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Dec 22, 2020
Overall: 9
Enjoyment: 9
(TL;DR) I think Terror in Resonance is definitely worth watching. Pragmatically speaking, the entire shown is just over 4 hours long so the time commitment is minimal considering the quality of the content.
Story: 8
The story is smart, slick, and well paced, feeling something like a blend of Death Note (without the megalomania), Sanctuary, and Jin Roh. It's a narrative of stolen youth, existential acknowledgement, and retaliation against those who would abuse their power under the guise of "the greater good". There are also subtle undercurrents of the consequences of militaristic nationalism, US nation building, and the dramatic impact of the Atomic Bomb on
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the Japanese collective consciousness later on. I loved all the riddles related to Oedipus Rex and the game of cat and mouse that ensues with the authorities. I thought they added sophistication and tension to the plot. Regarding continuity, the narrative is fairly consistent. The only time it seems stretched, given its grounding in realism, is when Five is introduced and is allowed to implement increasingly inhumane strategies to achieve their goals with little to no consequences. Additionally, I wish the aftermath of Nine and Twelve's master plan was explored more.
Art: 10
The fluid animation and interesting choice of viewpoints for different shots gives a sense of aesthetic pleasure and definitely conveys the care put into the series. Things like... A sudden close-up of someone's eyes after a shocking statement during an interrogation, followed by a close up of the interrogator's eyes. The evolution of an unbelievable explosion seen from different vantages: bird's eye, panoramic, reflected on the faces of onlookers, etc. I think choices like those enhance the presentation of the narrative. Also, the visual metaphors are done well, especially during one of the final scenes of the last episode.
Sound: 10
The soundtrack by Yoko Kanno is sick and honestly worth listening to on its own (some of her other OST contributions include Cowboy Bebop, Ghost in the Shell, and Darker than Black). Tracks bounce between genres--sounding like The Beatles on some, Erik Satie on others; from blazing metal guitar riffs to hip hop beats. This eclectic blend and quality is consistent with the fact that the director, Shinichirō Watanabe, is known to place emphasis on musical aesthetics in his works--think of Cowboy Bebop, Samurai Champloo, Carol and Tuesday, etc. One aspect I appreciate is how few tracks seem to be reused. Music is applied well to different situations in a way that never feels repetitive unlike the recycled cues played in shows like One Piece and Naruto for example. (Not to say those pieces are bad at all, they aren't, but they are used repetitively). Flashbacks during the few dream sequences are given a sense of urgency and panic from the arpeggio driven track "lolol" and its variations. "fugl", "kvak", and "walt" are beautiful piano tracks that balance two undercurrents in the story: hope and melancholy. "velle" gradually layers a haunting choir, protracted organ chords, a descending synth melody, and tolling bells which add a sense of awe, tension, peculiarity, and inevitability, respectively, as one of the most stunning sequences in the show plays out. The list goes on.
Characters: 8
Despite the short length of the series the characters are able to develop and express their emotions to one another in ways that are consistent with their disposition and individual contexts. It's done in a way that's believable and human. They express unshakable resolve, feel conflict and second thoughts, long for a life that could be, face melancholy/anxiety over mortality, deepen their friendships, develop love, feel ashamed over betrayal, despair over feeling like a failure, and seek acknowledgement for their existences to name a few. Nine and Twelve in particular have a remarkable sense of agency, undeterred by societal norms, and equally remarkable capabilities which they use to their fullest to achieve their goals. They are a part of a cast of geniuses among protagonists/antagonists (Five, Nine, Twelve, and Shibazaki) with the exception of Lisa. Lisa actually stands out like a sore thumb as she fumbles her way through Nine and Twelve's world after enduring a life filled with abuse from her mother and schoolyard bullies. Honestly, it was painful at times to watch the consequences of her reckless, though well-intentioned actions. However, she is not to blame for the trouble she endures and is caught up in something much larger than herself. She is earnest and longs for existential acknowledgement as much as Nine and Twelve, and it was interesting to see how she influenced and changed some of the other characters.
Reviewer’s Rating: 9
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Sep 23, 2020
It took some time to get used to the 3D animation, however after a few episodes it was totally fine; almost like watching cut scenes from a Teen rated fantasy/martial arts video game. The fight scenes are very fast paced: kinetic and filled with bright neon colors and moving particles to the point of being distracting or disorienting at times. Nonetheless, they are often exciting and fun to watch. Facial expressions can be stiff especially when characters are expressing affection or frustration which creates some disconnection as a viewer.
Most of the female characters look the same and have relatively weak personalities (save for 2
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or 3), whereas the male characters have diverse body types and facial features and can be pretty funny. Regardless, few of the characters have much depth and most are 1D.
Regarding episode structure, the first 3-4 minutes and the last 1-2 minutes of the 20 minute episodes are used on theme songs or recap and can be skipped. Occasionally, there will be extremely obvious product placement that seems totally out of place in the story's world; for instance the characters drinking or walking past Ito En bottled green tea.
Also, this series is actually completely available for free with English subtitles on the Tencent Video channel on YouTube with over 112 episodes out at this point. The only downside to viewing it on this platform are the 5-6 quick, but unavoidable ads that will interrupt the videos. The sub quality is pretty good, however there is a pretty bad lag during episodes 11-13.
Reviewer’s Rating: 6
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Sep 18, 2020
The world of Plunderer and the system that governs it is memorable, despite being messed up. Very early on we are introduced to a caste system in place based on the number of "stars" or "count" one possesses and see that human society has been broadly stratified into those who live in Althea (i.e. a land of plentiful resources) or those who are sent (often kicking and screaming) into The Abyss. It is a world in which might makes right, a mysterious magic exists, and of "winners" and "losers".
The story is also filled with tired shounen tropes and stereotypes, most prominently, white knight syndrome and
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a perverted lead male character, respectively. Though the writing improves for stretches, these needlessly distracting patterns keep coming back and definitely influenced my decision to drop the series. In fact, the first panel depicting the main character epitomizes most of what I dislike about the series: blatant disrespect towards women.
From Ch13 onwards, we learn more about Licht's (aka Rihito) backstory, the depth of conspiracy in the government, and the principles underlying the story's world, all of which were, honestly, pretty interesting. I'd even say they make up the strongest writing present in the series.
In terms of gender dynamics, men generally hold the most power and move the story along according to their will and struggles. Body types of all characters are sexualized to the point where women having any fat at all merits scorn from male characters who frequently respond "lose weight". I'm sure this was intended as comic relief, but it immediately left a bad taste. Much, if not all, of the motivation of the female characters is based on their romantic interests making them 1D.
Story: 4
Art: 6
Character: 3
Enjoyment: 3
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Overall: 3
Reviewer’s Rating: 3
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