Will we ever get anything quite like Code Geass again?
I don't think it's possible.
Code Geass is Japanese nationalist propaganda disguised as a global political drama, disguised as a military mecha show, disguised as yaoibait, disguised as a teen melodrama, disguised as a high school romcom, disguised as a Pizza Hut commercial...
...except those layers aren't layers at all, but are instead comingled in a giant snake ball of insanity.
The lead writer, Ichirō Ōkouchi, only ever worked as an episode writer for other shows prior to Code Geass, and never took the helm of an anime series ever again. And it shows. [EDIT: Several people have pointed out his other lead writing credits to me. So I misread Wikipedia—sue me. I maintain that this guy is a better episode writer than he is a lead writer.]
The minute-to-minute pacing is impeccable from a mechanical standpoint, with tension and stakes rising to ever-higher peaks, balanced out by the slow simmers of the b-plot and c-plot. It keeps the viewer on the edge of their seat at all times. Meanwhile, the large-scale plot is the most off-the-wall middle school nonsense I've ever seen, continually surprising the viewer by pulling twists too dumb to have ever have been on their radar—and therefore more effective in terms of raw shock value.
"Greenlight it!" was the mantra of this anime's production. It must have been. It has, in no particular order, all of the following:
Character designs from CLAMP, the foremost yaoi/BL group in Japan at the time—for characters who are only queer insofar as they can bait the audience, and only straight insofar as they can be more misogynist to the female cast.
Speaking of the female cast, hoo boy the fanservice. We've all seen anime girls breast boobily, with many cases more egregious than Code Geass, but there's something special about it happening immediately after—or sometimes in the middle of!—scenes of military conflict and ethnic cleansing.
Pizza Hut product placement everywhere, in every conceivable situation. High-speed chases, light slice-of-life scenes, intimate character moments, all of it. Gotta have Pizza Hut.
The anime-only Pizza Hut mascot, Cheese-kun. He wears a fedora.
The most hilarious approximations of European names—which I would love to see more often, frankly. Names like, I dunno, "Count Schnitzelgrübe zi Blanquezzio."
A depiction of China that is wholly removed from any modern reality, with red-and-gold pagodas, ornamental robes, scheming eunuchs, and a brainwashed child empress. There's a character named General Tsao, like the chicken.
Inappropriate free-form jazz in the soundtrack, intruding at the most unexpected times.
A secret cabal not unlike the Illuminati, run by an immortal shota with magic powers, holding influence all across the world, at the highest levels of government. They matter for approximately three episodes.
An unexpected insert scene of a schoolgirl using the corner of a table to masturbate. She's doing it to thoughts of her crush, the princess Euphemia—because she believes Euphemia to be as racist as she herself is, and that gets her off. This interrupts an unrelated scene of our protagonist faction planning their next move, which then resumes as if uninterrupted.
Said schoolgirl, in a fit of hysteria, threatens to detonate a worse-than-nuclear bomb in the middle of her school. She then goes on to develop an even more destructive version of that bomb, and become a war criminal, in a chain of cause-and-effect stemming from the moment she finds out that Euphemia wasn't actually that racist.
A character called "the Earl of Pudding."
A premise that asks us to believe that the name Lelouch is normal enough that he didn't need to change it when he went into hiding as an ordinary civilian. "No, that's not Prince Strimbleford von Vanquish! That's our classmate, Strimbleford Smith."
The collective unconscious, a la Carl Jung, within which the protagonist fights his villainous father for control over the fate of humankind. After this is over, the anime just keeps going for about ten more episodes.
An episode in which a mech tosses a giant pizza.
A gay yandere sleeper agent who can manipulate the perception of time.
Chess being played very badly, even to the untrained eye. Lelouch frequently checkmates his opponent by moving his king. This goes hand-in-hand with the anime's crock of bad chess symbolism.
A fictional drug that can most succinctly be described as "nostalgia heroin."
Roller-skating mecha in knightly armor, and some of the most sickass mecha fight choreography that I've seen.
I could go on and on, but I think you get the picture. This anime is what the average Westerner in 2006 thought anime was, and it was made in a confluence of factors that cannot be replicated. I've never had so much fun watching something that I found so... insulting. Repugnant. Ridiculous. Baffling. I love it sincerely.
Catch me cosplaying Lloyd Asplund at a con sometime, or maybe even the big gay loser himself, Lelouch vi Britannia.
I finished watching the Unlimited Blade Works anime. While it does a lot of stuff worse than the visual novel one thing I really enjoy is the focus on how pathetic Gilgamesh is.
Like he only fights when he has an overwhelming advantage. The only reason he can beat Heracles is because he's distracted protecting Illya. Even then you can see how scared he is when Berserker snaps the chains in the end because he knows he could crush his skull without effort. He only picks up a sword to execute or when pushed into a corner. Even then he immediately resorts to using Ea because he knows the only way for him to win is through overwhelming advantage. It makes sense he gets paired with Shinji because while Gil's far better at keeping up appearances they both have a huge superiority complex despite only being able to kick people while they're down. Just as Shinji is rendered immediately worthless without a servant so is Gil without his treasures.
is it even a marriage if you dont burn the church down and bringing ur wife back from her self imposed emptiness after you promised not to stop until you pull every disguting feeling out of her? i dont think so
people have pointed out before that zuko probably didn't actually know any of the gaang's names before joining their group. according to the data i've collected, it is unclear as to whether zuko knew any of their names before "the boiling rock," in which he addresses sokka by name multiple times. at no point in the show does he refer to toph, suki, or momo by name.
i find it particularly funny that zuko only seems to refer to katara by name after sokka says her name during their conversation in his tent; the transcript for "the southern raiders" reads as follows:
Sokka: So what's on your mind?
Zuko: Your sister. She hates me! And I don't know why, but I do care what she thinks of me.
Sokka: Nah, she doesn't hate you. Katara doesn't hate anyone. Except maybe some people in the Fire Nation. No, I mean, uh, not people who are good, but used to be bad. I mean, bad people. Fire Nation people who are still bad, who've never been good and probably won't be, ever!
Zuko: Stop. Okay, listen. I know this may seem out of nowhere, but I want you to tell me what happened to your mother.
Sokka: What? Why would you want to know that?
Zuko: Katara mentioned it before when we were imprisoned together in Ba Sing Se, and again just now when she was yelling at me.
we can thus assume that zuko went into this conversation knowing katara only as "[sokka's] sister," heard sokka refer to someone named "katara," and finally connected the dots.
i think the gaang according to zuko is just "the avatar, the avatar's bison, the avatar's.... little rat thing, sokka, sokka's sister, sokka's girlfriend, and, yknow, uhhhhh, the little green one."
Consider: Since she's a Celebrity, Zuko knows who Toph is, but he only knows her by her stage name, The Blind Bandit.
So it's "The Avatar, the Avatar's moderately terrifying pets, Sokka, Sokka's terrifying sister, Sokka's girlfriend and In-Universe Hulk Hogan, for some reason."
A Deep Dive of the Claudine-Maya Revue in the Movie, or why you really ought to read the fine print before signing a contract in tomato juice
So the Revues in Revue Starlight are a lot.
There is just so much packed into a few minutes. The sets! The fighting! The music! There’s just so much going on that you can’t completely process everything going on at once. And it’s absolutely awesome. The Revues look so amazing and feel so epic.
And sure it’s a lot, but we still get what’s happening. We saw the build up to each Revue, and we mostly know what’s going on in each of their heads. After all, it’s not just the stage that matters in the revues, but also the emotions going into it. For some, they’re worried about their future as a stage girl, whether or not they’ll be good enough to one day achieve their dreams. And for others, they’re worried about what graduation will mean for their relationships with each other as they each go on their separate paths. And as much as they try to hide it, these anxieties boil over in their Revues, forcing them to confront their deepest insecurities in front of the very person they tried so hard to hide it from.
But they’re never alone in these cases, they have their partner. Admittedly this usually doesn’t help at first since the only thing worse than one person catastrophizing over their future is two people catastrophizing over their futures. But still, they all manage to figure it out in the end together.
But Maya and Claudine aren’t insecure about the future. Both of them know that they’ll get into their dream troupe and neither of them seem too bothered about the fact that the two of them will be going their separate ways after High School.
So unlike every other Revue so far, which has been desperate and came from a place of hurt, the Revue of Soul starts off so much more lighthearted. The vibes are completely different from everything that came before in the movie. It feels like Maya and Claudine have nothing left to say to each other, that they are doing this Revue just for fun, it’s like a game to them.
But obviously it’s not just that, the two of them mean so much to each other! They’re just acting otherwise because of their pride, and once the two of them decide to drop all pretenses, they can finally have a proper Revue, where they put everything on the line just to understand each other.
And to see how we got here, I’m going to try to lay out everything going on with Claudine and Maya in the Movie that got us here. This is a part of a series of Deep Dives I’m doing for each of the Movie’s Revues, and while you can read this one without reading the others, I may make some references to themes and ideas that I brought up in the earlier Deep Dives, but I’ll do my best to give context if that ever happens.
What does canon suggest about Riven and his background?
I'll be sharing some of my thoughts about Riven's background and potential socioeconomic status in this post. As always, these are just my opinions. (If anyone's wondering: no, this is not the meta post that I was talking about in one of my other posts.)
I'll start by saying that my following thoughts are based on the RAI dub and the first four seasons (S1-4) as I don't consider anything past season four canon. However, I'm mainly going to focus on seasons one and two in this post.
As pointed out by many, the one-on-one scene between Sky and Riven in 2.08 is the closest we get to Riven directly confessing that he is (or has been at some point in his life) from lower-class origins.
Riven: Must be nice being a prince. You spend your whole life learning from the best.
I agree that this does give us some indication of his social class, mostly because this line fits with the rest of his characterization that's established in the earliest seasons, but even on its own, it does imply that Riven isn't nearly as privileged as Sky. He wouldn't make a comment specifically about Sky's access to highly qualified teachers if he didn't feel like he lacked them in some capacity. In other words, when we take into consideration his character as a whole, it's implied that Riven has not had as many resources growing up. This hints at him being from the lower class or relating to the struggles of someone from the lower class.
It's important to note here that this isn't the first instance Riven has expressed distaste or a mocking attitude toward privilege. It is also equally important to understand why he reacts so strongly to it. It's not that he hates or dislikes anyone who's above him in wealth or opportunity. I think he primarily has an issue with the injustice of being looked down on, of not being treated fairly, of not performing well enough. He's sensitive to people being ignorant of their privileges, which is why he often calls it out, but it's not necessarily out of resentment toward the person or their social class, but rather an indicator of his roots and how he feels about privilege in general. 2.21 is a good example of this, which I will get into later.
The reason Riven is so aggressive and abrasive in the first season has to do with a myriad of things, but it makes the most logical sense that he's likely had a bad childhood (aka trauma) and experienced being treated unfairly by either the system or people above his status. Riven wouldn't otherwise feel so strongly about privilege in season two or make patronizing remarks that are directly about one's social class in season one.
Sky (Brandon): What Riven means is that perhaps it would be best for you to go back to Alfea while we try to capture that animal.
Riven: We don't need your editorial comments, Your Highness.
Brandon (Sky): Riven, you've gone too far!
Riven: You're just Prince Sky's yes-man, Brandon. Why don't you go clean up his stables?
In season one, Riven likely projected a lot of his personal issues and insecurities on Brandon and Sky and their class dynamic as a whole—primarily his trust issues and feelings of inferiority—but after the infamous monster scene in 1.22, he goes through a ton of humbling and character development. He grows as a person and learns to trust and appreciate the boys, and most importantly, he starts to embrace himself. He also finally feels accepted by the group, which makes him want to clean up his act even more.
By the time we get to season two, Riven is relatively calmer and significantly lacking in condescension. The comments he continues to make about privilege are mostly a nod to his background and how he feels about unfair advantages. This is why we see a much more mature and open version of Riven in season two where he continues to make remarks about privilege on several occasions, but he's much more reasonable about it.
I want to thank @skylaryozora for mentioning the following scene in 2.21 because it ties in perfectly with what I've been explaining so far.
Riven: Well, I think it's high time you girls get a taste of what life's like where you don't have magic powers, and all you can count on are your wits and your muscles.
In this episode, Bloom says she finds it hard to get used to not having magic powers, which leads to Riven making the aforementioned comment. Similar to 2.08, he indirectly calls out the privilege (albeit a different kind) but doesn't make a big deal out of it. He's most likely talking from personal experience and having had to count on his "wits and muscles" as a kid. He isn't angry or insulting in this scene, but he does acutely notice the difference between himself and others when it comes to having unearned advantages or a better upbringing or better circumstances, and again, he wouldn't continue making these types of remarks if it wasn't deeply personal to him.
Riven's comments based on 2.08 and 2.21 alone suggest that he's had to work hard on his own to get to where he is. It's blatantly obvious he knows what a lack of privileges (and likely economic instability) feels like, probably more than anyone else because the writers make it a pattern to have Riven point out these things.
Let's talk about Riven's skills and what they mean for his character
I don't think it's a coincidence that Riven is good at creating lock picks from scratch . . .
. . . or that his stealth and wilderness survival skills are impeccable compared to others
. . . or that he's exceptionally resourceful and adaptable
. . . or that he's good at spying
These are generally not skills someone randomly picks up or excels in after a year or two of training. These are skills usually associated with people who've had to look after themselves, watch their backs, and protect themselves—people who are more likely to come from the lower class than the upper class. These "street smarts" skills might not hold a lot of weight on their own but together they form a bigger picture as to what Riven has possibly gone through to obtain these skills. (Yes, I'm sure they teach all these skills at Red Fountain, but what I'm getting at here is that Riven's expertise lies in these skills, and I think it was an intentional decision on the writers' part to showcase these particular skills.)
It's also important to consider Riven's fighting style in season one. It's not very polished. It's rushed. It's rough. It's very direct and brutal. He's not afraid to play dirty. Riven almost seems inexperienced compared to the other guys when it comes to technique and formal training, which suggests that Riven has likely been self-taught for the most part or lacks some private or selective education.
Incidentally, and this is more of a personal note, I think one of the primary reasons why Riven seems to always lose to Sky in one-on-one combat is because Sky has an edge over Riven when it comes to technique. But when it comes to other skills, like racing and wilderness survival instincts, Riven is better than Sky—the former being canon, as witnessed in 2.01. In spite of this, Riven feels a little insecure and bitter about not being as good as Sky. That lack of technique, coupled with a lack of opportunities, might be what he thinks is holding him back from being one of the best students in Red Fountain. The balcony scene in 2.04 is interesting in that regard because Riven appears to feel some type of way about the fact that Brandon and Sky were chosen to accompany the girls to a mission instead of him. He doesn't express it outright, per se, but you can tell by his tone and posture that he wishes he was included.
While the show deservedly gets a lot of criticism for its bad writing, season one is mostly decent in terms of character portrayals and has some of the best writing in the series. As I mentioned before, I think the writers were intentional with their decisions to paint Riven in a certain way, to have him say certain things, to give him certain skills that set him apart from the other characters, and in several ways, the narrative of his story gives us many details hinting at his background.
All in all, it's not strictly canon that Riven grew up financially lower class as we don't have any direct statements in the show about his background. However, I think there are more than enough allusions pointing to Riven having had to be independent and live in less-than-ideal circumstances with limited resources, so the idea of him having had a rough childhood (economically and otherwise) or being from the lower class at some point or another in his life is not unfounded. Personally, I think it's heavily implied.
Here in chapter 299 we see Hawks struggle with his past, and then very heroically decide not to change at all. I’m going to be making the case here that Hawks hasn’t changed. He is a psychologically complex character (that is there’s a lot going on in his head), but his actions haven’t changed from his introduction. Hawks is framed as having a tragic, icarus-like arc, and the reason Icarus fell in the first place is because he did not listen to others. He didn’t listen to the warnings of other people not to fly too close to the sun. His Hubris - in assuming he knew better than others and therefore didn’t need to listen.
Hawks is going to fail and fall at the end of his arc, but it’s not because of whether or not he’s a good or bad person. That’s not even the question here. Hawks isn’t even a person, he’s clearly a bird. The question is Hawks learning no information, and making an effort trying to change or is he just doing the same thing he always does.
Hawks choosing to sacrifice Twice is not purely for the greater good. In effect it’s Twice repeating what he always does, choosing to sacrifice himself. Twice essentially is twice, they’re both two-faced, they both experienced a fall, they both long for an easy life.
Hawks choice to attack his foil, his shadow in Twice, says a lot about his own character. Hawks and Twice are so close it’s essentially an act of self harm. He’s beating up, and threatening to stab a person who looks like himself. Hawks is a character defined by his self destruction. Icarus is a famous story and metaphor for self-destruction, Icarus chooses to fly too close to the sun. Hawks is an icarus who wants to let himself fall, and because of that he deliberately chooses to push people like Twice who are so much like himself over the edge. Hawks and Twice are two characters who fall into conflict not because of their differences, but because of how similiar they are. More on their foiling underneath the cut:
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