Aku no Hana (The Flowers of Evil)

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There is no reason for anyone to love the way they’ve been raised in suburbia. It may not be dangerous, but that is not enough to make living there worthwhile. Suburbia is a world without values, where nothing is allowed to be good and worth devoting to. Some things are considered bad and off-limits – like drugs. Anything else though is ‘just a hobby’. No wonder this safe lifestyle doesn’t stop people from killing themselves – why live such a life, anyway?

No wonder, then, that suburbia has its share of ‘rebels’ who take symbols that seem to contradict suburbia. Then again, any person who finds something valueable is rebelling against suburbia – that’s why both the happy-go-lucky raver and the skull-laden metalhead are considered rebels of this landscape. Even the truly religious and the intellectual can be rebels in this world. Such passionate people will challenge the status quo since they will value something other than the suburban lifestyle.

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Notice the problem, though. Notice what’s the requirements for a true rebellion against suburbia – having values. Aku no Hana is the pseudo-rebel, the person who hates suburbia so much with all its emptiness yet cannot find anything of value to replace it with. It wrecks destruction, says naughty words and perhaps will pay lip-service to sexuality but in the end it has nothing to say. In the end, it is too weak to admit it’s exactly like the suburbia it hates and this lack of self-awareness is its destruction.

The anime fails in the same way the main character, Nakamura, fails. Nakamura hates the boring life she leads. I hate that way of life, too. Yet just because she claims she’s going ‘beyond the hill’, that she will tear down Kasuga’s walls to find something there doesn’t mean she actually will. It doesn’t mean her actions are directed at this venture. Actually, her actions are more like that of a sexual abuser rather than a tough life couch.

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Imagine if a man stripped a female of clothing, forced her to wear something and said this will somehow psychologically heal her and make her stronger, bring out the ‘real her’ or something equally fancy. Few of us would take it seriously. The moment the man will use force is the moment we will find him villainous, no matter how many rebellious slogans come out of his mouth. So why is it okay when a female does it?

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It’s an anime so engrossed in being different, so immersed in wanting to be unique that it doesn’t even try. It goes beyond the art style, which is ugly but not too hard to get used to. The backgrounds are fantastic. They go beyond the emptiness of suburbia, giving everything a rusty look of falling down and crumbling. We see something else besides boredom, that suburbia equals malaise and its lack of values is actually that depressing. As for the character design, it’s merely failed realism. None of them actually look like real people but more like distorted photographs. For a while it’s amusing, but not too much.

At first it starts off interesting with a view into the darkness and weirdness of random people. Quickly, though, it is obvious we’re supposed to side with Nakamura, view her as a tragic person lost in a world of dull people who just cannot realize how special she is. Too bad the creators missed that if anyone actually paid attention to her, they’d realize she should be in jail. No one cares how special you are when you abuse people. Look what happened to Watkins.

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True horror is realizing that something that’s horrible is also real, and perhaps more common than we think. Don’t be a pig and act like your mud is special. Show the viewers that what they consider deviant is actually normal. Horrify them with that. Instead, we see a small act of stupidity and teenage horniness being shoved in our faces like the creators just discovered the true darkness that lays at humanity’s heart.

If only they had enough empathy to realize that the true horror is realizing that all our rebelliousness is worth nothing if we’re cruel, that we’re excellent at swallowing our own Kool-Aid as we hide from how we hurt others. From the middle onwards, the series becomes nothing but a carnival of vomit. We see people being mean to each other, some preaching about the nastiness of suburbia and pushing someone to do things they don’t want because you and your rebellious self know what’s best for them. Hating suburbia is a good thing, but it’s the first step. This anime barely takes in, and merely wallows in the pre-packaged cliches of rebellion – like anti-capitalism music that you need to pay to hear.

1.5/5

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Kuuchu Burnako (Flying Trapeze)

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Often you’ll hear how being unique isn’t enough to make a good anime. That’s not entirely true, since being unique is overall a good trait. Why would you want to sit in front of a screen, watching the same thing over and over? What these people do get right is that mere uniqueness isn’t enough. Although in the end, all great works of art are unique and highly original, not all original works are great works. That’s because true greatness which comes from true uniqueness isn’t just a unique art style or a cool storytelling method, but a thematic depth.

All the problems with this anime are in this sector. It’s eccentric and utterly bizarre. Better anime don’t break their conventions like this, but in the end it’s all just quirks and a unique style that don’t reach any profound conclusion. As an aesthetic experience, it’s awesome with how wacky it is. As for its narrative, it’s just there.

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The narrative is fairly empty and the symbols, while cool, don’t mean anything. Having a psychiatrist and people with psychological disorders isn’t an automatic ticket for actual character psychology. The anime mistakes exaggeration for madness, like a 16-year-old kid who thinks a Facebook cover photo with blood shows how ‘crazy’ they are.

The anime deals with the old notion of ‘crazy’, something that I think the mental health institutions abandoned even before Thomas Szasz took an axe to their heads. Here characters don’t struggle daily with a disorder. The problem isn’t present in every fabric of their existence but, rather, explodes out of nowhere. Most of these characters lead normal lives until something triggers them.

Now, it’s true that a lot of mentally ill people function day-to-day, interact with people and buy eggplants without causing a massacre. Notice how their normality is only something we experience. They don’t. Someone who is suicidal (A major problem that the series oddly avoids) is always suicidal. Some days it hurts less, some days it hurts more. However, the normality is only an external thing.

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Inside, everything pushes him towards death. For the depressed person, every thing demands extra effort and the question of ‘why go on?’ is always present. That’s why mental illness is such a problematic thing and a lot of philosophers had to step in to redefine it. Mental illness is not a wound, it’s not a specific area of the body we can target and diagnose and seperate. Mental illness is an integral part of being. Depression isn’t a distortion of reality but a part of someone’s personal reality.

The characters here aren’t even reduced to their mental illness. They’re reduced to their onsets. Although we see them do ordinary stuff like jobs and family, we rarely get insight into how they exist with this. It’s all just build-up until the dude panics over not being sure if the stove is on. This prevents the show from having any serious psychology. In order for it to be truly psychological, it needs to present these people as whole human beings and it needs to show how the illness relates to the whole.

In truth, these aren’t really characters. Their disorder defines them more than anything. Most of the differences between them comes from that. The show belongs to the tradition of a main character who’s a vessel for other stories. In general these type of anime have a cool style and an empty narrative. It’s not just because there is no major conclusion – although it tries for something sappy like how we need to listen to others. Their problems are also very illness-orientated.

If mental illness was so exaggerated and obvious, we would’ve had an easier time dealing with it. We don’t. The problems these characters face tend to be only their illness. How it relates to other problems is unclear. Sure, it disrupts their day-to-day life but that’s not enough. How does it affect sexuality, social interactions, worldviews? The series loves to portray extras as cardboard, but in truth no one is cardboard for people. Our ilness and these passerbys are part of our lives. The anime treats mental problems like an obvious wound.

It doesn’t help that most of the stories involve OCD. I’m sure it’s a common disorder, but where’s schizophrenia, depression, bipolar? Perhaps because OCD is far easier to exaggerate. It has onsets, things that are easy to transmit visually. Depression is harder since depression is everywhere, showing itself in every action and relates to a person’s inner life. You have to show a worldview in order to portray depression. That’s why its status as an illness is such a problematic issue. Eventually, all these people with OCD blur into one another. The only thing that changes is how it works.

When a different illness comes, they fail to show its psychology. A person’s narcissism ends up being monotonous. The big problem isn’t narcissism, but a dude who can’t stop smiling. The whole agony of living in the past, in glory days that are never to return and trying desperately to re-create them isn’t there. Rather, it’s just a person repeating his shtick over and over. It’s an excellent example of how they take a serious issue and reduce it to a single symbol, stripping it of any depth.

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The surrealistic, bizarre art and storytelling also leads to an air of self-satisfaction. It’s not as bad as it looks from the outside, but it’s there. Nothing is particularly funny about these jokes, since they don’t point to any absurdity and hardly a taboo. So the psychiatrist gets off on vitamin shots. That’s kind of odd and amusing, but not out of place. Early on the anime establishes how wacky it is with these colors, so this is fairly ordinary. Irabu is also not really funny, just quirky and high-pitched. There’s also a sexy nurse who thankfully has little screen time. Her role is mainly to inform the viewer that the makers are totally fine with ultra-sexy yet placid women, some pathetic symbol of ‘sexual strength’. I don’t know. Nothing about her is interesting, including breaking into live-action. Overall, the series sets itself up as weird, but can’t ever up the weirdness.

It’s not all bad though. In fact, in its format, the anime is quite excellent. It’s the old format of a single main character whose a narrative device to show the lives of various characters, like Kino’s Journey or Mushishi and it does it so much better.

First off, merely dealing with mental disorders – an integral part of the experience of being – gives these stories a more emotional, personal angle. Already here it lifts itself up above the aforementioned anime. Unlike them, there is some sort of humanity here. It’s exaggerated, caricature-esque and shallow but it exists. The main driving symbol has a far more personal nature so the stories are by their nature more emotionally engrossing. The distance that harmed Mushishi is mostly absent.

There’s also concern and empathy for these characters. For all its exaggeration, the series has some awareness that underneath it all there should be humanity. The tone is not mocking, something that the aesthetics and the ultrasexy nurse hint at. Rather, it’s empathetic towards these little lost humans and their madness. Episodes don’t end with a complete return to normality, but with a way to cope with the madness.

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It’s this vibe and demeanor that prevents the anime from being only an exercise in aesthetics. There is a clear meaning underneath some of these symbols, like how cardboard-like people merely means these aren’t important characters. The mental conditions are caricatures, but at least they make sense – extreme worry is a problem. Even if the series isolates these parts, it does fit with the style. In a way, the series never pretends to actually be psychological. From the start it’s concerned more with flash than substance, but it has just enough substance and humanity to prevent it from being vapid.

As for its aesthetics though, they’re fantastic. It’s true there isn’t an anime quite like this one. You might compare its surreal style to Tatami Galaxy, but that one had an overbearing, total aesthetic. Here they take a realistic art style and utterly distort it, creating a weird clash of realism and cartoon. The storytelling is knowingly expressive, so much so that sometimes things don’t have meaning. There are polka dots everywhere, but then again why not? It’s self-awareness which doesn’t try to be clever. Knowing that none of it is real, they let themselves go with wacky, memorable images. It’s a style weird enough to hold on for 12 episodes even if there isn’t much variety among them.

Utterly bizarre and original, yet its lack of depth prevent it from being one of the greats. It had the premise and the aesthetic boldness, but it’s also satisfied in just being fun. Often we talk about how ‘just fun’ shows need to be unoriginal, yet this anime demonstrates you can have fun without aiming too high. Set expectations about how mind-blowing this is, and you’ll be disappointed. This is just another in the long line of episodic anime with a wide cast, but its one-of-a-kind style breathes life to the format.

3 crazies out of 5

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.

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