Mayoiga: A Village Lost, But How Far Off the Trail? | Review

A brief spoiler-free review of the 12-episode spring 2016 anime “Mayoiga” or its English title “The Lost Village,” produced by Diomedea, directed by Tsutomu Mizushima and written by Mari Okada.

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While I didn’t watch every airing show this past spring season, I do know that many stirred lengthy discussions and debates. In the case of The Lost Village, you’re going to see my thoughts regarding a show which received so much negative feedback that some people even began to reinterpret its intention entirely just to decipher if it was actually clever or plain crap.

A New Life Awaits

Simply put, I’m sure more people than you’d expect would easily raise their hands at the chance of getting to restart life in a Utopian village. And that’s exactly how Mayoiga begins: 30-some-odd children and adults chosen by an internet survey are gathered on a bus ride to paradise. This village lost in the mountains is so hard to find that even the police can’t seem to mark it on a map. Only a handful in our eccentric troop dwell on the sketchy project until they reach their destination — Nanaki Village. After all, the party is more concerned about how they’ll want to live once they exit the bus.

Mysteries start piling up one by one. The village seems to be abandoned, yet everything is orderly and the houses seem fairly clean. They also discover a recently-gardened patch on one end and bloody claw marks scratched into trees on the other. The forest in particular seems like it’s shrouding something. As if more tension was needed, some members of the party vanish without a trace, and like clockwork, it becomes only a matter of time before superstition and doubt plague the group like wildfire. Now begins their true test of survival, for monsters eagerly lurk within the minds of the doubtful run rampant whenever escape is attempted. Is it a curse? An illusion? Or are these seemingly otherworldly phantoms just messin’ with our heads?

Something is Missing . . .

Does Mayoiga provide thought-provoking ideas? I’m still not entirely sure myself. On one hand there’s a certain level of personal acceptance that doesn’t go quite as far as I was hoping it would. Instead of confronting their past, they flee desperately, clinging to ignorance as bait. While its execution is unique, it isn’t all quite there. Perhaps you can lend it to the enormously underdeveloped cast, or maybe it’s the poor balance between character skepticism, village mystery, and heavy-handed theme. I suppose that’s why you end up feeling slight satisfaction for only half of the cast. The lack of character motivations (why they wanted to restart) for the remaining ensemble also didn’t give me enough reason to give two shits if someone went missing or died.

On the other hand, it’s also tackling superstition in that ugly Salem Witch Trial style. What prevents this ‘climax’ from being truly powerful is the fact that these guys are dumb. Plain stupid. Why can’t we talk each other — question each other, even — instead of raising a weapon? Unlike Salem, religion isn’t the issue here. Neither are societal bounds (cause they’re in the middle of nowhere). They’re all just FRIGGIN’ INSANE, dumping their doubt on one little shady girl in hopes that, like their pasts, the terror be offed.

A Bus Full o’Freaks

I also can’t talk much about the characters due to spoilers. When I say that, I just mean the main trio: Mitsumune, Hayato, and Masaki. Mitsumune is an awkward soul, having only been friends with Hayato and not getting much contact with the female species. He really doesn’t know anything, but we can’t blame the unknowing, now can we? Hayato is a smart guy you’ll only find hanging around Mitsumune for his own reasons. Masaki, the group’s verbal punching bag, is a young girl rooted in a suspicious past. She also claims to not know anything, yet she is somehow tied to the village . . . I really don’t mind these three, but most of the others — especially that batshit insane execution girl — are simple-minded and annoying.

Going into it, my favorite was Koharun, the shady tour guide, as she really felt suspicious and I love feeling that way. By the end, though, that position was taken by the flirtatious [I swear she was a prostitute] woman with the high heels because EVERY SINGLE THING she said was sexually implied, and that’s just awesome. Her and the pudgy detective girl. She was pretty cool, too.

Facing Our Fears. Literally.

Now, the sheer illusionary work behind the animation team really makes up for the supernatural ‘talk’ the characters boast about. Raw CG was used like crazy in most of the nightmares that stalked the cast, and while that alone looks terrible, the fake appearance enhances the oddity and spookiness of it all. For once, asking the 3DCG “What the hell are you even supposed to be?” is a complement. Let it all rattle your brain. Outside that, characters look pretty nice — almost something out of P.A. Works — but the dialogue scenes are really boring.

Masaru Yokoyama’s soundtrack is by far the winning aspect of this series! Apparently he also composed the OSTs for Your Lie in April, Rampo Kitan: Game of Laplace, and Lord Marksman and Vanadis among others, so make of that what you will. His chosen style here is obviously mystery and suspense, as the main theme and its many renditions is especially haunting, the kind of “LET’S GET OUT OF HERE” music you need with a show like this. Sadly couldn’t’ find any tracks on the web but the damned Hippopotamus song (my heart goes out to thee as best song). Just know that the OST effective in establishing mood if the creepy village didn’t do that for you.

The opening “Gensou Drive” by Ami Wajima was also fairly good, though I much preferred the ending theme “Ketsuro” by Rina Katahira. It’s much slower, more wound down, and unfitting for the show’s overall tone, but I couldn’t help but look it up afterwards to add it to my playlist. Its position is similar to Parasyte -the maxim-’s ending: slow yet oddly yearning for hope. Visuals were boring as heck, but a nice song nonetheless.

Final Thoughts

At the end of the day, I’m just so tired of reading about The Lost Village. The community has exhausted me on this one — To quote Lovepon, “Grabbed each of my legs and tore in opposite directions.” I went in with a lot of excitement for a hot mystery show and ended up with a slightly twisted yet comedic take on rebirth. I’ll admit that it had me going for the first five or so episodes, but once the ghouls revealed themselves, it didn’t take off like I thought it would. Was I supposed to be scared? Maybe . . . ? But I still laugh that I tried watching this at night and got too scared to leave my room to pee, hehe.

The Lost Village is to say the least an oddball, and regardless of whether it was trying to be a satire of horror mysteries or something like that, I can confirm that it fell flat on its mission. I think it all just strayed waaay too far from the trail it seemed to promise, much like a wanderer looking for paradise who got lost in the process. As a simulcast, however, I cannot deny the fact that I kept coming back each week just to see how it would end . . . Like, the bus went up in flames, but how far would it roll down the hill?

Pretty far, actually. I can’t see it being brought up ever again after a week or two.

“I’m interested in the results.” – Lion

Final Assessment

+ Given its composition, village mystery vibe kept up a good ¾ of the way in

+ Main theme song in OST fit the eerie tone perfectly

– Poor balance between characters’ skepticism, actual village mystery, and themes it might’ve been trying to press

– Enormous cast with lack of believable drive and development from those move forward; stupidity is contagious

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I’m slightly annoyed with Mayoiga as is, so you’ll find it here under the lowly “Breads” archive. It’s not bad, but there are so many other anime out there that explore the same concept, yet do it better. Like Angel Beats! for the personal acceptance stuff or Another for the superstition bit. The show also could have been interesting and made me have wanted to think had there not been so many troll characters. Did you follow The Lost Village this season? If so, how did you feel about its overall presentation? Until next time, this has been

– Takuto, your host

 

“W” Does Not Stand for “Wonder” in Dimension W

A brief, spoiler-free review of the 12-episode winter 2016 anime “Dimension W,” produced by Studio 3Hz, based on the manga by Yuji Iwahara.

Enter the near future – 2071 to be exact – and you’d find a world transformed and reinvented by “coils,” battery-like bolts which tap into the fourth dimension to channel unlimited energy. Though New Tesla energy company’s coils can be bought off shelves, secretive bootleggers would rather sell illegal coils to earn a living in this seemingly Utopian era.

Not if they are stopped by Collectors, though. These individuals hunt down private companies and illegal coils for a bounty, often living reckless and dangerous lives lit by the night sky. Dimension W enlarges the life of Kyouma Mabuchi, a Collector with a pretty scarred past that caused him to detest coils—He refuses to use them for anything, be it powering his car or a gun. On one particular spree, Kyouma runs into Mira, a robot girl who runs on coils like we rely on blood. As Kyouma grudgingly extends his rough hands for a partnership in the biz, the two uncover the truth of this elusive fourth dimension and how its entire foundation might actually stem from Kyouma’s long-lost past.

Looks are deceiving. Much as how Mira (despite being a robot) is surprisingly more humane than Kyouma, Dimension W has the solid setting to create an unimaginable sci-fi story, yet falls short in nearly every department. Namely, it fails to further explain what exactly a “coil” is. We know what they can power (and what happens when they are disrupted), but we don’t know how they work. And for a science fiction series, breaking down what futuristic concept is being introduced should be the first priority. Now, we did get a half-assed reasoning in the last episode, only to find out it was based on a faulty concept all along. Pretty sure that’s not how energy works . . .

Where this anime does shine is in its characters. Specifically, the leads, Kyouma and Mira. The dynamic between them is great, the vintage Kyouma always muttering “piece of junk” rather than the android’s name as if he defies the idea that coils can produce something so human in nature. In fact, he’s like an old man resisting an iPhone because he knows how unprotected technology leaves folks these days. Kyouma’s veteran past may have left him stubborn and grim, but Mira, for some odd reason, is able to break through his wall and find a beating heart under that worn, red happi coat of his. I mean, Mira is adorable as f***, so it makes sense. Over the course of the series, Kyouma will grow to accept and respect this lime-haired heroine, and that development in itself is a huge driving factor for the show.

The actual plot lacks a cohesive run. Dimension W’s first five episodes are an incredible mix of mystery, high-energy action, and wonder (I even thought for a while there the title’s “W” stood as such), but after an intense two-episode story midway, the setting is shifted towards a location rooted in memories of the past – Easter Island – and the plot becomes unraveling the events which took place back during Kyouma’s Grendel days. We seem to have ditched building on the futuristic setting and the ‘wonder’ surrounding the coils for a lame survival battle with a crap ton of new characters with zero background. Like, what? I thought the show was about Mira and Kyouma and their suspenseful jobs as Collectors fighting off the enigmatic masked cyborg “Loser.” This could’ve been the next Psycho-Pass, but instead we got yet another sci-fi with an unmemorable plot! All was especially disappointing considering FUNimation Entertainment’s first-ever assistance/partnership with the show’s production. I was really hoping for a bang!

At least the technical execution was pretty faithful. Very little has come from Studio 3Hz, but the team managed to pull off a halfway decent-looking anime. While watching Kyouma throw his skewers all over the place was amusing, there were quite a few noticeable shortcuts made. One is that on occasion, characters will be zoomed up during dialogue with solid-colored backgrounds behind them. Another was the lazy animation in the last couple of fights, particularly that of with the show’s lame antagonist. Again, I really enjoyed the character designs and the first few episodes. After that, not so much.

What really got me was Yoshiaki Fujisawa’s epic music. You may recognize his soundtracks in Gate, Love Live!, Yuri Yuri, and others. Watching FUNimation’s Production Diaries on YouTube, we got insight into his inspiration for writing not only DW’s music, but soundtracks in general. Really interesting stuff for a music buff like myself.

By now it should be no surprise to you that I was pretty disappointed with this anime, especially after seeing many behind-the-scenes clips and knowing the work that went into the project. When it comes down to it, the plot is the one at fault. Dimension W had great potential, starting off with strong leads and an impressive premise. Once the ball got rolling, all I kept doing was looking back at the previous episodes (well, that and the clock to see how much more time I had to wade through), and I felt the show itself was doing the exact same thing. The conclusion was also pretty lousy, given that I came in wanting to exploit the coil system rather than the scientists who made it. Fantastic start, but a hard flop to the finish.

“I think things that remain even after time passes are wonderful. It’s proof that the people who made them and used them were alive. By holding them dear, I think it makes the present shine even more.” – Kyouma’s wife, Miyabi Azumaya

Enough about being trapped in the past! What did you think of Dimension W? Did you make it all the way through? I know several decided to drop the show, and while I wish I was able to do that, I’m the kind of guy that needs to see things through ‘till the end. My report: Dimension W will be recognized as a “Coffee” here at the café! Not bad, just a bit too bitter for my taste. I’m still catching up on comments from the last review, but let’s talk more about the show down below! Until next time, this has been

– Takuto, your host

 

 

From the New World Review

I always used to think that sci-fi was robots, high-tech cities, and people in black suits shooting guns at other people in black suits. Flying cars, neon lights, and stainless steel, right? Well I’m not all wrong, but I’m certainly not right, as here is Shinsekai Yori (From the New World), a psychological mystery drama that uses themes from the supernatural and the occult to create – yep, you got it – a science fiction anime. Prepare to abandon all sense of worldliness and jump into your traditional Japanese village, where, for some reason, something doesn’t feel quite right . . .

Unknown apocalyptic events have passed which destroyed most of the world. Taking place 1,000 years in the future, we are met with a small Japanese village of humans that have supernatural, psychic Power. Two Committees maintain peace and judgment: Ethics and Education. On the surface, they are the ones maintaining this masterful, humble utopia, but these Committees actually regulate information and manipulate reality in the village. Whether it’s by “banishing” troublesome individuals or even subverting one’s own memories, they will risk any and everything to maintain order.

There’s always this dangerous aura that spurs from the setting, making each and every day in class risky. Adventures outside of the village barrier, which no one is allowed to leave, are hazardous, yes, but exhilarating and unknowing. As far as you know, everything outside the gates is desolate and menacing. Rules upon rules established by the Ethics and Education Committees allow for “thinking in the box only,” and actions that go against these authoritative groups warrant unimaginable punishment. Thus, the theme proven most effective to preserving protection in the village is to use FEAR as a means to influence and control the youth. Well done, From the New World.

Our actual story centers around Saki and her four friends: Satoru, Shun, Mamoru and Maria. We witness the development of their Powers in school (some more than others) and the truths of the real world outside the village. From child to teen to young adult – innocence to rebellion to experienced –  we follow five youths that will inspire the drive for hopeful future of change.

What’s obviously the best part of this anime is the particular care that went into telling a great story. It seems that at all times, we are shown only what we need to be seen for the time being, much like a novel, filling holes and uncovering twists at the end of each chapter. Speaking of, the show was based on “Shinsekai Yori,” a Japanese novel by Yusuke Kishi. That’s right, not a light novel, not manga, a “book” book. That explains why the anime feels like something all teachers would make their kids read. It requires that kind of technical thinking.

But it’s not all smooth sailing – no – because like books, each “chapter” of the characters’ lives begins so painfully slow. Told from Saki as the narrator flashing back on the events, the time skips include life at ages 12, 14, 26, and 36. The pace only picks up towards the end of each arc when they decide to info dump us, a reoccurring problem.

Another issue I had with the show was actually the Powers. To what is their extent?? Levitation (of body and objects including giant rocks), pyrokinesis, the ability to reassemble glass, drawing with the mind, creating reflective surfaces out of nothing – seriously! What can they not do? I understand that each person has some sort of practice unique to them, but still, with all things considered, I feel that they could at least be living in a city with their powers rather than some weird collection of occult shanties (no offense). Also, they cannot kill another human due to the “Death of Shame,” a genetic trait which causes them to die instantaneously if they use their powers to kill another . . . umm, I guess it’s conventional, but that’s it.

The characters are developed well enough to identify definite progression since episode one, especially Saki and Satoru, but that development comes with discovering the events that led up to present-day. Well, that and the Monster Rats, humanoid mutant rats that live in colonies and obey the psychic people like gods.

In fact, the most interesting character in the entire series is a Monster Rat known as Squealer, a helper of Saki and Satoru in their early days outside the barrier. I literally can’t say anything due to spoiler’s sake, but do keep an eye on this creepy fellow – he performs some very very commendable acts as a main character . . . some wicked, Machiavellian acts we’ve all seen sometime before . . .

I found the animation by A1-Pictures to be gorgeous: soft sunrises, intense sunsets, luscious forests, and beautiful character designs. While it contributed to the atmosphere of the show marvelously, including the vast difference between the village and “Tokyo,” it’s not 100% satisfaction.

Apparently there was a change in staff when it came to design work and animation around earlier/mid episodes that fluctuated between two totally unlike styles – neither of which were bad, just noticeably different. Another weak point was the Monster Rat Colony fight scenes. The boulders are so CG and glaringly horrendous that I just laughed the whole time!

Sound-wise, hair-raising tracks boost the suspense and inevitable horror. In contrast, subtle adventurous songs for exploring helped establish various moods. A standing ovation, however, goes to “Ienikaeru (Going Home),” which is actually composed by Dvorak and coincidently, from the 2nd Movement (Largo) of the “From the New World” Symphony. Being a classical nut, this tune as the evening “children, return home” theme that plays over speakers in the village completely through me off. One of my all time favorite classical works, on the verge of tears when this played at the end 😥

Oh yeah, Yuki Kaji’s freaking awesome as always, performing the role of Satoru with such strong conviction and youthful stress. Always great to listen to him!

One of the biggest reasons I love From the New World is because it reminds me sooo much of No.6, another one of my first anime that I hold to heart. Soundtrack, dystopia, youth, romance, suspense, thriller, science fiction – it’s got it all, too, but this anime did what No.6 didn’t, and that was deliver with a fulfilling ending. I never, ever got closure from watching that anime a couple of years back, no matter how much I searched for “anime like No.6.” I can finally rest easy.

Despite being just a science fiction story, this anime feels more scary real than anything else I’ve encountered in a long while, and that could be because of its realistic characters and their actions. Its analysis of the human condition through a dark, manipulative plotline adds so much depth and curiosity that you’ll be guessing until that last episode, but no more than that. Why? Because by the end of the show, From the New World does not get very far at all, but it paves the way to a more hopeful future instead, and after all of the wrong, disturbing, and twisted carnage that I bore witness to, I could not ask for more than that.

“We have to change our way of thinking if we really want to change the future.” – Watanabe Saki

+ Mastered storytelling, made gripping and curious until the very end

+ Incorporation of “Going Home” really made the mood shine

+ Thriller tone so realistic like nothing I’ve seen in a long time; fresh, clean slate after viewing

+ Satisfying ending that delivers justice to the show

– Brief animation issues

– Info dumping in the beginning/middle of each new arc made for rugged understanding

Wow, this anime was so hard to talk about! It’s such a beautiful story that you should defiantly check it out. It’s not for everyone, but for those seeking something completely different than the norm and/or are wanting a clean slate by the end, you can watch the whole thing on Crunchyroll for FREE! Thanks so much for reading my emotional report over From the New World, and in fact, thanks world for the joyous experience! Beware the Trickster Cat, and until next time, this has been

– Takuto, your host