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

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Ed Sheeran – Divide

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Reviewing an Ed Sheeran album only takes two sentences. Any song where isn’t trying to lure a girl to sex disguised as a romance is excellent. Any song where he pretends to feel deep, serious emotions is obviously bad. Of course, two sentences isn’t a review and there’s more going on here. Ed Sheeran is a star and his love songs are especially popular, so we need to figure out how exactly this crap works and why cheesyy love songs are still pumping out when he should be putting a backwards baseball cap and collaborate with Eminem.

I said this a thousand times before and it dawned me. It’s hypocritical to claim Ed Sheeran comes off like an asshole, even a dangerous one when Lostprophets is one of my favorite. These guys are a classic case of music as acting, when the front is completely different than the real person. Solution to this conflict is easy. Fist off, acting is all that’s important when judging music. Ed Sheeran can be a fantastic person for all I know, but I review his character here. Second, Watkins never broke character. Sheeran does.

“Shape of You” is the most interesting song here since it merges Sheeran’s two sides, and reveals all I said about him. He courts a lady with soft, sensual singing and sounds romantic. Yet listen to the chorus. It’s all about the girl’s body. Imagine if the song was sung by a heroin junkie homeless in the street or an overly obese dude with glasses and anime dakimakuras. The song is quite creepy in how it goes on and on about how Sheeran desires a body and not the person.

There have been countless songs about sex, but the key is that they sound authentic. When 50 Cent made “Candy Shop”, it was all about having fun sex. He never tried to sound romantic – only more into sex as having fun instead of status symbol. “Shape of You” has a fantastic melody, but it’s equivalent of a hot guy going on a date with a girl and only telling her how beautiful she is. Something about its bluntness and how Sheeran still sings romantically makes him sound like a person trying to lure girls desperate for romance to easy sex.

Everything else here is easy to digest. There are the ballads, and they’re all quite bad. Sheeran can’t seemt to find a bit of vulnerability in him. Every ballad is sung with confidence. A slightly low voice doesn’t equal vulnerability, especially when “Dive” and “Perfect” explodes into choruses. The latter actually has a decent melody that would be good in the hands of a different singer. He can’t even fake sincerity like Coldplay.

It’s too clean. When he sings that hearts don’t break around here, it’s more believable – only it must be Sheeran’s heart since women come back to him anyway (See “New Man”). It’s hard to pinpoint exactly what is it about him that makes his ballads sucks so much. Wisely, he doesn’t do any vocal acrobatics like Adele and his voice is quite beautiful. In style, he’s closer to the Weeknd, who is the model when you want to be both a sex icon and a mess. I guess it’s because Weeknd always lets darkness in, even when he brags. “Perfect” never touches on the possibility of heartbreak. It’s music for the end credits of a bad romantic comedy, as if once a romance starts it never ends and the story’s over.

Previously, he could sound more sincere (if unimaginative) when talking about things other than love and how awesome he is. “Happier” should be his moment to show heartbreak. The guitar strums in a defeated way, not trying to produce a melody and it aims for the warmth of an early Dashboard Confessional. Everything is hushed, the singing is lower and the piano is pushed back. Yet it doesn’t work. You can still see the stage behind him. Where is the bitterness of heartbreak he is so good at showing at “New Man”? The falsetto at the end is a joke, a gorilla beating on its chest, sounding more macho and confident than a Groove Metal band who are hell-bent on beating Pantera.

Then again, even with better acting these songs will most likely suck. They don’t contain a melody, but all lead to an explosion, like Coldplay that’s more readily available to stadiums. It’s not the source of the bad acting since it was present in his earlier songs. When he gets personal, the only reaction to it is ‘why the fuck should I care?’. Many artists wrote songs like “Eraser” (quite good) and “Castle on the Hill” (awful), but none of them sounded so self-centered as he is. Why should anyone of us care about Sheeran’s life, considering he made so much money singing pretty ballads?

‘Privilege’ is a word I didn’t want to use. After all, a lot of my favorite rappers are white dudes whose albums are psychotherapies with the listener. Grieves and Atmosphere come off as humble, sharing their stories with the listener with hopes of relating. “Eraser” has a toughness in it, Sheeran trying to convince us he’s tough because he survives the pain of being famous. Considering on later songs he brags about fucking – and sounds happy about it – I’d say it’s another attempt to impress us. The song is good, though. As for “Castle on the Hill”, it has the same idea as Adema’s “All These Years” without the darkness. Nostalgia is a painful thing. I know that since I spent 3 years in a military home and seeing a distance growing between me and my old self, me and my friends and all I’ve known is quite hard. “Castle on the Hill” paints it like it’s all happy and nice, taking a trip down memory lane. Don’t say ‘privilege’, don’t say ‘privilege’.

So it’s all crap so long as Ed serious. Smack in the middle of the album you get “New Man” and “Galway Girl”, two brilliant songs that will easily rank as among the best of the year. Switching up his demeanor, now he’s a playboy who fucks women and women call him up – despite having boyfriends – to fuck. It’s believable for once, actually has spirits and Sheeran is into it. The latter is about picking up a girl at the club but there’s none of the creepiness of the lead single. Instead, it’s just about how she fell in love and they had sex. The former is a bitter break-up song about how the ex-lover’s new man isn’t that good. The confidence, the venom in that song is fantastic. It’s not a rant or a plea for the lover to return. Condescension is the dominant emotion, with Sheeran sneering all the way to next  one night stand. It’s not a song to sing to convince yourself you’re over the break up, but to celebrate how you moved on. No coincidence that both of these are Hip-Hop driven.

Nothing here is too different than previous albums by him. His sound is expanding a bit and there is more than acoustic balladry now, but overall the man remains the same. He cannot break free of being a performer, he cannot get into the act. The difference between him and the horrible Watkins is that Watkins remained in character. Having “New Man” and “Happier” in the same album is jarring, since they’re opposites but there’s nothing to connect them. Eventually, one side takes over and the most convincing one is the braggadio and macho bullshit. It’s funny how that song take shots an ultramacho new boyfriend, because that’s exactly how Sheeran sounds like. I have no problem with that, since “New Man” is actually brillaint. I only wish he would let go already. “Galway Girl” has more spirit than any song here.

2 new men out of 5

Massive Attack – Blue Lines

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Blue Lines is unlucky. It couldn’t rely on the huge influence it had for lasting critical acclaim. Everyone talks about how outdated this is and they’re right. Pretty much any work of Trip-Hop that came after this pushes the genre way more forward. You don’t have to look too far. Just listen to some Tricky, Portishead and UNKLE and you’ll find artists with a wider vision, a more diverse palette of influence and more conceptual depth. Their concepts are also so different that they hold Blue Lines back from being outdated.

Trip-Hop has a lot in common with other 90’s genres such as Gangsta Rap, Nu-Metal and Industrial Rock. It’s full of darkness, sexuality and general pessimism. The approach may be more artistic, but the negative moods remain the same. Blue Lines is the opposite. Instead of drawing abandoned and heartless landscapes, it’s enjoying life.

In truth, you shouldn’t compare it to other works in the genre. Even the influence have different filters. Massive draw from the smoother side of Hip-Hop and from the pleasant, easy side of Soul. ‘Easy Listening’ describes best the album. The breaks are slow, but funky and still hard. The rapping is so laid-back there are no rhymes to follow. Barring the oddly aggressive “Safe From Harm”, the singers sing about the virtues of love and being thankful.

Many artists have tried to make an album like Blue Lines. A lot of rappers made this type of ‘smooth rap’, but no one does it like Massive Attack. Unlike rappers who focus primarily on impressing you with rhymes (that are boring anyway), Massive Attack put more emphasis on mood. “Blue Lines” is better than anything by A Tribe Called Quest because of how precise it is in getting the atmosphere right. The break is rolling with a perfect balance between banging and not being too loud. The hushed rapping fits with the vibes. They’re not out to impress you. They’re chilling with you to the beat.

Maybe what people mean when they say the album is ‘outdated’ is because of how unambitious it is. The unassuming title-track makes it obvious. Unlike later producers who made huge statements with their albums, Massive Attack are trying to create good vibes here. Nothing here sounds revolutionary, like a new sound that inspired a lot of people. “One Love” is just a reggea song with more a Hip-Hop beat. “Unfinished Sympathy” is what happens when a Soul singer meets some Hip-Hop producer.

Yet this unassuming, unambitious nature doesn’t ruin the album’s quality. It’s only unambitious because its aim is to create nothing good vibes. The album is perfect when you hang out with a few friends not doing anything big, or when the party is at its end and most people have gone home. The atmosphere is still social and danceable, but slower and content rather than happy. It’s shocking to think this was released so early. This album was available for everyone, and smooth rappers couldn’t imitate it?

Blue Lines is an oddity in the Trip-Hop genre. It’s out of place in the canon because of how different then approach is. It may not be as deep as Mezzanine or far-reaching as Psyence Fiction, but there are few albums like it. Sure, there’s a lot of smooth Jazz and smooth Soul and smooth Rap. Massive Attack combines all these for an album that perfects the calm and social atmosphere. Forget about genres. It’s such a pleasant album that I can’t imagine anyone not finding something to like here.

3.5 blue lines out of 5

Arctic Monkeys – Favourite Worst Nightmare

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This album doesn’t make a lot of sense. The debut was explosive. Arctic Monkeys didn’t sound like they wanted to be the biggest band in the world, but they sounded like they were really into the Dance-Punk thing. The band sounded so energetic it’s like they couldn’t notice they forgot to write a song in “From the Ritz to the Rubble”.

Although the album opens with an explosive track that does sound stormy, the album doesn’t have the spark of the debut. Instead of honing their craft, they’re just going through the motions and kicking danceable Indie Rock. There’s talent and hooks, but the lack of spirit makes it hard to react to this strongly.

The main difference between this album and the debut is that this one has no concept. Whatever knew it was a Dance-Punk album and had lyrics that described that party environment with humor and wit. Favourite Worst Nightmare is a fun collection of songs that are great when they’re closer to their debut and weaker when they move further way. There’s also a fantastic ballad thrown in.

The band sounds lost on the more melodic/casual tracks like “If You Were There” or “Balaclava”. They were at their best when making sonic mayhem. On these tracks they’re turning it down but not replacing the noise with anything. There’s not much going in these tracks. On “Balaclava” Turner becomes annoying, speaking in a smug way rather than singing. Even “Flourscent Adolescent” doesn’t work. There is melodic beauty buried somewhere behind the vocals, but Turner refuses to commit to one style. He doesn’t decide whether to rap, sing or sing-rap like Astronautalis. The result is a Pop song without a melody.

Even the harder tracks feel like something is missing. The instrumental storm of “Brianstorm” doesn’t sound like the beginning of a party. It’s more artistic, trying to capture the song’s title rather than to start a mosh pit. It’s still effective though. Other tracks have some explosive hooks – “D Is for Dangerous”, “This House is a Circus” and “The Bad Thing” are all rocking. Something in the production does feel flat, nothing in these tracks compares to the mayhem of “Fake Tales” or “I Bet You Look Good”.

I can’t tell whether it’s the production or the band itself. The melodies work in the same way. There’s no change in focus. It’s still sharp, aggressive melodies with noise behind them. “D is for Dangerous” is their most danceable song, actually. Perhaps it’s the production, which is cleaner, more pleasant. It works in some tracks, but it makes these ones sound less party-ready.

There are two odd successes here. “Only Ones Who Know” is a beautiful ballad. It’s different from “Riot Van”. That one still had the lyrics about wild life of the night. The musical backdrop was different but it stuck to the concept. “Only Ones Who Know” is truly tender, with Turner doesn’t even sound like he’s putting on an act. There are whole bands basing a career on making such songs. If only Adele or Coldplay knew that great ballads work because they don’t try to attract attention. That song never explodes and always remains quiet. If it did, it’d undo its beauty.

The ambitious “Do Me a Favour”. It’s the most ambitious track here, building towards a conclusion and letting every band member contribute. “505” also does the build-up thing, but it’s a familiar end-of-album ballad that’s too ordinary to get a reaction. “Do Me a Favour” sounds like a deliberate attempt to write a great break-up song and it’s a success. The drums create tension all the way it explodes with telling someone to fuck off.

At its heart, this is just an ordinary Indie Rock album. If it was released by any band it probably wouldn’t gain any hype. It’s pretty consistent, has some great songs for a playlist but that’s it. That said, it’s a terrible album to listen to for your first album by the band. Since all they do is just kick songs, it might leave you confused on what the big deal is. Actually, that’s all they ever did – just kick catchy Pop Rock with a charismatic singer. You don’t need more than that to become popular.

3 nightmares out of 5

Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not

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It’s amazing what cultural differences can do. This was apparently a pretty big deal in the UK. It had something to do with how Pop music dominated the charts, or that it gave a voice to macho dudes who only want to pick up girls in the club (but liked guitars), or that they gained their success via word of mouth. I’m here, listening to it 9 years after it came out. I can tell it’s big, but not really why.

It sounds like it has a mission statement, but what it states is different than everything I heard. You can’t rely on historical context for too long. Eventually there will be a generation who never heard those Pop bands you knocked off the charts. They might even like them. They will care more whether the files they got from iTunes are worth doing air-guitar to or singing along to.

The album is a Dance-Rock album. It’s not about creativity or delivering a message or being weird. It tries to do the same thing Glam Metal, later Nickelback albums and Dance-Punk artists like !!! and Test Icicles do. It wants to throw a party with guitars.

The lyrics are more sophisticated than your average Glam Metal track. They swing from trying too hard to sharp. “Fake Tales” is fantastic. It’s a great attack on people who go on and on how cool other countries are. The irony is, in Israel you can switch “San Fransico” with “London”. This just shows how the message is more than just for the locals.

“You Probably Couldn’t See” is another bomb. Turner makes fun of the guys and how they all change their behavior with hopes of impressing a woman. It describes word-for-word every social situation I’ve seen where there was an attractive female there. Even the guys who claimed they’re not into it were influenced. It’s the best song the album.

While these songs give the impression that the band is a vehicle for Turner’s lyrics, it’s not. They’re just seasoning that makes these songs better, but what drives them are guitar riffs, hooks and hard drums.

Turner is a great vocalist. While he can come off as too smug (Especially on “Still Take You Home” where he’s your typical douchebag who has sex with girls he dislikes) he also easily captures an air of coolness. He sounds both smart and hedonistic, like a person who can have fun at a rock club and later make articulate arguments about the last book he read.

He never drowns out the band. In fact, they often threat to drown him. The playing is so energetic and full of life. “I Bet You Look Good” opens with what sound like Metalcore riffs. The band sounds like it’s dying to slam. On “When the Sun Goes Down” it sounds like Turner is trying to keep up.

What makes the band so good is that they know what they’re doing. This is party rock. It exists to be catchy, energetic, to slam and to sing along to. That’s why the moshpit-friendly sections in “I Bet You Look Good” don’t feel too out of place. It’s impressive how the album never runs out of steam. The last two tracks are slightly weaker, but almost everything before it sticks to the concept and never lets up.

There are a few cuts that try to tone down the noise. Only “Riot Van” succeeds, and it’s a surprising one. It only has Turner and some guitar strumming in the back, but it’s beautiful. It comes right in the middle, the right time for a small break. This is the tracks that they will draw inspiration from in their second breakthrough.

Ignore all the people who talk about what it was like when it first came out. This album still sounds great now. It’s a party rock album where the riffs are energetic, the hooks are catchy and everyone sounds like they’re really into it. It even has some cool lyrics that prevent it from sounding moronic but rarely too smug. It’s everything a party rock album should be.

3.5 fake tales of san francisco out of 5