Bokurano is almost a new kind of mecha show, considering it deliberately skimps on action in favour of personal drama. Although physical fights abound, their lack of pomp precludes titillation; giant robots exist but they are cumbersome and finish each other off quickly. Rather, essential conflicts occur in the everyday lives of the children piloting the robot Zearth, throwing up questions of societal failings and human insignificance. As such, I urge thrill-seekers to pass this one by while more traditional science fiction fans should draw closer.
Likening the show's premise to children making 'a pact with the devil' ignores the fact that the devil could never match the original manga creator Mohiro Kitoh (Shadow Star) in pure sadistic creativity. Forget dodgy deals with Satan; just being born one of Kitoh's characters guarantees a short existence replete with biblical punishments. Bokurano's 'game' binds the heroes in airtight rules that make the notion of escape nothing more than a pipedream. Worse, the children discover these conditions mostly through trial and error, each revelation rendering the situation more abject than before. Like agreeing to a game of russian roulette only to realise just as you're about to pull the trigger that there are six bullets in the chamber instead of one. Numerous ironies also sprinkle the plot like salt on a gaping wound. The heroes' pilot seats, for instance, look like their favourite childhood chairs, which seems a mocking reminder of the innocent lives they will never have again.
Few can deny how much Bokurano recalls Neon Genesis Evangelion. The two have no substantial link (although Kitoh interestingly designed one of the Angels for Evangelion 2.0: You Can [Not] Advance) and I make no assertions that Bokurano is influenced more strongly (or at all) by NGE than any other mecha show. Rather, I simply point to their shared interest in the protagonists' identity crises and resulting psychological deconstruction. Like Shinji Ikari a decade before them, the children in Bokurano suffer familial unrest, usually because of strained relationships with their parents. Every episode or two recounts one child's search for a sense of purpose, contextualising their dysfunctional behaviour and seamlessly relating it to the universal struggle. Luckily, we find among them more determined Asukas than unresolved Shinjis and fortuitously no trace of the blank slate Rei.
A more fundamental difference is that while NGE entertains using spectacular battles, Bokurano would much rather prick the senses with unnerving visual and aural cues. The mecha do not arrive in ceremonial launching sequences but beam into the city without anyone noticing. A citizen will sit in a park watching life go by or drive to work one morning when, the next time they look up, an armoured behemoth is silently blocking their view. Zearth is an ominous black mass that comes accompanied by a chug-a-chug noise as though inside it were a giant ticking clock. Its signature move is looming. It stands above the cityscape like a shade, a totem pole of misery, a demonic form dreamt up from a futuristic version of hell. Perhaps the most affecting scenes include those where combatants throw the enemy robot to the ground and win by ripping out something that looks disturbingly like a still-thrumming heart.
Bokurano offers a challenging fusion of nihilism and hope and it does so by doing things that other recent mecha shows simply lack the audacity to do. Hopefully, that comes as good news not just to me.
In design, the show wins no awards and deserves none. With muted colours and bland character designs, Bokurano looks a competent if unambitious Gonzo product. Moreover, if an untrained audience can say 'this part is CGI' then the CGI fails. During battles, glossy robots lumber towards each other and bash each other in undignified fisticuffs, crushing beneath them cities carved seemingly out of glass. It brings to mind Gigantic Formula, a comparatively unworthy 2007 mecha series that also mistakes drifting block models for animation.
Comensating for disappointing visuals, the show delivers one of the greatest opening themes I have heard. Ever. With a haunting but catchy sound and rich pop vocals from Chiaki Ishikawa (also 'Prototype' for Gundam 00 Second Season), 'Uninstall' fires the imagination for ninety seconds before the episode has even started. I have not stopped listening to it regularly since that summer. The two ending themes also warrant some extra attention, although the in-episode score succeeds mainly in enhancing the dark atmosphere rather than standing out in its own right.
When not battling alien invaders, the fifteen main child characters suffer realistic if unusual problems. I mean that they grapple with suicidal parents and terminally ill friends, not necessarily what to wear to the school disco. The mecha game relates to their troubles either as an interruption, an oblivion in which to drown their traumas, or even a tragic convenience. They repeatedly ask themselves why they should be the ones to give up their lives to save the earth. Is it fate? Is it a trial? Is it punishment? The cruellest answer is the truth: they were at the wrong place at the wrong time. They are not chosen ones. Society at large has no idea they even exist and the minds behind the game are indifferent to whether they win or not.
Mecha shows generally cast teenage heroes purely as empty vehicles for vicarious enjoyment. After all, a largely teenage audience will relate better to an inoffensive teenage protagonist. Bokurano's main cast, however, feels more intricately crafted. Take Masaru Kodaka, who shows a premature Darwinian view of life by shooting at cats and admiring cruelty as strength. For him, the only certainty in the universe is that his father, a cut-throat businessman, is untouchable and therefore he is too. Perhaps this is why the show enjoys breaking him down at the start. Masaru, as the most self-assured and most comfortable with killing, fully underestimates his vulnerability. Others have more time to develop their attitudes, resulting in each becoming an odd mix of child and adult - they frame their concerns like children, but they resolve themselves like adults. Most poignantly, despite having no choice but to fight, each one finds his or her own reason to do so.
I'll also briefly mention Dung Beetle, a rat-like mascot who is supposed to guide the children through the game. His beady black eyes and violent slash of a grin, however, instil no confidence whatsoever. In him lurks a current of malevolence that bleeds through during his shrill outbursts of glee at precisely the most awful moments. His behaviour is a combination of detached, bored disdain and morbid gags that seem too forced to be completely genuine. But he too has a story.
Bokurano revives in the mecha genre a higher calling than just empty thrills. It has superficial attractions for fans of dark, cynical plots - sadistic punishment of children, for one - but they are merely the icing. As a show concerned with the value of humanity in such an infinite universe, Bokurano toys with children's lives in a ruthless bid to lay bare their souls.
NOTICE: I will be making many references to Narutaru. Can’t help making a joke about it and for all intents and purposes, this is a double review for both series. Damn things are practically the same anyway. Also, this is one of those weird retrospective texts that focuses more on what happens around a series than in it. If you don’t like it, it ain’t my fault. I will also going to be referring mostly to the people who are positive about the show but in case you are not amongst them, feel free to see this as a reason for how misleading the themes of the show can be.
Bokurano, aka Narutaru mk2.
The guy who makes these things, mangaka Kitou Mohiro, clearly goes for impressions through shock value around children abuse. Where Narutaru was “Let’s have kids being tortured and miserable, with Pokemon flavor”, Bokurano is “Let’s have kids being tortured and miserable, with huge robots flavor”. In both cases, the critters or the robots don’t really play a role in the actual points the titles want to show. They are there for flavor, just like milk is to tea. Down to it, the only focus to both series is “Torture kids, torture them more, and then kill them miserably.” Sounds disgusting and vile, doesn’t it? Well, that’s what makes it so damn special. It’s like Ausvich in a way. You don’t care about the area, as much about the inhuman acts that took place there during the era where being blonde and blue-eyed was totally GAR. But coming back to the original mangaka, I consider him a sadistic bastard. He LOVES to torture his characters and even got a name for it. Only thing, the fandom is so full of idiots they considered all the unbearable suffering to be the most realistic and humane thing ever. Damn, is the world full of cretins or what?
Leaving aside the sadist mangaka who was ludicrously given a Nobel prise for being an anime humanitarian, the rest of the staff ain’t any better as people either. Take the animation studio for example. It is made by the most lame Studio GONZO, which is synonym for a disaster waiting to happen. And yet many people actually liked a show made by them. That tells again how smart the fandom is. There is also another thing going on with the directors of the series. This was their first and only project and they hated it with passion. Now aside from the fact they gave a promising title to a bunch of rookies, which is stupid in the least … WHO THE DEVIL GIVES PEOPLE TO DIRECT A SHOW THEY HATE? I’ll tell you who, GONZO does. They did their best to mutate the true meaning of the original manga as best as they could and to make the whole show as pathetic as possible (which is the standard policy GONZO does to all its shows regardless of their directors hating them) and most of the fandom DIDN’T EVEN FIGURED IT OUT! How stupid can they possibly be?
As for me? I never liked the show past a few episodes. I immediately hated how the scriptwriter aimed to make them suffer as much as possible, and how the robot action was completely useless, and the plot was so disjoined, and the ending was such a cop-out, and lots of other shitz so many other idiots LOVED WITH PASSION! Jesus, we are full of sadists!
Where Narutaru lacked an overall objective in its story and was mostly random arcs about kids in happy-go-lucky situations going from bad to worse, Bokurano actually tries to have one. Saving the world with a huge robot!
…Pretty lame-sounding, doesn’t it? What are we to like this premise, twelve year olds?
(EVA 01 stares angrily towards me)
Errr… What I meant is that it basically uses a childish concept as means of shock effect. And it works too. Imagine the Care Bears dancing happily around a tree and then suddenly the tree sprouts teeth, eats them, goes “munch, munch” and them spits out their bloody sculls.
…Yeah, nice way to kill your childhood innocence.
Bokurano is similar. Just like its older brother used cute little critters, this one uses big robots. You think it’s going to be childish but then turns into Happy Tree Friends … without the humorous irony.
Does it work? Erm, yes, it works as shock value for sure. It really is GASP material the first time you watch it. The thing is, shock value is a one-time special ability. Just like any super attack in any shounen series, it only works once on each individual. The second time you try to use it, the opponent has a way to counter it, block it, negate it, or in the case of the viewer “It’s not as shocking anymore!” Therefore, it needs to have other elements to keep the viewer still interested in replying the whole mess.
…And this is where it all falls down.
Narutaru was bad in this regard as the complete lack of general direction as a story meant that you have no reason for you to want to relive the whole mess. What is there to watch? Bokurano kinda fixed that problem by adding the objective of world salvation. Ok, now you can watch again the process of how they try to do it.
…And it still fails.
You see, it’s not really about saving the world. It’s about kids in miserable situations. It’s like “Wow, I will be dead soon; how will I spend my last hours alive?” So you can pretty much screw the whole battle for the salvation of Earth. Although losing the battle automatically means that Earth will blow up, it’s not really the point at all. The robot battles are as I said flashy extras that serve very little to the actual plot. They do provide mystery as in many cases the cast tries to figure out what the hell is going on here, and in some other cases it does affect the story as the damage from the battles affects the lives of the rest of the world. All that unfortunately happens too rarely and in very convenient moments to actually feel natural in-story. For example, if someone is killed by a bad robot, he will be relative to the kid piloting the robot at the moment.
Practically, the story could easily be remade as individual arcs around the last moments of children with terminal diseases. You can take out the robots and the salvation of Earth and it would make almost no difference. What I mean is that although there are 14 kids that are supposed to be the main cast, the story always focuses on one or two at the most at any given time, leaving all the rest as background decoration, until their time to fight and/or die comes along. Now, I am not an ass to demand 14 characters being exposed at the very same time. But I do demand for all of them to be equally important to the story. They could for example do a Bacanno! type of non-linear story, where we see the same events happening all the time but through different perspective, each time from a different kid. We could have 1 battle with a bad robot in the whole series and each kid gets to fight it at the same time. That would make it concrete. But no, what we got was a singing contest. The kids were taking turns, waiting like drones for an invisible force to choose their turn and then all of a sudden they would be thrown in a dreadful situation where they are supposed to resolve it before fighting for the last time in their lives.
It works as shock value but at the same time it has no overall binding with the damn setting of the story. You don’t give a damn about the setting; it’s a vague stage for overblown drama. You don’t give a damn about the story either; it’s an excuse the mangaka used to start killing his characters in a sadistic way. Not to forget to mention all that political mambo-jumbo they threw in that serve as nothing else but detracting from the main themes of the series. Why have them if they make the story even sloppier than it already is? That translates to bad storytelling. It was bad in Narutaru; it tried to be better here but in fact it ain’t.
I must also point out that the anime version pulled the adaptation decay turd on us and changed the ending to be happy in a way. The directors didn’t like sad endings, plus they were working for GONZO so anything that shitty studio changes and deviates from the source material, could only result to failure. I preferred the sad and grim manga version far better and I definitely wouldn’t want someone from that god awful team to mess with any premise. They can only change things to worse.
And so I get to the characters, the part thousands around the world describe as “realistic and sympathetic”.
… My ass they are. The story is supposed to be about contemporary Japan of today, normal kids of today, having normal lives of today. And all you get is the most forced drama imaginable, just for the sake of cheap thrills. A kid would have a normal life and all of a sudden he needs to pilot some robot and die in the process. Aside from the noble ideal of sacrifice though, lots of shitz magically appear in his life. All of a sudden his parents become assholes, his house gets burned, his girlfriend cheats on him, and someone kicked his puppie. All at the same time. YOU CALL THAT REALISTIC???
But I know why so many people out there were fooled by this travesty. It’s because they were all accustomed to shitty cartoons and anime, with hyperactive youths, superpowers, and the power of friendship that magically makes friends mortal enemies and resurrects the dead. Suddenly they get these meak kids without superpowers and OMG THEY ARE THE MOST REALISTIC CHARACTERS I HAVE EVER SEEN! Then they show their simple everyday lives and OMG IT’S SO REAL! And then they pilot robots while having cancer, their father gets murdered, their cat get run over by a car, and their socks are smelly and everyone goes OMG THAT IS SO TRAGIC!
TRAGIC???!!! It is the most overblown, impossible to believe, ludicrous thing that can ever happen and you LIKED IT??? Since when do real people do all this shit? And don’t pull the old “This is anime and it doesn’t have to be so real” routine on me. You called them real and simple and you get NOTHING OTHER THAT THOSE! And REAL??? This is not some slice-of-life, its main themes are about tragedy of the highest degree and regards the meaning of life. There is not a single drop of everyday-real in it.
Let me tell you why you liked them. It’s because you are sadists! Just like the mangaka you are emotional vampires, feeding on other peoples’ misery just to find comfort in your own little miserable lives. You are so fed up with super perfect and idealistic superheroes, you find the Average Joe out there and you lash all your frustration on him.
And to heck with all the emotional BS; how did you even put up with the retarded plot? We have 14 kids, one is the pilot and the rest just wait their turn? What is their purpose in the show in the meantime; being background decoration until the scriptwriter decides out of the blue to throw in a “The robot calls you to be the next pilot” ass-pulling trope to turn their role from Kid12 to Main Hero? THIS SUCKS!
And down to it, do you even care about the characters or are you just shocked so much by the unbelievable drama that befalls them at once to the point you only sadistically care about the drama and NOT the actual characters? I bet most won’t even remember their names and faces five episodes after they are dead because they are THAT forgetabble as characters. But the drama? Oh, no, you will probably remember the horrible things that happen to them in detail. How realistic and humane indeed. THIS SUCKS AGAIN!
Hm, what did I leave out? Ah, yes, Art and Sound. I won’t stick here much, sue me. The CG on the robots is generally unnatural but this is expected because the show is animated by that piece of shit studio GONZO. They never made a single CGI model that doesn’t look fake. The character figures look simplistic and unappealing but that is not really a minus. If they were trendy shounen leads, they would be complete sh*t in the context of the story; so at least they save face where they lose it in character motivation. So good job there for a change.
… Too bad they are also so blunt-looking you will forget them very soon.
Cinematics for atmosphere built-up? Sure, they are ok. BGM? I didn’t lose my mind over it but it was ok. Voice acting? … Hm, they sound natural. Even that mascot critter does not have a squeaky voice. Nice.
… but never great.
I sure liked the controversial aspect of the series. It’s not really about kids piloting transforming robots and happy-go-lucky protect the planet from evil aliens. It is also thought-provoking in a way, as it does make you think and feel strange about the situations the kids are thrown in. But DAMN everything is based too much on shock value to the point it overshadows everything else. It leaves you with a vivid impression because of the horrible things that happen in it yet at the same time, it has very little to back it up. The second time you try to watch it, you clearly see it ain’t so dramatic because the drama only works once and the actual plot is peanuts. Also, the focus on character exposition is amateurish, as most feel like stunts for most of the story until magically thrown to the position of Main Hero for the sake of… well, dying. Character exposition moments before dying? Talk about Newbie Errors 101. Too many characters, too little time invested on each, too many things befalling each one at once, making it unnatural.
I know most anime fans don’t care about that and as long as it shocked them it is considered a success. I on the other hand look at the bigger picture. Does it do it better than other stories with similar elements? Just think about the most famous titles that kinda remind you of Bokurano (and it ain’t Narutaru ).
Alien Nine ? Hm, maybe.
Elfen Lied ? Far less characters and thus far more focus on each one of them.
Madoka Magica ? It’s by SHAFT and has an awesome outro, so it loses to it.
Neon Genesis ? Sorry, dwarfed big time.
Battle Royale ? Ok, now it is invisible.
My, look at that, now it ain’t so special after all. It may rank on the better made but it still feels bad next to the titles it has similarities with. For all it maters, I admit it’s better handled than Narutaru but that’s it.
By the end of the show, you will only remember tragic events and not human compassion. You will remember tropes but not characters. And in case you have read the manga you will curse the show for making such a cop-out ending that contradicts it own ideaology. So no, it’s a vey bad show, hyped by sadists and flimsy emos who are easily sucked in by the likes of Titanic or Avatar level of tear jerkers. Not good at all. I even refuse to include it in the good titles of the year it was made. And it’s also a GONZO show; why the hell would I say good things about it?
p.s. Here are some overall rating for Narutaru next to Bokurano. Just a last moment bonus and such…
Animation: Narutaru:6, Bokurano:8
Sound: Narutaru:6, Bokurano:8
Story: Narutaru:4, Bokurano:5
Characters: Narutaru:5, Bokurano:5
Value: Narutaru:3, Bokurano:3
Enjoyment: Narutaru:4, Bokurano:5
Average: Narutaru:4.5/10, Bokurano:5.5/10
This anime isn't for people who are desperate for second to second intervals of fanservice and action. That isn't to say that there is a significant absence of action, but rather it isn't the point of the story.
It's a tragic character backstory of children who are fated to hurt. I watched it hopelessly, half-wishing it wasn't just a story and that I had some power to make these lives better--to save them.
People who can appreciate a good story and have a bit of a masochistic tendency to actively look for stories that will break their hearts every 20-some minutes--this anime is for them.
I typically watch anime like Deadman Wonderland and Future Diary. But this anime will be marked on my list as a classic.
My soul is still recovering from having watched this anime several years ago. Only consider watching this if you are able to brace yourself for an onslaught of sobbing.
I suspect a bit of sadism from the creators, but I also have a bit admiration for their talent.
Allright. It's been a while since I've done something like this so bear with me as I try to find my way again.I did quite a lot of them in the past on a different website which you can find here: http://legendsofsatura.net/index.php/forum125/6-reviewing-guild.html
....They probably aren't very good though but please do stop by if you have the time and inclination. Originally the site was for writers, mostly original but also fanfiction.
Also I'm Dutch so there will be spelling errors. If you find them annoying give me a shout and I'll try to fix them.
Oh, I will try to keep spoilers to a minimum but there will be some. Usually the worse I rate an anime the more spoilers this will contain. You have been warned
So, you have probably already read what the animation is about in the discription given by Anime-Planet, which is the same as on the box. I will therefore try not go into the story that much unless I'm ranting about something (spoilers).
ART: With the large number of characters having good art where you can easily keep them apart is very important and there is no such worry here. I aprticularly liked the design of the mecha which are absolutely massive.
Almost no bright colours were used in the anime and, considering the subject, this was a good choice. I'm not a big fan of overly 'bright' anime so this actually suits me preference.
SOUND: Here is where I must really credit the anime. Not only do the mecha look great they sound great to. Even when standing still they make this deep piston sounds that just exudes power. Voice actors should be mentioned as well for doing a excellent job. Most main characters are around 15 years old and they are fighting for the lives of everyone in the universe and they are very well written and acted.
CHARACTERS: With so many main characters it is a bit hard to chose but here are the most important ones. Ushiro is the main character in so far that he has the most back story and is the last pilot for Zearth. He is usually with his younger sister, Kana, but his relationship with her is not very good. He verbally abuses her and doesn't shy away from physical violence as well as he blames her for the death of his mother. She died while giving birth to Kana and Ushiro never fergave her for it.
Koyemshi is the guide of the children and the one who selects the next pilot for every fight. Little is known about him but he seems to enjoy his role and torments the kids whenever he can.
Kokopelli. Although only appearing in the first episode he is the start of it all. He meets the children and, convincing them it is a game, cons them into becoming the pilots of Zearth.
STORY: Finally! A story that actually goes about something. Earth is going to be destroyed by 15 huge mecha's and only the children can stop it. For this reason each much take a turn piloting the huge mache Zearth but at a price. Each pilot can only fight once as Zearth runs on the life energy of the pilot. Once the fight is over the pilot dies and the next is selected. Simply not sighting is also not an option as losing the fight means the death of their world and everyone in it.
This brings an amazing dramatic element to the anime that few can rival. With exception of the first few children you spend quite some time with each and every one of them. Most will have an entire episode dedicated to them where the episode ends with the fight and death of the pilot. During this the main plot progresses and side plot involving Ushiro as well. Although the side plot really goes nowhere. Some very adult subjects are broached and, overall, handled pretty well.
Sadly not all is well though. As mentioned earlier the side plot with Ushiro goes nowhere but it should not have been at all. The subplot involves Ushiro's mother, his real one. It is made clear that Kana is not his sister but his niece instead. A fact that Kana knows but not Ushiro and this is bullshit.
Ushiro was about 6 years old when his mother gave him up as whe was involved in a Yakuza gang war that killed his father. At 6 he should been very aware that his foster mother was not his real mother so his anger to Kana was completely unfounded.
His real mother does appear in the anime and just when you think some epic reveal is coming she is simply killed off without any real payoff. If the reason she was in the anime was some sort of dramatic effect that it was very much wasted. If they wanted drama they could have easily gone with the berieved families of the former pilots. Sadly they are not in the anime and only one funaral is shown and that is of the first pilot.
But the Ushiro subplot is not in vain as it allows the entry of the most awesome character in the anime: Sakakibara. He's a former Yakuza enforcer who just finished a lengthy prison sentence. His job is to protect Ushiro and he is simply amazing and so much fun to watch you'd wish he was more of a main character. So my complaint is that he's not enough in the anime.
Then there is the villain in the anime. Zearth is filled with secrets and even a little bit of its tech could launch humanity decades forward. Power balances would shift overnight and some people would reign supreme.
For this reason the government turns a blind eye to some aspects of Zearth, such as children piloting it. It also protects the conglomerate that is harvesting Zearths' tech and is converting it into weapons.
At no point do we get to see these men behind the scenes although there is much talk and speculation about them. Then he just appears in the anime and do their utmost to be a massive tool and bastard. He succeeds but one is left to wonder why he just suddenly appears like that and disaapears just as quickly without any payoff.
Still, this is one the best anime's I've seen in a long time and well worth getting.
Recently, with the popularization of such young adult novels as The Hunger Games and Divergent, there has been a spike in what I like to call the “Suffering Children” genre. Entries into this genre typically include kids or teenagers put into life-or-death situations or heavy psychological stress, and are made to mature much too quickly. Bokurano, a 2007 production by GONZO, follows along similar lines; the story revolves around fifteen children who discover a mysterious man living deep inside of a nearby cave. When confronted, the man (known only as Kokopelli) offers the kids a chance to play a ‘game’ in which they must pilot a giant robot against numerous monsters in order to save Earth. Apparently unaware of the concept of stranger danger, the children eagerly accept the opportunity set before them. Soon, however, the children realize that this is no video game- the massive robot, the monsters, and the threat to Earth’s survival are all very real. The children must now take turns piloting the behemoth against fifteen enemies with the knowledge that the fate of the world is in their hands.
While it’s true that Bokurano classifies as a mecha series, those looking for intense giant robot action are sure to be disappointed, as the battles between the incredibly sluggish “Zearth” (the name given to the robot by the kids) and its opponents resemble an episode of Robot Combat League more than anything else. Most fights are rather quick and unexciting, and although the skirmishes involve more strategy as the show progresses, they never become anything to write home about. As it turns out, the real focus of the show is on its characters and the psychological difficulties that they face. Each pilot must deal with their own personal problems, various moral roadblocks, and the increasingly difficult question of whether Earth is even worth saving at all. How each child uniquely handles these issues is one of Bokurano’s most interesting aspects, and provides a realistic look at the vast array of reactions people can have when put in a dangerous or compromising position.
Developing 15+ characters in such a few amount of episodes is no easy task, but Bokurano rises to the occasion, as most of the children have their personalities fleshed out through the telling of their back stories. As a whole, these back stories are fairly diverse and give insight into the reasons why the children make certain decisions (although, as a side note, so many of the kids have at least one parent who is either dead, missing, or off with another man/woman that it almost seems like having an unstable family life is a requirement to pilot Zearth). Some problems do arise, however, as a few of the back stories are simply not as good as others, and certain characters get less development than the others for inexplicable reasons. Bokurano’s greatest issue, though, is that it tends to fall into a ‘back story of the week’ pattern. For certain stretches, especially in the middle of the series, each episode follows a predetermined formula: a child gets chosen as the pilot, their back story is told, and they fight the enemy monster. Lather, rinse, repeat. Though these formulaic episodes provide good development of the characters on an individual basis, they get rather repetitive and don’t offer much to be interested in or excited about.
Fortunately, these repetitive stretches are usually put to an end by Bokurano’s strongest element, plot twists. As the story progresses, the children begin to learn more about the game they’re playing and about what’s truly at stake through Dung Beetle, a devious floating creature who, despite acting as a guide to the children, enjoys watching them suffer. Typically, the knowledge imparted by Dung Beetle or the facts the children discover on their own are spread out nicely and come at times when new, interesting information is sorely needed. While a few of the twists fall flat, most succeed in breathing fresh air into the series and forcing new psychological strains onto the young pilots. Finding out more about the horrifying truths hidden within the game and seeing how the children deal with them are, in my opinion, the most enjoyable parts of the series, and they provide a great deal of intrigue to the story. Though I wish more questions had been answered by the end, enough was revealed to keep me from leaving the show unsatisfied.
In terms of animation, Bokurano is decidedly average in comparison to other titles released in 2007. There’s nothing particularly pretty about the character designs or the environments, but overall, it’s not too bad. The 3D models of Zearth and the enemies, though strange looking at first, are actually rather decent and give the show a little added character. The soundtrack generally did a good job setting the show’s mood, especially during the fight scenes. It should also be noted that Bokurano’s opening song is pretty damn catchy; the word “uninstall” certainly popped in my head a crazy amount of times for days after I had already finished the series.
All in all, I would recommend Bokurano to anyone looking for a good psychological series to watch. Though it may be another entry into the “Suffering Children” genre, it’s twists and character development make it worth checking out.