UlasanAnime.com – The anime series “Japan Sinks: 2020” has drawn significant criticism, with many viewers describing it as a “dumpster fire.” This assessment stems from the series’ exploration of Japanese identity amidst national tragedy and its attempts to find a silver lining. While the ending, where protagonists Ayumu and Go rebuild their lives in Russia after Japan’s submersion, offers a sense of closure, the journey to get there is fraught with suffering.
The narrative leading up to this resolution highlights the immense challenges Ayumu and Go face. Ayumu’s bionic leg becomes a minor issue when confronted with the loss of nearly everyone she knew. The article suggests that the deaths of supporting characters serve a narrative purpose by emphasizing the psychological toll on the main protagonists. However, it also points out that real human reactions to tragedy are unpredictable, making negative responses from viewers who have experienced similar fictional suffering understandable.
The “dumpster fire” complaint arises from the series’ handling of character deaths. For viewers not seeking a morbid spectacle, the gratuitous killing of characters for dramatic effect is seen as a flaw. This approach, sometimes excused in the work of acclaimed directors for artistic merit, fails when the audience has little emotional investment. The sudden death of a father figure, for instance, is particularly jarring, especially when the tone shifts to comedy, undermining the emotional connection to characters like Ayumu.
The article argues that unless characters are engaged in over-the-top action, such as fighting villains with laser blasters, the attempt at comedic relief in the face of tragedy falls flat. This contrasts sharply with the effectiveness of works like “Graves” and “This Corner,” which handle similar themes with greater nuance. “Tokyo Magnitude 8.0” is also cited as an example of a disaster narrative that failed to resonate.
The series’ attempt to incorporate technological elements, like retrieving an SSD from a bunker, and questionable plot points, such as a character’s demise, are criticized for their lack of realism. While such elements might provide entertainment for a detached audience, they detract from the story’s core purpose. The article suggests that for those seeking this kind of sensationalism, Korean dramas or B-rated horror films offer more suitable options, labeling “Japan Sinks: 2020” as ultimately uninspired.
The author acknowledges that a “dumpster fire” can still be used for practical purposes, like roasting marshmallows, but this doesn’t negate its inherent negative qualities. Following the “lost at sea” arc, the series reportedly loses its grip on realism, with each subsequent story arc becoming increasingly improbable. The article posits that perhaps the intended secret of “Japan Sinks: 2020” was the inevitability of death for most characters, a darker ending that was ultimately avoided, which could have been an improvement.
A specific criticism is highlighted: the defense that “That doesn’t make it [bad]. It’s trying to make you laugh!” The article dismisses this as a flawed perspective, suggesting it contributes to the decline in quality of entertainment over recent years.
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Furthermore, the animation quality of “Japan Sinks: 2020” is deemed subpar, with the author considering it the least impressive work from Science Saru, even when including their pre-Science Saru projects. The animation is compared unfavorably to director Masaaki Yuasa’s episodes of “Photo Kano,” suggesting it might even be worse.
