UlasanAnime.com – The anime series “C” (stylized as “C: The Money of Soul and Possibility Control,” a title deemed the worst of its season) attempts to address the critical differences in entrepreneurship between America and Japan. It introduces an entrepreneur as a pivotal character who helps Kimimaro turn his situation around, highlighting a significant cultural problem.
This issue is deeply rooted in cultural perspectives. An anecdote involving a Silicon Valley entrepreneur asking Singaporean MBA students about starting their own businesses illustrates this point, and the situation is reportedly even more pronounced in Japan.
The core of the problem isn’t merely a lack of desire to start businesses, but rather the economic environment’s impact on innovation. While a stable number of businesses can be maintained, economic growth relies on periods of favorable conditions that encourage new market entries. This necessitates a business culture that tolerates failure, as a successful ventures are inevitably accompanied by numerous failures.
If individuals fear or cannot afford to fail, the development of new businesses will be stifled, or at least occur at a suboptimal rate. This has detrimental long-term consequences for an economy.
The article suggests that “C” glosses over this fundamental issue, which is crucial for empowering a lost generation. Instead of encouraging individuals to create new opportunities, the show seems to focus on the generation seeking to integrate into an already established system that favors incumbents. While “C” presents an alternative perspective, it fails to adequately explain the underlying incentives, getting bogged down in philosophical discussions rather than economic realities.
This approach, the review argues, prevents change from happening at a necessary pace. Comparing “C” to its counterpart, “Eden of the East,” the latter is seen as more effective in initiating meaningful discussion. “Eden of the East” portrays a conflict between the establishment and an internet startup, focusing on how to empower a lost generation rather than placing them in a metaphorical vacuum.
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A primary disappointment with “C” is its lack of a compelling answer to the problems it raises. The ending, while entertaining, is considered less credible. The complexities of monetary policy are touched upon, but the show opts for an entertaining outcome over a raw, critical edge, a stark contrast to the climax of “Speed Grapher.”
The reviewer draws parallels between “C” and “Speed Grapher,” noting that both series explore similar thematic ground. “C” grounds its supernatural elements in real social issues, whereas “Speed Grapher” exaggerates them into fantastic scenarios, perhaps in a Shintoist manner. Despite its fantastical elements, “Speed Grapher” successfully evoked emotions by addressing issues beyond realism.
The article also points out that “C” pays homage to a concept in “Speed Grapher,” even making light of it, which the reviewer believes is appropriate.
The character Souichirou, regardless of his sympathetic portrayal, is deemed fundamentally wrong. He represents the flawed philosophies and policy positions plaguing Japan, as depicted in the story. The show’s attempt to critique these ideas is seen as too gentle, lacking the necessary force to truly dismantle them.
While rational discussion is valuable, it lacks the outrage that drives significant regime change. Without this anger and discontent, the transformation of despair into outrage, greed will continue to triumph over justice.
Another criticism is that, beyond the initial episodes, “C” fails to adequately exploit the short-sighted nature of greed, which is identified as a fundamental driver of bad ideas.
However, the reviewer acknowledges that this critique might not do the show justice. “C” is considered a worthy piece for exploring Japan’s perspective on the outside world and connecting with its citizens. Personally, the reviewer wished “C” had challenged the nature of the global economy, as Japan’s economic problems have international repercussions.
Instead of a rebounding tsunami, a metaphor that aptly describes the situation and might evoke fear in a Japanese audience, real-life economic issues manifest more like a slow-acting disease.
Despite these criticisms, “C” exceeded expectations for an anime described as “Pokemon for adults.” The reviewer found it entertaining, partly due to the presence of two “horny” female characters. It serves as a good watch for insights into prevalent issues within Japan’s domestic discourse.
The animation is creative but occasionally nonsensical. The designs, cinematics, and artistic direction are impactful, though their effect beyond a grounded understanding of “C” is unclear.
The reviewer expresses a desire for a significant reveal concerning the character Msyu to add a more human element, suggesting it would have made an excellent epilogue. Instead, the ending features a peculiar scene between two potentially related characters. The reviewer questions if Mikuni’s motivation and trauma, stemming from protectiveness and adoration for his sister, are merely an extension of “imouto moe” (sister complex trope) and if this trope is detrimental to Japan. The implication that “imouto moe” is both the problem and the cure is met with skepticism, suggesting “C” might not be in a position to criticize “Speed Grapher.”
