Sword Art Online II – 15

SILLY.WHY

Why is Sinon playing this fantasy MMO she knows nothing about? Why wouldn’t she be committing herself to the hardcore MMO she has already invested herself in and knows very well? I mean, yeah, this is a minor point. At least she stayed somewhat within her character, although I’d have preferred a sort of role-reversal where she took on a male avatar in Alfheim-whatever-online.

Anyway, this episode was pretty boring. Mostly a setup with lots of exposition that made little sense and gave me no reason to care. There’s no more risk of death anymore, so why does anybody give a fuck about this random conflict in this passe MMO? It’s a raid. This is not a new and amazing thing. Did they just forget about that whole aspect of Sword Art Online, where it only works if there’s a lingering, contrived threat of death hanging above everyone’s heads? The answer is yes. They knew they already had enough of an audience to turn Sword Art Online into The Totally Platonic Adventures of Kirito Sue the Magnificent. Only it doesn’t fucking work. Why do I keep having to go back to this basic element of storytelling with everything I see these days? In all honesty, I would rather it be Kirito Sue and His Gals Make a Porno, as that might be slightly interesting, even though I’m gay and straight sex could not be less involving for me. How is this 16-year-old nubile male teenager surrounded by adoring nubile female teenagers not fucking each and every one one of them on a schedule scrawled out on a whiteboard in his room? That’s what any other male would be doing, not this shitty MMO crap. Far from being virtuous or noble, it just comes across as being both ridiculous and boring. And why is Asuna still calling Kirito “Kirito-kun”? The fuck? How creepy can this shit get?

Blah blah blah, some MMO raiders got a quest to go raid a dungeon. That’s it. That’s the entire plot of this next arc. What the fuck? Am I in some sort of nightmare of unending torment? Did Sauron the Deceiver kidnap me somewhere along the line and my whole life has been one cruel lie after another conjured for his amusement? No, that can’t be right. Sauron wouldn’t waste such an opportunity with something as dry and boorish as depicting a raiding harem. He had a much grander imagination than that.

You know what, fuck it. No more expectations. From this point forth, Sword Art Online II shall be blogged solely to lampoon it. Granted, that’s mostly what I’ve been doing anyway, but now I can just switch gears to full Apathy Mode. Cheers. Let me go pop some more popcorn. I always like mine slightly burnt.

Fate/stay night: Unlimited Blade Works – 1

Damn, motherfuckers. YSILLY.CAUSALITYou went all out on the budget for this one. Two consecutive one-hour episodes of this shit already, all in gorgeous HD animation? Good stuff for the eyes, ladies and gentlemen.

I remember the original Fate/stay night anime back in 2006. Eight years ago, huh. Time flies. I do have my bones to pick with the Fate/whatever universe, namely its overly complicated backstory that plays a huge part in all the characters’ motivations, yet can’t be introduced to the viewer smoothly in the anime due to how obtuse it is. Try reading the wiki on this stuff, people. I give you three sentences before it loses you on the nature of the Third Magic and why the fuck any of this shit is happening. Anyway, the Fate/whatever series have really always come down to crazy action and beautiful animation mixed with bombastic philosophizing, all done with a respectable amount of class. (Remember that?) I prefer to describe them as masterpieces of execution, as the underlying material isn’t very deep or thought-provoking. You come for the ride, because the ride’s done well and won’t throw you out of your seat while making you vomit, like some other series I’ve recounted on this blog already. Fate/zero was superb in this regard; I have high hopes for this outing.

This episode recounts the same period of time as Episode 0 from last week, only focused around Shirou Emiya, the adopted son of Kiritsugu. This was the worst facet of the episode, as Shirou has never been a compelling character to me. He’s just too much of a goody-two-shoes who stumbles through the series thanks to an insane amount of dumb luck, in contrast to the deliciously brutal competency of his father and almost every other participant of the previous Holy Grail War (with the exception of the hopeless douchebag known as Kayneth El-Melloi), which made Fate/zero so fantastic to watch. Competence porn is the best porn, hence why I always root for Rin. She’s naive in some ways, but focused, intelligent, and very much up to the task when push comes to shove. She earns her victories; Shirou gets many of his through writer fiat. From what I know about the plotline of UBW, though, I think Shirou is likely to be compromised to a certain degree and tapered into a more developed character compared to the last Fate/stay night anime. We’ll see, but first we have to get through the initial half where Shirou preaches on about saving people and shit without taking a hint. Ugh.

Also very pleased to see the return of Lancer, badass extraordinaire from the Emerald Isle. I’ve always liked his ability kit; Gae Bolg is an impressive weapon, to be sure, but his ability to reverse causality and ensure his spear hits his target’s heart is nothing but imposing. Saber only dodges it because she has her own divine luck that allows her to narrowly escape the blow; to be honest, that’s always been something of a lame cop-out for me, as I’d rather have seen Avalon regenerate the wound, but if Saber died in Episode 1, there wouldn’t be much of a series. Eh well.

It’s about time I had an anime I thoroughly enjoy watching, letting me wash away the pain of Zankyou no Terror with all due haste and eagerness.

Akame ga Kill – 1-3

I started this anime on a whim the othSILLY.KILLer day and found myself baffled within the first three minutes. Then I realized this show is taking the whole “conform-or-be-crazy” trope to a whole new level: everyone who is not a protagonist is a violent, depraved serial killer. For variety’s sake, everyone who is a protagonist is also a violent, depraved serial killer. I guess everything is a matter of degree, right? So this whole series revolves around “Night Raid,” a series of assassins who are part of a revolutionary movement who want to bring about the end of a corrupt government by assassinating everyone they think is involved in said corruption, including people who have nothing to do with the government, because reasons. This revolutionary movement has yet to be explained; its goals, manifesto, ideals, etc., are left undescribed and unsaid. Instead, the writers beat it into the viewer’s head that the government is evil by whipping out every comical stereotype of evil they can think of, including literal mustache twirling, to avoid nuance and the concept of grey in this ridiculous black-and-white world. In the first episode, some young tween rich girl does a hilariously unbelievable personality switch on the turn of a dime, going from kind, compassionate, slightly-ditzy-and-shopping-obsessed-rich-girl to Murderess Level 10, going on some maniacal rant about how she tortured a girl to death because her hair was straight without any obvious effort. I thought maybe the series was saying these people were possessed by demons, but that was only metaphorical, it turns out. These people are actually all insane for no discernible reason.

So I’ve kept watching past the first episode and I’m not sure if I want to keep going. Unless the series really goes beyond Tropesville and decides to realize that a simplistic story like this has no sustainable pull beyond violence porn, I don’t think I’ll be entertained for very long. There are only so many brutal eviscerations and physics-defying decapitations one can depict before it gets redundant. I think the author honestly didn’t care about what kind of story they were penning, only coming up with some vague literary scaffolding to hang the delicious violence porn over. The Imperial Capital is depicted as this bustling modernesque city with a consumption-based economy that is simultaneously mostly filled with slumdwellers and violent rapists and bullies. I’m not sure if that’s just lazy background design or shitty writing on the part of everyone. It’s frankly so unrealistic that it’s impossible to suspend one’s disbelief. I haven’t seen a series with as simplistic a geopolitical setup since Speed Grapher, which turned into a 24-episode-nightmare of what-the-ever-living-fuck-is-happening-she’s-fifteen-you-can’t-have-a-relationship-with-her-holyshit-we-get-it-capitalism-is-evil.

Human corruption is not so overt. When dictatorships and other such things arise, it’s usually done either with popular support or popular apathy, in which the majority of the populace is either prospering from the policies of the corrupt government and are so willing to tolerate its sins, as is typical in the modern world, or the majority of the populace is so removed from the government that its policies don’t really affect their lives much. In a situation such as depicted here, civil order would have collapsed a long time ago. Meanwhile, the revolutionaries either have no coherent goal they’re working toward or are playing their cards close to the vest, which makes me just as suspicious of them. In our democracy-loving, revolution-praising world, we don’t like to admit that revolutions have a disastrous track record, with nearly all of them ending up imposing governments that prove as bad or worse as that they replaced. If their whole idea is to just kill the corrupt people in power without destroying the system and replacing it with something more just and equitable, then I’m sorry to say that I think Tatsumi’s best bet is to get the fuck out of this empire and never look back. Except he won’t, because he’s a violent serial killer too, just not as depraved as everyone who surrounds him.

Someone also explain to me the logic of how people who revel in the moral simplicity of their situation, giving them the mental freedom to enjoy the thrills of butchering nameless henchman after nameless target, are somehow supposed to be respectable. These characters are all monsters to the ninth degree, and I don’t like watching monsters behaving monstrously unless there’s something beyond that, hence why the adoration surrounding Dexter and South Park continues to perplex me. Dexter I still don’t get, and I guess everyone now hates it because the ending sucked instead of how its protagonist killed people for fun; South Park was decent when it was trying to be satire back when it first began, but it quickly realized cheap laughs off of being assholes made way more money way faster, so they took that train and ran with it. This series lies sort of in the same vein: it’s way easier to make lots of money with mindless violence porn and a simplistic moral message that makes no sense than trying to do anything ambitious, like tell a more challenging, intelligent tale of human drama. Those have never succeeded.

(Cowboy Bebop; Planetes; Mushi-shi, Now and Then, Here and There; Fullmetal Alchemist; Ghost in the Shell: Stand Alone Complex; Neon Genesis Evangelion; FLCL; Welcome to the NHK; Wolf’s Rain)

Yep. Fuck trying. Trying is too hard.

Sword Art Online II – 14

Why is everyoneSILLY.INSANE in anime-Japan a complete sociopath? Even the bullies hounding Sinon are waving guns around and doing the most dickish things imaginable and laughing like maniacs all the while. The conformist message has to be starting to wear thin here even for the most unperceptive of viewers. ‘Tis entirely possible, anime writers, for people to fall outside typical behavioral norms without departing the sunny shores of sanity. One can not conform without wanting to rape everything. Well, except meme-Spiderman. That guy’s hopeless.

So blah blah, Sinon’s fine, and Kirito doesn’t get injected with the evil drug because Shinkawa just happens to stab the syringe in the one place where a metal diode for a heart-monitor remains, turning the whole scene into something more resembling a gay porno than anything else. (Oh come on, you know I’m right.) Then Sinon goes through a typical sequence of happy-resolutions while Kirito talks us to death for another half-episode. Blah blah. Then Sinon finally, finally, FINALLY realizes that defending herself from the crazy killer and saving everyone’s lives at that bank was a GOOD THING. My question is why does Sinon seem to mentally cast off the personality of Sinon? As if that’s a good thing? What’s wrong with being Sinon? Said personality has done nothing but help her be a better person. Why does she stop being a badass? In real life (or at least somewhere that is not Japan), Sinon might go on to be one of the top hardcore players in GGO, maybe making her living off competitive gaming and stuff. That would be a nice, strong, female character that would break some stereotypes. She might even become a gun aficionado and relish her knowledge and capabilities. Instead, her experience in GGO is subtly treated as if it were some strange aberration not worth repeating, so as soon as the GGO scenario is resolved, Sinon gets shuffled off into Kirito’s stupid harem, right next to Asuna’s worn-out vibrator. Kawahara Reki, I have some bad news: you suck at writing and are a misogynist pig, even though you might not realize it.

Tune in next week, when Part II of SAO2 starts going and we start this whole fucking cycle of death and despair over again. Better get your drink on.

Ph for Philosophy – Sides of a Coin

SILLY.WRONGSomehow I’ve already gotten several scathing comments about my opinions about Zankyou no Terror, one of them telling me I’m a lonely, depressed weaboo (I’m still not sure what that means) who only wants to see titties in anime. This person obviously did not read anything I’ve ever written on this blog, so that one found itself in an Aperture Emergency Intelligence Incinerator. I hope it’s screaming. Another comment I got, which I did approve, basically asked me unironically if I’m taking this whole anime thing way too seriously. I have a long answer to that which can be summarized in the comic to your left. Read on if you are so interested.

First: go read the Gundam Wing review I have linked at the top of the screen, then look up the meaning of the word “sarcasm” or “bombastic.” If you think my soul is writhing in anguish over how much I thought Zankyou no Terror sucked, you need to put more points in your Perception skill. This is something I do for fun, and as any critic knows, lambasting something in a dramatic way is loads of fun, especially when it unequivocally deserves it.

Two: look up the word “passion.” This is the other side of the coin of slightly-feigned rage you see on here. I love anime. I grew up on it; it’s influenced me greatly and I respect and adore what the medium can and has achieved. This means, interestingly enough, that I have some expectations and standards towards the medium, and while I can appreciate a mindless Dragon Ball Z here and there, much as I can watch something as dumb as True Blood for shits and giggles and think nothing of it, I do go into my viewings with a sharpened critical edge. From what I’ve seen in anime fandom, this is something of a rarity, as most people who watch anime on a regular basis, for one reason or another, do not use their brains when watching and eat shit up regularly.

The biggest problem with anime today is its fans. No, not the otaku who supposedly live in their parents’ basements and collect every action-figure of Love Hina you can think of. There are dorks like that for everything; I’ve met nerdy sports fans whose worship of their favorite activity would shame those of any otaku. Frankly, more power to them. I speak of those just below that level of commitment and passion:  the people who “love” anime in the most shallow and self-indulgent way possible, the ones who will buy anything with the term “anime” attached to it and love it to death because reasons. There are the legendary “250,000 otaku” in Japan who buy the same DVDs and stuff over and over again, but across the sea in Europe and America, there lurk their brethren of only a slightly different sort. These people have been watching anime for decades without learning a significant amount of Japanese or bothering to study up on the culture that so profoundly shapes nearly everything you see in the medium, stuff that, to me, sticks out like a sore thumb every time. These are the people who shout “kawaii!” unironically, actually sport some cat-ears and think it’s really funny/cool, think they know the difference between -san and -kun and how oh-so important they really are in English translations, think the Gundam franchise is still something worth watching, and yet somehow never develop any sort of sense of criticism or insight into the medium they profess to enjoy. These people infuriate me, because they have actively contributed to the continued decline of anime as a medium over the past decade.

I know this makes me sound like something of a hipster. Feel free to call me such, although I was watching anime when it started getting cool, not before. I have no memories of the pain of getting subs off VHS tapes or other legends I’ve heard of. I grew up in the Internet age of anime just fine, thanks, and I came into the anime on one of its waves of popularity. I do think I grew up in one of anime’s golden ages: the decade from 1995 to 2005, when shows like Cowboy Bebop, Neon Genesis Evangelion, Ghost in the Shell, etc., were all typical examples of what the medium was. This was anime at its best: a different take on so many themes combined with generations of cinematic and storytelling skill. None of these shows were without their flaws, but I can guarantee you that if Zankyou no Terror had been released in this period, it would have been laughed out of the room. Nowadays, though, Zankyou no Terror is “high anime.” Apparently “high anime” qualifies as plots that can’t even pass Storytelling 101, and all you have to do is fill out a form of vaguely intelligent tropes to make it seem kinda-sorta-thoughtful, and then everyone loves it. Geez, I don’t know how many times I rolled my eyes during Zankyou no Terror’s premiere: I knew basically what the story was before the first episode was finished. These are flaws that, in a Western book or show, these same anime fans would lampoon and deride as fiercely as I have, but since they view anime through an obfuscated cultural lens, they can’t recognize crap if it sits on their heads.

These anime fans are incapable of recognizing bad anime. Worse, they cannot comprehend why anime would be bad. They don’t even know what something like that would look like. Their worship of anime is truly insidious: that zombie-esque adoration that comes from not understanding another culture. When I talk about Japanese culture in Sword Art Online, I’m pointing out the grinding flaws and injustices of modern Japanese society that lurk between the lines. These reflect real problems that contribute to real suffering. When I point out how anime tends to offer only two options for a person–normal/conforming or psychopathic murderer–I’m perceiving a debilitating message reinforced to the Japanese viewer that these zombie-fans dismiss or miss because of culture. That message wasn’t meant for them, but their minds don’t even recognize it. It’s just normal or Japanese-y or something. It’s as blatant and insulting as typical racist stunts in American TV shows, something I know people are insulted by, but then again, that’s their culture and they grasp the implications. Japan is just another world, so they turn off their brains and let even the most brazen shit fly under their radar. Shows like Girls und Panzer, which have prepubescent schoolgirls driving tanks around in silly scenarios, reflect the creepy, misogynist sexual culture of Japan. The fans I speak of look at that and giggle: “Oh, it’s just Japan! They’re crazy!” Meanwhile, I see “Oh, look, way to degrade women in a new and innovative way yet again, Japan.” Those kinds of shows are bullshit, and you wonder why poorly developed female characters like Lisa show up everywhere.

Speaking as someone of Asian descent, I find it hilarious when people go to Asian countries or behold Asian antics on the Internet and get a taste of real Asian culture, all the dark sides that sit beneath the well-lacquered surface of saving face. Take the League of Legends World Championship. People are shocked, shocked, to find out that most Asians are horrifyingly racist, misogynist, nationalist, jingoist fucktards, but then they watch Girls Und Panzer or Zankyou no Terror while gleefully shoving popcorn into their mouths. I’m sorry, what didn’t tip you off to this? The fact that nine-year-old girls in sexualized military outfits are driving tanks? You think that’s a healthy thing to depict? Uh, no, you idiots, and culture doesn’t fucking excuse it. Or how some random Americans can bully the Japanese government around without any explanation? What do you think that said to the Japanese viewer? What do you think that said to you? Hey, did you ever think about how the Americans might have a legitimate reason to be concerned about Japan building nuclear weapons in secret? Did you ever bother to analyze what was going on? Because it’s not gonna change if you keep letting this horseshit get away scott-free.

I’ve been reading other people’s reviews of Zankyou no Terror. They’re exactly what I thought they would be: “the finale was flawless, everything was resolved, no threads hanging. What a fantastic show!” Oh, really? By what standard? By what measure was Zankyou no Terror good? Because Yoko Kanno wrote the music? Can you give me a damn good reason why this show was worth our time? You ate it up because it tickled your brain, not because it made you think, and you sure as hell didn’t consider how the show could have been improved or how its message and plot made no sense whatsoever. You liked it because it was “anime.” That’s it. Not because the anime gave you anything substantial. It’s anime, so it gets a free pass on anything and everything.

I criticize anime so mercilessly because I love it. I have passion for it and really want to see it surprise and astound me with its potential. Few shows changed my life more than my first viewing of Stand Alone Complex sometime back in 2005. A futuristic show that explored social changes in the light of technological advances? It was mindblowing. Now we get this crap, and even anime directors are recognizing the medium is spinning its wheels at best. I’m pretty sure it’s not my semi-hipster brain imagining things. Anime is not what it used to be, and it’s fans like these that perpetuate the cycle. If you keep acting like nothing in anime is ever wrong, if nothing is worth ridiculing, if nothing is worth writing pointed blog posts on the Internet, then those studios will keep cranking out the same nonsense. I have standards when I watch anime, and if those standards aren’t met, I speak my mind. Episode 9 of Zankyou no Terror was superb; that makes me even angrier when I realize the ten other episodes of the series weren’t worth the paper they were printed on.

Excuse me for caring.

Sword Art Online II – 13

Shinkawa, that randSILLY.EXPECTEDom, slightly isolated admirer of Sinon’s we haven’t seen in forever, is actually one of Death Gun’s cronies. Shocking. I will refer back to yon post here, six episodes ago, when I predicted exactly this.

Also, Shinkawa is a complete psychopath, because this is one of only two options in Japanese society: you are either perfectly normal and conform to Japanese cultural norms, or are batshit-holyfuck-allworkandnoplay-craaaaaaaaazy. There are no alternatives. Why else wouldn’t you conform to Japanese society unless you were completely fucking crazy? Only crazy people wouldn’t conform. I mean, seriously now.

Kirito beat Death Gun, thanks to Sinon finally figuring out she could do something, which she did. Plot Twist of 2014.

Following on this very concrete example, Sinon got it into her head that she’s not a worthless piece of crap and that she is capable of doing things to affect her reality for the better. Great. Why did that take 13 episodes?

Kirito also didn’t let things slide and realized Sinon might still be in danger. Common sense is a useful skill.

The nurse surrounded by IVs in a modern Japanese hospital outright stated that Kirito is actually at risk of being dehydrated. Um. No. No, he’s not. Not if you actually know how to do your job, bitch. Are you even a nurse? I’m seriously starting to question your creds.

In other news, generic anime is generic, but I’ll admit: this episode was fun. After three weeks of being talked to death, anything can seem exciting.

Zankyou no Terror – 11

It’s settled: this sSILLY.FUCK-YOUeries is a complete piece of shit. Not even Yoko Kanno’s music could save it.

Nothing paid off. There were no answers. No resolutions. Zilch. Jackshit nada. Nine and Twelve just fucking die, and that was the best part of the episode: these two crazed, psychopathic, murderous fucks finally bit the bullet (in Twelve’s case, literally) and got what they fucking deserved. Meanwhile, they detonate a nuclear bomb in the stratosphere under impossible conditions (did you know a simple hot-air balloon can outclimb a fucking F-16 or its weapons components?), scattering radiation all throughout the earth’s atmosphere, destroying dozens if not hundreds of satellites, blinding tens of thousands if not millions of people, horrifically damaging Japan’s geopolitical position and social stability, and destroying the country’s entire electronic infrastructure, thereby sending the whole country plunging into a massive economic depression and wreaking untold suffering and havoc on over one hundred and twenty million innocent people for years. WHAT FABULOUS HEROES. WHAT PARAGONS OF VIRTUE. HUMANITY APPLAUDS YOU.

Oh, but “Von” means “hope” in Icelandic. That all makes up for it, right? That was the payoff we were all waiting for, right? I forgot that Shibazaki somehow represented Oedipus. To which I answer: HOW? HOW THE FUCK DOES SHIBAZAKI REPRESENT OEDIPUS? HIS CHARACTER AND ROLE HAD NO RESEMBLANCE TO HIM WHATSOEVER. DID YOU EVEN READ THE GODDAMN PLAY, YOU FUCKWITS? OEDIPUS IS A COSMIC TRAGEDY. THIS IS A FUCKING COMEDY OF STUPID.

This inane statement by Nine totally fits with Sphinx’s whole MO of incompetent terrorism that ultimately had no rhyme or reason behind it. It was just a childish tantrum of revenge against Japanese society for crimes a handful of politicians inflicted on them in secret. I was happy when Twelve got shot. I really was, even though there was no reason for the Americans to shoot him over the guy holding the detonator. Why not just shoot Nine instead? Oh, wait. They had to kill off Twelve first so that everything would be tied up in a neat little bow and seem poignant to idiots watching this show. This is not how you make an anime. This is never how you should make an anime. No one must ever make an anime this insultingly pretentious and grossly ill-constructed ever again.

Yoko Kanno can do wrong. I’m sorry, but it’s true. No one’s perfect, and some people are going to hell, specifically all the people whose names flashed onscreen during the last three minutes. Excuse me, I have to go call Light Yagami and tell him to get on that shit.

Sword Art Online II – 12

Oh my God, another fucking 20 minuteSILLY.FUCK-THISs of talk. It’s been three goddamn weeks. I nearly had a heart attack when something actually happened in this episode towards the end. Kind of. Did their animation budget run out and they decided to skimp on three episodes so they could animate the bullet-time stuff? Geez.

Oh, and of course Death Gun has a melee weapon hidden in his gun…a weapon he crafted, because his rare sniper rifle has a module that allows you to put a crafted weapon in it…and when was this mentioned anywhere in the series? Aren’t there weight restrictions? Can’t the writers stick with the established themes and limitations of a character for one fucking day without having to resort to another surprise or plot twist just to make things interesting and avoid being a tiny bit consistent? Seriously, why not just make it a fucking duel between Death Gun and Kirito based on the capabilities and constraints we’ve seen so far in the past twelve episodes? Is that so radical? Is that so hard?

Hey, Sinon, I have an amazing idea: why don’t you take this opportunity while Death Gun and Kirito are talking and standing still for ten minutes and fucking shoot Death Gun in the fucking head? I mean, why not? You can’t hear what they’re saying; you can’t possibly be distracted or captivated by it, and there’s no way Death Gun can convincingly duel Kirito and dodge sniper bullets from you, but he’s just standing there painting a huge target on his head that you don’t exploit because the writers are focused on BIG REVELATIONS and not thinking about anything else. If the prose in this series were any higher than second-grade, this whole anime would be over by now.

But expect more of the same, kids, because we gotta drag this shit out and milk it as long as possible. God help us if we take risks and challenge ourselves and our material.

(By the way, we have twelve more episodes of this.)

Zankyou no Terror – 10

What a fantastiSILLY.LOST-THE-PLOTc penultimate episode, closing out some lingering plot lines and using characters to their fullest to create a dramatic connection with its viewers, all the while setting the stage for Le Finale Grande. I was truly impressed.

The above is a very bad joke.

Yeah, this episode sucked, probably because the series tried to pull out a climax out of characters it never bothered to develop past the outline stage, since it was so busy distracting the viewer with LOL WE READ OEDIPUS plots. Maybe I might have cared a bit about Five and her relationship with Nine had it actually existed. You know, had we seen it played out in some concrete fashion. Had we been shown why she was so obsessed with Nine, why they had a connection, what kind of past they had, etc. Maybe we might have cared about Twelve’s depression after “betraying” Nine had we seen any sort of friction between their characters before the ninth fucking episode. Maybe all of this might have worked had the writers of Zankyou no Terror gone back to school and learned the basic structure of a plot and the basic mechanics of character development.

But fuck that. Once again we have a plot that makes no sense, all of which would have been prevented had the fucking police had bulletproof glass in the van carrying Nine. This is a standard feature of police vehicles, I’m pretty sure. This would have stopped Five’s measly handgun from shooting out the driver and setting up the absurd situation in which the episode ended. In the space of about three minutes the characters die multiple times but continue living anyway because of plot inertia. And then finally Five kills herself in her last throes after kissing Nine (meaning what?) and shooting the leaking fuel with her gun. Okay. Was that supposed to carry any emotional weight whatsoever? Because it didn’t. Who fucking cares.

Our grand climax turns out to be another absurd scenario where Nine lets loose a fucking atomic bomb to float in a hot-air balloon above the streets of Tokyo. How is this supposed to be a problem for the authorities to resolve? Hey Joe, what’s with the hot air balloon floating smack dab in the middle of the city? That seems kinda odd. Maybe we should go check on it. And how does this make Nine anything but one of the most monstrous terrorists in the history of the world? Threatening the most populous metropolitan area in the world (40 million people and counting!) with a fucking atomic bomb. Oh Yay! I’m totally rooting for him now! Who the fuck is the main character in this series? Who is the protagonist? Who is the antagonist? What are they doing? Why are they doing it? What the fuck is going on? How about some fucking answers?

Let me guess: Nine’s gonna teach the people of Japan a lesson about their terrible government and blah blah blah blah blah blah. Fuck you. You don’t have to whine whatever sobstory about how the government mistreated you or preach some forced geopolitical mantra by threatening forty million innocent people with nuclear annihilation. Fuck you, Nine. Fuck you, Zankyou no Terror. Fuck your shitty writing team and its hack, undergraduate prose. Fuck this pretentious bullshit.

I’m gonna go do something fun and wait for next’s week batshittery.

Sword Art Online II – 11

Somehow this episode wSILLY.STEWIE-GUNas worse than last week’s. I don’t know how, but it succeeded. There was even more Talk no Jutsu, followed by Kirito and Sinon making even more hilarious assumptions about who Death Gun is. By the way, some of the stuff Kirito finally surmised was pretty obvious, the first part being the fact that their Space Game Helmets can’t stop their hearts, given they’re not even connected to one’s heart in the first place. That doesn’t rule out brain damage and such from electrical shock, but again, a safer assumption is that manufacturers made sure these things were pretty damn safe. So if Death Gun can’t magically kill people from afar via computer code, then he’s somehow arranging their deaths in the real world. Makes sense.

Beyond that, though, everything Kirito and Sinon “figured out” about Death Gun while they were talking for twenty more minutes in slightly varied camera angles was the most contrived scenario I’ve seen in a while. His entire MO relies on this MMORPG requiring people to publicly display their personal information. That’s awfully convenient, you know. Why would any popular MMO do this? If it did, it certainly wouldn’t be popular.

Anyway, so Death Gun has an accomplice, right? The theory is that this accomplice incapacitates someone’s physical body while the in-game Death Gun gets ready to shoot them on screen and time their actions perfectly to create the illusion he has the power to execute people in-game. Right…so…first off, why isn’t there a way to temporarily disable the visual immersion of the Space Game Helmet so you can check your immediate surroundings? This seems like what any manufacturer of a VR device would do: make sure your connection to the real world is not so easily severed. Ignoring how people would demand this simple convenience, this sort of scenario with Death Gun would be the most obvious danger to the user. At the very least you should be able to access things like email and texting so you can keep in contact with people, right? Second, why does Kirito somehow think waking one’s self up to fight this accomplice is a bad idea? How do you even know he’s there at the time? Assuming they have a limited amount of whatever combinations of drugs that let them incapacitate people and cause cardiac arrest, they’re probably going to save this ritual until the very moment they’re sure they can pull it off. So the idea that Sinon is incapacitated in the real world at this very moment is absurd. Third, why does Kirito think the accomplice is injecting some sort of chemical into a person in order to incapacitate them when no medical evidence suggests this is the case? Even though bodies decompose, lacerations and injuries do not heal after people die. (Duh.) They’re pretty easy for coroners to find. Fourth, why doesn’t Kirito log-out or contact the fucking police so they get to Sinon’s address? Or the hospital where he’s at? In other words, why aren’t these people using their brains? Even if Sinon dies, they can still catch Death Gun’s accomplice with ease.

By the way, I wonder what “Sterben” means. Apparently Google doesn’t exist in the future, considering it took me three seconds to answer this question. What, does GGO not have an in-game browser at the very least? How lame is this “hardcore” MMO? It makes you put in your personally identifiable information in public, but it doesn’t have an in-game browser. Fucking EVE has that.

Maybe something will happen next week. Maybe they’ll all die.