t imagine being anything else. The atom bomb wouldn’t be possible without a huge military complex.

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It’s not impossible to use technology and cuteness for connection. The only people Shonen Bat rejects are a group of suicidals who meet thanks to the internet. It’s their connection that keeps them from being cornered. The possibility of suicide sets them free, and it gives them a better escape than anything Shonen Bat does. They work for their death and find human connections through it. Everyone else is trapped in systems they can’t exit.

Maromi isn’t free of the work system. It has appropriated him, turned him into another device. Now the people behind Maromi puts tons of pressure on Tsukiko to design another character and for the producers to get the show on time. The people behind the symbol don’t follow its idea. Neither the consumers – they storm the stores, instead of relaxing with the little plushie they have.

Such ideas about the nature of work and how it leads to pressure may promote laziness. The anime doesn’t. Work is necessary, and we do see the police officer who works two jobs so he’ll wife will be okay. Here’s why Shonen Bat doesn’t go after him. Like the suicidal three, the police officer has a way out. He forms connections with both his co-worker and has a wife to come home to.

They say Japan has a high suicide rate and puts a lot of pressure on their students and workers. That doesn’t sound like a culture that follows the ideas in cuteness. If the above statement is true, Japan isn’t one big child. Rather, it’s a man whose had so much pressure put on him that only a state of victimhood can give him escape. It’s not just a mirror to the atom bomb, but how the Japanese culture is too harsh on its subjects and encourages them to be victims.

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The world in Paranoia Agent isn’t full of privileges, with problems existing only in the characters’ heads. It paints the modern world as claustrophobic. Social circles trap you in their gossip. Workplaces beat you when you fail but don’t let you go. Even the glory of being the best is trapping. In a society that has few options, victimhood is a way out. That’s very similar to war. If you can’t win, at least be a victim. It’s better than to lose.

You’ll hear often how weird the anime is, but that’s beside the point. Yes, the anime isn’t exactly linear. It blurs the lines between fantasy and reality in the last episodes. It’s never from a conscious desire to be weird. The anime locks on its themes. By the time episodes with unrelated characters arrive, it doesn’t feel out of place. Since the episodes are connected themetically and progress the ideas, they feel like necessary part. Paranoia Agent doesn’t rip the traditional structure for the sake of it. It has a structure of its own because that’s how it expands on its themes.

is the sort of brilliant narrative that doesn’t just define why anime is a worthy medium. It’s a brilliant piece of hard that’s worth your time regardless of what you like. It may be deeply concerned with the Japanese experience, but the atom bomb is a subject that should touch all of us. We’re talking about the worst weapon in the history of humanity. It also connects this to the universal human experience. Don’t let the tags of ‘experimental’ scare you. It’s accessible as it is brilliant.

5 plushies out of 5

JoJo’s Bizarre Adventure: Stardust Crusaders I

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The glass ceiling shines gloriously bright here. Isn’t the trouble with glass ceilings that they’re invisible? Yet the flaws here are so obvious. The series is no major experiment. Creators who fall to such obvious flaws often can’t get the basics of storytelling. I haven’t seen an anime that gave up so miserably since Sword Art Online. There’s no other way to describe what happens to the series halfway through. You literally see the band members running out of ideas, but the concert is still rocking.

It’s not a major disaster like Sword Art Online because the nature of giving up is different. That anime hinted at psychological and philosophical insight only to deliver a boring monomyth about an asshole and a helpless princess. Stardust Crusaders simply gives up on pushing its idea further. It’s content with sitting in the same place, offering good variations but never breaking out of the mold. I’m not sure what it says about the creator that they managed to create 10 episodes that barely add anything, yet are still a lot of fun.

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The improvement over the first installment is that this one lives up to the title of ‘bizarre’. The previous season gained its energy from pushing archetypes to the extreme. Nothing about it was weird, thought. It was all archetypical, tough guys posing and using battle startergies. Stardust Crusaders throws the same passion for archetypes into bizare-ness.

There are about 15 villains of the week here, and each of them is a puzzle in its own. Anytime you think they ran out of ideas, something new comes up. No villain is truly like the other. The creators use this to play with genres and story types. You get the dream narrative, the killer car, the hostile creepy-looking town and the ghost ship. It’s a prime example of why people who whine about good guys winning miss the point. Of course the good guys will win – there’s no reason for them to lose unless ‘the world is unjust’ is something you explore. The fun thing about these stories is how they solve the puzzle. Just like the first series, it’s never about shouting and brute strength. Each villain is a puzzle to solve. In a way, it’s a mish-mash of mystery and battle shounen.

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Yet this successful formula is exactly what keeps the series down. The series’ ideas never progress. There’s no gradual change in tone or characters. Events happen, but they’re too self-contained. It’s a heroic journey that’s told as a Slice of Life anime. The disconnection between the events lowers their meaning. An anime about a band of heroes fighting a different enemy every time can be fine, but it clashes with what the series is at heart. The result is something that’s stuck in-between. It’s too Slice-of-Life for the journey to feel like it actually progresses, and too journey-like for the episodes to truly deviate from each other.

It doesn’t help that the series gives up at some point. What’s worse, sitting comfortably behind your limits or trying fruitlessly to break them? The Stands eventually lose their meaning. They carry Tarot card names but their powers have little to do with it and the creators don’t even try to come up with names. What started off as using Tarot and colors as inspiration for villain was dropped in exchange for weird superpowers. They’re entertaining superpowers, but it only reinforces the disconnection between the events.

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The series stops halfway through the actual arc. You’d think that would be a problem, but the lack of conclusion comes more from the format rather than splitting up the series. It’s these aforementioned flaws that make the last episode feel anticlimatic. All these events and enemies, and in the end nothing changed. Our heroes arrive in Egypt, so what?

Stardust Crusaders is never bad. What’s frustrating is that it always threatens to be way better than its predecessor. The characters are way better – distinctively quirky and silly. They each contribute something to the group but have enough agency to create as much conflict as they solve. The focus also never locks in on one character. They each have equal screen time. It’s so balanced it’s easy to forget Jotaru is kind of meant to be the main character. Both the enemies and the characters are more bizarre, sillier, more mythic and lifelike than the predecessor. The art is also more colorful and varied. While it doesn’t play so much with colors, the scenery is varied and the characters suffer less from Same Face Syndrome.

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The glass ceiling is tough to break. Maybe the series didn’t even try, but chose to sit under a different ceiling. It’s still recommended to anyone who’s into fighting and macho dudes. The genre hardly gets better than this unless you’re going full retard with Kill la Kill. It dodges all the problems long-running shounen shows have – there’s focus, no babbling, no info dumps and it actually ends. Despite doing pretty much everything right, the result is only a good anime and nothing beyond this.

3 stands out of 5