No Game No Life

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12 episodes of praising Instrumental Reason doesn’t make for good fiction, but it makes it clear why the anime blew up so much. Popularity is never a result of quality, but of fitting in with the zeitgeist, the common biases and worldviews of an age. That’s why Game of Thrones is so popular since it shows a masculinity that’s dark, therefore intelligent instead of the happy-go-lucky nonsense of 80’s action films. As for this anime, its popularity comes from how blatant it is in showing Instrumental Reason to be the supreme reason. Imagine those vegans or marijuana advocates who think that their pet issues would solve all the world’s problems.

Before we discuss why this anime is so bad, let’s clarify what I mean by ‘Instrumental Reason’. I capitalize it because it’s a useful term. To use Charles Taylor’s definition, it is reason which is about efficiancy and problem-solving. It asks how fast we can solve a problem, what is the best way to solve a problem.

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Take the case of a busted wheel. When your wheel’s gone bust, you don’t ask what it means, what ramifications it will have on pop culture or on our perception of gender and reality. All that matters is that we change tires as quickly as possible, and that the tire will be good enough to last as long as possible. While there are theories dissecting the meaning behind games, when we play chess we don’t think what the game means. Rather, we asks how we beat the game.

In contrast, there is what I’d call ‘reason of meaning’. By that, you ask what is the nature of things. We don’t just ask how to end racism and poverty, but what exactly is racism and poverty. We’re interested in understanding these issues, defining them, understanding what is bad. Instrumental Reason leads to a lot of money for hi-tech buffons, but it cannot solve all problems since it doesn’t tell you what the problem, or the meaning of things is.

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Sora and Shiro are one pair whose world is in Instrumental Reason. While games have meaning, the meaning is related to the mere act of playing. We don’t question whether or not we should win a game and what is the nature of winning chess – the rules decide that. The world of Disboard is a world where every problem isn’t just solved by games, but by Instrumental Reason.

That means it’s a world that doesn’t have any meaning at all. The nature of any problem doesn’t matter, since there will be an arbitrary equation that must solved. Once we solve this equation, the problem ends. The anime tells the story of a megalomaniacal brother-and-sister who beat people in games, gain power and minions and occasionally pay lip-service to morality.

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Now, if the series was an examination of such Instrumental Reason, it would’ve been fine. If Instrumental Reason was merely a dominant storytelling tool, then it could still have a decent story. By that, I mean that the show works similar to Death Note and Code Geass. The story moves mainly by challenges facing the characters, and the characters need to solve them. The viewer gains pleasure from trying to solve the riddle along with the characters. However, the meaning of these challenges isn’t important.

Instrumental Reason is so dominant in this anime that these challenges don’t even pretend to have meaning. Death Note may have been a series of riddles, but underneath it there was supposed to be a story about the morality of executing criminals. It failed because it didn’t create situations where we examined the issue, but rather only asked ‘who will win?’. In similar fashion, the only question this anime asks is ‘how will Sora and Shiro win?’.

As a storytelling tool, it’s incredibly boring. It’s essentially watching a staged game. The whole thrill of watching sports is that you don’t know who will win and nothing is decided until the last moment. Stories which use Instrumental Reason make you watch a man playing chess against himself, only with more narrative fluff and (in the case of anime) pretty visuals.

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So as a story, this is a complete failure. Really, it’s about nothing. Only near the end it says something about the nature of games, but the whole thing happens in an alternative reality. Once the characters are thrown into it, no mention of the real world. Without admitting there is a real world where not everything is a game, it cannot explore the nature of games. Many throw the word ‘escapist’ around and it’s always debatable how escapist a show is, but can anyone debate this? The characters literally escape the real world so they could play forever.

If the story is an absolute failure, at least it could do well in other aspects. Sadly, it’s all bad except for the art. The art is easily some of anime’s best. It’s such a shame that a highlight in anime art is glued to a horrible story. Look at those vibrant colors, how every scene doesn’t have so much a depth of detail but a depth of color. It creates the feeling of a truly fantastical world. It applies to character design, too. While the series is shameless in fanservice, each character gets its unique touch, unique eye shapes and hairstyles. Shiro isn’t the best design, but her design is a good case in point. Her hair isn’t just long but has a distinct flow to it. Jibril is another excellent case. For a character who floats around half-naked, they sure thought about a lot of unique touches – the asymmetrical gloves, the gardient in the hair.

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Sadly, this is where the positives end. Some of the characters are good, but they need a different setting and a different storytelling method. Stephanie Dola could’ve been a light in the dark, a contrast to the world. Her emotional reaction actually could’ve added some ‘reason of meaning’, show us a character who thinks about other things besides winning. Too bad her role is to be slapped around, sexually humiliated and generally used as a tool. If so far you were convinced my rantings about ‘Instrumental Reason’ was just cranking about, here’s the final nail. The anime takes its one character who has a different view than constantly puts it down.

Sora is tied to this problem, and to the misogyny problem. He’s a 20th century masculine stereotype. Writing about transformation of masculinity in fiction is incomplete without him. We see how once the manly hero packed guns, now he’s shagging women and is being a conniving, selfish asshole. What defines Sora isn’t heroism like those in the 80’s movies, but his pure ‘Instrumental Reason’. All that matters to him is winning, all he can think about is winning.

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Occasionally he displays some moral code about being nice to those he lose. We never see the general ethics that guide him, though. Since he’s comfortable using everyone as pieces, he’s more like a Wolf of Wall Street, doing everything to win and using people as means to an end. It fits with the zeitgeist. Go to school, and they will teach you how the only important thing is making loads of money. Whatever technology you invent, whatever content you produce, it doesn’t matter so long as you get money. No surprise our politicians are so corrupt.

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Using people as means, besides pissing off Kant also gives the whole anime a strong misogynistic bent. You don’t just see women in sexy situations, but often humiliating situations. Stephanie gets the most of it. An episode is dedicated to treating her like an animal only to teach her a lesson. He also takes pictures of her nude without consent and there’s the whole ‘laughing at flat women’ thing. I don’t see anything funny about humiliating a girl, taking nude pictures of her and generally framing her as inferior and dumb. Worst of all, we’re meant to cheer for Sora and the characters eventually come to like him. I don’t see how his rise to power demanded treating Dola so awfully.

Contrary to the creator’s idea, I would rather have a beer with Stephanie Dola and not just because she’s a woman. No Game No Life is pure escapist fantasy for the hi-tech age. In an age where we want to just solve problems instead of thinking about their nature, it’s the ideal anime. I’m reminded of a story where some government officials asked how to lower the amount of poor people. Onc offered to change the definition to the American definitions, and then there will be less poor people on the count. Notice how the numbers change but no one asks what exactly poverty is and what’s the actual problem. It’s a comfortable mindset, but we don’t live in Disboard. Our world isn’t clean and ordered where each problems have clear laws. In this world, you have to ask what is the problem, what it means and the whole shebang. Also, you can’t go around treating women like Sora treats Stephanie. Somebody might come and get all 80’s Action Movie on your ass.

1.5 misogynists 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

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

Code Geass

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First off, this anime ends horribly. People talk about anime suddenly ending with no resolution. Sometimes they overreact – Deadman Wonderland and Attack on Titan end an arc but keep the big story unfinished. It’s frustrating, since the arcs are integral to a bigger story and don’t stand on their own. Code Geass, however, simply ends. Worse, it ends on a cliffhanger. I know there’s a second season, but you don’t separate seasons (Or episodes, or books) for the sake of it. You separate them because they’re different stories. This one’s unfinished and this is a huge blow.

More news at 11.

At first, it’s tempting to view the anime as exploration of Japan under Western influence. World War II wasn’t so long ago, and we all heard about how the Japanese are poor victims. This story is false, and bones have a way of digging themselves out. Japan was an aggressor in WWII and responsible for some true horrors. So seeing a story in which they are oppressed can be bizarre – you have to wonder whether in the world of Code Geass they found the bones in Shinjiku. The big Western oppressor this time is the UK, whose main contribution to the world after WWII was Big Beat and Dubstep.

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It’s not about politics. The Geass is a physical manifestation of power. The creators wisely chose to never talk about how it actually works. There’s no D&D-esque magic system behind it, only a few limits to help us understand power better. A Geass is limited, because power comes in different forms. A Geass can also be used once, but can consume you.

Power doesn’t just come in isolation. Something drives power. The user wants to achieve something with that power. We hear about how some people just want to feel powerful, but why do they want to feel powerful? Powerful is ability and security. Power cannot be an end. If it is an end, it is only because power is the means to get many ends. Power never stands alone.

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Here’s your main problem with the anime. Power here stands alone. Excluding Euphie, the story is an ordinary one about oppressed people rising against their overseers, but so what? What does the British empire stand for? What do the Japanese stand for? You cannot just kill the tyrant but have to replace it with something. A person once said that anarchy is a ‘tyranny of people with guns’. Since humans are pack animals, leaders come by naturally and can be good for us. Leaders work differently, though even when they seem similar. Both the Nazis and the Japanese did unethical human experiments, but for different ends.

The series is soaked by the theme of power. The position of every character is established quickly, and is an important part of everyone’s lives. Notice how Rivalz is obviously inferior to Lelouch, how no woman swoon over him and he’s mostly just there. During high school scenes, we follow the most powerful people – the student council whose head is the daughter of the principle. Lelouch is a person who lost his position of power and that’s the same story for Jeremiah. Cornelia’s and Euphemia’s relationship isn’t just about protecting the little sister – one is clearly more powerful than the other.

It’s a fantastic stage to test what drives power and they squash it. The two sides fighting stand for nothing. Many stories use the typical Hitler-esque tyrant, which is cliched but at least something. Here, the British Empire only protect its own existence without ever answering why it exists in the first place. The Japanese want to free themselves, but they only free themselves into a vague ‘equality’ thing.

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Then again, it’s not a story of simple evil vs. simple good. Many scenes show us the Britinnians, their lives and how they’re actual human beings. The inclusion of school life comedy is brilliant. It shows us there are people behind the oppressors who might be used to their lives of privilege, but they’re still people. When everything falls apart, there’s no sadism but empathy towards the upper class.

If the creators can write vibrant scenes about everyday life, why can’t they imbue their characters with motives and ideologies? Relationships with the same structure work differently. Both Lelouch and Cornelia protect their little sisters, but Lelouch is the soft warm protector whereas Cornelia is the condescending one. A small character arc involving Jeremiah – a clear villain and an asshole – shows us the pain of falling from a position of power. Even while the series sides with Lelouch, it doesn’t shy away from how his power can hurt his enemies.

The ‘Grand Purpose’ is integral to any piece of art. Everything connects to it, and it makes the flaws more understandable. Without the grand purpose, there is nothing to review. Even shows whose only purpose is to show big boobs have this purpose. Often, average shows swing between two such purpose and commit. Code Geass doesn’t even swing between purposes but simply doesn’t have one. It goes through the motions, provides good storytelling that leads nowhere.

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Credit must go to the designers. The series sports one of the best character design I’ve seen. As pure beauty few anime match it. In fact, the characters are so beautiful that it feels like a plot point. Everyone radiates sex appeal, but somehow no one has sex with anyone. The overly-slender bodies do contrast with this. They’re not just thin but long, but every face is plastic-surgery perfect. Every stare is full of confidence with sensual lips. Even the voice-actors give a sexual smugness to it all. CC and Milly always sound teasing, like they’re just about to invite you to their rooms. It’s nice, but sometimes bizarre.

It’s also fairly expressive. Notice the contrast in design between Lelouch and Suzaku. Suzaku has a softer, cuter look with the curly hair. Lelouch has sharp eyes, black hair that falls in spikes. These designs amplifies their personalities. Rivalz is being stuck with a goofy blue hairdo. The decision to give characters similar but different hair colors is meaningful. Euphy’s pink is brighter than Cornelia’s purple, just like their personality.

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The gigantic robots don’t fare so well. The action scenes are a constant thorn in the anime. Although there are emotional moments in those scenes, they take the chess game technique to the extreme. They become more about Lelouch’s genius rather than the characters. Imagine JoJo but with giant robots. JoJo was nice, but its storytelling was built for shallow stories driven by excitement. Here, the storytelling always aims for something deeper. If the robots had a cool look to them, then fine. The designers went full lazy and just had gigantic hulks of metal with arms and legs. None of the imagination that fuels the character design (A character who appears for a barely a minute looks better than most anime characters) reaches them.

Contrast this anime with Future Diary. It’s another overly ambitious anime with so much going on it couldn’t flesh it all out. When Future Diary tackles an idea, it does so with full conviction. It may need more length, but when it’s about comedy it’s all about comedy. When it’s horror, it’s all horror. More importantly, Future Diary wasn’t about build-up but about arcs. Each arc had its own style. All of the elements in Geass aren’t spread evenly but crammed together into one gigantic arc that builds up to a huge climax. There is very little resolution in this anime. Some may enjoy the cliffhangers, the ‘what’ll happen next?’ but that’s boring. The most exciting anime are those that are exciting because what’s happening, in the present tense. They’ll keep you coming back.

Code Geass fails only because what it set out to do is be the best anime ever. It’s overall a good show with a dynamic story and a wide cast, each with their own point of view. Although it slips often to cheap thriller mode, the characters’ personality dominate it more than conventions. Even if it’s not the best anime ever, most creators can’t even attempt something this ambitious.

3 sexy homosapiens out of 5

Haibane Renmei

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Death and suicide are the ultimate questions. Anyone who writes them off as a first world problem doesn’t interact with human beings. Humans are the only organism that’s aware their life will end someday. We make a mostly conscious decision whether to live or die, and that includes people in war torn countries.

Death is so confusing though. Can you imagine the complete ending of all of your consciousness, all of the data inside your head? That’s why I can’t blame Haibene Renmei if its exploration of themes is fuzzy. If someone couldn’t climb Mt. Everest but still took a picture of a summit, that’s something.

The portrayal of common concepts such as purgatory, heaven and hell are slightly modified. They make a big psychological difference. Almost by accident, Haibane Renmei comes close to understanding the suicidal mind. This is a great achivement. Years of research and everyone is still stuck at ‘suicide is irrational’ and then wonder why people kill themselves.

The most radical approach of the show is how it overturns the communal argument against suicide. The communal argument is one of the few argument that are valid against suicide. It points out that since the person is a part of a community, the community owes them and the person owes the community. The result is symbiosis, a ‘no one gets left behind’ approach that forces people to comply but rewards for being a part of society.

Yet the community of Giles is different. It’s meant to allow people to tie up loose ends and exit painlessly and cleanly. At the same time, the person is obligated to contribute to this society in order to make their exit. If they won’t, they will be doomed to a long life of isolation – a common complaint of suicidal people.

This ‘painless clean exit’ is important. Notice how the characters whose view is negative have a different exit. They hate themselves and are filled with guilt. The only exit they can imagine is a violent one. Yet the source of their guilt is causing harm ot others, which is exactly what they’re doing. The harsh suicide causes a paradox. Both parties refuse to accept and forgive.

We also get a harsh view of the people left behind. Suicide prevention is, by nature, selfish. People who stop people from killing themselves only do it to benefit themselves. In a moment of suicide, all the good attributes that Rakka mentions are good ones. She can tell the person how they benefit the world, but that’s the only thing she experiences. She doesn’t experience how the suicidal person experiences themselves, the inner demons of guilt and self-hatred.

This is just one interpetation. In many places Haibene Renmei suffers from the same flaws of Texhnolyze and Lain. It’s rich in symbolism and clear signs of depth, but it’s vague. Even if suicide is made slightly obvious by the end, it’s still hard to connect every thread to it. Nevertheless, the slight vagueness isn’t a problem this time around. The anime is deeply humane.

Nothing in serenity or in the Fantasy genre prevents it from being character driven. It may be serene for most of its first half, but every character reacts to the situations in their unique way. Their personalities are established quickly and stay consistent. Their character design is according to their personalities.

ABe is mostly a dull designer and not good at creating the unique touches that make each face different. Here his style works for him. It’s still subtle and minimalist, but meaningful. Rakka’s messy brown hair fits her confused persona. Kana’s more muscular look fits with her rougher nature.

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The setting of the series also gives him more to do. While the color grey still dominates, there are contrast to it. It’s not the barrage of grimdarkness that was Texhnolyze. There is warmth in those greys. The peaceful setting and characters make the grey slightly gloomier, but it still looms just like death. The animation is sometimes too choppy, but such technical difficulties can be forgiven when the art is so beautiful.

ABe needed a balance between life an death in the art. Haibane Renmei is dominated by characters who are clearly alive and feel real. The events are often cheery and carefree. The contrast between the greys and the cheerful part isn’t obvious. It’s not a bad thing happening after a good one. Rather, the two opposites are right next to each other. We see the good times the Haibene experience, we see the kindness of the people next to the caging walls.

It’s so lifelike that despite the vagueness, it’s a powerful drama story. The emotions run deep with living characters and setting. The Fantasy setting is taken advantage of – it’s fantastical, clearly symbolic and not just a set of rules. There a lot of confusing anime which are confusing on purpose, just to look cool. If Haibene Renmei is confusing, it’s only because of how original it is. I hope to return to it soon with more to say.

4 angels out of 5

Welcome to the NHK! (NHK ni Youkoso!)

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Here it is, people. This is no hyperbole. NHK is the worst anime of all time. It is one of the worst pieces of media you can conjure. A reality show about the Kardashians must be better than this. Pathetic YouTube parodies are better than this. In order to make something worse than this, you’ll need to let Ian Watkins brag about his pedophilia in the Lostprophets album that was never made.

There is no correlation between artistic quality and morality, as Lostprophets have displayed. Yet, you have to wonder what kind of awful person would subject the world to this. Worse, what kind of person would make an anime whose purpose is to make fun of anime watchers? Imagine if your ordinary school bully made an anime. There is so much wrong that I want to rant about it, shoot up heroin and watch Texhnolyze. That one was also bad, but it looks like a better version of Digimon Tamers over this, and Digimon Tamers is already brilliant.

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I’m not sure where to start with this mess, so let’s get with the art style. Art style is important. If not, you wouldn’t use a visual medium. Why, then, are the artists so unimaginative? Something makes me worry it’s on purpose, like those East Coast rappers who are so afraid of sounding ‘not real’ their beats barely have a drum. Everyone in this series is black haired and has no distinct facial features.

This may sound realistic, only it isn’t. People in real life actually look distinct. Even if you eschew wacky hairdos, your characters must not look like they came out of the assembly line. There are no odd touches to the hairstyle, different body structures, or an arrangement of facial features that stick out. In fact, the artists are so unimaginative that they can’t come up with a basic sexy design. Our main characters work on an eroge, and the design they come up with can barely touch the most obscure visual novels. Even when they could use anything in the artist’s arsenal – twintails split into 4, floating hair, purple lips – they still end up with a dull design. It’s worse than visual novels that have ‘same face, different hair syndrome’ because at least Da Capo’s girls have pretty hair.

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Everyone in this show is also fit and quite hot, despite being hikkies. Satou spent days in his room doing nothing (literally nothing, he’s not aware of the existence of porn). He doesn’t cook for himself and drinks a lot of beer. If you expected an overweight dude who looks like George Martin, you’re bound for disappointment. Satou looks more like Brad Pitt in his Fight Club era with a shirt on and a less aggressive stare. If these guys opted for anything realistic, we would’ve seen the consequences of isolation on Satou’s body. Instead, he looks like a side-character from Free!.

As for the story itself, don’t expect any understanding of what pushes people to be hikkies. Don’t expect a deep, dynamic psychology that reacts to the environment and is an active agent in the story. Any comparisons to WataMote are null, since this is the complete opposite. Tomoko struggled. She was lonely but she had to act and do things. We saw her failures, saw her difficulty and it made it so dark. What Tomoko goes through is our every social awkwardness, only every day.

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Satou doesn’t really have to struggle. In fact, he’s not much of a character at all. He has no desires, no life outside the story. He exists so others could pop at his door and force him to get help. It’s not much of a struggle if all you do is react to situations. Sure, it’s not enough to just be offered sex. You also have to go through the dilemma whether to say yes or no to that.

These are two different struggles. One man struggles with getting something, the other is being offered something and needs to accept it or reject it. The creators aren’t aware of the difference. They don’t know how to let a character drive a story, so they offer external conflicts he has to solve. The dilemma of whether to choose yes or no is hardly there, because the anime relies on events and not characters. If Satou chooses ‘no’, nothing actually happens. He doesn’t have a personality to move on from that ‘no’.

Satou, as a character, isn’t an exaggeration. He’s inconsistent. Despite spending years locked in his room, he doesn’t know anything about video games or internet porn or, well, anything. Keep in mind Satou isn’t an Unabomber-style hermit. Hikkies tend to have a hobby that keeps them in the house. Satou should’ve done something during all this time, should’ve gained some knowledge even if it’s only about non-canonical Star Wars planets. He’s completely ignorant of culture that it’s most likely he spent the entire time staring at a wall.

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That’s not impossible, but shouldn’t such a person be affected with a major disorder? Shouldn’t that disorder affect every aspect of their life? Socially, Satou is perfectly fine. Whereas Tomoko struggles every second, Satou is relatively confident. The only time social weakness rears its head is when the creators need him to scream for comic effect. Oh look, a hikkie yelled bullshit and emberassed himself! That’s some high-class humor!

The anime isn’t really about the pains of being a shut-in. The conflict is solved in a few minutes around episode 23 – no psychology, no development. Suddenly there’s a problem, so Satou walks out and he’s no longer a hikkie. Rather, it’s about the joys of conformity, how the world is a beautiful, welcoming place and you all should stop watching perverted anime and get in line. That’s ironic, coming from a country where people ‘conformed’ and let the military run the Rape of Nanking and Unit 731.

The ‘highlight’, if you can call it that, is the anime’s treatment of suicide. The idea life may not be worth living crosses the mind of the creators for no more than 5 seconds. Except for a brief moment, the creators go hammer about how irrational it is. The people in question have their reasons, but it’s pushed aside using ‘irrationality. At the end of the arc, some dude goes hammer about how their suicide will harm others and so they should stop. What an original argument. All of the philosophy behind is being shattered to pieces the size of the atom. Too bad the logic that fuels it can also be used to coerce people into rape, but better shut up before the thought police come.

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Darkness does exist in this anime, but it’s either skimmed over or played for laughs. Misaki’s and Yamazaki’s darker sides exist, but Misaki’s is barely allowed to surface. By the time it does, it reaches its expiration date and Misaki is the redemption. Her dark side never truly hurts Satou. The monologue that supposedly exposes her is to exaggerated, too comical to be a true confession. Like any other piece of darkness, it’s more funny and has zero insight.

Black comedy shouldn’t just have unpleasant topics. It should illuminate them. If you’re going to laugh about sensitive subjects, you need to do more than be funny. So WataMote put us in Tomoko’s shoes, dissecting her failures into little details, showing the absurdity and the pain. Even Borderlands takes violence seriously. Some of it is commentary on how lightly we take violence. By shocking us with how casually the characters treat violence, it gives us a mirror.

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Yamazaki is a lonely dude who’s inept with women. You don’t see his failures, or the pain of rejection. You see him spit monologues about how awesome 2D girls are. It’s quirky, funny and makes you feel good about yourself that you’re not such a loser. Satou’s inner monologues aren’t unhinged enough to show a mental instability, but also not coherent enough to show deep thought behind them. It’s funny that he ‘hallucinates’ weird, Doby-like things. Perhaps the voice actor is to blame. Satou reacts mostly by screaming, but that’s once in a while. In general, he functions well enough.

When they fail, it’s always because they were too weird. The world is mostly benevolent, with the occasional schemer here and there. A few scenes comment on the isolation of the modern world, but it’s always implied the characters brought themselves to this eternal isolation. It’s such an optimistic view, a ‘pull yourself by the bootstraps’ crap people tell others because they think luck doesn’t exist. Characters rarely deal with failure that’s caused not necessarily because they’re to blame, but because that’s how the world works. Things just sometimes don’t work.

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Based on Satou’s situation, he could’ve easily grabbed to Misaki and use her to increase her social skills. As a later character displays, in this world you can do anything if you only try. Said character starves from shutting himself in, so he crawls out and immediately finds a job. What a friendly world that is, where people walk to your door and offer to develop your social skills and where you can apply for any random job and be accepted.

is a ridiculously optimistic anime that refuses to acknowledge the world isn’t a happy happy joy joy place. Characters who feel bad are mocked or written as irrational morons. As we know, everyday other people walk to others’ doors and offer help. What? It didn’t happen to you? That’s odd. Perhaps this anime isn’t so realistic. Perhaps what makes something truly unrealistic is not things that cannot happen. Rather, it’s when the meaning underneath the symbols – in this case, the optimism – is completely detached from reality.

0.5 out of 5. I don’t come up with a unique phrase for this crap

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