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

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Ergo Proxy

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If to be great is to be misunderstood, then Ergo Proxy is truly one of the greatest anime ever. It’s second only to Future Diary in how everyone misinterprets it, both the fans and the haters. Some of what you heard is true. It’s experimental, bizarre and sometimes a little too vague. Yet no one talks about how it’s not experimental in the conventional, silly way. No one mentions how human the story is, or how traditional it is at the same time.

Somewhere at its heart is a very traditional story. It starts off with a mystery and later becomes a journey of self-discovery, a wild adventure with stand-alone set-pieces. Being experimental isn’t denying common structures but creating your own. The weirdest anime have a familiar side. They distort common tropes and structures and build something new out of them.

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The anime makes its intentions very clear at the beginning. You know this is a deep sci-fi story because there’s no info dumps. Techno-babble is common in sci-fi and its antithesis. Sci-fi is about exploring the implications of technologies and possibles futures. How exactly a technology will work is work for scientists. The purpose of storytellers is to try to predict how it will effect us psychologically and philosophically.

Human relying on intelligent robots is familiar, but the anime is more focused on what it means. Machines are just advanced tools. Humanoid robots aren’t meant to be actual humans, but serve various factions. How far does a tool advance before it stops being a tool? The companion model is important. Tools are supposed to solve technical problems – they help us build, repair and cook. Yet here’s a tool whose purpose is to address a psychological problem.

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Psychological problems are bigger than technical problems. The toaster is either broken or fixed and, in general, doesn’t have a will of its own. Psychology leads to wants and needs. Psychology is dynamic and is constantly changing. A tool that cannot solve a psychological problem without having long-term effects.

Intelligence is also important for the development of psychology. The more complex the problem, the more complex the tool has to be. Eventually we develop intelligent tools, but intelligence leads to psychology, to asking questions. But the AutoReives don’t have to ask too much. The main philosophical question – why live? – has been answered inside their programming. The designer of the tool decides its purpose. It designs the tool for a specific problem.

In a way, this is the argument for the non-existence of a God or for an indifferent God. Human beings don’t have their reasons of existence written in their code. The only humans who do are humans born in artificial wombs. Vincent is the prime example of the Absurd Man. If you’re confused over what happens to him, that’s okay. He’s just as confused like most people are. Unlike the AutoReives, he has to put conscious effort, to break out of his comfort zones to find meaning.

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Even the pre-programmed people aren’t safe from the nature of reality. Intelligence is only useful if it’s able to develop on its own. An intelligent tool has to continue to learn, or else it’s not intelligent at all and can’t deal with the most complex problems. Either reality shifts and make us question our purpose, or our intelligence develops and leads us to these questions. That’s what the Cogito virus really is, isn’t it? That’s Pino’s arc. She starts off pre-programmed with a clear purpose. As she gathers experience, she develops a worldview, wants and needs. The line isn’t between men and machine. It’s between men and tools.

Ergo Proxy is mostly about the search for meaning. It’s appropriate because the anime sometimes can’t hold on to that. The conclusion it reaches is a familiar one, but I don’t think anyone has yet to supply a better answer. We cannot stop the search. Romdeau may be sealed and ordered, but the Cogito virus still exploded. People still wondered what’s going on, and Lil Mayar found a purpose of her own besides merely existing. Human connection is also important. When everything falls, there are still people to hold on to.

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The anime mirrors the characters and humanity in general. It bumbles from style to style. The atmosphere is fairly consistent with the anime mainly borrowing from genres rather than jumping into them. Still, the theme is either pushed too upfront with name-dropping of philosophers or hidden in episodes that don’t relate to this. That’s why being aware of traditional storytelling is useful. Merely rejecting them is silly when they’re a useful crutch.

In general, falling back on tropes is a bad sign. Cliches without verve are offensively boring. Ergo Proxy‘s case isn’t giving up. Rather, it focuses on having a surface as attractive as its depths. There’s no reason to cover up a deep story with a boring surface, anyway. The mystery and the adventure are just as intriguing. While the tonal shifts aren’t huge with few moments of lighthearted fun, there’s variety in the set-pieces. It especially improves when the anime slides into its adventure arc. The set-pieces are varied and often bizarre. Episodes are told in different ways, and are often self-contained.

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Sometimes it feels like you missed episodes, but only because the focus is on making the episode an individual creation. The connection to past events is made later. The focus is more on the story. That’s another thing people miss about the anime. For all its talk about philosophy, Ergo Proxy isn’t a collection of weird images and stoic phases. It’s heavy on storytelling, on characters interacting and things happening. It rarely, if ever, stops to inform the audience on its philosophical nature. When the AutoReives cry for their ‘raison d’etre’, it’s more because this term is common in the world rather than trying to impress the viewer with jargon.

Its only flaw is its messy nature, but that’s forgivable. Any time that explores its themes so well, that plays both the philosophical angle and the storytelling angle is bound to be messy. It’s not even lying big themes on a traditional story. Ergo Proxy constantly breaks, constantly bounces from one thing to the next. The verve is engrossing, but the anime is also confused. Since it’s not a complete experimental work and not an adventure with psychological portait, it should be in the middle. A anime that’s at once traditional and experimental should be brilliant, but that’s too much to ask for. Still, it doesn’t matter if Icarus burned when he flew to the sun. The wings still worked.

There’s no reason to pass off on this anime. It’s bizarre, messy, intelligent, emotionally engrossing and accessible. It’s far-out, so I can imagine plenty disliking this. Still, this isn’t the impenetrable Texhnolyze or Serial Experiments Lain. In fact, its awareness of traditions actually makes it more bizarre. It’s truly unusual in a way that few fictional works are. If I have to present anime to an outsider, this is one of the first I’ll think of.

4.5 autoraves out of 5

Big Order

 

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Sakae has a bizarre, messy mind. For all the flaws in Future Diary, it’s a masterpiece. The low points – and there are many – are there because there’s few anime like it. Future Diary had no main tradition to draw from, no main road to follow. A lot of great anime follow clear traditions, building on obvious flaws and emphasizing strengths. Even the abstract Serial Experiments Lain belongs warmly in pre-millenium tension art.

It’s hard to decide whether Future Diary falls more on its good side. Expecting Big Order to fulfill that series’ promise is silly, since there can never be another one like it. If the premise sounds familiar to you, you’ll be disappointed. The structures aren’t similar at all. Still, the little you can expect is that the anime will fail in a spectacular fashion.

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The crucial flaw in Big Order isn’t the lacking characters or the plot. The bad traits of Future Diary are amplified, but at least they have the same energy that one had. The problem is that the core of the anime is generic. Remove the layers, the odd designs, the violence and the messy plot and you’re left with some kind of a battle shounen about saving the world for this one person we love so much because we’re related to them by blood.

I never wanted to say this about a work by Sakae. Big Order is normal. Everything good about is just a cover on a generic story.

The beginning is good enough. The power of Orders is close to be symbolic rather than battle skills. There’s a little exploration about the nature of wills, how our wills are limited and they could even do something the concept of losing loved ones. Two characters get completely different wishes despite losing their family. The conflicting nature of wishes is addressed and by the time the antagonist is revealed, he’s given some time to express himself.

The character design isn’t as expressive, but Sakae still goes wild with it. There’s a nun with bunny ears, a twintailed girl with a flower in hair, two long-haired dudes and a square guy. Everyone wears weird outfits and the design plays with body structure and size. Characters who appear for barely 10 minutes in the whole show get a memorable design.

The highlight of the show is DAISY, a bizarre creation that deserved a better anime or at least a cameo appearance in the revamp of Future Diay, whenever someone gets around to make it. That little touch of having her hang upside down adds a lot. It emphasizes the distance she views humanity from. Although she’s meant to be a fairy who grants wishes, she’s always distant and slightly cynical towards the whole thing. It gets nowhere, but every time she appears she injects some life.

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Oddly enough, the most normal creations in the anime are the main characters. People who wanted a Future Diary copy were disappointed. In fact, it often feels like the anime tries too hard to distance itself from its big sister. Why is that? Future Diary is unique enough to be worth revisiting. If Sakae wants to do something new so much, why is he falling back on cliches?

Yukki/Yuno were deeply flawed human beings. People disliked them for their nature, but they missed the point. They were supposed to be imperfect. Everyone in that series was imperfect, was full of desires and selfishness. This gave them humanity and made it believable at its most surreal. Eiji is a likable guy who only wants to live happy with his sister, but he has no desires, no motivations whatsoever.

He’s responsible for humanity’s worst horror, and that concept of guilt is explored for a while but abandoned. Scenes showing how much everyone hates Eiji are that type of deep moments Sakae can conjure. How everyone gathers around televisions, how they wallow in their hatred for this one person is frightening. Even if he is that horrible, what about this hatred? It’s the cult of anti-personality, and even if you think it doesn’t exist just look at how everyone reacts to Trump or Hitler.

Since Eiji is, at his heart, a generic moral hero who only wants to defend his loved ones this means nothing. His only drive in the series is protecting his sister and the guilt kind of drives him, but was it necessary? He’d want to keep his sister safe even if he didn’t cause a great destruction. We never see the psychological effect of guilt, of knowing everyone hates you. Occasionally there are hints Eiji is actually working alone, but that’s never expanded upon. The whole ‘one man and his sister against the world’ could work even just as a fun show, but it never goes there. The guilt is just another element in the many tired speeches about protecting Sena.

As for her, she’s an object. Everyone cares deeply about her happiness, but why? Her connection to Eiji is only by blood. It’s not that we don’t know how their relationship is. It simply doesn’t exist. Whenever they interact, she’s simply being cute and he’s being nice. If her cuteness was integral, if that charm was emphasized, exaggerated and played with then fine. She’s never portrayed as a character that captures people’s heart. Rather, it’s the lifeless trope of hapless girl who’s convenient to rescue.

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It doesn’t help that the few times we get insight into other characters, it always has to do with protecting loved ones. The Future Diary had the ‘dark past’ cliche, but at least each character had a slightly different past and reacted to it different. Characters may have different Orders, but they all wish they could’ve rescued their friends or family and they don’t gain different conclusions out of the loss.

Loss is one of the worst experiences you can go through. If we all experienced in the same way though, it wouldn’t be so harrowing. Misery loves company, and by listening to how others felt when their parents or friends or spouses died would’ve helped us through. Loss is such a harrowing thing, and how you lose someone affects how you react to it. Big Order only plays with the emotional weight it has. It gives the characters a convenient excuse to do what they do. That’s better than making them plain evil, but it’s not enough to make them wholly human. They’re not given motivations, but batteries in different colors.

The only thing the show has going for it is Sakae’s wild imagination. The little he had left was for wacky set-pieces. There are odd situations and turns all over the anime. Gates open to mental spaces, characters become pregnant by touching their ears, an obstacle course – somewhere here an incredibly fun anime is hiding. But Big Order doesn’t have the conviction Future Diary had.

That one jumped from genre to genre, but it approached each with so much conviction you could create 10 seperate anime out of it. Big Order is more scared of becoming a clone, so it does away with anything resembling Thriller, chucks away most of the romance and piles on the action. There aren’t many tonal shifts and doing away with the death game scenario looks silly with what you have left. If it concludes with people sacrificing themselves to make a non-character happy, what’s the point?

There’s energy and verve here, but Big Order is a mess without directions. Notice the use of plural form. If it was an amalgam of genres that didn’t gel, it would be brave enough to be interesting. Instead, it’s too scared of its big sister. So it pushes forward, one wacky set-piece after another. Without a core, or multiple ones to rely on all it has is cliches. This is a perfect examples of when tropes are a bad thing. The anime uses them only because it has nothing to say, because it’s too afraid to explore its themes and too afraid to pile on the ideas. So yes, there’s a Rock God and a pentagram of some sorts and gates and an upside down fairy, but it’s just another story about protecting the little sister. Try BioShock instead.

2.5 floating girls out of 5

Serial Experiments Lain

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I don’t get it. Maybe this is just a relic from a time before we talked about the Singularity and before the internet.

The anime clearly strives for something. It has a lot of philosophical quotes. Characters say things like “what isn’t remembered never happened”. There is typography on the screen, references to Roswell and Jung and the theme of ‘identity’ (Why do I always roll eyes when I see this?).

Now, it’s not just a collection of anime-style drawings stuck together in a pretentious and unbearable form. Lain doesn’t just copy the form of ‘intelligent’ storytelling. There is always a drive behind it. It feels more like the writers have a lot to ask and to say. They’re so excited by it that they will use all these techniques with hope of transmitting it to the viewer.

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Too bad it never really gels. It asks questions about identity, but how? How is having different versions of Lain automatically question the theme of ‘identity’? Couldn’t they think of a less predictable and perhaps more meaningful way to do it?

It’s almost as if the themes are expressed and name-dropped, but not actually demonstrated. Having people mention God and omniscience doesn’t mean you explore the theme of theology. You need to show how it affects characters’ lives and perception of reality. You need to show what effects such a God would have if it existed.

It’s not enough to just have characters with multiple identities. You need this to blend into the story. You need this to be a meaningful story element first of all. Themes shouldn’t just be talked about. You need moments that demonstrate the effect of these ideas. Only complete morons think philosophy is solely for discussions. We constantly act on our philosophies.

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This attitude towards philosophy is perhaps what fuels the anime, and what ruins it. It’s a shame because there’s more drive than pretense, more desire to explore than to look smart. Lain never feels like more than an armchair exercise, a ‘what if?’ thought experiment that has profound words but lacking conclusions.

Often, there are moments that point to a brilliant anime. The anime isn’t a monochrome grimdark piece of crap. Even if the mood is generally gloomy, it’s not afraid of showing the sun or the occasional smile. Its setting is believable enough psychologically. It also has a clear aesthetics and knows how to express it. Still shots of wires appear often, but ever enough to become distracting. They add some atmosphere and go away. Artificial light also gets a lot of focus, but never too much. Plenty of times, it’s just another element in the show. Unlike its little brother Texhnolyze, the anime’s scenes always have more than one purpose.

Its sense of style saves what could’ve been hilariously bad scenes. There are almost whole episodes dedicated to info dumps about certain topics. They’re entertaining though. The combination of imagery with the electronic soundtrack fits the mood. Since exchanging information is a big theme, this technique of info dumps actually fits themetically too.

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This sort of ‘experimental narrative’ isn’t too original if you watched a film like Pi or Eraserhead, but the creators know it’s not enough. You need to do more than just rip off the conventional story structure. So by replacing it with odd imagery that’s always loaded, the anime is amusing enough. It never just tells you how it intelligent it is. It tries to make you involved in the imagery, in its meaning and emotional implication.

All this effort is wasted, though. In the end, the story is too divorced from reality. It gets lost in its experimental narrative and weird imagery. It’s as if I was too busy figuring out what’s going on, what it expresses. It was too distant. It was too experimental, as if I’m busy figuring out the anime rather than thinking about the themes. I’m not interested in pounding my head to understand a cryptic philosophical quote. I want a statement so profound I could connect it logically to a hundred subjects. Crypticness isn’t profound. A wide-eyed approach is.

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I can imagine this story working if only the creators scaled back a bit. Have a little more dialogue. Have a little more exposition. Tone down the weird imagery a little. Focus on asking whether the ideas are clear, and less on weirding the audience out. Think, first of all, why theology and identity and communication matters. Only then set out to explore them. If you can’t convince me the theme is important in the first place, I’m not interested in thinking about it.

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Of course, I’m not writing it off as just a bunch of pretentious dudes patting themselves on the back. It’s a, well, failed experiment. It kept me curious enough that I enjoyed it even while being utterly confused. It does have a conclusion that ties it together. It has a purpose, but I wasn’t sure what it is. Hopefully someday I’ll know.

It’s better than Texhnolyze, at least.

Post-Script: This review has been written a long time ago and I’ve been wary of publishing it. The anime isn’t confusing in the traditional, ‘I don’t know what’s happening so it’s good!’ way. It’s too stylish for me to write it off as pretentious doodle, but it’s too abstract to explore its themes in a satisfying manner.

I’m reminded of abstract stories like Paranoia Agent and Pi. These stories relied more on meaningful scenes than coherent storytelling, but exploring their ideas was their primary focus. They never get unnecessarily weird. It’s easy to follow the abstract parts because the themes are established and followed. Lain dives headfirst into the surrealism with so much conviction, it’s as if the excitement over being experimental overtakes the desire to explore ideas.

I consider this my most inconclusive review so far. I’ll need to watch this again soon to determine whether it’s just pretentious doohicky or if it really went over my head.

3 boxes of cereal out of 5

The Tatami Galaxy

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A common misconception is that being experimental makes your work inaccessible. Too many experimental works got this reputation, and too many people now think difficulty is praiseworthy. It’s as if jumping through 50 hoops somehow increases the value of 20 dollars. It may increase perceived value, but that’s not the same. It just means your mind distorted the real value so you won’t feel bad about wasting time.

Difficulty can’t be the main aim of any piece of art. Art is a way to communicate ideas. The reason we seek these experimental/non-traditional/avant-garde methods is not because of their difficulty. These new approaches are meant to enhance a story, to shed new light on the same ideas. Experimentation shouldn’t draw you away from an anime, it should make you curious and involved in it.

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Tatami Galaxy is a perfect example of an anime that’s both experimental and, at the same accessible. It follows a non-linear narrative, whose structure has significant meaning. The characters all look weird, but that’s only makes them more lively. The characters themselves are weird, but people are weird. All their quirks aren’t there just to make them different from one another, but related directly to their personalities.

Jougaski’s love for a doll is directly related to how he’s an idol for women. Akashi is cold and intelligent, but it doesn’t help her when moths are around. Ozu is a scumbag, but even scumbags like him can love.

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The way they are drawn is also important to their personality. Anyone who thinks character design isn’t important has no business watching anime, with Tatami Galaxy a strong argument for the importance of character design. The designs are expressive for their personalities – Jougaski looks perfect, Akashi is pretty in a low-key way, Higuchi looks both absent-minded and too wise to care. Look at the shut eyes and the small smile. It’s right between a wise master and an oblivious buffoon.

The designs are both cartoonish and realistic at the same, and that’s whole approach of the show. It manages to be realistic by being cartoonish. Too many times we see attempts at realism by being ‘low-key’, like in Mushishi or Texhnolyze. In order to be ‘realistic’ you first have to ask yourself what is the reality your story is about. Then you seek methods, techniques, and cues that make us believe in your reality.

Life is weird, but college life is especially weird. It’s not a matter of life and death, but it’s a constant chase after an ideal. Even outside college, the dream of a life of constant partying, joy and excitement is common.

In the age of social media, this theme of ‘rose-colored life’ is more common. People often post only the good stuff and inflate them. We follow celebrities more closely than ever. Sometimes celebrities rise out of that social media. As a satire of that desire, Tatami Galaxy is dead-on.

It’s not so much about choices, because whatever Watashi chooses the results remain fairly similar. It’s also not about some big philosophy about Destiny and Fate, because every time Watashi fails it’s in different ways. The reason he fails so much is because of his desire. This dream of the rose-colored life is his undoing.

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Whether it exists or not, the anime doesn’t answer. It shouldn’t, since easy answers have no place in a great story like this. What it asks us to do look beyond our huge ambitions. The vivid, wacky art style is meant to portray a reality that’s varied, full of weirdness and ups and downs. Notice how the colors constantly change. Life can’t be ‘rose-colored’. It has too many colors.

The message is, thankfully, not just ‘enjoy your life and be thankful for it’. As I said, there’s no room for easy answers in stories that ask questions. Failure is a running theme and the anime is aware you can’t avoid failure and how painful it is. Characters who should lead ‘rose-colored life’ don’t lead them. Jougaski has plenty of things that make him ‘not a real man’. Hanuki may be a sexy, fun woman but she still falls into bad relationship. Ozu may be cunning, but he can also fall apart when loves takes over.

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All the colors, weirdness, and personification of a sex drive only lead to one conclusion. Life is a mess. You can enjoy it not by stop aspiring. You don’t even need some sort of ‘mythical balance’. The world is full of things, of Ozu’s who will knock us down and Higuchi’s who will babble nonsense. It’s about trying to enjoy it despite all these things, to sort out the mess and find what fits you. You can be life-affirming without being shallow

Some have pointed out that the monologues can be too fast. At first it’s annoying, but it quickly dies down. Watashi still talks pretty fast, but the monologues become less dominant and slightly slower. It was easy getting over.

The Tatami Galaxy is worth all the hype surrounding it. It manages to be so many things at the same time, and never losing control. It’s realistic without being dry. The narrative is experimental, but in a meaningful way rather than an obscure one. The character design is weird, but it’s for expressive purposes. For all the reputation it gained as an ‘intellectual anime’, it’s so accessible I’d recommend it to anyone, even people who aren’t into anime.

5 tatami rooms out 5

Kemono no Souja Erin (Beast Trainer Erin)

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It’s a curious thing. Good stories tend to come when the creators know their limits and strengths. You cover up your weaknesses and emphasizes your strengths. Some stories know their weak point and still find a way to get around them. Erin is an anime that’s often focused on its weak parts, yet aside from a weak patch in the middle it’s fantastic.

The strength and weakness is in Erin herself. She’s not a psychological portrait but a mythic one. The whole story is, in fact, more mythic than psychological. Characters aren’t complex or odd, but have very specific role they fill.

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It can sound limiting, but it’s not. Giving your characters a certain role gives you focus. Since the series never pretends to be a deep psychological examination of these roles, they manage to breathe life into them in other ways. Sometimes, two characters have the same role but act on it differently. Jone and Esal are two very different kind of teachers.

These aren’t roles that limit characters. They are never moral ones, of villains and heroes. They give them agency and define who they are. The story is often more than about Erin. There are many episodes in which she barely appears. Other characters star them and their viewpoint is explored.

Excluding one power-hungry villain that only reveals himself in the end, Erin is a series full of shades of grey. Almost any character that is introduced as villainous is immidiately revealed have a logical viewpoint. Even when their intentions still side against Erin, the anime expects us to understand them. This goes further than grey morality. Erin is clearly a moral hero, yet we’re expected to understand her enemies.

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As for Erin, she’s a great example of how a moral hero should be. She’s not defined by her morality. Her moral behavior comes from somewhere, specifically her fascination with nature which her mother gave her.

This is also where the series, despite not being psychological manages to accurately display what growing up is. Like any good story for children, it deals with the themes of childhood. Erin has the natural curiosity of a child. The difference between her and others is that her mother encourages it. As Erin grows up and meets more mentors, they keep on encouraging it rather than discouraging for some bizarre reasons that create the contemporary education system.

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When Erin starts to display extraordinary abilities, it’s not a case of Mary Sue-ness. Erin is a moral hero who represents curiosity, and curiosity naturally leads us to develop our skills. Curiosity is also what what makes us reach towards others and understand them.

That’s its answer to the main conflict. The show doesn’t have a central theme but it builds towards an epic climax that’s expressive, rather than a placeholder. The central conflict between the two populations is simple. It doesn’t rival the complexity of real life conflicts and it doesn’t have to.

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Political ‘intrigue’ is often a crutch authors rely on, killing characters off to surprise (Game of Thrones still suck). The root of many conflicts is in disagreements, and violence is what we use when we don’t try or think we can reach out to the other side.

As the best episode displays, it’s easy to love one another when you agree with that person. It’s harder to still love them they take a separate path from yours. The episode that chronicles this divide between two brothers is easily the best one of the show.

While the lack of a central theme and psychological exploration don’t harm the series, they do take its toll on the middle part. It’s almost neglectful of a traumatic experience and the pace grinds into a halt.

It doesn’t replicate the serenity of Mushishi. The view of the natural world is different. Rather, the show gets stuck, recycling the same ideas (Erin’s curiosity) and adding characters who only become fleshed out later on. There are worthwhile moments there, but about 8 episodes could have been cut.

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There’s also the odd technique of repeated flashbacks. While some are well-placed, showing them over and over first makes them lose their impact. Then it comes off as lazy and just trying to kill time. The big traumatic event’s repetition is especially bad. Since the series isn’t psychological, the flashbacks don’t make sense and they just make it lose its impact. That said, when they do return in the last arcs of the series they retain their impact.

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The series also teases too much in these episodes about characters who become fleshed out later. Since the series is static during that section, it’s not a slow build-up. Rather, the series feels shy at throwing itself at something greater. What’s weird is that anytime it does become ambitious are fantastic. Nearly every dramatic moment is powerful regardless of Erin’s age. The line “Don’t harm these people with the same hands that can play such a beautiful song” is more profound than any time with realistic design and adult characters wearing suits.

The art style is excellent and beautiful. It’s ‘childish’, but in a good way. There is a simplicity and elegance to it like a children’s drawing. The backgrounds are where the series does it best. They often have a sketchy look to them, relying more on basic shapes and colors to create an atmosphere. It’s not chaotic, though. The sketchiness creates a bare background which fits with the sombre atmosphere. When the series gets dark, it stands in contrast.

 

Erin doesn’t justify its length. It lags in the middle and has too many repeating flashbacks. The varied cast also don’t the development they clearly can. While these flaws can make it tedious at times, the improvement at the second half saves it. From then on, as an example of how deep and emotionally engrossing children’s stories can be it’s perfect. It may focus on a single heroine, but it’s a world of shades of grey, with only one truly villainous character who has a purpose anyway. It fell off the radar because it’s not immediate, but it’s worth pushing through its weak parts. At its best, it’s almost the best anime ever.

4 lizards out of 5

Texhnolyze

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To call Texhnolyze one of the most predictable stories is an understatement. The only expectation it defied was the exepctation to be worthwhile. Other than that, this is your typical artsy anime. It beats you over the head with how artsy it is, using techniques that distinguishes it from mainstream anime. None of these techniques distinguishes it from the many ‘artistic’ stories out there. It often looks like an immature, more angsty little brother of Blade Runner or Eraserhead.

Is there a more redundant way to inform your audience that your story is serious by having grey colours and serious characters? Nolan used the same technique in Inception and made a complete fool of himself. He was so focused on being serious that hsi dreams looked like Michael Bay directed them.

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The anime doesn’t follow an idea of its own. The directors behind it watched a bunch of art house films, noticed the lack of dialogue in Blade Runner and decided that this is the reason it got the acclaim.

Being serious isn’t going to make me take your story seriously. Halfway through the series and all the characters still act the same. They all present the same variation of the stoic, apathetic characters. Some are less stoic than others, but that’s like saying there’s a major difference between New York Hardcore and Beatdown Hardcore. They more similar than they are different.

After 20 episodes, the 100th shot of Ichise’s indifferent, emotionless face is hilarious. It reeks of trying too hard. Is the life of people in harsh environments like this? Did the Jews in the Holocaust or the fighters in Sudan had time to just stare off into the distant with a stoic face?

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Think of any photograph of a war-torned or poverty-stricked place. Do the people have the privilege of being stoic? No. These photographs are harrowing because they’re full of pain and suffering. These are people who want life and struggle to survive, to find some kind of joy in it. Stories from Holocaust survivors are full of these moments. They’re not stoic but swinging from one extreme painful moment to a small relief of happiness.

The only place that actually is monotonous is your office job and suburban job. Texhnolyze is full of angst, the kind your suburuban dad gets after 20 years in the same job. It’s your boring monotonous pessimism you hear from a teenager when every day is exactly the same.

Actually, comparing this to teen angst is a compliment. Teen angst is an existensial storm of ups and downs, like that Nine Inch Nails album. It can be silly but it’s exciting. Texhnolyze is macho angst. It’s the same thing that fuels Game of Thrones and Cormac McCarthy novels. The old macho fantasy of men in suits not expressing emotions is a big hit now and is often confused with depth. The only surprise is that Texhnolyze doesn’t have graphic sexual abuse (Although we do get a sexy doctor).

You cannot horrify the audience by constantly showing suffering. Humans adapt. When feel something too much we get used to it and our perspective changes. Texhnolyze has the same emotional tone throughout the series.

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Bleakness and grimdarkness cannot be leading tones. They’re too narrow. You can use them in certain scenes but unless you’re doing something especially unusual there’s nothing there. You need to contrast it with something. People don’t suffer because they don’t have something. People suffer because they don’t have something that they want.

There are plenty of tragic and dark works out there, but they’re effective because they’re aware suffering doesn’t exist in a vacuum. You don’t have to show a moment of joy. Just showing it can exist in your world is enough. I only have to skim over Serial Experiments Lain to find a shot of girls laughing in bright colors. This is enough to inform me that in the world of Lain, people can be happy.

Some moments have potential to offer contrast, but the mood suffocates it. A sex scene is in dark colors and full of dread. We see a party, but there breaks Hal’s heart. It is a flat line, which means it’s both shallow and dead.

If Texhnolyze found a unique way to express the grimdark cliche, I would have forgiven it. If it would have gone full retard in the Techno-Industrial depart it would be a little fun. While the soundtrack is nice, the scenery never reminded me of Front Line Assembly. The decay gets more focus than the mechanical nature. The focus is on the mood, rather on something that will create the mood. This is no City of Rapture.

The most radical switch from this mood is the action scenes. The anime joins BTOOOM! and Deadman Wonderland by bathing in blood and faces distorting in pain. The show already established a cold, stoic tone. When these scenes kick in, the violence isn’t harrowing. The scenes don’t reveal any pain because we were already beaten the head with pain before. So all they do is take the suffering one step further, showing it more explicitly. Someone should’ve told them that what makes pictures from the Holocaust or Unit 731 harrowing is because we know these are real people. The people in Texhnolyze aren’t real.

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There’s a revealing interview with the creators. They said these action scenes were a response to the Shounen Jump style violence, where characters walk away bleeding. The creators wanted to express ‘pain’. If they had any understanding of action films, they would have known they are not about pain. Action anime is about aestheticized violence, about making violence look really cool.

Asking what the creators wanted to communicate, they said they don’t have any idea. They admit things changed as they series went along and that’s it. He hoped that the viewer would feel some kind of empathy or that they will think ‘this might mean this’. Does that sound like a work which involved deep thought?

I did not want the creator to analyze his own work. Still, I expected them to have some kind of direction. Lynch saying he sees absurditiy and weirdness all around him is enough to give you some idea what his films try to express.

If Texhnolyze was a mess of ideas it would still be amusing. If it jumped off from one idea to the next it would at least be there. Not knowing what it’s about, instead, makes for an anime that never builds towards anything. The tone never changes, since they never know what it was about in the beginning so they had no foundation to build upon. It ends with a big battle and an antagonist who’s a rip-off on Fallout‘s The Master only without the charisma, humor and the depth.

I engaged in a long debate with hopes of finding value. While the person raised a lot of valid points and there is something here about the nature of existence and ‘being human’, it’s not conveyed. I engaged in that debate while watching the last episodes. They’re an improvement and the above-ground is a great idea, but the stoic mood and boring violence overpowered any depth there could have been. You don’t cover depth and ideas with a boring story. Your cover needs to serve the ideas, not obscure them.

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Some also told me the characters are not the point, but if this is about humanity they must be the point. You cannot have a story about human nature or existence without characters. Existence and stories don’t exist outside of characters. You can have a story without many things. You can have a story that’s just an inner monologue, but without characters the only thing you can write about is asteroids hitting planets and blowing shit up. That’s just a Michael Bay story without women.

Perhaps I’m an idiot. Perhaps there is something deeper beneath the 100 shots of apathetic and ultra macho faces. Perhaps everyone just jumps on the bandwagon of grimdark and think that if the anime has a serious tone, then we must take it seriously. I’ve experienced plenty of strange and ‘artistic’ stories. Most of them were weird enough to be interesting for a while even if they failed. Texhnolyze is a predictably artsy anime that can’t escape its trap. Even if it says something about existence or optimism, in the end it wants too much to be serious and everything is dead.

1.5 stoic faces out of 5