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peace-of-hope.livejournal.com in code_geassCode Geass was applicable for an essay I had to write for my college Honors Composition class and I thought I'd share with the community.
Warning: This essay contains spoilers for the entire series of Code Geass
Prompt: Write a 3 page essay in which you ARGUE for why a particular movie, music-video, advertisement, television show, piece of artwork (that includes words), etc. is the best (or worst) in its category in a given period of time. Your object of analysis must contain both visual and verbal elements.
Code Geass: Shocking Relevance
Warning: This essay contains spoilers for the entire series of Code Geass
Prompt: Write a 3 page essay in which you ARGUE for why a particular movie, music-video, advertisement, television show, piece of artwork (that includes words), etc. is the best (or worst) in its category in a given period of time. Your object of analysis must contain both visual and verbal elements.
2008 was a tumultuous year, both in politics and the anime world. A failing economy in America and financial instability in the rest of the world left many anime companies bankrupt or hard-pressed for a hit animation. The favorites, long-running action series aimed at boys and romantic comedies aimed at girls, performed adequately in pleasing their target audiences. Yet, few anime proved to be multi-national successes and even fewer addressed the anxiety building in America and Japan. It was amongst lack-luster, clichéd anime and a troubled world that the best anime of 2008 emerged in Code Geass: Lelouch of the Rebellion, successful because it combines female and male visual elements, breaks from the stereotypical action plot, and confronts sensitive, shocking issues.
Premiering in Japan in 2006 and the U.S. in 2008, the anime tells the story of Lelouch Lamperouge, a former prince of the Britannian Empire now exiled in Japan along with his younger sister. In response to his mother’s murder and love for his sister, Lelouch sets out to create a gentler world. To do so, he becomes the terrorist Zero, who, along with his followers the Black Knights, seeks to destroy Britannia.
At first glance, Code Geass looks like the stereotypical male-geared anime. The show’s trademark mechas, Knightmares, are intricate designs typical of the genre. However, the manga group CLAMP, famous for their shojo style that appeals to girls, has designed the characters. Indeed, the characters do have a feminine appearance, even male characters like Lelouch. Female fans are thus attracted to the bishonen quality of the art. Traditional mecha are not lacking in attractive characters, but few embrace the shojo style like Code Geass. And while female fans are attracted to the male characters, CLAMP also gives some fan-service to the male audience. Female characters are almost always busty in this show; panty-shots, semi-nudity, and swimsuits are frequently seen. Semi-erotic—and homoerotic—moments are also included. Beyond feminine and masculine approaches to design, Code Geass also contains a great deal of ethnic diversity. The Brittanians are generally portrayed as European/Caucasian. And while the Japanese characters do not necessarily look Japanese (anime hardly ever depicts the Japanese with Asian features), the Chinese have a distinctively Chinese appearance. Characters of color also appear. Code Geass, in terms of character design, embraces mecha’s tradition but also breaks away with the use of a more feminine and diverse look.
The show’s visual genre is also an anomaly. Intense battle scenes are frequently and brilliantly executed, giving the series a fast-paced atmosphere as one would expect with most mecha. But where most mecha contain large-scale battles almost every episode, half of Code Geass takes place away from the battlefield, in school as Lelouch leads his double life as a student. Seamlessly blended with the lighter “school days” aspect of Code Geass, is the romantic comedy. Female fans are further attracted to this mecha because of the love stories involved. Code Geass spans multiple genres and adapts elements from each to create a fluid animation, giving the show a universal appeal.
Verbally, Code Geass also twists the traditional mecha elements. The “hero” and “villain” are friends as in most mecha. However, contrary to the normal pattern, Lelouch and Suzaku remain friends, blissfully ignorant that it is each other they wish to kill. Further, the hero, Lelouch, evolves into an anti-hero, and Suzaku, the villain, evolves into a hero. The Lelouch/Suzaku dynamic adds a level of intensity and edge to the series, deepening as their friendship dissolves into open enmity. Instead of a simple good guy/bad guy conflict, the story weaves a more tragic tale of “friendship [that cannot] coexist with justice.”
Code Geass is most effective where the visual and verbal meet in portraying difficult, shocking issues. The shock value of Code Geass rapidly becomes apparent. By episode three, viewers have watched Lelouch murder his half-brother and assume the role of terrorist. The show’s death toll is staggering for an anime, given that most of the deaths are not nameless people but supporting characters often with an ample amount of screen time. Most memorably, Lelouch unwittingly murders Princess Euphemia, his innocent and loving half-sister, creating as much conflict within the viewer as within Lelouch. Through these murders, the main question of the series is raised: “Do the ends justify the means?” While this question truly has no answer, and the series gives no answer, certain views are expressed. Lelouch believes in a violent approach to obtaining his gentler world, directly attacking Britannia. Suzaku opposes Lelouch’s view, arguing that he can create peace from within the Britannia government. The friends are once again diametrically opposed in terms of ideology, but at the same time, so are viewers. The viewer must make his or her own choice regarding this issue.
Beyond this single question, others arise based on politics and war. Lelouch believes leaders should have a direct role in government, for, “If the king doesn't move, then his subjects won't follow.” Britannia takes a different view, following an absolute monarch who believes, “Inequality is not an evil. Equality itself is evil.” Viewers may question the role of a leader in governing a country, engaging in diplomacy, equality, and other matters of state. In this respect, the show may also be described as a political drama. The intellectual level of the dialogue is surprising for an anime; the reader must listen closely and questions raised are highly relevant, mirroring the complex diplomacy of the 21st century. The show examines sensitive, but crucial issues such as terrorism and nuclear war. Terrorist attacks by the Japanese against the Britannians as they try to drive out their invaders are reminiscent of the Iraqi War. When the Black Knights attack a casino, the image of the tower evokes memories of 9/11. Code Geass does not spare Japan its shock either: in one of the final episodes, a nuclear bomb is dropped on Tokyo, decimating the city. These images remain in the viewer’s mind, eliciting a literal jaw-dropping response to the show’s plot twists, letting the viewer know that Code Geass is not the average anime.
Code Geass is the best anime of 2008 for various reasons, but foremost among these is that the show addresses current issues in a way that combines visually shocking issues with thought-provoking questions. As terrorism plagues both America and the world, as heroes become corrupt, as people seek to throw off the bonds of totalitarianism, viewers wonder, do the ends truly justify the means? What is the best way to achieve peace? Realistic, complex elements in Code Geass reinforce the events happening in the world today, and the universality and simplicity of the show connect with viewers in Japan, America, and beyond. Because, despite all the deadly battles, diplomatic tactics, and tragedy, Code Geass is still an anime everyone can enjoy.
Notes (or an explanation of facts/reasoning):
+ My professor has no knowledge of anime or Code Geass, hence the short summary. There was also a short glossary of terms I included for his sake, but left off for yours. I presume people know the anime terms I use
+ Yes, I know Code Geass premiered in 2006 and R2 in 2008, but for the sake of simplicity, I named it the best anime of 08 because of R2 premiering in Japan and the original season premiering in the US
+ The anime industry has been doing poorly as of late (look at ADV for an example) and even Japanese companies have experienced this slump (and retaliate against illegal sharing of anime as a result)
+ Of the anime in 2008, few were critically acclaimed or were as popular as Code Geass. I apologize if "lackluster anime" is offensive to anyone in describing non-Geass anime (and I'll admit, I am a fan of the anime Death Note as it ran in 2008 in the US, but I feel Code Geass is the better anime when compared to DN)
+ I interpreted the "shocking" events mainly as an American, in terms of that, and am in no means trying to say that the Brittanian takeover is a metaphor for Iraq, merely that events in today's world in general seem to have influenced the show or are at least mirrored in it
The paper got an A- so I'm happy. Feel free to leave comments, discuss the essay, etc. Just please, make an intelligent, thought out comment, and be nice. Criticism can be nice, so let's not flame or bash anyone.
Premiering in Japan in 2006 and the U.S. in 2008, the anime tells the story of Lelouch Lamperouge, a former prince of the Britannian Empire now exiled in Japan along with his younger sister. In response to his mother’s murder and love for his sister, Lelouch sets out to create a gentler world. To do so, he becomes the terrorist Zero, who, along with his followers the Black Knights, seeks to destroy Britannia.
At first glance, Code Geass looks like the stereotypical male-geared anime. The show’s trademark mechas, Knightmares, are intricate designs typical of the genre. However, the manga group CLAMP, famous for their shojo style that appeals to girls, has designed the characters. Indeed, the characters do have a feminine appearance, even male characters like Lelouch. Female fans are thus attracted to the bishonen quality of the art. Traditional mecha are not lacking in attractive characters, but few embrace the shojo style like Code Geass. And while female fans are attracted to the male characters, CLAMP also gives some fan-service to the male audience. Female characters are almost always busty in this show; panty-shots, semi-nudity, and swimsuits are frequently seen. Semi-erotic—and homoerotic—moments are also included. Beyond feminine and masculine approaches to design, Code Geass also contains a great deal of ethnic diversity. The Brittanians are generally portrayed as European/Caucasian. And while the Japanese characters do not necessarily look Japanese (anime hardly ever depicts the Japanese with Asian features), the Chinese have a distinctively Chinese appearance. Characters of color also appear. Code Geass, in terms of character design, embraces mecha’s tradition but also breaks away with the use of a more feminine and diverse look.
The show’s visual genre is also an anomaly. Intense battle scenes are frequently and brilliantly executed, giving the series a fast-paced atmosphere as one would expect with most mecha. But where most mecha contain large-scale battles almost every episode, half of Code Geass takes place away from the battlefield, in school as Lelouch leads his double life as a student. Seamlessly blended with the lighter “school days” aspect of Code Geass, is the romantic comedy. Female fans are further attracted to this mecha because of the love stories involved. Code Geass spans multiple genres and adapts elements from each to create a fluid animation, giving the show a universal appeal.
Verbally, Code Geass also twists the traditional mecha elements. The “hero” and “villain” are friends as in most mecha. However, contrary to the normal pattern, Lelouch and Suzaku remain friends, blissfully ignorant that it is each other they wish to kill. Further, the hero, Lelouch, evolves into an anti-hero, and Suzaku, the villain, evolves into a hero. The Lelouch/Suzaku dynamic adds a level of intensity and edge to the series, deepening as their friendship dissolves into open enmity. Instead of a simple good guy/bad guy conflict, the story weaves a more tragic tale of “friendship [that cannot] coexist with justice.”
Code Geass is most effective where the visual and verbal meet in portraying difficult, shocking issues. The shock value of Code Geass rapidly becomes apparent. By episode three, viewers have watched Lelouch murder his half-brother and assume the role of terrorist. The show’s death toll is staggering for an anime, given that most of the deaths are not nameless people but supporting characters often with an ample amount of screen time. Most memorably, Lelouch unwittingly murders Princess Euphemia, his innocent and loving half-sister, creating as much conflict within the viewer as within Lelouch. Through these murders, the main question of the series is raised: “Do the ends justify the means?” While this question truly has no answer, and the series gives no answer, certain views are expressed. Lelouch believes in a violent approach to obtaining his gentler world, directly attacking Britannia. Suzaku opposes Lelouch’s view, arguing that he can create peace from within the Britannia government. The friends are once again diametrically opposed in terms of ideology, but at the same time, so are viewers. The viewer must make his or her own choice regarding this issue.
Beyond this single question, others arise based on politics and war. Lelouch believes leaders should have a direct role in government, for, “If the king doesn't move, then his subjects won't follow.” Britannia takes a different view, following an absolute monarch who believes, “Inequality is not an evil. Equality itself is evil.” Viewers may question the role of a leader in governing a country, engaging in diplomacy, equality, and other matters of state. In this respect, the show may also be described as a political drama. The intellectual level of the dialogue is surprising for an anime; the reader must listen closely and questions raised are highly relevant, mirroring the complex diplomacy of the 21st century. The show examines sensitive, but crucial issues such as terrorism and nuclear war. Terrorist attacks by the Japanese against the Britannians as they try to drive out their invaders are reminiscent of the Iraqi War. When the Black Knights attack a casino, the image of the tower evokes memories of 9/11. Code Geass does not spare Japan its shock either: in one of the final episodes, a nuclear bomb is dropped on Tokyo, decimating the city. These images remain in the viewer’s mind, eliciting a literal jaw-dropping response to the show’s plot twists, letting the viewer know that Code Geass is not the average anime.
Code Geass is the best anime of 2008 for various reasons, but foremost among these is that the show addresses current issues in a way that combines visually shocking issues with thought-provoking questions. As terrorism plagues both America and the world, as heroes become corrupt, as people seek to throw off the bonds of totalitarianism, viewers wonder, do the ends truly justify the means? What is the best way to achieve peace? Realistic, complex elements in Code Geass reinforce the events happening in the world today, and the universality and simplicity of the show connect with viewers in Japan, America, and beyond. Because, despite all the deadly battles, diplomatic tactics, and tragedy, Code Geass is still an anime everyone can enjoy.
Notes (or an explanation of facts/reasoning):
+ My professor has no knowledge of anime or Code Geass, hence the short summary. There was also a short glossary of terms I included for his sake, but left off for yours. I presume people know the anime terms I use
+ Yes, I know Code Geass premiered in 2006 and R2 in 2008, but for the sake of simplicity, I named it the best anime of 08 because of R2 premiering in Japan and the original season premiering in the US
+ The anime industry has been doing poorly as of late (look at ADV for an example) and even Japanese companies have experienced this slump (and retaliate against illegal sharing of anime as a result)
+ Of the anime in 2008, few were critically acclaimed or were as popular as Code Geass. I apologize if "lackluster anime" is offensive to anyone in describing non-Geass anime (and I'll admit, I am a fan of the anime Death Note as it ran in 2008 in the US, but I feel Code Geass is the better anime when compared to DN)
+ I interpreted the "shocking" events mainly as an American, in terms of that, and am in no means trying to say that the Brittanian takeover is a metaphor for Iraq, merely that events in today's world in general seem to have influenced the show or are at least mirrored in it
The paper got an A- so I'm happy. Feel free to leave comments, discuss the essay, etc. Just please, make an intelligent, thought out comment, and be nice. Criticism can be nice, so let's not flame or bash anyone.
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(no subject)
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But you definately brought up points that I'd been thinking of as I watched CG. So I think that's way cool =]
But yeah, awesome job~~ ♥
(no subject)
Thanks again for the review + read!
(no subject)
As for your paper-
I like how you addressed 2008 as a turbulent year, as it's still on the minds of many people and lends a sense of relevancy to the paper. The events you chose to highlight were very good, since they invoke the reader to want to watch Geass by only describing events briefly. They're stunning enough just to shock the reader, and start the ball rolling.
You left off Lelouch's Geass power, which for me is debatable. I might have included it just to make the show seem that extra bit more special ^^ It's just something that stands out to me about Code Geass. I might also have expanded a bit more on the art and character designs, since you're trying to paint a style and picture in the reader's mind. Like bishonen art and the shojo style- perhaps an example or two of what stands out about each style that you see in Geass.
The philosophical part of your essay, however, was spectacular. You captured the essence of Geass, the viewpoints and clashes between Lelouch and Suzaku, and how their complex relationship is what makes Geass unique. Especially how you let the viewer decide who is just and who is not, and how the lines in Geass are really blurred.
All in all, excellent report ^^
(no subject)
But I completely understand what you're saying about that and the art style.
I could have written a whole novel on the Lelouch/Suzaku dynamic and have actually been dying to write an essay on the rise of the anti-hero in anime as of late, because their relationship is just so intense and dramatic. I always compare Lelouch to Light in DN, but Death Note is a little more definitive in who's good and bad as good triumphs and Light is killed. But in CG, Lelouch orchestrates that good will win and that ads a monumental twist to all of this. I enjoy debating the morality/philosophy of Suzaku and Lelouch's views so much! *dork*
Thank you for such a complete comment! I love hearing what other people think about this and how I approached it.
(no subject)
Great job!
Re: Great job!
(no subject)
OMG, are you seriously going to write that down!? (O_O;
wooooow i liked when you mention "the story weaves a more tragic tale of “friendship [that cannot] coexist with justice.”" god point!! 8D
so did you hand out the essay already? if not, why dont you add more about evil and justice in point of view code geass.(^_^)
(no subject)
I needed some quotes last minute and the one about the Suza/Lulu friendship was one that worked really well.
And yes, I did included the comment about homoeroticism to point out that, just as with the female and male-geared visuals, there were erotic moments for all orientations. :)
(no subject)
i like how you established the relationship of code geass and the crisis that the world is facing today. for me, it seems that code geass has become an educational anime that can be helpful is discussing current events.
friendship [that cannot] coexist with justice. its a very strong statement. something that exactly fits the lelouch and suzaku situation.
good job for the paper and congratulations for getting an A. you deserved it! よこできました！
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Ah yeah...homoerotic so true