We only learn why Nine and Twelve are doing all of this at the very end, and the reason is simply to expose the existence of Japan’s atomic bomb to the world. All of this can be discerned from the first episode, or at least in the first two, and this remains all of the information we have on these characters throughout the entire series. However, they make a point not to get anyone killed. They’ve stolen a bunch of plutonium for some reason, and they keep bombing buildings while giving riddles to the police for some reason. One suffers post-traumatic stress disorder, while the other seeks connection in a girl named Mishima Lisa. They’re terrorists who were tested on as children, but escaped the facility that trained them. In the first episodes of the series, we learn everything there is to learn about the two main characters. The ending of Zankyou no Terror doesn’t offer any twists, but merely the confirmation of suspicions that the viewer has all along, so if you were holding out hope that the big reveal might make everything interesting in retrospect, you’ll be that much more disappointed in turn.
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In fact, despite the series clearly having been written with the “mystery box’ mentality, with the big reveals saved for the very end, I’m hesitant to call it a real mystery shows since all of the answers are readily apparent right from the beginning. However, when a script relies solely on its mysteries to carry the viewer through the show, it starts to claw at the viewer’s patience, and Zankyou no Terror very quickly and severely becomes a test of patience that never pays off in the end. The idea of the mystery box is that the audience is drawn in by their desire for answers to the big mysteries left open over the course of a film or series. In spite of the technical proficiency of its animation, writing, directing and music, Zankyou no Terror failed because right from the beginning, it forgot to give the audience any reason to give a damn.įilm Crit Hulk has written at great length about the problems that come from writing a script around the ‘mystery box” mentality–a term which was coined by J.J.
Not to say that these aren’t issues in themselves, but I think that the biggest flaw in Zankyou no Terror is fundamental to the entire structure and style of the series. If you look around on anime message boards, or just talk to my brother, you’ll walk away with a laundry lists of reasons for why people didn’t like the show, but I think a lot of these reasons come down to the tangible details of the situation. As time wore on, I and many other viewers gawked in abject horror as Zankyou no Terror turned out to be kind of a giant trainwreck. However, as early as episode three, I began to recognize a big problem overtaking my impression of the series. Or through paypal: Crit Hulk Smash: THE AGE OF THE CONVOLUTED BLOCKBUSTER: Īt the start of the summer season, I released two videos regarding the first two episodes of Zankyou no Terror–one about how the first episode showcased excellence in anime directing and show-don’t-tell storytelling, and the second about how the show gracefully handled its exposition. If you enjoy my videos, consider supporting me via patreon:
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How to Do Exposition Right, as Seen in Zankyou no Terror Ep.
Text version and links:Īnalyzing What Good Directing Looks Like, via Zankyou no Terror Ep.
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