Bokurano: The Darkness Within Our Hearts | Review

A brief spoiler-free review of the 24-episode spring 2007 anime “Bokurano: Ours,” animated by Gonzo, directed by Hiroyuki Morita, and based on Mohiro Kitoh’s manga of the same name.

***MINOR SPOILERS FOR THE FIRST COUPLE EPISODES ARE PRESENT***

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How Would You Spend Your Last Day on Earth?

I’m sure you haven’t given it much thought; to which, neither have I. None of us do, and yet here’s an anime where kids are told when they will die, how they will die, and that whatever they do with their final day is up to them. There is no running away from fate, it’s do-or-die time. However, I suppose my words would have more weight if I told you why. Allow me to backtrack . . .

Fifteen children are enjoying their youth together at a summer camp. It’s sun, sea, and, what’s this? A mysterious grotto by the shore? The kids explore the creepy cave only to find a strange setup of computers and monitors, along with an even creepier old man calling himself Kokopelli. Supposedly, Kokopelli’s been developing a game, one where the players pilots a giant robot to defend Earth against 15 different alien invasions, and all he needs now is willing players to test it out. Sounds fun, I mean, what could be the harm? By individually placing their hand on a scanner, the kids complete their contract and suddenly blackout.

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They awaken back on the beach. Other than the fact that night has fallen, everything appears normal. Normal, EXCEPT for the impossibly high 500-meter-tall giant robot now towering over them! In a horrific twist of fate, the children must now take to their seats to pilot Zearth one at a time in hopes that they have the physical strength and mental fortitude it takes to defeat the bizarre enemies. But Kokopelli’s abrupt disappearance leaves the afraid and confused kids with harsh truths they must discover on their own: What exactly is Zearth, and what is the giant robot’s energy source?

Before I rip into the fantastic story of Bokurano, I wanted to address my biggest issue with the show right off the bat: the “antagonist.” Surely, even just by reading the synopsis something seems fishy. Where did Kokopelli go? Will he reappear later as the antagonist? It’s tricky for me to explain much of anything without ruining the surprise, but I can imagine that you, too, understand that there’s something else at play here. And here’s the thing: that “something” doesn’t really make much of an appearance. When director Hiroyuki Morita brought over the story from Mohiro Kitoh’s manga, even he felt that some of Bokurano was just way too damn sad (sources are all over the web confirm this).

So he changed it, and I think that the force that moves the anime along was “left behind” in the process, either because it didn’t mesh well with Morita’s new story, or that there wasn’t enough time to explain it all (as is what often happens in anime). Don’t worry, this anime adaptation is still one of the most depressing things you’ll ever watch, but if the ending feels somewhat incomplete, it’s because *frustratingly* this is not the same ending intended from the start.

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The Saddest Soldiers for the Saddest Anime Ever

Systematically, we bear witness to pilot after pilot fight their battle and depart from the scene. Where do they go, what happens to them? Ready for a dose of reality? ***SPOILERS for the first couple episodes, but they die. That’s all there is to it. There’s no glory, and no reward. Once you’ve served your purpose in prolonging the planet’s safety, no longer are you of any use to Zearth and Koemushi, a cruel and sadistic ABOMINATION whose job is to circulate this cycle of death and inevitably select the next pilot.

Each episode or two, we center our narrative focus on the next pilot chosen. From family and friends to one’s most carefully guarded secrets, we quite literally see all of it. The darkness in our hearts can seem infinitely deep, regardless of one’s age, and the fronts we put up can’t always mask it all. We see kids break, physically and emotionally, and although we know that they’ll die at the end of the episode, it can still be dramatic and utterly heartbreaking. Honestly, I wish they had more time . . . I won’t go into further details for real spoilers, but watching others suffer is . . . well, “Pain is addictive.”

Bokurano is thrilling up until the very end, even if it is hard to watch these poor kids undergo psychological torment to no end. Either it was super interesting to watch or, subconsciously, I wanted to quickly put them out of their misery, but I just could not put Bokurano down for a second.

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Oh, and be prepared to have your guesses as to who’s next get smashed, as even the seemingly “main” characters are not spared from Koemushi’s wrath.

Lost Iconography: The Circle of Chairs

A lot of early 2000s anime don’t hold up very well in today’s day. Bokurano is no exception from this. The show’s characters can look pretty rough on the eyes, and other than the robot fights, Gonzo’s animation is kept to a minimum, resulting in too many dialogue scenes and conversations that don’t seem to end. On those robot fights though, man—Bokurano’s got some of the most engaging, exciting, strange, and truly colossal mech fights that the genre has to offer! Unlike a tedious game of “My gun is bigger than your gun,” a real amount of strategy is required to pilot a robot that essentially has no controls—just your mind. Sync with Zearth, tell it what you want to do, and it will likely perform the feat even if its mechanical structure has to be reconfigured entirely. Just as how we know more about the cast as we go along, we come to see Zearth’s true range of abilities, and understand why it is able to put up such a good fight.

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I wanted to briefly mention the chairs, though. You know, that eerie circle of unique chairs inside Zearth’s pilot chamber. The chairs are how the pilots enter and exit Zearth, and without their genius iconography, works like Madoka Magica may not have that extra special “Shaft” touch. A single object or location can tell an entire story—and these chairs encompass both of those categories. Whenever I see Daiichi, Komoda, or Chizuru’s chairs, I immediately recall their struggles, their emotions, their story, which is absolutely wild given that they’re ultimately just furniture. Where do you spend most of your time sitting? How does that area represent who you are as a person?

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While the main OST doesn’t offer much in the way of me thinking, “Oh yeah, that’s Bokurano!” Chiaki Ishikawa has absolutely dominated the sound department with her amazingly addictive OP and two excellent ED themes. “Little Bird” and especially “Vermilion” are rich with a somber quality to them, but “Uninstall” ranks up there as one of my favorite OPs of all time for its epic melancholy, sorrowful lyrics, and ability to call to mind all of the beauty and tragedy in Bokurano. 

The Pain of Letting Go

Could you put enough pain on a single person to change the human heart? Short answer, yes, but the road to such change can be messy, frustrating, and completely exhausting. Bokurano‘s main interest comes from the constant curiosity of where the story is headed next. What will ultimately stick with you, however, are the hearts left behind along the way, and the stories that succumbed to tragedy—or the few that ended with a glimmer of hope.

As characters exit the stage one by one, their vacant seats are left to inspire the next chosen hero. At one point, these chairs had a warm body that sat in them, that thought about their place in the world, and that struggled to come to terms with their fate. Although its visuals are dated and some of its background plot points could’ve been fleshed out better for the finale, Bokurano still holds fast as a gem of its genre, reminding us that everyone suffers—but we that can still be saved.

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An awesome reality came to meet us from beyond. It came to laugh at how simple our existence was. Even when I covered my ears, the truth slipped through both hands and confounded me . . . I have no choice but to act as a warrior who knows no fear.—from “Uninstall,” the opening theme


Bokurano‘s been sitting on my backlog ever since I watched Evangelion, and now that I’ve FINALLY seen it, I can confidently recommend it to fans of that other popular abstract mecha anime. Their distorted premises may be different, but the stakes of the game are the same, in that a group of kids must pilot giant robots against the wrath of the heavens—or face the destruction of their world. Similarly, both stories feature a very human cast dealing with issues like depression, anxiety, and other mental illnesses to sexual frustration and an inferiority complex. Both series handle these themes with extreme care and realism, which can be appreciated immensely. If it isn’t a surprise by this point, then please, let’s honor Bokurano: Ours as a “Caffe Mocha” title, a rating reserved for only the best!”

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Because of its clockwork death count and endearing participants, I found this smartly written survival game to literally be The Saddest Anime I’ve Ever Seen. Despite being full of nothing but misery and grief, the suspense of hope that releases at the very end feels immensely satisfactory. If you’re up for a bit of a psychological challenge and don’t mind a throwback, you ought to give Bokurano a try (Crunchyroll’s got it for FREE)! Already seen it? Let me know what you thought about Bokurano or this review down in the comments and we can reminisce together! Thanks for reading, and until next time, this has been

– Takuto, your host

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Devilman Crybaby – Ugly Tears, Bleeding Hearts, & The Pain of Modern Tragedy | Review

A brief spoiler-free review of the 10-episode winter 2018 anime “Devilman: Crybaby,” produced by studio Science SARU (and Netflix), directed by Masaaki Yuasa, written by Ichiro Okouchi, and based on the manga by Go Nagai. 

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A Wild Night Out

Akira Fudo is a crybaby. He’s always been, and he always will be. Akira’s high school career takes a trip to the wild side when his best friend from many years ago, Ryou Asuka, suddenly reenters Akira’s life. This surprise reunion excites Akira, but unfortunately, Ryou isn’t back so the two can play on the playground again. Instead, he informs Akira that hiding amongst the shadows of their picture-perfect reality are monstrous demons, and that soon the demons will revive to reclaim the world from the humans. To combat their brute, supernatural strength, Ryou has a plan: to fuse a human with a demon.

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Those who conquer their “literal” innermost demons can master the power over them. And thus, after violently loosing his innocence at an infamous nightclub rave suspiciously titled the “Sabbath,” Akira becomes Devilman, a being with the power of a demon and the heart of a human. Finally seeing the darkness that humans have hid for so long, Akira feels blessed to now be able to save others, but more so cursed because he will likely never be understood ever again. But he has Ryou, and for Akira, that’s enough to make the pain worth suffering. Or so he hopes.

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A Tragedy Fit for Our Time

By mere story alone, Crybaby is a masterpiece. Having heard the crazy amounts of praise that have been circulating already for a couple weeks now, this should be no surprise. It starts at zero, at everyday life for a young boy and his relay mates, and quickly escalates into a bloody, traumatic, world-ending experience for both the characters and the viewers. As a standalone piece of fiction, it’s a modern tragedy made fit for the decade—complete with its OWN FREAKIN’ CHORUS in the form of some swaggy J-rappers—a series that is and should be celebrated for the, might I say, “daredevil” tale it sets out to tell. So many countless symbolic, societal, and sexual metaphors make the story incredibly compelling, and the religious undertones work wonders in creating this gritty, larger-than-life epic.

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And the best part of all is that the series isn’t just “depressing” to be called tragic—rather, it lives up to the classical standards of Greek tragedy by existing to A) prove the faults in our own lives, B) present a heroic attempt at handling them, and C) leave us with a cathartic end to cleanse the insanity that just befell the cast. It’s a masterful formula from the humble beginning through to its apocalyptic end, and as the media outlet Polygon states, the finale is “beautiful, devastating perfection.”

The only [minor] problem with a story of this magnitude is that Crybaby has very little time to tell it: only ten episodes, to be exact. While the pacing for the first several episodes feels spot-on, there is a significant push, particularly in the last two episodes, that does seem rather hectic. To be fair, however, the gruesome content and big reveals in episodes nine and ten ARE time sensitive; dragging these plot twists and dramatic developments out beyond an episode’s time would ruin their effects. Besides, perhaps that rushed sense of mayhem is what contributes to the explosive, catastrophic nature of the Devilman franchise.

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Akira and Ryou: Cuter When They’re Young

As far as characters are concerned, I won’t go into much detail simply because half of the thrill stems from witnessing just who some of these characters really are, and exactly what they will eventually become as the plot edges further and further on borderline insanity. Akira Fudo’s deal with the devil surprises all those around him, sure, but his grotesque change conjures up more mental conflict than physical ailment. He’s honestly a gift to mankind who doesn’t belong in this cruel, cruel world, and as he teeters on the edge of his own humanity—of a dying hope vs. an unflagging despair—he realizes that, at the darkest roots of their heart, people can be even more vile, disgusting, and sinful than any demon to roam the planet. Compared to his cute, scrawny self at the series’s beginning, the superior antihero Devilman that Akira becomes is stronger in nearly every way—all except for that tender, still-broken human heart of his.

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Ryou’s fluffy, blonde-bowled, bishounen design may seem inviting, but don’t let that charismatic baby face fool you: underneath that puffy white coat is a deadly machine gun and cunning wit, both which are fully loaded at all times. From that first smooth car ride Ryou and Akira share together, you already get the feeling that Ryou is scheming something (as if the glaring camcorder he films on 24/7 wasn’t evidence enough). Still, he is doomed to a fate just as tragic as Akira’s—if not more so. Ryou is one baaaaaad boi, but I loved his development way too much to hate him.

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I Don’t Know How to Rate The Animation . . . 

I’m not kidding. Devilman: Crybaby has some of the downright UGLIEST animated sequences I’ve ever seen. From the hilarious attempt at depicting just how “speedy” devilmen can run to the blobby, disproportionate, and completely uncensored sex scenes, by visual standards, Crybaby is not a pretty-looking show.

But does an anime need to be “pretty” to have it’s own beauty? Absolutely not. Or, well, at least Crybaby says so.

You see, the series has this certain edge to it, a certain grit that is hard to explain. The animation outlines, for instance, are cleanly drawn and look quite fresh (faces in particular). But then you have the action scenes, which are just SO freakin’ bizarre to watch. Like, I couldn’t even tell you if some scenes were, in fact, “poorly animated” because the ENTIRE SERIES has that same exact look. The lack of detail in light-hearted moments (like Akira’s high school, or his quiet past) compared to the almost sickening actions of other demons and humans alike gave form to a style that I can’t quite put my finger on. It’s as if the animation is “untamed,” or “knows no bounds”—yet it all flows well as its own style within the context of the story. Not to mention that the compact 10-episode run and smart directing allow for each and every shot to carry some sort of secondary meaning, however unnecessarily violent or sexual or BOTH the risqué presentation seems to people.

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I, for one, felt that all of the overly grotesque scenes brutally tread some sacred ground of entertainment that hasn’t been touched in decades with a bloody tank. It’s a unique visual style that I frankly haven’t seen anywhere else, and it was depicted brilliantly.

But I Know I Loved the OST!

As I am currently writing this, the Devilman: Crybaby soundtrack is humming in the background for inspiration. What about it is so special? Well, it has great balance; it’s epic (“D.V.M.N.” – Main theme), startling (“Miki The Witch”), playful (“Wishy Washy”), intense (“Anxiety”), entrancing (“Beautiful Silene”), heart-pounding (“Smells Blood”), uplifting (“Prayer”), cathartic (“Pathetique”), and so much more. Composer Kensuke Ushio (Ping Pong The Animation, Space Dandy, A Silent Voice) knows how to write excellent orchestral/synth pieces, I tell ya!

There’s a little tune that is repeated throughout the entire soundtrack that can be any of the emotions listed above, so long is the right instrumentals is paired with the mood. My personal favorite IS a reprise of this gorgeous melody line, and it just so happens to be the very last song played in the series, the End of Devilman: Crybaby, so-to-speak. It’s appropriately titled “Crybaby,” and if it doesn’t move your heart to the point of tears, forcing you to recall Akira, Ryou, Miki, and Miko’s shared heartache and tragedy, then I’m not sure what will.

Oh yeah, there’s also a remake of the original Devilman opening included with the soundtrack, which, if you SOMEHOW haven’t heard yet, is SUCH A BOP HOLY SHIT. I STILL listen to it religiously.

The Destructive Darkness Within Us All

By Devilman:Crybaby‘s end, there is arguably no sadness left for the characters, no more tears to cry. It should feel complicated, as the amount of despair is simply undefinable. But instead, all you can wonder is how things got to this point, and how what you witnessed was, in fact, the end brought upon by humanity. The ending is completely unfair, yet it balances the scales with terrifying perfection. You could feel sad, or depressed, or enraged at how BLIND people can be, but instead, all of it feels pointless, as if nihilism just inducted you to suddenly became one of its patron saints.

The ending of Devilman: Crybaby is indeed a very empty one. And that very catharsis, that feeling of emptiness and pointlessness, is what lies at the heart of a well-written tragedy. 

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As happy and sad memories alike resurface for these two boys, Akira and Ryou come to realize that, without one another, life before friendship was boring and often cruel. It was lonely, and it was meaningless. But through the ugly tears they cry, the bleeding hearts they endure, and the tragic fates that they cease fighting against, the two learn to finally accept love, for it is really love, not hate, which makes the world go round. And so to tear up the ENTIRE world just to tell this seemingly small message—Yes, such is what completes the horrifically tragic Devilman: Crybaby as a modern masterpiece.

You’re crying too, Ryou-chan. You’re crying too . . .  – Akira Fudo

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Afterwords

Devilman: Crybaby is raw, brutal, yet oddly honest about its understanding of cause and effect and the power of compassion. It doesn’t forget to throw in a few laughs, though. As the community has already remarked, this show is ABSOLUTELY NOT for the faint of heart. This series showcases the worst aspects of humanity—of vengeance, overindulgence, paranoia, and immorality—and for many, that can be hard to watch (plus, it’s like, mega gory and sexual). You’ll be asking yourself “WTF is this even real?” many times, and you’ll feel absolutely disgusted with humanity. But have faith that there is a reason for the madness. I walked into this action series not knowing a lick about the Devilman franchise (aside from the old dub clips, heh heh) and obviously enjoyed the HELL out of it.

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If such disturbing material doesn’t bother you, then I’m sure you’ll also enjoy this wild ride through the bloody and the occult, as there are a fair amount of life lessons to be learned. I’m giving Devilman: Crybaby the honorary “Caffe Mocha” title because of its unexpectedly high emotional impact (you gotta love the indirect End of Eva references, too)! There’s a particular scene in I think episode 8 or 9 that absolutely wrecked me, and the powerful ending . . . wow . . . I’m sure I won’t be forgetting about that for a long time. If you are thinking about watching this anime, or have already seen it, you HAVE to let me know what you thought about it! I’m dying to dig the series back up, even though much of the hype has died down, haha! Let me know if I did a decent job by hitting the like button (I appreciate it!), and until next time, this has been

– Takuto, your host

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30-Day Song Challenge Day 8: Songs That Make/Made You Cry

I know, shame on me for being a day late. But I’m not skipping any days in this challenge, so I’ll just post two today. Now to pick today’s songs . . .

Dammit, I’ve already used “Ichiban no Takaramono” from Angel Beats! *bites thumb*

Like I mentioned about sad songs, no song by itself has really made me “cry,” but in the context of a given anime, things are a little different. With that said, I’ll once again choose songs that, when played with their respective scenes from the show, make/made me cry. Grab your tissues, and here we go 😥

From No.6, “Kaze no Requiem” snug by either Nezumi or Safu

Spoilers for No.6 below. CAUTION

I know for a fact that No.6 is not a very “good” show from a reviewer’s standpoint. But because I think of myself as more of an anime fan than a critical reviewer, I’ll give this little show all the lovin’ I want! One of two male leads, Nezumi, sings this tune throughout the entirety of the series. Notably, however, it can be heard in the last episode when his boy Shion is shot. Mourning over the loss of his love, Nezumi croaks this song as the city around him is being torn to pieces. The scene ripped my heart out; everything from his choking gasps to the dry tears in his soulless eyes just hits me right in the gut. His normally rich, low voice becomes flaky and parched as he strains himself to protect what was once an upbeat, energetic youth, now a lifeless body. This song is both melancholy and uplifting at the same time, which to me is a rare quality to find in songs.

And here is the second version, which is the continuation and remix of Safu singing after Nezumi stops. Her voice is utterly enchanting, but I think the reason I like it almost more than Nezumi’s is the opera chorus that rings in the background. It helps recreate that heavenly feeling when Nezumi came in contact with Elyurias.

Also from No.6, “Rokutosei no Yoru” by Aimer

I don’t think I really need to explain myself, cause just listen to it, I mean, it’s not necessarily a happy song >.< I’ll spare you my banter, enjoy the song. This slow, depressing rock is great to listen to on long rides 🙂

From Shinsekai Yori, “Going Home” by Dvorak, 2nd Movement from the New World Symphony

I don’t even know what happened to me, but when that last episode cued and this song played in the last few minutes, I completely lost it. I don’t think I cried, but man, I was a complete emotional mess after that! Very seldom does classical music mash so well with anime, and From the New World incorporated the piece brilliantly.

From Puella Magi Madoka Magica, “Decretum” by Yuki Kajiura

Okay, let me just clarify that all of the Madoka songs brought many feels. But I think “Decretum” brought the tears home when I first watched this catastrophe. Though she’s not my favorite, Sayaka Miki was definitely the most depressing to watch. That fake yet triumphant smile, the way she flittered around with Madoka, her near selflessness to save another’s soul – isn’t that what being a magical girl is all about? She lived a tragic life, and the Law of Cycles claimed her being in the end.

From Code Geass R2, “Continued Story” by Hitomi Kuroishi

The greatest moment of Code Grass: The moment when you finally understand how Lelouch will put an end to the Britannian Empire . . .

Just listen to it. I won’t have to explain my feelings this way. Why does this guy have to toy with my emotions? God dammit, ALL HAIL LELOUCH, YOU RIGHTOUS BASTARD IN BLACK

So before I start thinking too much about all of these depressing moments, I’m going to go write the next challenge post. AGH, I gotta stop picking so many songs per day >.< See you in a little bit!

– Takuto, your host