Mirai Nikki (Future Diary): Redial

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The original series had a lot of great ideas that weren’t enough for 26 episodes. What a surprise that this OVA has more ideas that can fit in 30 minutes. Redial doesn’t feel like an epilogue. It feels like a sketch for the third season.

The obligatory beach section rears its head, but it’s not here for fanservice. Once again, the franchise takes a trope and plays by its own rules. The jokes and the focus is on the cast, which is as lively as ever. The ecchi moments don’t feel like tacked on but emerge organically. They involve only the characters who will deal with sexual confusion at that stage in life.

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The re-appearance of the diary holders has the same vivid characterization as the original. My theory was true. Each time a diary holder is allowed to do stuff, their personality comes alive. The 12th remains a hilarious, energetic presence. Everyone is crazy, but he’s so far out there that everyone else backs away.

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The 12th gets the most development, but others get some development. John Bacchus gets a few jokes of his own. The humor here stems from the characters themselves, rather than specific punchlines. Such comedy is more than funny, but builds the character. The impression these scenes leave is that Future Diary could develop a Slice of Life anime with its cast.

Things get fuzzier when Redial goes back in touch with the plot. It tries to develop the romance concept, but it ends up being confused on what it wants to say. The original was satirical about it. It presented an intense love, but showed its danger. Yuno’s obsession with Yuki isn’t healthy or productive, and the original knew that.

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The conclusion hints at a love-conquers-all message. The original always dealt with extremes, so a love that defeats such barriers isn’t out of place. It doesn’t align with the satire, though. As an exploration of Yuno’s psych, it’s too short.

The changes in the new world weren’t enough to change everyone completely. Rei still has a sadistic side to him. Expecting Yuno to be psych-healthy is ridiculous. Psychological problems often take time until they manifest. Give this a few episodes, and you could get a true psychological series. A psychological story doesn’t need a seriel killer. It’s enough just to follow a character, and this OVA hints they could do that.

Even Deus and Uryuu get some development in their brief appearances. 30 minutes aren’t enough to develop all of these ideas. It’s a nice addition and it’s great to see these characters in an alternative setting, but that’s it. There’s so much steam left in this franchise, it’s odd nothing else came out. Attack On Titan is getting so many spin-offs it might as well be a carousel. As good as that one was, it doesn’t have Future Diary‘s lively madness.

Hopefully, someone will pick this franchise again one day and give it a new spin.

3 blind men out of 5    

Future Diary (Mirai Nikki)

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Mirai Nikki’s mission statement is one of its more obscure characters. Yomotsu barely has 20 minutes of screen time. He seems at first like an out-of-place oddball with his posturing as a Hero of Justice. This posturing is crucial. He says that the way to know who’s just ad who’s evil is according to who wins.

It’s a blunt way of saying it, but it’s true of many stories. Our hero defeats the villain with brute force, and we know he’s right because he didn’t deliver a speech about World Domination. In Death Game scenarios, it’s even worse. In Hunger Games, Katniss never has to come to terms with killing innocent people.

The Death Game scenarios are scary because they force people to fight who’d otherwise won’t. Katniss never has to face her fellow players’ humanity. She just happened to face the cruel ones. No such shortcuts are taken in Mirai Nikki.

Everyone is funny in their head, but no one is outright evil. Some are more crueler than others, but that cruelty is explained. We’re invited to understand these characters. Even when the cruelest of them die, there is tragic vibe to it. Things could have been different for them. Reisuke and Tsubaki are characters who made wrong decisions based on their circumstances.

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Blind and batshit crazy

Even John Bacchus, the character who could most easily become a caricature isn’t. He has grand plans for humanity, but not cheap World Domination. We see his plan’s failure in action, rather than have a boring speech about megalomaniac aspirations.

This approach to the Death Game brilliant. Not only it gets why the scenario is interesting in the first place, but it makes it more thrilling. Some have criticized the show for having a cast of stupid and psychotic characters, but that’s the point.

The best thrillers aren’t just a bunch of intelligent people playing mind games. Playing games is more fun than watching others do it, anyway. The best thrillers are those that are concerned with the emotional consequences of the scenario. They create thrilling set-pieces. They use atmosphere, symbolism and visual style instead of constant feedback.

Mirai Nikki is closer to thrillers like Pi and The Machinist, rather than the constant build-up of Death Note. It has a cast of weirdos who are thrown into a scenario with other weirdos and try to navigate it. The thrill comeד not from wondering What Will Happen Next, because it’s interesting to see these personalities clash.

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Best twintails in the history of anime

There are not highly-skilled badasses. Since they’re all emotional wrecks, that makes them unpredictible. We can expect an intelligent person to come up with a solution, but we’ll never know when a regular person will act on his rationality or on an emotional impulse. Whereas many thrillers just give the characters random skills, Mirai Nikki literally gives skills to the characters based on who they are. A loner is given a diary which records all his future observations. A couple is given diaries which predict their lovers’ future. An owner of an orphan home is given the ability to produce diary owners, like giving births.

If this starts to sound meta, then it only gets worse. Aren’t Yukki and Mur Mur a paralell to the us, the viewers? Yukki was, until the game starts an observer who wrote what he saw but didn’t participate in things. That’s how consuming media often works, especially when you write reviews like these. Mur Mur’s motivations seem like she might be evil for evil’s sake, but her desire for amusement is familiar. Don’t we watch these Death Games stories to be amused, too?

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Getting weird with my weird friends

While the Death Game scenario is the main theme the series questions for a while, there are a bunch of other ideas scattered around. Romance is being satirized with Yuno. Her character is more clever than people give her credit for. She’s a response to people’s desire for someone to love them deeply. Yuno’s love is serious, but it’s also selfish. She’s concerned more with protecting Yukki than what Yukki wants, although she matures a bit as it goes on.

There’s also some things about the nature of God. If Deus’ death seems like a giant plot hole to you, then you’re unfamiliar with mythology. Gods die and humans replace them all the time, and Gods are often limited in their power. We also get a Badass Switch, which addresses the topic at hand. Yukki doesn’t simply become a gun-packing OG. He’s suppressing his sensitive self, but still acts on his desire to help others. We even got a Metaphysical Rebellion thing going on. The owners are all given the ability to change the future, yet do they really change it? Yomotasu appears again. He’s being told he will die, so he just kills himself.

Some of them try to rebel, to do something other than become Gods. Mostly, they all go along with the circumstances they’ve been given. That’s the reason why many of them became crazy in the same place. It’s not an accidental detail. The whole Final Battle is one big metaphysical rebellion. It sees the characters trying to create an alternative future.

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Where do you think cruelty comes from?

All of this sounds very clever on paper, but the execution is closer to the violent use of that word.

The problem with Mirai Nikki is that it’s too original and has too much to say. It’s full of ideas and it wants to deal with them on its own rules. We get a few pretty women, all of which spend more time being characters rather than let us stare. There’s an extended sequence where Yuno is in underwear but it never slows down to give us good-looking shots. There are shifts in tone that feel appropriate. Such an overblown story can’t work without some humor. The progress of the story is more thematic than realistic. Things exist and happen because they fit the tone and meaning. Questions like ‘how did Rei get the poison?’ are left unanswered because they’ll most likely not add much.

The problem with creating your own rules is that you’re a first-timer in the game. Digimon Tamers might be brilliant, but it’s the result of past failures. The story is archetypical. The creators looked back on similar stories, saw where the holes were and filled them.

Mirai Nikki has no such tradition to draw from. It borrows freely from School, Death Game, Psychological Thriller, Action and Fantasy. It’s both excited by what it has, and unsure of itself. That’s why the pace is too fast, but the series never runs out of stream even when it’s off the rails.

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Everyone suffers eye damage, for some reason

Normally I’d complain about a few unnecessary episodes, but this one needed more. The characters all have quirks that point to a personality, but that’s all they do. Their defining features are too often external – a tragic event in their past, an ill son. We don’t get enough of moments that show us how these things affect them.

They are affecting them enough to feel different. Both Rei and Tsubaki have their tragic pasts, but one is full of hatred and the other is just cruel. That’s a pretty significant distinction. It’s not explored, though. These characters die too quickly.

What made the Cult of the Sixth so exciting is because it threw all these weirdos together. Instead of having boring one-on-one match, we have different people doing their things according to how they see fit. You can’t do it for 26 episodes if everyone is constantly dying. They kept some of them alive for a long while, so why not all the rest?

There is also an added mechanic which might feel like an asspull. It actually fits the theme of the series and is necessary for the metaphysical rebellion thing. The problem is, by the time it appears our story shifted focus. We’re no longer following a cast of weirdos and their plight, but see the metaphysical rebellion itself.

It’s interesting enough, but it calls for a different series. A story ends when its ideas conclude, not when stuff stops happening. In this case the survival game ended, therefore the first story is over. Shifting a focus just causes unnecessary confusion. If they dedicate 26 episodes to their ensemble and expanded the final battle to a short second season, it’d be better.

At least the the series never runs out of steam. From the beginning the show feels like it will go off the rails, and it does. The train keeps going forward though. The track might be lost, but you won’t reach your destination by standing still. Even when it loses itself it refuses to play by anyone’s rules but its own.

There’s something admirable how it keeps going forward. Better anime than it fall to convenience when things get too hard, but Mirai Nikki just speeds forward. If we compare anime to Icarus, then Sword Art Online gives up on the sun and drowns. Mirai Nikki forgets about the sun and tries to fly to outer space, but burns in the atmosphere.

Credit must be given to the visual style. Mirai Nikki features some of the best character design in anime. No one is spared. Many anime have talented designers, but only the women get this treatment. Just look at Date A Live, which has brilliant designs like those of Yoshino and Tokisaki, but Shido might as well be a stick-man.

Here, we have an attention to detail. Yukki isn’t just another black-haired hero but given an actual style, even if it’s less flamboyant than others. Everyone has their own facial expressions, their own hairstyles and their own outfits. It speaks volumes about the series when it creates pretty women but doesn’t linger on their bodies, and finds room for a deformed one too. There’s something beautiful in the picture of the ending theme. We see all the owners’ shilouttes standing, each with his own unique shape.

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This isn’t Freddy Fazbear’s!

This makes everything feel so alive. It may look unrealistic. Marco’s hair definitely can’t stand like this, but that’s not the point. Animation is expressing ideas using visuals. Human beings are often weird. I lived with many of them, and few turned out to be normal. Their personalities are closer to Mirai Nikki‘s flamboyant design rather than Mushishi‘s, where everyone looked the same. Now what is more realistic?

Mirai Nikki is full of flaws and little holes. There are       average anime with less obvious problems. There are also not many with so much life and energy, that play by their own rules rather than someone else’s. There is a masterpiece here somewhere, but the pacing is too rushed and there are too many ideas than it can carry. It’s never boring, it’s rarely convenient and it’s always unhinged and bizarre. In this case, I’m willing to forgive the flaws.

The biggest plot hole that nobody talks about is Uryuu Minene never wearing her twintails again. These are the best twintails in the history of anime. Why not use them?

4 blind eyes out of 5

Charlotte (The Anime)

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“No one man should have all that power,” – Kanye West

Watchmen was a response to the explosion of superhero comics. Charlotte feels like a response to the explosion of superhero films. The Marvel Cinematic Universe helped to keep superheroes in the public’s consciousness, but it was just a dumbing-down of what Sam Raimi did before. Charlotte has a more interesting take.

These teens are superheroes. They may not have capes and a one-eyed boss (although an eye does get plucked out), but they got superpowers that can be used for saving the world. Why should they, though? A superpower is just an extension of any kind of power.

How many powerful people use their power to contribute to humanity? Musicians use their talent to vent their frustration and sell records. Programmers build websites to get traffic. Most people I know become doctors because it’s a respected profession and gets money. The mindset that you should use your power to contribute is rare.

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Yuu and Nao are two different sides of the coin. For the first two and a half episode, they’re an interesting exploration of power. Yuu uses his to move on up, taking advantage of people but not actually hurting them. Nao’s desire to protect others leads her to plenty of physical confrontation.

Being a moral hero isn’t easy. Nao may have good intentions, but she leaves a trail of beat up people and isolates herself. Yuu’s achievements rely on a skill he gained by luck, not by hard work. There could be an interesting examination of how we shun people who work hard and praise those who just won the genetic lottery.

Nao also has a reasonable motivation for being moral. Her moral behavior isn’t convenient but results in isolation. Sadly, this is where the character development stops.

Yusa is brought in as much-(un)needed cuteness, as if Nao isn’t pretty herself. Ayumi already does the forced cuteness bad enough, so what does Yusa contribute? Worse, she makes another character turn into a drooling fanboy. Takajou first looks like a middle ground between Nao’s vigilance and Yuu’s selfishness, but after Yusa appears all he does is worship her.

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This forced cuteness clashes with the occasional grim tone. Yusa and Ayumi are too-much-sugar cute. They’d be overly-optimistic in Azumanga. Their cuteness is plain happiness, with no unique design or quirk. Next to the cuteness there’s grief, overcoming it, time traveling and what power does to the user.

The treatment of grief does acknowledge the darkness. We see the downward spiral, the isolation and how a person is so overwhelmed he abandons life. Then after 2 episodes he rises up and things are going well. Grief is supposed to change us forever. It doesn’t automatically make us good guys. Nao’s grief turned her into a vigilantee. When Impmon’s whole world was wrecked, he changed but part of him remained. There’s no hint in Yuu that he used to be a selfish brat. He transforms into a moral hero with no relation to what he used to be.

It’s not that the story of Charlotte is convenient by nature. The core premise is an attempt at subverting a common trope. The problem must be in the length. Charlotte has too many ideas and stories which can’t be crammed in 13 episodes. Mirai Nikki couldn’t develop it all in 26.

At least Mirai Nikki played by its own rules. Charlotte often gives up any time it could get interesting. The last episodes is where its most harmful. A senseless enemy appears whose contribution to the story is nil. The only contribution is the killing of another character, but it they don’t do anything meaningful with it. The death doesn’t affect the story in anyway. We don’t see how the characters deal with grief, or how that death is a meaningful conclusion to that character’s story.

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They already touched on grief. The only thing that conflict adds to the story is to make Yuu be heroic while killing a device that makes Yuu work a little harder in the climax. Yuu is interesting because he’s the opposite of a moral hero, so turning him into one works against the story. The climax also didn’t need such a dramatic brush with death to start.

At least the final episode redeems the series. Like the detour to Dealing With Grief, it’s too short for its own. Still, its idea is intriguing and the psychological development is well-paced. It’s further development on the original ideas the series started with.

While Charlotte does suffer from rushed pacing, it overcomes it by well-structuring its episode. The last episode is an epic journey that often takes more than 10 episodes in other anime. The creators managed to sum it up in 20 minutes without the journey losing too much impact. There is talented people there, they just took on too much.

Charlotte‘s main problem is that all its detours don’t always rise from the premise. Mirai Nikki explores both an ensemble cast and the Nature of Time and Space, but these are things that are found in the premise. Nothing about Charlotte’s idea of superpowered teenagers has anything to do with exploring the nature of death or time travel.

All these detours also lead to too many characters who aren’t given enough to do. Too many events are external. The puzzle-solving of the first episodes was fun, but after that it’s all big events. The creators can’t imagine a way to approach them that’s not dull heroism, so there’s no emotional payoff.

That’s why the sentimental moments often feel manipulative. This is a criticism that’s been directed at KEY often, but here it feels even more out-of-place. Charlotte is either too plot-driven or too psychological for such convenient wrapping-up. It’s been a long time since I watched Kanon (2006), but it was a pure drama. The sentimentality rose naturally, instead of feeling tacked on.

Some credit must be given to the soundtrack. It seems originality in soundtracks is now common in anime. There is attention paid to the textures and use of rhythm that is rare in Western scores. In this case, it borrows some cues from Bass Music to create the right intensity – one that is not world-altering, but still so.

Charlotte is a clever idea that took unnecessary, if interesting baggage and didn’t have enough episodes to connect everything. It’s more enjoyable than annoying. The episode are somehow paced well, even if the overall pace isn’t. It manages to make a final turn at the end so the journey won’t be futile. Wasted potentials are everywhere, but Charlotte works more than it doesn’t. It’s not brilliant, but it’s good enough to show there are still creative minds in anime.

3 comets out of 5

Terminator Genisys

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Genisys is far from a return to the glory days of Judgment Day. Expecting any film to live up to it is silly. It’s one of those great films where the people involved probably had no idea how good their stuff is. That’s why James Cameron left the building. He knew he couldn’t handle something this good. Nobody after him understood, either. At least the guys who made Genisys show an understanding of the first films, if not of how to make one.

Although it’s easy to miss because stuff gets blown up, Judgment Day is filled with ideas about the nature of men, machine and weaponry. It’s a one-dimensional story about Raging Against the Machine on the surface, but some people think Fight Club is encouraging rebellion. The films always hinted Skynet wasn’t the real enemy. Skynet isn’t a faceless villain to shoot up. Skynet learns to destroy from the people who created it.

Men are the ones who got obsessed with weapons and violence. They are the ones who solve conflicts with shooting the enemy. There is irony in destroying Skynet with the same methods that made Skynet want to destroy us. In a way, Skynet is the physical embodiment of man’s violent nature.

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The new Fear Factory album shares a title

This is why the machine in these films is almost always represented as weaponry. The actual purpose of the characters in Genisys is to reverse the world to a time before war, so humans would not be born into weaponry and violence (using weaponry and violence). Of course, we cannot truly exist without violence or technology. That’s why we get Terminators on either side. One side thinks the solution to all these problems is to be done away with the world, and one thinks that letting everyone live is the better idea.

This is what Kyle Reese means by ‘because we’re humans’. It sounds a bit cheesy, but the series was always about searching for the alternative to the violent nature of man. The whole ‘challenging fate’ comes into play, too. A deeper discussion of the themes is for another time. What all these paragraphs lead to is the film’s biggest strength and its reason for existance.

It’s not a generic action film with Terminator on the poster to attract audience. All the themes in previous paragraphs surface here. It’s actually far more concerned with the Terminator mythology than its reputation for great action scenes. This means this is the first sequel that understands the greatness of the previous films. It acts like the previous two never existed and goes straight back to talking about fate, weaponry, machines, violence and other deep stuff.

Theoritical knowledge doesn’t always translate to creative skills. The right pieces are all here. Emalia Clark looks exactly like how a military young Sarah Connor would look like and the film has the same color schemes. It may the creators were too busy replicating the atmosphere and feel, they forgot about action scenes.

Slow motion makes a cameo apperance a few times, which is great. Other than that, the action scenes have no intensity to them. A bus flips over and that’s cool. Cars exploding remains beautiful, but the violence doesn’t feel unstoppable or dangerous. People tend to shoot each other and this is where it ends. There is no unique camera movements, or a memorable set piece. There is nothing like the final battle of Judgment Day, which felt like a visualization of a Fear Factory song. It could be the PG-13 rating.

It’s also more plot-heavy. The first films had their moments of humanity because of how straightforward they are. People come from the future to blow stuff up, and then it’s one long chase scene that gives the characters moment to think philosophically. In Genisys, thinks are always happening. There is a tangled web of timelines and people traveling across timelines and robots who can copy others so you’re sure who is who.

Worry not if this sounds like Homestuck. It never reaches that level of bullshit, but it’s unnecessary. Everyone in the film knows technobabble is just cool words, so why use them so much? It was cool the first time, but then people can remember a life they could have lead or things along these lines.

It does connect to the whole ‘challening fate’ thing, but it’s still pointless complicating. The sudden appearance of Skynet at the end also came off as an asspull. The creators missed an opportunity for an alternative climax. Skynet sat somewhere between pure evil and a villain with a drive. By letting him speak, they could develop the opposing worldview. They do it a little, but the climax is concerned with replicating Cameron’s climaxes. Since they don’t have Cameron’s visual skill (or his love for Industrial music which he doesn’t reveal), it’s just two huge guys fighting. Centering the climax around a debate between the heroes and Skynet would have contributed much more to the film’s themes. Showing that Skynet can be defeated with intelligence and not violence would strengthen the film’s conclusion that we don’t have to be this violent. It did work for Vault Dweller in the first Fallout game.

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The album is referenced often in the film

At least Schwarznegger is as good as always. The film will let you know that he’s old, but he also became a fan of Fear Factory. At least I’d like to believe that it was a reference to their album. He still looks great packing a shotgun. He still delivers his line with zero emotion, and that makes him both hilarious and realistic. Any time he’s off-screen everyone looks a bit lost. Actually, even in the old films everyone looks lost while Schwarznegger isn’t on screen. No one could play the Terminator character like he does – just look at all the other Terminators. The Terminator may be his only meaningful performance, but it’s a great. Hopefully he’ll bless with a few films like Commando before he retires.

The film is messy and clumsy, but not lazy. There is a genuine attempt to revive with the myth, using the same themes that defined it. The creators don’t have Cameron’s skill and the soundtrack contains no songs from that fanboy band I kept mentioning in my review. It’s still worth a watch if the myth does anything to you. Some have said the franchise has been played out and they do have points, but Genisys lays ground for someone to pick it up and improve on it. That said, the franchise probably won’t get a second chance if anything after this won’t work.

3 Fear Factory songs out of 5