Back to pearlesscucumber's Profile pearlesscucumber's Profile

So as someone who's been out of anime culture for a very long time, I literally chanced upon The Promised Neverland because one of the nendoroid subgroups I'm in was asking to buy the nendoroid of the main character - which is considered to be rare considering that it was only released last year. Curious, I went to check out the anime description on wikipedia and I saw the following keywords: "dark secret", "orphanage", "manga awards" and "best animes of the 2010s" and I'm sold. After spending another 5 minutes to get more information on the anime, I realised that a lot of information on ... the plot is not readily available because it's so spoiler heavy so I went into it barely knowing anything else about the plot.

First impressions were: this feels like a fantastical retelling of Kazuo Ishiguro's The Remains of the Day (where people were raised in orphanage-looking farms in order to grow organs for medical use in the real world). It's dark, but unlike Ryan Murphy or MXTX where the excessive insertion of fridge horror comes across as camp, the story-telling is deliberative and measured; the antagonist in this anime is voted as the best villain in myanimelist for 2019 because she's so relatable and anyone in her shoes might behave similarly. I also love how there isn't any romance plotlines at all, but rather, it's simply about children learning how to strategically survive in the hellscape that they are given, and sometimes that may involve betrayal, backstabbing and selling out people close to you. It's also about the redemptive power of family - even if these are people whom are not related to you by birth. We see how faith and unconditional love for family exists even after death, and how it can motivate people to change for the better, give you strength and even, every once in a while, the power to reverse destiny.

So far, I'm still at episode 5 but in a summary it's basically about how a prodigious prince, Xie Lian cultivated to the point where he ascended into the heavens, and his fall from grace back to the mortal realm. One of the things I love about the show is how Xie Lian ascended to the heavens, only to realise that the heaven officials are just as, if not more petty, shallow and hypocritical then the mortals who are worshipping them. Xie Lian soon discovers that what the heavens find pleasing might not always be moral, in fact they often rooted in appealing to the ... gods' self of ego and narcissism. In contrast, Xie Lian discovers that the ghosts living in the ghost realm, especially the Ghost Lord, Hua Cheng often exhibit modes of authenticity, honesty and loyalty that is lacking in the heavenly courts. Xie Lian faces castigation and eventually, ostracisation for his continued association with the ghost realm but as Xie Lian soon discovers, the Ghost Lord, Hua Cheng is not who he seems, and that for the last 800 years, regardless of whether Xie Lian was living as a rich crown prince, a powerful martial god, or a beggar living of collecting scraps for several hundred years - Hua Cheng has always remained devoted by his side - even if he had to denounce the heavens and sacrifice his humanity to do so.

Why this deserves a 10/10:
1) The animation is gorgeous, paralleling that of professional anime movies with big budgets. In a certain sense, a lot of it has to do with the toxic Japanese animation industry. For decades, animators in Japan have been financially underpaid despite the grueling long hours that they are forced to work. The up and coming Chinese animation industry are able to poach animation talents all around the world, with higher pay, better working conditions which results in a brain drain from the Japanese animation industry. Chinese animation companies like bilibili and tencent are able to produce much better animation than many Japanese animation companies in the last two years and I think it's a good thing that Japan is forced to relook into its animation industry labor laws so as to prevent its budding talents from being poached by rivalling countries.

2) The music is simply stunning and the fact that they got A listers to perform the opening credits is just another way of showing how much chinese companies are willing to pay big bucks for good animation. The opening song No Farewells is performed by Jeff Chang, whom I've listened to since I was a tiny kid in the 1990s. He's known as like the Taiwan version of Celine Dion and he's known as a singing legend even to this date.

3) China is well-known for its censorship especially with anything explicitly LGBTQ-related. The fact that Tian Guan Zi Fu is able to have the main couple in wedding robes holding hands, and showing modes of intimacy that is symbolically seen exclusively within romantic relationships is pretty darn amazing. And to think that they are willing to do that despite fierce modes of backlash (bilibili had thousands of homophobic comments and downvotes by homophobic viewers who had not watched the episode) is something that is pretty commendable. It's not common that I find a company from China who's able to withstand public backlash due to its support for homosexual representation and in return, I think it deserves our support as well.

I couldn't remember a story that has impacted me the way Scumbag System has in the last few years. In many ways, the story hits really close to home because they deal thematically with many issues that I've been grappling with for a huge portion of my life:

1) On Predestination: the central premise of the novel is really about a person who finds himself transmigrated into the main antagonist role of the story and hence, has to find SOME way to change his life path in order to avoid a horrific death. One of the major themes that the story raises is the concept of ... predestination, ie is it even possible to change one's fate, especially when it's literally written out explicitly for you? There is also the presence of an omniscient System that doles out punishments and severe consequences for appearing too OOC, out of character and this severely limits what the character can behave. The antagonist can only circumvent his fate by making decisions that's already circumscribed by a higher power and it raises the larger question: how much agency do we have over our destiny? Is it possible to change your fate, especially when the System is stacked against your favour, and there are limits to how much you can change?

2) The Impact of Everyday Kindness: In Scum Villain, we see how small, random acts of kindness can have a culminative, butterfly effect that does not just influence other people's lives for the better; it also changes the course of destiny for everyone around you. Due to the transmigrated antagonist's acts of kindness, secondary characters who were supposed to die found themselves alive and played a crucial role in the antagonist's own survival. Side female characters who were supposed to be harem members in the original plotline for the protagonist grew to have backbones, distinct and independent personalities that extend beyond just being a romantic/sexual interest. The protagonist became gay. Kindness can make people gay.

3) On Egotism and Knowing Better: this really hits close to home. One of the biggest problems that the transmigrated antagonist displayed is that as someone who knew the entire plot of the original story, he assumes he knows the characterisation of each character and their motivations. In the first half of the story: he makes very accurate assumptions about how each character behaves but the main tragedy and the root of all the dysfunction that happens in the second half of the novel was because he makes many assumptions about the protagonist that's eventually revealed to be untrue. Because he thinks he knows better, he talks to the protagonist as though he is the central authority, without ever considering the feelings of the protagonist, or how his decisions may trigger feelings of trauma and neglect. Because he thinks he can predict what is going to happen, he treats every character as chess pieces without realising that they are 3-dimensional characters and so, very often do not act in accordance to what the original plot was. The main tragedy of the entire story, which the antagonist realised to immense guilt and regret at the end of the novel, is that by trying to prevent the protagonist from becoming evil, he was so focused on his plan to change the plotline, and he was so sure in his assumptions of who the characters were, that he embarked in a series of actions that misunderstood and mischaracterised the protagonist in traumatic ways that reproduced the cycle of neglect and abuse which he's trying so hard to avoid. Ultimately, he was responsible for protagonist's path to darkness because his egotism in thinking that he knew better blinds him to the ways in which he's actually hurting the person he loved the most. Yes, the relationship is extremely dysfunctional, but through that relationship, it brought out some very important messages about how easy it can be to hurt other people, and how a presumption that you know best can screw people up, especially when the other person is that emotionally reliant on you. The tragedy lies in the fact that he realised this too late.

[Spoiler Warning]

I write this review as a die-hard (male) fan of Code Geass. It was ten years ago when I saw Lelouch of the Rebellion and the degree of plot complexity and rich characterisation was beyond anything I have seen in anime as a teenager. In a certain sense, that anime series helped to shape my anime tastes for the next decade, among other anime classics such as Madoka, Cowboy Behop and Neon Genesis Evangelion. But is it worth it?

Well, there are redeeming points to make about the movie.
- the animation is smooth, well-detailed and its nice to see Code Geass so beautifully rendered on ... the big screen compared to the animation standards 10 years ago.
- The fighting sequences were just as tight and well choreographed as it were in the anime series.

But the answer is no. The movie is a huge slap in the face especially for diehard fans because it disregards the winning formula for what makes Code Geass so brilliant in the first place. A) Lelouch was such an iconic character in anime for good reason, because there is such intelligence in the way he’s being portrayed. In this movie however, his characterisation is reduced to a 2 dimension caricature of who he used to be. Given the enormity of what he went through in season 2 where he decided to DIE for all his actions, in this movie, he doesn’t even seem to CARE why he was brought back – and his return was brought back with a certain degree with indifference. Given the emotional charged nature of his death in season 2 which is the culmination of all his actions and manipulations and lies, Lelouch have always mentioned that he knew he would have to pay the price for all of his actions, hence his famous philosophy in season 1 episode 1 “Those who may shoot are those who may get shot themselves.” The indifferent nature that Lelouch is portrayed with regards to his resurrection negates the emotional investment and cathartic nature that the whole of season 2 has been building up to.The significance of Zero Requiem in second season doesn’t seem to matter, his complex love-hate relationship with Suzaku and other characters are neglected, it’s almost as though this movie centers entirely around the mission in which Lelouch is resurrected to without exploring his motivations, his history, and how he reconciles his death in season 2 with his resurrection in this current reality. As such it’s hard to take seriously that this paper-thin characterisation of Lelouch could actually be the same character as the ones we see in Season 2.

B) One of the most enjoyable points of the Code Geass anime series were the cat-and-mouse games that Lelouch plays with his opponents. Lelouch is such an amazing chessmaster that even as the audience, you cannot see where the plot is moving towards and it’s also gag-worthy when his opponents are competent enough to turn the tables on him. In this movie, I was surprised at the utter laziness of the writing as there were none of those twists and turns that were so brilliantly crafted in the anime series. Instead, Lelouch’s Geass was used as a device that could power through most of the problems faced in the movie. If one only watches the movie and not the series, it would be difficult to see that Lelouch was an intelligent manipulator and mastermind as established in the anime series.

C) The ending is also particularly canon-defying in so many ways. I am not going to spoil any major details, but after the problem was resolved, Lelouch basically makes an arbitrary decision to spend the rest of his life with one person. Which is very weird because firstly, Lelouch in the anime series comes across as the guy that had multiple romantic interests, but he was not interested in pursuing any of these because his main motivation was in destroying Britannia and in saving his sister. The renouncement of his romantic desire for the higher good is in one sense one of the ways which established him as such an iconic anti-hero in the first place. Secondly, the ambiguity of his romantic interests is also why there is a proliferation of various fanbases shipping him with different characters: C2, Kallen, Shirley, Suzaku etc. Given that this was a 2 hr movie and that most of the movie lies in establishing the setting, introducing the problem and new cast, reintroducing Lelouch and henceafter, the resolution of the problem, Lelouch makes a last minute decision to spend the rest of his life with one character, without any rationalisation whatsoever. I remembered asking my friend at this point if I missed any romantic subtext that existed throughout the movie that could explain why Lelouch would make such a well… life-changing decision and the answer is no. It’s basically as coherent if I asked the person sitting next to me in the theatre if they would like to marry me after this. The infuriating thing is that even after a canon-romantic interest is established in the movie, Sunrise continues to release merchandise within the next few days with Lelouch and other characters in postures and positions that suggested a romantic/erotic subtext. It’s as though they wish to exploit the fanbases of all their money, at the risk of disregarding what was even established in the movie. It also cheapens all the relationships that the fandoms are invested in.

Basically, this movie is heartbreaking as it details the utter decline of Sunrise as a respectable anime-production company. Which is actually not surprising because – well look at the Akito movies. The anime series ended perfectly – there was no reason to bring back Lelouch and bringing him back weakens the anime series – it’s like if Shakespare brought back King Lear or Othello; it cuts the cathartic element of the original series. To make it worse, Lelouch is brought back as a shadow of his former self with none of the rich complexities in terms of his characterisation or plot. It is sad that this movie has the depth and richness of a fandisk OVA, rather than a proper follow up to what is arguably one of the best anime series created.

I write this as a gay adult man who's actually interested in proper M/M romantic representation and as someone who's jaded of queerbaiting and stereotypical heteronormative gay relationships in the shounen-ai genre. So when I was drawn into the hype that YOI offers a compelling storyline which extends beyond cheap queerbaiting and homo-fanservice, I was intrigued to say the least.

I am going to do my best to be entirely unbiased. There are certain redeeming qualities to the show that I think deserves mention.

a) Ethnic representation: It isn't often to see America being represented by a Latino, to see prominent cast members from Russia, ... Thailand, China, Switzerland etc.
b) Proper treatment of women: Women are not objectified with melon boobs without any form of agency at all. Common anime tropes of the possessive brother veering into romantic desire of his sister are effectively established and subverted accordingly.
c) Accurate representation of anxiety and its debilitating effects onto one's psyche, projecting insecurity, doubt and unworthiness onto everything around you.
d) the soundtrack is well composed and suitably appropriate.
e) effective narrative turn of events in the later episodes that cast light on why certain earlier events transpired the way that they did.

Now, moving on to the problems (SPOILERS INVOLVED):

Horrible ambiguity involved in the main M X M relationship. Frankly, it's disgusting. The relationship between the two characters was never firmly established as fully canon; but there were so many moments between them that comes across as queerbaiting; but never realised as a full-fledged canonical couple that is settled beyond a doubt. The kiss is censored, the rings are dismissed as "Onajimai you" (for good luck), and even if we were to believe that they are "engaged" at some point, the conversation between Victor and Yuuri at episode 11 and 12 was so formal, as though between a coach and his student, that it just isn't the way a fiance would speak to one another! It vacilliates between intense homo fanservice ("So Yuuri, what are you going to do to make me excited?" and outright denial of their relationship, where Yuuri insists that OURRELATIONSHIPISNOTLIKETHAT. It's pretty sad; the show's entire premise is centered on Yuuri finding his sexual maturity and confidence in himself, as well as displaying his "love" of Victor to the world, however, there has NEVER been an explicit declaration of love, only outright denials and public displays of affection are either censored such that there is room of ambiguity for what it is, or veering on intense bromance.

To those people who claim that the ambiguity is what drives the homoerotic tension of the show, I ask you as a gay person. Would you have said the same thing if the couple was a heterosexual couple? You wouldn't, precisely because ALL shojo anime, even if it operates on some level of ambivalence or ambiguity, is always resolved with an outright declaration of romantic intention - it's what makes the scene magical, or romantic. Love is something that should not be hidden, and if this was a shojo show, we would be accusing the creators of playing us for fools. So why are we applying a different standard for YOI? Why is it possible for JJ in episode 11 to declare that he's going to marry his girlfriend, whereas Yuuri and Victor have to hide their relationship, their supposed engagement as "onajimai", good luck charms?

Secondly, as a sports anime, it fails on the exact reason that I've mentioned above. Every single sports anime ranging from Free to KnB is all about being CLEAR, CONCISED and DETERMINED on the desire or the goal that you aim to achieve; ie this is what I want, and this is what I plan to do in order to get there. Rather, in YOI it's all about Victor Victor, it's not like that it's not like that. Well then, Yuuri, what exactly is the nature of your relationship? The true nature of their relationship is never fleshed in full, and as a sports anime, the skating scenes were repetitive and unnecessary - is it really needed to cramp 6 skating performances in one episode, of which it pretty much looks the same with bad animation anyways? Plot is almost non existent as well; and seems to exist solely to push for fanservicey elements between the two protagonists.

Lastly, the anxiety that Yuuri experiences is becoming a tired, recurring plot device that is losing its effectiveness. in EVERY single relationship conflict, it's always Yuuri who causes the conflict, due to his anxiety such that you can almost distill it down to a formula: Yuuri's anxiety causes some form of misunderstanding or misinterpretation of the situation -> They fight -> Cold War -> They get back together after Yuuri skates. It's never Viktor who begins the fight, speaking of which, we still do not know anything much about who Viktor is as a person; he exists as some cheap 2 dimensional perfect character that is there to lift Yuuri from his anxiety like some Godsend. Asides from the fact that he seems a little clueless on handling Yuuri's anxiety, he doesn't seem to have any flaws as a human being.

Lastly, please please please do not every compare this to No.6 where the relationship is explicit, sensitively drawn out, and the characterisation and relationships are honest and sincere, without any cheap queerbaiting at all. Due to its cheap exploitative queerbaiting, which feels deceptive - despite getting "engagement rings" in 10, their relationship at 11 and 12 was so horrifying formal, without any of the characteristic warmth of newly engaged - it deserves nothing more than a 5.

And for goodness sake, please do not mention that the kiss HAD to be censored due to Japanese media laws. I studied media in Japan at one of Tokyo's top universities. There is no such law involved; Shinsekai Yori and No.6 had explicit M/M kisses and they were aired on TV you know.