Gurren Lagann- The Consequences of “Fighting the Power”

At its core, Tengen Toppa Gurren Lagann is a show about maturing as an individual and rebelling against oppression. Despite the equal importance and narrative intertwinement of these themes, today I will be focusing on the latter. More specifically, I will be looking at how, without the second half of the series, Gurren Lagann would not be remembered today.

Rebelling against oppressor is one of the oldest, and therefore, most used storytelling devices. After all, rebellion is a frequent and important element of real-world history. We saw revolution in the earliest human societies, and we still see it regularly throughout the world today. Further, it is so simple to garner support for a character when they are fighting against a tyrannical regime that is trying to put them down.

The first half of Gurren Lagann takes that narrative device and boils it down to its absolute pure essence. We are provided with one of the most clean-cut, smooth, and satisfying rebellion stories in fiction. There you have it, Simon and the rest of the Dai-Gurren Brigade defeated Lordgenome and the Beastmen forces, regaining control of the surface world. They had some tragic losses, but also made some new friends along the way. A young boy who started out as a non-confident, bullied antisocial in his underground village transformed into the man who led the rebellion to its victory. As most writers would put it, THE END.

What makes Gurren Lagann stand out from its contemporaries is that this “ending” is only the halfway point of the series. After a seven year timeskip, “act 2” begins with what I like to call the “political consequences arc.”

Historical rebellions aren’t as clean cut as most fictional works would have you believe. Revolution often comes with the desire for a new form of government, something that is immensely difficult to implement in a nation so accustomed to tyranny. Systems must be destroyed and rebuilt, citizens must be accounted for and entered into government programs, and all prior opposition must be dead or imprisoned to prevent regime reversal.

The second half of Gurren Lagann addresses all of these elements, and more. Simon and Rossiu, who occupy the two most prominent government leadership positions, are having an excruciatingly difficult time running their nation. Initiatives to move citizens from their underground villages back to the surface world are failing; they didn’t account for people wanting to remain in that oppressed lifestyle. They find out Viral, a high-ranking and unaccounted for member of the original oppressive regime, is working as a terrorist, undermining citizen relocation efforts.

When citizen dissatisfaction and political unrest begin to spread through the new capital, we see Rossiu, a rebellion hero and close friend to Simon, turn on him in a political move he believes is in the best interest of the nation.

All of this climaxes with the invasion of the anti-spiral forces. You see, it is revealed that the initial oppressive regime was present in the first place in order to prevent this external “nation” from invading. Simon must escape from political prison, gather his old rebellion friends (and even some former enemies), and fight against the invading anti-spiral.

Despite being presented through high-concept science fiction and dimensional shenanigans, the second half of Gurren Lagann is showing real-world consequences. Political turmoil, betrayal, and even foreign invasion in times of weakness are common elements of real post-revolution nations. Most fight against the tyrannical regime stories don’t dare tread these complicated waters, they are satisfying enough as it is.

The fact that Gurren Lagann takes a step beyond mere satisfaction, and addresses these logical consequences, is why it is still remembered as a masterpiece today.

Attack on Titan and the Avatar Effect

Note: At the time of writing this analysis, I have not yet watched the premiere of season 2.

The second season of Attack on Titan is finally upon us. Although there are plenty of diehard fans donning their scout regiment hoodies and celebrating, the common consensus is a pungent apathy. A second season that would have been welcomed with open arms just three years prior is now faced with an overwhelming wave of indifference. I call this the Avatar effect.

In late 2009, James Cameron released a film that many at the time considered to be one of the greatest movies ever made (including myself). Avatar was treated to critical and box office success, working its way up as the highest grossing film in the history of the medium. When Avatar 2 was announced, fans and the general population alike were ecstatic. Years have passed, and here we are without a sequel. Walt Disney World, however, wanted to cash in on the Avatar mania, and is finally opening Pandora- The World of Avatar later this spring. The problem is that this mania that Disney is trying to take advantage of no longer exists. If they wanted to cash in on a craze, they needed to do so in the small amount of time that the phenomenon would have still been prominent. I probably can’t find you a single person out there now who is taking the trip to Disney World for the opening day of this sub-park.

Attack on Titan had its “mania” period from the second half of 2013 through nearly all of 2014. Hell, Attack on Titan stars were still being featured as guests of honor at conventions well into 2015. There was plenty of wiggle room for Production I.G to get themselves in gear and pump out a second season. Whatever the reason for the delay may have been, here we are, nearly halfway through 2017, and we are finally getting this sequel season. Yet the remaining fans are still wondering why nobody is excited?

You may be asking yourself, if something is a timeless classic, then why would it matter if it took so long to get a sequel, everyone would still be excited, right? Here in lies the issue with Attack on Titan. It is entry level shlock trying to disguise itself as a masterpiece.

I first watched the show in January of 2014, a time in my life where my interest in anime, manga, and otaku culture in general was virtually non-existent. I had been a diehard fan of Naruto for most of my life prior, but even my love for that manga had died out almost a year before. This was also at the height of my tumblrcore phase, where colossal titan and scout regiment memes ran rampant through the site.

I’m not going to sugarcoat it, I fell in love with Attack on Titan upon my first viewing. I was enamored with an animated work that felt as mature and sophisticated as most of the adult television I was consuming at the time. There was this sense of mystery and intrigue, all presented through gorgeous animation and crisp action.

I considered Attack on Titan to be one of my favorite shows for a large portion of 2014. I bought all of the merch I could get my hands on, spent hours in line waiting to meet voice actors from the english dub of the show at conventions, and posted about the series constantly on Tumblr. I did not, however, take the leap into further anime consumption.

Then my friend showed me Mekakucity Actors. Then I watched Kill la Kill, immediately followed by Madoka Magica. By the time I had watched Gurren Lagann, constructed my MyAnimeList account, and eventually quit Tumblr altogether, that initial anime about kids killing monsters was just a speck in the back of my mind. Still, whether it be out of stubbornness, or sheer denial, I continued to claim it was a masterpiece.

It was not until around mid-2015 that this claim came back to haunt me. After all of my praise, my friend Zack finally decided to give the show a watch himself. Note: At this time, he had also seen the slew of classics I listed above. Zack could not get through a single episode without either zoning out or falling asleep. The show was just boring to him, plain and simple. He did end up finishing it, but only under my excruciating insistence that it got better as it progressed. He did not agree with this sentiment.

It was at this point that I decided to read the manga that the show is based upon. I not only started from the beginning, but surpassed the season 1 content, chugging through what will probably account for all of season 2 and an early chunk of season 3. With atrocious art, bland and non-differentiable characters, and a story that never goes anywhere, it was one of the worst manga I had read to date (and I’ve read a substantial portion of Bleach). It was when I made the decision to drop this ghastly manga that everything came together for me.

The Attack on Titan anime is, to put it quite simply, not very good. However, I can’t deny that it is astoundingly smart. Production I.G knew exactly what strings to pull to craft the perfect entry level anime. In other words, AoT is the metaphorical gateway drug into otakudom. Once you work your way up to LSD and cocaine, do you really see your self regressing back to cheap marijuana? With its gorgeous animation, attractive character designs, and mystery-centric story, it is bound to draw in many on a base level of appeal. However, once you consume other anime that share in all of those properties, but actually execute them masterfully, there is really no point to Attack on Titan. When you can watch Mekakucity Actors, a show with stellar animation, unique and memorable characters, and an intriguing mystery that actually progresses and resolves, why would you bother with the exact opposite?

Avatar drew in such a mammoth crowd with its groundbreaking visual effects and allegorical story. Then you watch Dances with Wolves. Then you watch Princess Mononoke. These are two films that take the same premise as Avatar, but handle it masterfully. What is the point of going back to a bland and uninteresting version of an intriguing premise, when you can consume masterpieces that apply that very same idea?

My autographed poster of Eren Yeager, signed by dub voice actor Bryce Papenbrook, now sits in the recesses of my closet, collecting dust.

I will be watching the new season of Attack on Titan. Who knows, I may end up writing some pieces about it if I have anything interesting to say. The point is, I hope I helped current diehard fans understand why there is virtually no hype around their anticipated sequel season, and why there will be nowhere near as large of a community to share in their enthusiasm this time around.

Wolf Children- Movie Review

There is a certain feeling that watching Wolf Children gives you. I have only had this feeling twice in recent memory. The first was when I read the novel Looking for Alaska in the summer of 2013. The second was when I watched the anime Gurren Lagann in January of this year. This feeling is one that is unexplainable, but clearly obtainable. It appears only when you consume a piece of fiction that connects with you more strongly than anything in reality can. I won’t declare it as my favorite film of all time just yet, but Wolf Children is, without a doubt, one of the greatest movies ever made.

Mamoru Hosoda has been slowly rising up in the anime industry over the past decade. Some of his most iconic works include Summer Wars and The Girl Who Leapt Through Time. However, Wolf Children is the first film in his repertoire that truly places him right next to the legendary anime filmmaker Hayao Miyazaki.

Wolf Children, on the surface, is about a young woman trying to raise two children all on her own. However, these children are half human, half wolf; they can transform into either at any given time. What makes this seemingly basic plot so remarkable is its hidden depth. Upon analysis of the film, you begin to realize that the lycanism of the children is just a mere metaphor. This metaphor portrays the struggles of anyone raising children with disabilities, mental illnesses, or other various characteristics that society deems abnormal.

The characters, though seemingly basic on the surface level, are much more than that. The purpose of the simplicity of the characters in both design and writing is to allow the audience to seamlessly fall into their shoes. You feel every emotion they feel with intensity, and begin to form extreme empathy for these people who do not actually exist. Therefore, the happiness and sadness that these characters feel becomes all the more potent. It took all my strength to hold back tears in front of the anime club that I watched this movie with. However, I guarantee that if I watched this alone, I would have been bawling.

Without a doubt, the best part of this movie is the animation. While the character designs are purposely simplistic (see point above), the backgrounds and environments are anything but that. This movie has the hands down best animation in an anime ever. Every single setting is extremely colorful, detailed, and enticing. This becomes extremely prevalent when the characters move from the city to the countryside.

The final factor that makes this movie outstanding to me is the minimal use of dialogue. Don’t get me wrong, there are a multitude of heavy conversations throughout the movie, as well as a narrator. However, if you compare this to other movies, particularly anime films, you would find that there is probably half the amount of conversation. The soundtrack, character expressions, and environment animation tell the story much better than any dialogue would have done.

To conclude, you can tell I loved Wolf Children. I would recommend it not only to anime fans, but to literally anyone. Some of it may be a little too dark for younger children, but it would be a great film to show them when they are a bit older. However, this movie was clearly not made with a certain demographic in mind. Anyone from any walk of life can watch it and identify with it. Wolf Children is a timeless masterpiece that breaks the boundaries of what film can do, and is the best movie I’ve seen in a very long time.