Sonny Boy

Thirty-six students find themselves and their school building suddenly adrift in a void-like dimension. When supernatural powers awaken in some of them, a sense of detachment begins to divide the group. Despite the student council's attempts to impose order, they clash with the students possessing special abilities, who rebel against their strict control.

This conflict leads them to discover that this world has its own set of rules—and following them is necessary for survival. After one of the students decides to take a leap of faith, the school switches dimensions once again. While they deal with the unique challenges and circumstances that each world presents, the students must unravel the mysterious phenomenon and find a way back home.

[Written by MAL Rewrite]

Mizuho Main

Yuuki, Aoi Japanese

Nagara Main

Ichikawa, Aoi Japanese

Nozomi Main

Oonishi, Saori Japanese

Asakaze Main

Kobayashi, Chiaki Japanese

Rajdhani Supporting

Gotou, Hiroki Japanese

Yamabiko Supporting

Tsuda, Kenjirou Japanese

Hoshi Supporting

Naitou, Ami Japanese

Kodama Supporting

Taketatsu, Ayana Japanese

Cap Supporting

Ueda, Youji Japanese

War Supporting

Yusa, Kouji Japanese

Watanabe, Shinichirou Producer

Cook, Justin Producer

Fukushi, Yuuichirou Producer

Matsui, Yuuko Producer

Reviews

Sep 30, 2021

SingleH

Recommended

The only thing I don’t understand about Sonny Boy is what other people don’t understand about Sonny Boy. The story is a reimagining of The Drifting Classroom, only now, some of the students lost in limbo have thematically relevant superpowers. People all over the anime community have given this show a reputation for being abstruse, or “2deep4u” as the saying goes, but I could not disagree more, and in fact, I actually think the show almost suffers from being too simplistic. Sonny Boy is a metaphor for entering the Japanese school and work system, and the emotional issues of these characters stem from their middle ... school graduation. It’s hard to see beyond what’s here at school; some of your friends are developing amazing talents and maybe you’re not; you have to take a leap of faith out into the real world; nothing comes for free, you have to stand up and work for it. Pretty much every episode can be boiled down to embody similarly basic coming-of-age themes, and everything interesting or innovative the show does is certainly not achieved though the depth of its writing. The very first piece of exposition at the beginning of episode one makes this crystal clear. “People who were nothing special yesterday suddenly gaining tremendous power. Of course they’ll want to test themselves to find out what they can do.” Tremendous power can symbolize adult responsibility, independence, or a salary, and testing one’s self can symbolize pushing boundaries which others may not have the confidence or maturity to: learning to drive, moving out of your parents’ house, starting a family of your own, and so on. It’s honestly really in your face. The school exists in its own pocket dimension where all your needs are met, all your resources are replenished, and all your wounds are healed, whereas the worlds they travel to outside the school hold actual risk and uncertainty. My friends…this is not subtle.

As a work of art, Sonny Boy is a modern masterpiece. It’s not flashy, but it consistently blew me away with its fluid animation and detailed artwork. As expected, this show is animated by 80% freelance talent from Shingo Natsume's friends list, and the names he continues to attract despite post-2011, post-Maruyama Madhouse being such a dilapidated ghost town never ceases to amaze me. Sonny Boy’s commitment to hand-drawn, non-digital stylization is worthy of everyone’s applause, and the work of art director, Mari Fujino, another genius to come out of Studio Pablo—such as Yuji Kaneko and Seiko Yoshioka, just to name a few—is stunningly beautiful and goes hand in hand with Natsume’s atmospheric tone. Every episode is endless wallpaper fuel, filled to the brim with cool, memorable shots, beautiful backgrounds, and excellent music which compliments the ambiance perfectly. I repeat, the messages delivered by each episode are pretty obvious and a little on the nose, but if I’m going to concede a single point to the people who are calling this show confusing, it’ll be this: what makes Sonny Boy a bit more difficult to watch than your average anime is how little is spelled out. We’re treated to so many short moments, gestures, and facial expressions which all tell a little story in and of themselves, and they exhibit character development in a nuanced manner any other show would devote five minutes to explaining with overwrought, melodramatic dialogue. But this is something I really liked about it. The show doesn't spoon-feed you, and it rewards you for paying attention and treating its characters like people. It’s not “high-IQ.” It’s just dense visual storytelling. Very few times in my life have I had the privilege to witness a series which pushes all my buttons so well and in so many ways, and even if you don’t share my exact aesthetic preferences, I promise you'll agree when I say Sonny Boy is an audiovisual masterclass.

What depth it lacks in the theme department, it more than makes up for in the character department, and not simply because they brought Hisashi Eguchi back from the grave. Natsume stated in an interview, “Sonny Boy is a simple story about a boy growing up and people drifting apart,” and the only reason he imagined it with such an abstract presentation was simply because “life can be absurd and inexplainable sometimes, and you find yourself asking ‘Why?’ a lot.” To me, this is very obvious. The tangible plot of Sonny Boy is a straightforward mystery box which just so happens to have a great deal of surreal elements, but this simplicity is a good thing, because with all the symbolism and character details you already have to keep track of, any narrative structure more complex than this would’ve been way too overbearing and—now that I mention it—probably would’ve made the series as confusing as everyone already says it is. What makes the cast so good is a combination of the expressive character animation I mentioned earlier and the fact Natsume personally wrote the script for every episode, making every character feel consistent. I was actually worried about him writing, because while Natsume is a fantastic director, I wasn’t sure how confident I was in his ability to direct AND write his own original project. While his themes weren’t as profound as he might've hoped, his character writing was first-class, and while some episodes were definitely more verbose than necessary, he still proved my worries wrong. There’s a cute, snarky cat girl whose cats work for Jeff Bezos at Nyamazon, an Indian exchange student who literally invents bitcoin, a New York Yankee’s fan who builds a religion around baseball playing monkeys, and a five thousand year old talking dog. This idiosyncratic charm defines nearly every character, and the few exceptions are still well-realized and serve as a much needed anchor.

Rereading everything I’ve written here, I suppose there’s always a chance I’m subconsciously handwaving parts of the show which are obviously lacking, or perhaps I’m similarly making excuses for what the average viewer may see as wasted potential by overselling what already stands out, but I sincerely think this is one of the most visually compelling anime to come out in years, and aesthetically speaking, I’m not sure if an anime has ever resonated with me in quite the same way. I imagine it's a simple lack of all the abhorrent digital filters, aftereffects, bloom, and other post-production alterations which are layered on top of every modern anime, but this show is just SO gorgeous. It looks like it has all the hand-painted goodness of older anime, but also the crisp visual resolution of digital anime. Its internal consistency is incredible. A lot of modern anime mix 2D and 3D together (where the 3D is usually poor quality), and then adds other effects on top of that. This is just the 2D and little else, with only two noticeable 3D models used throughout the entire show. It looks like Mamoru Hosoda's One Piece film without all the shitty CG. And I hardly did justice to Eguchi’s masterful character designs, or for that matter, the masterful music. The soundtrack for this show is just so immaculate, and it was advised by Shinichiro fucking Watanabe! It uses genres and styles you almost never hear in anime, and hardly for the sole sake of standing out or being pretentious. It just works. It sounds like seminal stage progrock, or some weird Close To The Edge stuff, and I love it. There’s a subtle yet worthwhile distinction to be made between something which is trite and something which is simply commonplace, and I think Sonny Boy has more than enough heart and soul in its creation to excuse any level of unoriginality you may perceive in its coming-of-age themes, and if you tried to call these audiovisuals anything close to lackluster, they’d scoff.

Thank you for reading.

Reviewer’s Rating: 9

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Sep 30, 2021

SunlitSonata

Mixed Feelings

Whenever you browse a seasonal chart, it’s inevitable the majority of shows will be adaptations. Manga, light novel, visual novel, video game, music CDs, etc. It’s just less of a hassle for studios to tackle media proven successful elsewhere, and these works often provide a very clear path to follow as far as where their stories are headed or what key moments should be highlighted for the maximum oomph. Anime originals don’t have that same expected trajectory. They’re closer to western cartoons, in that they mainly get made because their creator attained clout within the industry and then was given the space by a studio ... to bring their new original animated concepts to life. This creative looseness can be a strength, avoiding publications that have specific molds they want to be filled for successful products, but it can just as often be an excuse to create something that wouldn’t easily find an audience within pre-established work.

That often felt like the case when watching Sonny Boy. A show with loosely defined structure, loose animation tricks, and a loose core in trying to hit the target audience.

You see this immediately from the first episode. Main character Nagara lies on his back staring at the ceiling, downbeat and dejected, approached by a girl with a similarly moody disposition. Focus quickly shifts to other characters in their own groups. A total of 36 characters are stated to exist within the show’s school, and, apropos of nothing, everyone has some sort of superpower.

Every dynamic is suggested to be pre-established. No music plays the entire episode; the sky is often pitch black, or evenly split between blank blue and cloudy. A jarring CGI carousel appears in the middle of a gym auditorium. Main characters are suggested to exist, but their screentime is balanced out with several others arguing over some sort of dominance. It’s overwhelming for a start, but created distinctly as Episode 1, not chapters that fill in for an Episode 1. This serves as an easy way to stand out and an early indication of Shingo Natsume’s talent with using animation to create a distinct feel.

As the remaining episodes go on though, any actual intentions Sonny Boy might have become harder and harder to define. Characters hop between places in separate worlds practically instantaneously. Scenes are placed in non-chronological chunks. Infighting is shown, and then gives way for more existential comprehension of what it means to evolve and live where you are. Entire sections of exposition are stated to present subjects invisible in the moment. Some characters will have focus for entire episodes and then be discarded from relevance. Growth will be suggested through dialogue, but all the introspection is reserved for the show’s main mystery.
Amidst all of these very particular choices, the main takeaway I had was that amongst every character with some sort of grab bag superpower, two of them serve as hypothetical prophets, able to broaden new horizons and topple the domain of multiple worlds. One of them uses this power in service of trying to solve the mystery, and the other is tempted to use the power by a walking pair of boobs that serves a similar purpose to the snake in the story of Adam and Eve.

This is the most consistent plotline I could find among the show’s roughly 4 hours of runtime, because the show likes to do something new every episode, yet ardently refuses to provide an anchor for the audience to take in the info before switching to another scene. The sense I get from Sonny Boy’s plot is that it WANTS to be a coming-of-age story. The world beyond highschool could be mysterious, unknowing, and in constant flux with deadly situations making headlines every day in real life now. Sonny Boy’s main characters are primarily near the end of high school, and the show uses their powers to represent some form of change they will or have undergone. One character’s power is deliberately ironic relative to their anxiousness at what life actually has in store for them. One episode ties the thread between school and concentration camp in a similar but more subdued vein to Pink Floyd’s The Wall. Twice amidst all the exposition, it’s paraphrased that having the opportunity to decide your own future, and not have it manipulated by others, is the best way to hope to make it through life.

I understand the intention for that demographic, but as I currently see Sonny Boy, much of the characterization is too loose and confusingly dolled out for any growth to be truly meaningful.

Take Nagata himself, the main character. At the start, he feels downbeat and dejected, content to lie on his ass while staring at the ceiling. He continues to be confused and depressed as the show trudges on, but the whole time I was wondering….why? What happened to make this character be so dour at the start of the story, which was conveniently left out? Midway through, it’s said that something happened to his mother, that may have caused him to kill a bird, but that doesn’t really explain anything. His main role in the show itself is to ask about their situation, complain about being used, be unable to use his power properly, or convey more exposition. His loose personality suggests he might be an audience insert character, but he doesn’t feel like he’s there to clarify anything. Even his growth feels inconsistent. Halfway through he gets incredibly enthusiastic about certain subjects, but it feels less like earned character development and more like he had to act a certain way to propel a certain episodic narrative. If this were a show like Tatami Galaxy, Nagata would feel like the centerpiece of everything, to ground events in a way the audience can understand and emphasize with his goals and ambitions in a limited cast, but the show opts to hot potato the screentime focus among several characters.

Mizuho is similar, being described as “having a moody personality and refusing to interact with others,” and shouldering the blame for a problem affecting the group, but before too long, she’s fawning over cute animals and talking about the plot in a significantly more chipper way. Once again, it’s hard to see what aspect of teenage life she’s meant to specifically relate toward when her characterization feels more in service of plot than anything else.

Characters like Cub seem fairly important at first but gradually fade from relevance. One character is basically a background character with a power given major relevance as an excuse for why they were shoved in scenes at random. Another character comes from a completely different context and has an entire episode narrating portions of their backstory, and is…..probably the most rounded one in the show because of that extensive focus. The “false prophet” loses any of their own motivation in favor of taking naps in the busty temptress’s chest. Rajdhani is probably the show’s best character, the most committed to solving the mystery angle and a fun presence in general; the dub version even has him voiced by someone with Indian heritage, but he still mainly exists as smart guy^tm

The point I’m trying to make is, given the inconsistent handling of the characters and loose definition of what constitutes character development, I think the target audience would find it difficult to connect to any of these characters in an impactful way after the show concludes.

The expected prompt from the shows’ most ardent supporters would be:

“You completely missed these tiny moments all adding up. It’s deep, actually, the characters don’t have obvious growth because they aren’t obvious archetypes! Look at all these metaphors you’re ignoring!”

Yes, this is a show where a lot of context is very blink or you’ll miss it. Every episode is more or less its own story with a distinct message. You never know what you’re gonna get and I don’t intend to spoil that here. It can be pretty fun trying to break the individual messages of episodes, but a lot of these focusing choices, which I know exist the way they are because of Sonny Boy’s anime-original status, are easy to be overshadowed by the influx of lore, as well as Natsume’s visual direction.

Sonny Boy’s at least a show that’s easy to appreciate on a stylistic level. Eguchi Hisashi, who hasn’t designed anime characters since the turn of the millennium, created a very distinctly designed cast in spite of their similarities from the head down. The way characters’ faces look avoids following the lazy expectation for modern anime art direction. Most episodes have some sort of impressive visual flex, like Episode 2 with the atmosphere established by the paper-looking blue fire, though particularly Episode 5 and Episode 8 for their specific style of animation and shading when distinguishing the mental realms. The mental twisting of many dimensions of pattered color is a particular animation highlight whenever it comes up, the bus flying through it in Episode 9 like it were The Magic School Bus’s serious YA adaptation. It does tend to shortcut with several static shots of faceless characters, but it has an especially unique choice for background characters in them being shaded like the type of “anime minimalist wallpaper” you can easily find on Google Images. There’s this scrapbook uncanniness to some of the scenes while avoiding the scrunched-up outlines often seen on characters out of focus, adding to the many wallpaper-worthy shots appearing throughout.

At times the visual direction could be dull when not much was happening on screen, when it just hard cut between cast members starring into the screen trying to comprehend the tangle of plot with music missing, but it feels like that freedom of design is what Shingo Natsume saw with this entire series.

This might sound negative, and as far as personal investment in the choices made with the runtime that exists, it is, but I implore you to check out this show if you think its distinctiveness appeals to you. What I’ve been saying about how loose and overambitious the writing feels in light of the visual pizazz is something that only could’ve come from an anime original, a longtime animator writing a script for the first time with that rawness and passion radiating forward at the extent of understanding how to meet the audience halfway. That freedom is worth cherishing. I’m grateful that shows like Sonny Boy are allowed to exist. I appreciate the light hints that the show leaves for people to ponder well after an episode ends. But in its current state, I believe the looseness of its execution precludes me from coming out as infactuated as Natsume wants me to be.

Reviewer’s Rating: 6

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Dec 25, 2021

Moonlight60

Not Recommended

WARNING: THIS REVIEW CONTAIN SPOILERS

Where should I start? Sonny Boy was considered as one of the hidden jewels of 2021 and the "new" Serial Experiments Lain or Ergo Proxy. Well, the only things that I found watching this anime were a constant improvisation, expectatives manipulation and meaningless symbolisms for the main plot. Let's find out together the issues that this "deep" anime had:

1. Beginning: Unknown forces transport our protagonists to an alternate world giving them superpowers, how? I don't know, and here is when the problems begin. There's no explanation about the limit of the superpowers given to our cast, so this opens the possibility ... to create plot holes, convenient power ups or abilities in order to advance the story. A clear example of this is the power of Nozomi that by chance has the ability to see exits in this alternate world. Apart from this, the show tried to gave us information and the backstories of the cast in two episodes. Is not only the fact that the show gave a lot of information in a very few time, also the fact that it's more hard to connect with the characters becuase we only know their backstories and very few about their current characterization in the present timeline of the show. At this point, it could be argued that this bad start can be justified by the complex plot, the character development in present timeline of the anime and potential messages that the work can offer. Let's find out how true that is in the following points. As a side note, in two episodes, the improvisation of the writer began to manifest, and this will be more notorious with the advance of them.

2. Third episode: At the beginning of the third episode we noticed that the students had, apparently, adapted to this alternate reality, how they achieved this adaptation? No fucking idea. This part broke the sense of continuity, which will be broken again at the beginning of the following episodes. After this, we recieved a boring explanation about the existence of alternate worlds by Rajdhani where, by the way, we noticed how longer was the time skip since the last episode. What was the purpose of this? Well, later we discovered that Nagara, purely by chance, had the ability to transport into different worlds and Hoshi can read the script in the middle of the episodes (someone tells him the future), wow this escalated very quickly. It's incredible that even to show and ideology conflict (faith vs reason), the show had needed to force things up to this point. At one point of the episode, there was a reference to the capitalism where the show presented that in order to obtain money in this island, you need to make some type of work, and what does this work consist of? No fucking idea. Therefore, we can only assume the measurement of work through the use of the powers of the cast, that is, what the script needs to establish in those moments. Nagara noticed this plot convenience and start a confrontation with Mizuho, confrontation that lead up nowhere because he finally accepted this capitalist system.

3. Fourth episode: And the episode starts with a random Tennis game, out of all things. Apart from this obvious bad change of the show tones, we can notice that the loose ends that were left from the previous episodes are still pending to be resolved. Next, we had another boring exposition, this time, with Cap about how the monkeys are indistinguishable and, nevertheless, they can pursue a monkey who doesn't fit in this group. This concept was presented to complement the Blue's backstory. How the anime solved this paradox? Actually it wasn't solved, in fact, made the things worse. At the end the monkeys not only stop watching Blue with bad eyes, but, in the end, they saw him as a specie of demigod, contradicting Cap's exposition. The worst part is that the writer invested nearly half of the episode presenting this concept. I understand the main idea of this episode is to present the concept of the blind devotion (with Blue in this case), however, this came out after an contradiction showing, one more time, the improvisation level of this anime. The writer could have used the monolith concept presented in 2001: Space Odyssey for this episode. Not only this would have aligned with the idea of blind devotion presented, also, it would have complement the change of hatred to devotion by the monkeys. Finally, while this happened, Nagara and Mizuho improved the usage of their powers because... why not.

4. Fifth episode: The opening scene was a fight between Pac-Men and mouses. This looked like something out of another anime and, again, it showed the writer's improvisation. Our cast tried to save the mouses because... again, this wasn't explained. So let's assume that they felt compassion for the mouses. Next, we had another boring exposition about the alternate worlds with another time skip included. Damn, the writer really enjoyed use that trope. We are given a hint that Mrs. Aki had some plan in hand by causing division among the students. To complement this part of the story, the anime introduced some concepts about gender and racism in a superficial way showing that them anime got more in it's mouth than it can chew, wasting time and without enhancing the already damaged narrative flow that the series had at that moment. Also, in this chapter, Nagara got a "character development", which it was forced because the script demanded him to be less distant with his friends for this part of the story (this change didn't felt organic). In adittion, the anime revealed us that now Nagara can literally modify the reality. Holy shit, this was, by far, the worst plot twist of the show killing any tension and causing a lot of plot holes from that moment. Also, this episode showed the message that a simple person can change the world, which is very bad and childish message when you acknowledge how the world truly works.

From now on, the anime made the same mistakes over and over again, so I'm just gonna mention the new ones presented in the second half.

5. Second Half: The anime continued with the focus about reality changes and the 5th episode main message. The main antagonist was revelaed and it was the mysterious voice that accompanied Hoshi (a divinity). Why it was with Hoshi? Mystery. What are it's motivations? No fucking idea. The arc of Yamabiko and his "love" relationship with Kodama were interesting for some moments. I'm gonna give credit for the decent ending that both had in their conflict against War. In the next episode, the Mizuho's cats were introduced and they can populate the infinite parallel worlds, contradicting that only the students can populate that worlds. Later, we had the Sakura's arc where part of her development was thanks to Rajdhani (in a flashback). If the anime does not make time jumps, it has to resort to flashbacks, being that in both cases it damages the narrative flow and, for the umpteenth time, shows the improvisation of the writer. In the twins arc (Sou and Seiji), it's really convenient that their time manipulation abilities only affected to each other, otherwise, this, practically, could have ended Mrs. Aki's plan. It was already bad enough having one ability to change reality, but, present one that could have drastically change the plot and make the main cast unaffected by it? What a mess up. Later, War was reintroduced to the story and some contradictions were introduced with him. First, he was rewritten if we compare him to his version in the Yamabiko arc, second, after War "death", we haven't had knew what happened with Nozomi. Third, an ability of read minds was introduced as if we don't have enough convenient skills anymore. We can assume, for now, that Nozomi is dead. Also, there was a theory that states that War and Hoshi are the same person, but we never got a concrete hint of this.

6. Final episodes: To this point, we can assume that the anime could end in two ways: Or it will tries to fit all the loose ends or it will show an ending adverse to what was anticipated and presented in the show. It started with the Nozomi's funeral. Next, the main plot about escaping this alternate world was retaken, but only with Nagara and Mizuho. Why only with they two? Well, we already know that this show didn't care about having logic. I had forgot to say Mizuho can wish whatever she wants. Yeah, this alone could have solved many issues from the previous episodes, nevertheless, I have to mention this here because this was the moment where this ability was fully used. And well, at the end, my first statement ended being the ending of the show. The writer explained what happened to the rest of the cast in a few lines for each of them and it have left several loose ends. Improvisation one more time. And Nozomi ends up being alive, even if this didn't make sense.

7. Production values: I saw many people comparing the animation with the Yuasa's one, however, in my personal opinion, I don't find anything special about it. The soundtrack was something average too, without counting that it was absent in several moments during the emision.

CONCLUSION

After watched the constant improvisation in the plot, the pretentious level and the average production values, I have no choice but to give Sonny Boy a 2 as a score. My final conclusion is that put a complex plot and a lot of symbolism don't make you a good and/or intellectual anime. And this show is the living proof of this.

PD1: If a character was not mentioned in this review it is because it was irrelevant to the plot or did not have a characterization as such.

PD2: Improvisation was the word I have used the most in this review, showing a perfect summary about this anime.

Reviewer’s Rating: 2

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