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Jun 5, 2023
Alien 9 is about three girls beating up aliens. One of them hates the job, one of them does it because the other option was worse, and one of them is raring to go. There's a copious amount of gore, blood, and mental breakdowns. So yeah, this show is not all sunshine and lollipops.
From the first scene, Yuri (the first girl I talked about) will whine about not wanting to be the one designated to beat up aliens in her class. In the next scene she will complain and whine to her best friend about how she's unqualified for the job, and that she doesn't
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want to do it. If you ever think she'll stop moaning and whining and suddenly start heroically busting out the moves to beat up aliens in a badass manner, I'm here to tell you that Alien 9 is not that kind of show. Yuri will not suddenly become a badass: instead, the proceeding scenes will also include her sniveling, bawling, and feebly whimpering yet again about how she REALLY doesn't want to beat up aliens. Did I tell you that Yuri receives the most screentime of the three girls, so you'll see her going through that same pattern about 4 times in every episode? If you don't want to see that, then stay the hell away from Alien 9.
Now, if you managed to get beyond that initial barrier, you'll find that Yuri's constant whimpering and crying, while aggravating to listen to, is not only justified, but the circumstances that led up to that point are worth a deeper look into.
The point is that Yuri is too young and immature to decide things for herself. Constantly crying and whimpering is not how you solve problems, and it is especially not how an adult should act if they want to be treated like one. Her constant whimpering, her inability to speak her mind, and her extreme dependency on Kumi all hint towards her relative emotional immaturity. Out of the main cast, Yuri is the furthest from being a responsible adult, and thus she is treated like an incapable child. She doesn't get to call the shots, her parents and teachers do, because she's such a kid.
Said emotional immaturity and inability to control her fear is why Yuri is the target of the most gory and violent scenes throughout the show. The sheer fear she feels toward the aliens is fueled by her instinctive repulsion towards them for how absolutely disgusting they are. How they lick her back for nutrients, how she constantly gets soaked in alien blood, how she's constantly being threatened to become Swiss cheese by the invading aliens. The scaredy-cat is the best target for pranks and horror shows, since they're assured to give the most reactive responses. Was there any other reason Luigi got a horror game for himself, but not Mario?
While I did mention horror, Alien 9's aliens honestly aren't that scary, and look more like badly drawn versions of Digimon. The Borgs look like a very wrinkly Patamon with CG wings, and the invading aliens attack with tacky black and white CG drills and tendrils, like they're out of a PS1 game. Hell, everything looks cutesy. The girls don't have noses and gigantic eyes. Everything is painted in slightly flushed out, but still bright, colors. Anything that emphasizes horror loves to operate in the dark, but Alien 9 has the girls fighting aliens in broad daylight. It's less scary and more uncomfortable. The horror aspect is only truly emphasized when Yuri faces the aliens, and when the show depicts how raw the terror she feels can be.
All that I've mentioned above is in the first two episodes, and I've only talked about them so extensively because they're the more interesting part of the show. The next two episodes go into the other two girls, and due to the divided screentime the show does not have enough time to cover them both: frankly speaking however, there's not much to talk about when one of the girls' biggest defining trait--nay, quirk--is saying "Nya!" every one of four lines like she's some kind of Pokémon. The last two episodes don't go anywhere.
We have some dream sequences, and some more scenes of the girls cowering in fear, and then the show just...ends. It ends while hinting at a potential episode 5 that never came to pass. Wouldn't you know it, Alien 9 is yet another member of the 'read the manga for the rest' crowd of anime. For what it's worth, the manga ended and also got a sequel called Alien 9: Emulators, so if you love these 4 episodes and want more there's plenty of stuff to read to satiate yourself.
Unfortunately, unlike the manga, Alien 9 the anime is incomplete and inconclusive, and was given far too little time to even begin to explore its own themes and characters, let alone familiarize them to the audience. The subpar production value and the lack of elaboration on its own world and internal logic will further detract many people. If you don't know what you're getting into, the chances are that you'll be disappointed. If you're into uncomfortable mindfucks, then maybe this is the show for you.
Reviewer’s Rating: 4
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Mar 23, 2022
If you're a Suigintou fan, you're in luck. This OVA series cuts out almost all of the 'irrelevant' side-characters and focuses strictly on Shinku and Suigintou, their past, and the start of their mutual animosity. Despite Ouvertüre technically being a prequel, it's best to watch the previous two seasons to understand it in its entirety.
Shinku cannot stand imperfection, for to accept imperfection is to deny her purpose in life--to become the perfect doll, Alice. Suigintou is by design imperfect--for Shinku to deny imperfection, to deny the possibility of a defective doll like herself ever seeing their father again is to deny her very existence, and
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their friendship. It was all sweet lies: Shinku's kindness was one born of pity, and oh did she revel in the fact that her poor, inferior sister could never meet their father. Shinku's mere existence feeds Suigintou's insecurity, one that quickly transforms into spite and malice. This fundamental divide in disposition spirals out of control, with both of them losing something precious to each other. Hate born from affection is so much more potent than mere contempt: such uncontrollable hatred leads to a relationship beyond reconcile.
These two episodes play on this very simple difference between the two dolls, mainly from Suigintou's point of view. The moment that love turns into hate, showing the contrast between the tones and emotions of both states is what makes the drama coming from this simple premise work. Such drama does not benefit from complex sub-plots and numerous characters with varying motivations and allegiances: Suigintou herself is single-minded towards her goal, and wears her emotions on her sleeves. The simplicity of premise and plot amplifies the gravity of the exchange of raw emotions between Shinku and Suigintou: everything they say and do is genuine, because it's all they have. To hell with subtlety: from the opening and ending visuals and lyrics, to every single line of dialogue between the two characters, these two episodes perfectly encapsulate Suigintou's descent from insecurity and confusion into madness, borne of love towards her father, fueled by hate towards everything that would get in her way. The dialogue and use of props is just beautiful, only made better by Tanaka Rie's marvelous acting, who's able to act out both the meek, dependent, and weak side of Suigintou and her boiling rage and jealousy towards Shinku superbly.
I'm slightly miffed at the very end of the second episode because I don't think it showcased the full outburst of their conflict: the pay-off suffers a bit as a result.
If only the entire series was as intense and well-executed as these two episodes.
Reviewer’s Rating: 8
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Feb 8, 2022
This show is based on the first novel of THE classic Japanese high fantasy series. If you were born in the '60s or '70s (if you were Japanese) or '90s (if you were anywhere else) you must have heard of Lodoss at least once. The novel series was based on an actual TRPG playthrough of the series' writer Mizuno Ryou and his friends: the story involved was modified after the playthrough was done.
This show cut down on almost every sidequest/filler within the novels, and some more: hence the story is abrupt, confusing, and not very well developed throughout the whole running time. The story has
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a tendency to either jump between certain points in time, or not explain what happened between events. Notably, the transition from episode 5 to 6 was quite confusing, so much that I thought I'd turned on the wrong episode by accident. Also, no one gets any character development time, not even Parn, and if our protagonist is susceptible to this then no one is exempted. Deedlit is in love with Parn out of the blue because reasons, and everyone else are likewise cookie-cutter characters, such as the supportive wizard, the gruff dwarf fighter, the morally gray rogue, the mentor/father figure and king, the scheming advisor, etc. Expecting a well-woven, fantastic and complex story of a grand scale in a meager 13 episodes is the fastest way to disappoint yourself: Treat this show as an appendix to the novels, as a teaser video series of what a properly visualized Lodoss could have been, because the visuals, while a bit static (or borderline ridiculous) in a few key action scenes, are for the most part absolutely gorgeous and emblematic of the late 80's ~ early '90s aesthetics, with animators that worked on/would go on to animate incredible visuals from various works like Galaxy Express 999, Akira, Ghost in the Shell, RahXephon, Cowboy Bebop, and many more.
This OVA series' greatest contribution to the otaku subculture is how they managed to perfectly animate Deedlit, arguably the most influential elf character in ALL of Japan--at least, in terms of character designs. Blonde, long and pointy ears, well-endowed with a slender frame, green clothing, nature something something, with a high chance of being a tsundere? That's from Deedlit. I can immediately think of five elf characters with similar hair and cloth color coding--and most of them originate from NSFW material. To say that Deedlit influenced EVERY female elf character in Japan since her creation might not be an overstatement. It's not just her character design though: Deedlit is probably the best 'character' (if anyone can properly be called so) in Lodoss, simply because she gets so much screentime even when it's not her turn to shine, in addition to having the best voice acting. Deedlit is strong and resourceful without being overpowered (unlike Parn), wise and composed (unlike Parn), haughty but not overbearing, compassionate yet level-headed, possesses unrivaled beauty, and, most importantly, has the power to significantly increase the budget of the sakuga and frames of every scene she's in while Parn stares at her or zones out into the distance. Truly the fantasy girl that every otaku wants.
I talked more about Deedlit than the actual plot. That should tell you what to expect from this show: a visual feast and a narrative famine.
Reviewer’s Rating: 5
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Aug 31, 2021
Saikano is extremely crude: the animation quality ranges from decent to subpar, character animations are dangerously close to looking like rag dolls, and many of the critical story elements are merely glossed over or completely unexplained.
Only a few voice actors are worth their salt: Orikasa Fumiko's Chise and Miki Shinichirou's Tetsu are the ones pushing their own arcs and at the very least pull their own weight.
Shuji, on the other hand, oh boy. Ishimoda Shirou is the voice behind Shuji, and his voice acting was, without a doubt, the worst I'd ever heard from anime. Shuji's angry tone, sad tone, happy tone, tired tone, gasping-for-breath
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tone, etc. sound exactly the same: as I will point out later on, understanding the characters' emotional status and reactions is absolutely critical to understanding the entire narrative of this show. Since Ishimoda's acting cannot properly convey Shuji's actions or emotions, it thus hinders the viewers from properly comprehending Shuji as a character! Compared to Ishimoda, Tommy Wiseau from The Room (2003) is a master-class actor. Even though I only watched this anime with subs, this is one of the few anime I could recommend watching in dubs just because of how frustratingly painful listening to Shuji's voice was.
Do not expect any amazing explosion, action, or transformation scenes, because it's clear from the very first episode that Saikano lacks the budget to properly animate even one of those. However, if one is aware of the experience they're going into and willing to exercise a substantial amount of suspension of disbelief, then Saikano offers an unforgivably brutal and raw observation on how people act in the worst of situations, how they can or can't cope when the world crumbles around them, and at that point, what choices will matter for them.
Saikano is a sekai-kei (セカイ系 / 世界系) show, in the veins of Neon Genesis Evangelion (1995) or Bokurano (2007): the fate of the world initially or eventually rides not only on the combat prowess of the protagonists, but more importantly their mental fortitude (or rather, their lack thereof), their choices, and even their psyche, behavioral patterns, and world-views. Saikano explores a dying, war-torn world's inhabitants through the lenses of Chise and Shuji respectively, and their budding, struggling romance. The former is forcibly turned into a living cyborg capable of instantaneously vaporizing entire cities, while the latter copes with having said person as a girlfriend: both experience fear, guilt, self-doubt, constantly question the meaning of their existence, their relationship, the fate of the world, and, in the end, if any of this is actually worth it.
Precisely because Saikano is a sekai-kei show, it chooses to totally ignore several important plot points or otherwise plausible questions regarding the story, including some other subliminal ones. Why was Chise chosen by the Japanese military to become their ultimate weapon, when literally any other person would likely have been more suitable? Why do neither Chise or Shuji initially complain to the military about this fact, and why does Chise not threaten the military to do whatever the hell she wants now that she's stronger than the entire Japanese military itself at the first chance she gets? Who are the so-called enemies, and why are they attacking Japan, or any other country for that matter? Why is the world so war-torn, and what is the reason for said wars? Why have the other countries not unleashed a massive nuclear barrage on Japan to wipe out everyone except Chise, to at least make the homeland invasion easier?
Sekai-kei shows can and often will ignore such 'outside' factors to zone in on what they consider more noteworthy: the main characters. The romance and drama between Chise and Shuji, as well as between all of the side characters are the main watching point of Saikano: if the lack of proper explanations bothers you, then this show is not for you. As I said, this is where suspension of disbelief must kick in for the viewing experience to be enjoyable.
So, if the military or the details of world-ending catastrophes aren't important, then were the romance and drama aspects executed well? Some of it yes, mostly no.
Chise by herself is a crybaby. She constantly cries because of the position she's in: she's becoming more mechanical by the minute and losing her grip on her humanity and emotions, and kills hundreds of people on a daily basis. Her emotional struggle is understandable (if you ignore the fact that she could just bomb the military and just "Nope" out of this whole disaster), but the way it's portrayed within the show does not allow for the viewers to delve into her psychological state. The show constantly switching between ordinary school life between Chise and Shuji, and her life as a kill switch for the military has such a jarring tonal shift that it's sometimes difficult to follow either of their emotional struggles.
Shuji is the more prominent issue. Shuji's constant interpersonal problems do not help in making him look like a likable or even relatable character, and this issue is only exacerbated thanks to the horrendous voice acting. Whereas Chise's attempts at coping are crying out of guilt, or either crying out to Shuji for help, Shuji will struggle to be faithful to his girlfriend (out of fear, guilt, and exhaustion), unintentionally misunderstand or mistreat Chise's attempts to be a proper girlfriend and hurt her physically or emotionally in the process, or attempt to do something for Chise and proceed to fail miserably.
I make it sound like they're both horrible people and characters, and that statement holds true to a certain extent. Even so, the crudeness of both the animation and the story managed to formulate a synergy that had me invested in the story and its characters. Saikano begins to truly shine quite a few episodes in, when it's established that even the school life is no longer safe, as war encroaches on the main cast's lives. People die, war continues, and the survivors must live on: as everyone's lives go on their separate ways, the choices that Chise and Shuji pick--frequently shifting from trying to somehow accept her both as a weapon and as a normal high school girl, to denying her weapon side so she can maintain her human side--can seem, from a narrative perspective, to be either self-defeating or an attempt at showing the multi-faceted qualities of human nature. This is definitely what I thought as the story progressed: some of their choices were decidedly ill-advised, and yet some others, despite how selfish or cowardly they may have been, were strangely believable.
What makes their choices interesting is why Chise fights, and the mental struggle Chise and Shuji go through each time she does so. She fights to 'protect her country', and so she can get regular maintenance at the military, but this is honestly only a façade: Chise fights to protect her hometown, to make sure that Shuji always has a home and family to return to, and because fighting is the only way for her body to not succumb to her mechanical side. Chise is endlessly tormented by her own guilt, and Shuji comforts her with both legitimate reasons ("It's the military's fault!" / "You did it to protect us!") and for purely self-serving reasons ("What's wrong if a massive murder machine like you lives to kill! I love you, and that's what really matters!"). As Chise's body and the world eventually crumble apart, their choices, while fundamentally unchanging, also take on slightly different meanings, and examining this gradual difference is where Saikano derives its enjoyment from. Chise and Shuji's romance and drama, awkward as it may be, fumbles and tumbles about to generate some genuine, raw observations from the creators' end.
If you enjoyed Saikano, then I strongly recommend both Bokurano (2007) and the visual novel Saya no Uta (2003) by Nitroplus (NSFW; try to get the uncensored version if you can).
Reviewer’s Rating: 6
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Jul 15, 2021
Spoilers alert, I guess. I don't go into specific episodes/scenes, though.
Let me tell you a little story about one of the worst creations to come out of the cesspool that is 2ch--which is basically Japanese Reddit, before Reddit was a thing. Back in 2004 an anime called Rozen Maiden was airing, and one of the main characters was named Suiseiseki. You need not know about the specifics of the anime, or the character: all you need to know was that Suiseiseki, aside from very rare moments, was yet another one of the many ungrateful, arrogant, and irrationally violent tsunderes that were rampant in anime around
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the time, and her sole purpose in life was to make the main character as miserable as possible. Fast-forward a year or two: a character that had been created from the darkest recesses of 2ch was gradually gaining a name for itself--based on a horrible drawing of Suiseiseki that aims to emphasize the uncanny valley effect, this character was named Jissouseki (実装石). Although it initially had several interpretations, stories, and characterizations, all other uses ceased to be as Jissouseki's core features were decided upon: Jissousekis would become the most pathetic, weak, and vile creatures to ever exist. Jissousekis were all of the negative aspects of Suiseiseki turned up to 12: they had the strength of a newborn baby, the agility of a goldfish on land, the perceptive powers of an amoeba, the lifespan of a cicada, and the face of a Cacodemon that had had way, way too many cigarettes. Thus, they were completely dependent on their human masters for survival: even so, they would constantly mock their masters, condescendingly ordering them to get expensive sushi and steak, before proceeding to eat their own feces, or worse, their own children. They feared the likes of domesticated dogs and cats and other small animals, yet would challenge their human masters just because they understood their language, demanding they obey their every whim--already having forgotten that their masters had run out of their patience and just bludgeoned one of their kind to death right in front of them, 5 seconds ago. Jissouseki stories usually went two ways: either the human master is a 'saint' and has it in their heart to care for these utterly ungrateful creatures, or their masters would take joy in the moment they would reduce these monsters into little green pools of blood. The key here is violence: unbridled, over-the-top violence against these lowly and unworthy Jissousekis, to feel better than these disgusting hell-spawn by lifting their baseless hopes up, only to have them come crashing down. Jissouseki comics are incredibly graphic, frequently showing dismemberment, decapitation, amputations, and all kinds of acts that usually belong in snuff films. DO NOT search it unless you're morbidly curious, and don't say I didn't warn you.
So, why am I telling you this unappetizing story? Because watching Watamote made me remember these horrible abominations. Or rather, the attitude that the creators have toward the main character reminded me of how Jissousekis are treated. More on that later.
Anyway, Watamote's plot is that a high school student named Tomoko, after realizing that she is the furthest one could possibly be from being the school idol, takes various steps to increase her popularity. The problem is that Tomoko is an unattractive, unkempt, socially awkward otaku who can't even properly hold a conversation with the nearest McDonald's part-timer, and can barely whisper out an inaudible 'yes' or 'no' to any given question. What ensues are the various endeavors she undergoes to increase her popularity with the help of her brother and friend, and the catastrophic blunders she makes along every step of the way. These blunders are supposed to be funny. They're not. It took me several days to properly watch this anime: I had to pause almost every 5 minutes because of the sheer amount of discomfort I felt whenever Tomoko, uh, 'exceeded my expectations'.
Granted, the animation can be quite decent, especially when Tomoko lets her fantasies run wild. The show does not pull any stops when portraying Tomoko's countless failures. Her face constantly changes to accommodate her current mood, her vomit will be displayed at a crisp frame-rate, etc. Kitta Izumi's voice acting as Tomoko is also quite stellar: she makes sure to act out Tomoko as the creepy otaku girl and her diverse range of reactions, yet can also portray Tomoko's idealized version of herself during her daydreams just fine. Those are this show's only redeeming qualities.
Why is that so? It's simple: Tomoko is the most unrealistically unlikable caricature of a human being that could exist. You see, Tomoko's desire to improve herself is not because she truly understands her predicament or how she's viewed by everyone else, or a desire to have a connection with her fellow human beings. She doesn't want to be better: what she 'really' wants is for everyone to be worse than she is, since claiming that everyone is worse than you are takes considerably less effort than actually owning up to your problems and trying to dig yourself out of them. Tomoko needs to feel superior to everyone else so she can keep living out her shut-in otaku life, and to continue doing so will cling to the few safe grounds she has left. She fantasizes about dating various boys and becoming popular out of the blue, yet mocks whoever she can whenever they do something she can only daydream about, even something as simple as going to a karaoke. She secretly mocks her only friend and the various strides she took to better herself, ranging from calling her an airhead to a bitch/slut, yet clings to her when she, in Tomoko's eyes, shows signs of ditching Tomoko to pursue a vibrant high school life without her.
The spectrum of emotions Tomoko displays when she's faced with any problem ranges from cowardice to denial, delusional to suicidal, and depressed to unbearably smug. Her cataclysmal lack of social awareness, combined with her constant self-deprecation and unwillingness to apply any kind of critical thinking or common sense when presented with a problem further strengthens her warped perception of reality where she's just a misunderstood genius, and said perception feeds into both her delusions and social ineptitude. This vicious cycle, in the context of the anime, always results in her committing several faux pas in a single episode, with varying degrees of awkward and humiliating situations. Tomoko is the personification of what Japan thinks otakus are at their absolute worst: creepy, passive-aggressive, opportunistic, anti-social, egotistical, irreceptive of any criticism towards anything remotely related to themselves, and, worst of all, completely oblivious to their own demeanor.
It is because Tomoko is so thoroughly unlikable that every single one of her attempts to socialize is not only painful to look at, but also rings hollow even in her self-proclaimed 'victory'. What counts as social interactions for her are equivalent to a baby shouting out whatever word it heard from their surroundings. If she succeeds, you can make sure she'll goad about it the very next moment in the most frustratingly condescending way ever, especially so because said victory never truly mattered. If she fails, she will fail in the most unfunny and miserable way imaginable, and she is guaranteed to swing back and forth from denial to endless self-induced verbal abuse. And she will fail. Again. And again. And again. And again. And just when you think she couldn't fail again, she will manage to do so in the most exaggerated, spectacularly painful and self-degrading way possible, further dragging her into self-pity and misery. Tomoko must fail in order for the 'comedy' of the show to continue; she must be the most pathetic being imaginable; she must be MORE pathetic than any viewer imaginable, just like Jissouseki, who's not even a human. She must fail, for if she starts succeeding even a little bit, the cycle cannot continue.
When someone makes a mistake once, it is sometimes quite hilarious, and people can joke about said mishap. When they do so for a second, then a third, then a fourth and fifth time, it's no longer funny. For what you're witnessing is no longer a mistake: it is a display of willful ignorance and total denial. That 'mistake' will happen again, because it's not a freak accident: it's a pattern, and one you're all too familiar with. You're watching someone with several mental health and self-esteem issues develop an increasingly self-destructive outlook on life, and watching their mental fortitude deteriorate by the minute. You don't even like that person, and yet it's still too much. They will repeatedly do so, and continue to fumble about.
THAT is the humor of this show. The extent of the comedy in this show is that you're beating a dying animal to death, and laughing at how it twitches in pain at an impossible angle until you can hear it choking on its own blood. Oh, and it also shit itself. Shitting yourself is funny, right? And if it was funny once, then it's okay to do it over and over again, right? Next time it'll just have to shit out rainbows, and everyone will be howling with laughter, right?
Do you see now why I compared Jissouseki and Tomoko, and why I cannot stand either of them? They were purposely created to be repulsive, incapable, spineless, and most importantly, defenseless. Both of their stories are centered around getting a kick from watching them be kicked around. The more pathetic they are, and the harder you kick them, the greater the resulting humor and catharsis from watching their downfall, supposedly. Except Jissouseki is, at the very least, non-human. Tomoko is 'supposed' to be a human. Impure intentions and illusions of grandeur aside, Tomoko's dreams are not that too far off from other people: she just wants to feel normal and live a decent life, without having to feel so uncomfortable in her own skin. Compared to her fantasies, this is a tangible and realistic goal that can be reached with adequate help. However, the story dictates that this can never come true, and will strike her down at the quickest moment: we are robbed of any lasting progress and potential character development to, yet again, witness Tomoko regress to the sub-human she is preordained to be.
Watamote is, in one word, abusive. Abusive towards Tomoko, for there is no scenario in which she wins or gets what she wants. She lacks the skills necessary to get what she wants, and she doesn't know what she actually wants: Tomoko's struggles were destined for failure from the very start. Watamote is also abusive towards its viewers: it goes out of its way to make absolutely sure that every single day of Tomoko's life is filled with sorrow and humiliation, and the synergy of the unusual cruelty of the story and Tomoko's own thick demeanor results in the viewers being the ones who go through the brunt of the embarrassment she is subject to. Nothing is gained, for Tomoko or the viewers: there is no resolution, no hope, and no form of catharsis. There is no progress. Tomoko does not gain crucial knowledge of her surroundings or her own situation. She does not make herself known to her classmates, or shows her resolve in any meaningful, lasting manner. She does not suddenly transform into a 'better' person, and she does not suddenly get loads of friends. Hell, she does not become close to ONE new person throughout the entire 12 episodes, let alone make a new friend. She remains, and will be, blissfully unaware of herself. Everything Tomoko does is inefficient, unnecessary, and serves only to further sully the last vestiges of her dignity. She will repeat this fruitless cycle endlessly, cursed to act out her Sisyphean floundering. I watched a comedy, and have come out of it feeling...sad. It's just so sad. Watamote is the most sadistic and vacuous enaction of human futility I have ever seen, and I never want to think about it ever again.
Reviewer’s Rating: 1
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