Hige vs. Otaku

There was a point-and-click adventure game released around 2001 called The Longest Journey. It had pretty glorious prerendered backgrounds and somewhat awkward 3D characters models and quickly became one of my all time favourite games ever made. Its lead character was fantastic (female, normal sized tits, rational head on shoulders), its narrative was complex and rewarding (also: dragons, everywhere) and the cast were excellently realised in terms of both writing and voice acting.

You can imagine my excitement when a sequel, named Dreamfall, was announced and subsequently released. Expectations were high of course, but I wasn’t unreasonable about it. A new protagonist dampened a lot of my fantasising, forcing me to accept that the creators intended to move the concept forward rather than indulge the fans. It helped me learn that this is the sign of the a good sequel; one that builds upon the series strengths and actively explores every possibility within its world instead of resting on its laurels.

Dreamfall turned out to be something of a big sweaty dickslap to the face. It had many problems (technical mostly) but the biggest for me was its abject brutality to the locations/characters of its predecessor. We get what initially appears to be fanservice with the return of April Ryan, the original protagonist, but she was darker, more disillusioned. Things had gone horribly wrong for her in the interim and she had completely lost her way and she’s not the same girl we fell in love with. Equally, locations from the first game were revisited but everything had gone to absolute shitsville. Ravaged by drugs and crime, a mildly dystopian setting offset by its affable community of people had descended into something perversely awful and intentionally upsetting.

I’m the last person to criticise a no-punches-pulled policy to storytelling – I would do exactly the same thing if I had the opportunity. Where I would differ is to not try so damn hard to separate the new from the old with an active interest in upsetting the fanbase. There’s a difference between forging a new path and incinerating everything in your wake.

(Yes, I am thumping my desk in outrage as I write this blog. A letter to the Telegraph is forthcoming.)

Now you’re obviously smart enough to notice the longwinded parallel I’m drawing here and Darker than Black II isn’t as nasty to its fans as Dreamfall was. But I’ve got the fear that they’re both treading a very similar path, and a very particular fact remains: motherfuckers killed April. Not only did they kill her, but they set her up as a genuine member of the supporting cast – and set her up fantastically – only to snatch it away in one swift wire-thingy to the throat. I can see the bigger picture here, don’t get me wrong, how her death might affect certain characters’ motivations and how it was a broader sacrifice – but I’m not going to lie about the impact of seeing her glassy death stare at the start of episode two and what it seemed to communicate. It smacked of a director/writer wanting to make a point.

The whingy fanboy hysteria was further exacerbated by seeing a particular red-collared cat lying corpse-like in the snow, but we’ve since learnt that was misleading.

I know, I know: all this is ultimately jumping the gun (such is my wont to do with episodic blogging). I’m sure all is not what it seems and getting all flighty about dramatic twists is a waste of time. It also gives the wrong impression: I am actually enjoying the second series of Darker than Black an awful lot. It has an excellent tone and feels a well-considered direction for the series. I just hope we, the fans, won’t be smacked about too brutally in the process.

Owen, ever the Machiavellian puppet-master of the anime blogging community, has kicked off another ramshackle community event by asking a number of bloggers to watch (or indeed rewatch) Darker than Black and then talk about it. The method? Two episodes a day for thirteen days and write about it however you see fit. The intention? To watch the series as it was intended – as two episode story arcs rather than singular episodes, thus preserving the pacing and getting the most out of what is actually quite a sophisticated show. It’s also been two years since it originally aired, during one of the best anime seasons in recent memory, so it’s half-experiment, half-celebration. Kind of puts all the recent dross we’ve had to contend with in startling perspective, eh?

The way I’m contributing is by adding a chunk of text onto Owen’s episodic blogs. I’d originally intended to provide wee quotes, alternative angles on points made by Owen, but they’re basically just mini-blog entries tacked onto the end of his posts. My role in this event is much like Owen’s; we’re documenting how our attitudes have changed in two years as well as noting how rewatching an anime (particularly a BONES anime, I’ve found) can shed all sorts of new light on what it’s trying to do and say. Owen and myself had very different opinions on DtB when it first ran – I loved parts of it but had serious issue with the tangential storylines whereas Owen was a frenzied mess of fanboyism, near incapable of writing a coherent blog because the urge to fap gave him the tremors. We’re older now, and we’re watching the show in a much more reasonable way. You can read our ruminations over at Cruel Angel Theses (we’re currently up to episodes 3 – 4) and we’re running on a daily schedule. It’s worth it just to witness me blog in a frequent and consistent fashion. Quite the phenomenon.

While we’re on the subject of watching and rewatching, I recently sat down with Mamoru Oshii’s latest animated feature The Sky Crawlers, which was not the philosophical clusterfuck I was expecting. In fact, it was an incredibly ambient experience up to the two-thirds mark. Everything explodes somewhat after that point – we get characterisation, plot development, intrigue, excitement – but the nothing that comes before it has a very strange charm. That alienating Oshii vibe is bubbling beneath the surface but it’s nowhere as acute as with his previous films. I think the constant blue skies and lush scenery gave it a serene feeling that stands out against his usual decaying cyberpunk aesthetics, and it works in a difficult-to-grab-hold-of sort of way. It turns out to be a Lain-styled non-reality where everything is fixed to continue on an infinite loop, which is where the textbook Oshii headfuck comes in, but superficially it’s not as unnerving as his usual output.

This infinite loop is what draws Sky Crawlers into the ‘watch and rewatch’ theme of this post. After the credits finish rolling there’s another scene that plays out almost identically to the start of the film; to the point where I thought the video had looped over and started again. Then the Production I.G. logo popped up and I was left with a very upsetting thought. All of these characters were expendable. The deceased would be replaced with exact copies of their prior selves only with none of the memories. Those who survived had to live on and suffer with their memories and experiences with the prior incarnation as the new one stands before them completely ignorant. The cycle continues on and during the film we merely witness one of these repetitions. After realising this I wanted to rewatch the film immediately. I wanted to see it again with this vital bit of understanding so I could appreciate the eerie feeling that had previously confused me and finally grasp the behaviour of some of the cast. The Sky Crawlers is really a film that has to be watched twice in a row to understand as a whole. It’s a very perplexing but very exciting experience.

Episodes 17 & 18

For one of those troublesome random tangent arcs this was a rather charming pair of episodes. The whole ‘Dolls have emotions’ theme was reiterated; we got a likable new character in Kenji; Hei got some covert character development in his new friendship. And, perhaps most importantly, sour-faced granny landlord got some extended screen time and further proved that, yes, she is completely badass. Really, if the previous (and forthcoming, most likely) not-quite-continuity episodes were as enjoyable as this Darker than Black wouldn’t give me the hump in such a way. BONES managed to weave in continuing plot elements into a peripheral arc without it feeling pointless, which goes to show they’ve got the skill to do it so why sully something potentially brilliant with wanky boring deviations? It’s a sad state of affairs – especially when I’m so eager to love it – and I can only hope an end-of-series marathon will polish up my opinion of this grubby diamond of a show.

Episodes 19 & 20

Having watched so much anime you’d think I wouldn’t fall pray to the old ‘cherry blossoms blowing in the wind’ trope the medium likes to crack out for those special romantic moments. But combine it with Yoko Kanno’s simplistic piano composition (often when she’s superlative in Darker than Black, I’d say) and BONES undeniable visual chops and you get one of the stand out scenes of the series. It’s helped, of course, by Darker than Black‘s restraint in these kind of thing; you could never accuse the show of being overly sentimental or wet. Huang’s little side story works much with the same success as the previous arc in tying tangential plot points to broader continuity, and all in all I’d say it’s my favourite since the very first arc. I have similar affection Yin’s deviation, but DtB seems to be at its best when it deals with tragic, complicated love stories. Huang’s line "a Contractor wouldn’t commit suicide, would she?" at the end of episode twenty really caught me off guard with its poignancy to both the immediate situation and in a grander sense. Shioko might be a poor example (due to her obeisance – my favourite of the show by far), but it’s obvious Contractors aren’t soulless – at least, not in the company of normal humans. I think this distinction is key to understanding DtB’s prime concerns, and hints towards ideas about shared social morality and how we affect each other’s sense of justice, ethics, compassion and suchlike regardless of emotions. But I’ll save theorising for when the show is over. I hope DtB concentrates on these topics in its conclusion because god knows how it will wrap up all the loose ends its been flinging at us in any neat, satisfying way.  Six (I assume) episodes to go. Who wants to bet that there’ll be a second series?

Darker than Black Eps. 15 & 16

Proof again that DtB is at its best when it remains within the main continuity of its plot. Granted, even more new characters are introduced with Amber and her chums, but they’re interesting and relevant rather pointless, dull diversions. We spend more time with November, April and July, fleshing out them out, giving them more legitimacy as supporting cast. Everything flows beautifully, with the various plot threads weaving in and out of each other with obvious skill. These two episodes, much like the previous two, demonstrate how BONES should proceed with DtB‘s storytelling. This is when it is at its most enthralling, entertaining and meaningful.

The issues raised in this arc, specifically the dynamics between Dolls and Contractors, deal with the real curiosities of the show, too — the stuff that got me so enthusiastic to begin with. How emotionless are these two sets of people, really? We’re constantly given examples of characters that have supposedly lost their humanity behaving and emoting in distinctly human ways. The audience is gradually coming to understand that the supposed maxim of Contractors and Dolls Have No Emotion is obviously false; all we’re left to do now is work out why. And if the damn thing gave us a consistent opportunity to do so DtB could be a real classic.

Gurren Lagann Eps. 18 & 19

The time-skip completely annihilated my conceived notions of Gurren Lagann. Originally an energetic mecha show that relished its hyperactivity and demonstrated GAINAX’s mastery of the genre, it’s now morphed into something distinctly political. True, there’s still loads of mecha action, but the real drama comes from the differing ideologies of Rossiu and Simon and the aftermath of their various conflicts. The biggest surprise is that it really seems to be working. I won’t deny that considering Gurren Lagann in a more ‘sophisticated’ way feels awkward, especially in comparison to the breezy excitement of its previous approach, but this new sense of maturity simply works. I would’ve preferred more time to experience Kamina City and get a real feel for it (thus caring more about its fate), but we’re learning more as the show progresses.

Really, Yoko just needs to make a triumphant return – preferably to bust Simon out of jail just as his back is against the wall. Part of me will feel comforted by Gurren Lagann’s charming predictability if it actually happens that way. J’aime Yoko~

Mononoke Eps.1 & 2

This season has had a few contenders for Argh Biggest Headfuck and Mononoke just about wins it with the additional advantage of looking like an LSD-induced seizure. While I enjoyed the first episode in an artistic sense, the second really cemented its worth with some actual, tangible plot to hold on to. Some incredibly disturbing, creepy tangible plot, albeit, but incredibly enthralling and entertaining once you click to what’s going on. Specifically I loved the sinister histories of the innkeeper and her assistant; the character design of her younger self specifically was gorgeous in its wickedness. My main complaint with this arc is its lack of obvious resolution; or at least my lack of understanding it properly. Granted, Shino chooses to ‘give birth’ to all the spirits of the aborted children and in that act of kindness seems to placate the Mononoke, but what happened to the innkeeper and her assistant? Were they literally enveloped by the giant eye monster? I was expecting a more direct, brutal form of revenge for those two. Mononoke seems to command countless rewatchings to truly appreciate its meaning, and that suggests it will make a very entertaining show to marathon when it’s over. Beautiful, creative and sophisticated; Mononoke has graduated from a mild curiosity into something I really anticipate.

Sayonara Zetsubou Sensei Ep. 4

I think SZS‘s structure, if anyone would dare use such a word when talking about this psychotic mess of awesomeness, is basically a focus on two students per episode – one for each half. The main benefit we’re feeling by this fourth episode, however, is that the cast and their various quirks [personality disorders] are becoming more established. This means the self-referential humour is getting a major boost and we’re finally starting to get a feel for the show (rather than it just pounding on our brains until we submit into a quivering incoherent mess, par exemple). Still, even with obvious cues for laughter it’s the downplayed moments of bizarreness that get the biggest laughs out of me. Meru might possibly be my favourite student so far, more so than Fuura and her fucked up family history (and potential psychopathy). The OP is probably the best of the season, too. Better than either of DtB‘s attempts, at least. Bletch.

I was struck by the beauty of episode thirteen’s opening music. Kinda sucked that the cheesy OP had to kick in and ruin things, eh. Still, to Yoko’s credit, the music throughout these two instalments felt appropriate and occasionally reached the inspired levels we come to expect from Her Majesty. Was that particular piano piece original or classical, does anyone know?

Story-wise, we get some focus on Yin and her history before she became a doll, and in every sense these two episodes are a success. Foremost, Yin (aka Kirsi from her previous life) is given some attention and pathos. I was concerned, once we found out that the Syndicate wanted her dead (commanding Hei and chums to carry out the hit), that I wouldn’t care enough about Yin to fear for her safety; her being so reticent previously. The skill in the writing of this arc, however, meant we learnt enough about her as she fled that the final scene had all the intensity and drama BONES were hoping for. There’s a lot to be said about the economy and craft in how this was done. Rather than having stationary exposition (one linear moment to the next) the writers combined it with the thrill of chase and it worked perfectly. Though using the word ‘thrill’ to describe these episodes is inappropriate; they seemed far too gentle and effortless to really cause that kind of anxious sensation. Instead, the ethereal quality matched its focus, the faraway Yin, impeccably. I’m really satisfied with how this particular arc was handled – it’s a relief to know that BONES can honour their main cast with the skill we know them capable of.

Some other minor successes came in the reintroduction of the detective Gai and his shrieking cosplay assistant Kiko. Perhaps I was placated enough by other things to be more accepting of these otherwise irritating characters, yet they seemed to work better as a comedic element here than in their previous appearances. I enjoyed Kiko’s otaku rantings and the cheeky wink to the audience when she suggests Yin and co should flee to a hot spring. They’re quite an enjoyable pair when they remain a side-act rather than a focus.

The two ‘bad guy’ contractors turned out to be rather likeable, as well. They both had more than enough potential to be overly flamboyant and ridiculous, but I found myself upset when they died. The writers, again, managed to insinuate enough about their humanity and past to flesh them out beyond being stock bad-guys and made them interesting regardless of their limited shelf life.

The behaviour of Huang, Hei and Mao when the Syndicate commanded Yin’s assassination also prompted a lot of subtle character moments in the otherwise emotionally distant group. Huang, specifically, in the final scenes demonstrated the pros and cons of having a conscience in the world of Darker than Black and it was great to finally get some more light on his personality. Hei behaved more as a broody representation of force this time, which I much prefer to his wide-eyed incognito personas of the past. Plus, he tends to hit things more often when he’s all suited up.

Both these episodes captured a lot of what I initially saw and enjoyed in Darker than Black. It leads me to think that the show is most successful when it doesn’t try too hard, or at least gives the impression of not trying too hard. The previous contrived examples that preceded these two episodes prove as much, but I’m relieved this story arc harkened back to DtB‘s glory days and presented something quite moving and beautiful. A success like this also inspires more patience and I found myself asking more positive questions about the show rather than picking at its inadequacies. The preview implies that a certain group of fag-smoking, Guinness-drinking Brits are returning next episode, too, which is a rather awesome prospect indeed.

Recently it’s been Darker than Black’s method of characterisation that made me question its quality, but after this set of episodes I’m starting to doubt its approach to plot continuity as well.

These small story arcs have yet to genuinely contribute to any over-arching mystery of the show. We’ve had so many characters appear in the past twelve episodes, more than seems normal for scene-setting, and not much has come from any of their introductions. Some have been entertaining, and some less so, but apart from vaguely hint at a bigger picture I’m finding it hard to sum up their worth. I thought with the advent of first-hand exposure to the Gate and PANDORA in these episodes we’d finally get some tangible, meaty plot elements, but instead we get a fairly mundane, intensely irritating recognisance mission. I constantly felt that the show could have been spending its time better by giving the viewer real context rather than waste its time with quivering, paper-thin female scientists (the trope-ridden Mina) or contrived character development. 

The randomness of these plot-thread reminds me a little of Rahxephon in that it presents the audience with many characters and suggested ideas, but does very little to follow them up to any satisfying conclusion, or even utilise them to push things along in a comprehensible sense. The best excuse I can think of for DtB is that it’s episodic, but then judging from what we’ve seen so far that doesn’t sit particularly well when analysing its structure.

Granted, Rahxephon did eventually connect the dots by its finale (though with infuriating obliqueness) and perhaps DtB will do the same by intertwining every one’s appearance into a neat web of relation by its end. But at this moment it feels sloppy and I’m worried that, like Rahxephon, DtB will have too many neglected ideas and characters by the time it finishes.

Playing the whole ‘keep the cards close to your chest’ approach only works if the audience is convinced of the story-telling’s authority, that everything will be revealed in due course, and I’m not entirely sure if DtB is pulling this off. Nick presented some intriguing ideas and I’m curious to see how much the parallels between he and Hei actually matter. The preview for episode thirteen gave hints of more exposition on this, suggesting we might actually learn something about Yin as well as Nick. I may be losing a lot of confidence in DtB recently, but my interest in its insinuations and characters still remains. I just hope we get a reasonable pay-off for the commitment.

Two things regarding episodes five and six of Darker than Black:

1) The introduction of snappy British characters. Brilliant. Although, the show’s attempt at Dry British Wit came off as a suitably stilted Japanese interpretation of Dry British Wit. Really, we have much much better comedic timing than that. The remunerations November 11 and his crew had to do were quite fantastic, however. I never failed to smile when I saw April crack out a can of Guinness after a fight. It almost makes up for the silly stereotypical design of July-or-should-I-say-Oliver-Twist. Meh.

2) I felt cheated by Havoc’s death. We didn’t get to see this amazing destructive power that everyone seemed so shit-scared of. Granted, the revelation that she had to drink the blood of children afterwards implied its horror, but still . . . I wanted practical examples. Maybe we’ll get some in flashbacks in the coming episodes.

God this was a gruesome episode. But, in a masochistic way, I like that about Darker than Black. It’s not afraid to get its hands dirty and show shocking imagery when lesser shows would cut away and rely on insinuation. I actually flinched when Lucho’s Wire Of Death cut the police officers apart.

This episode also redeemed the prior not-so-stellar instalment. It wasn’t caught up so much in character development, with its climatic elements calling more for actions than words, and I really appreciated it. I wasn’t left with an uncertain "maybe they should’ve done it this way" sensation. Rather, a mounting desire to see what comes next, which says a lot about the show’s quality. I don’t think I’ve been as gripped by an anime in the course of this blog’s history as I have with Darker than Black, and that’s as much as an endorsement as I can give a show.

My trepidation regarding Mai still stands, however, even though her bleak, nihilistic attitude at the end of this episode endeared me towards her more, slightly. It looks like she’ll be a recurring character, which remains an uncertain prospect for me. If she remains unhinged and bat-shit crazy, then excellent: please do continue . . . but if she reverts back to the bratty whinger she was, pre-Contractordom, then get tae fuck. Squeaky, useless school girls are not what I want from anime, as often as they occur, and it wouldn’t suit the hard-arse attitude I love so much about Darker than Black.

I liked the explanation of the origins of the title ‘Contractor’ and its relation to the purgatorial ‘moratorium’; the whole "morally self-destructive act" aspect could lead to some exciting future events (likely relating to Mai, granted, but if she succeeds and dies inside then it means no more whiny irritation and a lot more pyrotechnics). I’m rather curious to see what her act of remuneration would be, too; hopefully something more exciting than eating flowers.

Yep, this episode pulled Darker than Black back in line as Teh Winnar of this season. I genuinely can’t wait for the next episode. Still, I just wish people wouldn’t sneer at me when I wax-lyrical about a show with such a god damn cheesy name.

Hmm, this episode lacked the developed impact of the last, following its similar plot pattern of Doll-gradually-losing-tenuous-humanity with Hei there to offer fraudulent sympathy. I suppose with us now knowing that Hei is emotionally dead inside meant his involvement seemed less convincing and it undermined the impact of the conclusion. Still, the spontaneous combustion was a bit exciting and opened lots of doors for future fireworks. So to speak.

What is curious is Hei’s consistent desire to be there as support to these faux-humans, even in the face of his inability to genuinely care and its deviation from his duties as a Contractor. I am suspicious that there is a broader plan at work, though, and not just an example of Hei’s possible hidden altruism. Prior events definitely suggest a cynical coldness to Hei’s actions and I love this inherent distrust of his activities. Still, the audience’s ignorance can only be banked on so much and Darker than Black will have to adjust to maintain its current impressive consistency. If I’m going to remain as involved as I currently am there’s needs to be more blind-siding and bitch-slapping of expectations. Having no idea of what twists may turn is basically what makes this show so freaking promising, and so having rather a lot to live up to. 

One successful aspect of Mai’s subplot is its examination of Darker than Black’s grander themes, however. Mai’s father is obviously deeply involved with the Dolls and their scientific history, as well as Hell’s Gate and its deeper mysteries (as demonstrated by the episode’s opener). There’s strong suggestion that he may be responsible for their creation, which makes the coming episode’s events all the more exciting. One thing Darker than Black can’t be criticised for is its ability to excite you about its future and that’s pretty much the Holy Grail for an on-going series. Nevertheless I am getting quite impatient in wanting to know why all these key scientific types have to be assassinated. I don’t want to trust my intuitions because of that sneaky glint in Darker than Black’s eye, but further explanation would definitely help me care more about the characters in peril.

The only problem I can see is that Darker than Black can only pull off so many red herrings before the audience becomes too hardened to enjoy their dramatic impact. I doubt it will rest on its laurels, though. Even with this episode’s slight dip in force (which could easily be because of its less-charming components – neither Mai or her father had/have the charisma of episode two’s Shinoda) there’s a lot of meat to digest and this show is moving along at a rather impressive pace.

In the words of porn-hungry 4chan-ers: moar plz.

P.S. Was anyone else kind of disappointed that Mai wasn’t a failed suicide attempt? I was so sure that that was the point of her bandage. Being proved wrong took a lot away from her ambiguity, and she was pretty irritating as it was. But no bother, she all exploded now. Unlucky!

As much as Bokurano has relieved my trepidation and impressed me with its restraint, Darker than Black remains (especially after this blinder of an episode) this season’s favourite by quite a margin.

As soon as the fledgling love story began at the end of episode one I felt a bit conflicted. On the one hand it sparked off a whole boatload of theories regarding Hei’s role in the show (does he have duel personalities? Is he being controlled?), but equally I felt concerned that Bones were losing the plot for the sake of soppy romance. Post-episode two, neither proves especially true: Hei is still as hardarse as he was in the opening of episode one, and the fledgling romance has been gloriously annihilated with cold, cynical reality (while being rather informative on some grander aspects of the show).

All I know for sure now is that this shit is officially on. 

We got a few more snippets of information regarding how Contractors and Dolls operate, but both still feel mysterious and I entirely support of this method of storytelling. The old ‘drip-feed vital information’ technique is the bread and butter of well-paced, extendedly-told fiction (a 13 episode TV series, par exemplar) and Darker than Black has a good grasp on how this works. It’d be easy to humour impatience and complain about the lack of explanation, but think of how the forthcoming events that would be undermined if all its cards were exposed. I’m growing more confident that Darker than Black will explain itself with sophisticated drama rather than extended lectures, and that will be its defining characteristic in a season full of solid entertainment.