DESCRIPTION

CAST

MOVIE ActionKara no Kyoukai: Satsujin Kousatsu (Kou)
MOVIE DramaKara no Kyoukai: Mirai Fukuin

REVIEWS

• 

  lublei

  1/100
  An insult to the medium of animation

  This is a horrendous OVA that I can't fathom was produced by ufotable. The Garden of Sinners movies are all generally excellent and have very high production values so when I watched this OVA I genuinely felt scammed. For context, the entire 30-minute-long episode is 2 characters talking to each other. That might not have sounded as bad as it is, but that is literally all that happens. The characters don't move around, the background stays the same, and they just talk until the episode finally ends. We don't even see the character's bodies for most of the episode, just a talking head in front of the same snowy background. Putting the voice actors in VR chat and recording them would have made this more interesting since they would inadvertently move around a bit during the 30 minutes rather than standing and talking like dolls.

  What really pisses me off about this abomination is that it being an anime significantly detracts from it. This conversation would have been better portrayed in a pamphlet, a PowerPoint presentation, or a docx document with a gif attached. At least then it would have taken less time to consume. The fact that a word document and a gif file would have conveyed everything this anime did, perhaps better, really makes me question why and how this thing was created. It is an extra episode they could have just not produced it but someone wanted to make this garbage. Someone thought this was necessary to make and that it was a good use of animation.

  This episode doesn’t utilize anything about the medium of animation, and barely even has any animation. 2 actors could film this in live action and it would be more interesting to watch without losing anything. Even the PowerPoint presentations disguised as the final 2 episodes of Evangelion are more animated than this trainwreck. In those two episodes, there are frequent cuts, perspective changes, etc. At least they put some effort into making those episodes, while this thing puts the expressionless faces of being characters on top of a snowy background for minutes on end. This has no passion and no value behind it. Even pieces of absolute garbage like ex-arm and mars of destruction at least tried enough to become animated works. You cannot adapt ex-arm 1:1 to a word document but you wouldn’t have much trouble adapting this. Ex arm at least tried, no matter how badly, and failed while this epilogue didn’t even bother.

  I would recommend this as an audiobook if you want to listen to something as you do chores and really like the garden of words. It is very rare that an anime fails so utterly at being an anime. This thing is an insult to its franchise and to every single animated work that had a shred of effort put into it. This thing genuinely offends me.

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• 

  R2R

  79/100
  Far from being an insult to animation.

  https://anilist.co/anime/6954/the-Garden-of-sinners-Chapter-8-The-Final-Chapter/ "4 years later, _they_ meet again".

  ---

  The final chapter that quite a lot seem to ignore just because it's all words and doesn't have all those cool fights or "GREAT ANIMATION". This is untrue, by the way. Because the movie is definitely well-animated, especially considering the fact that it's just about a conversation between two characters.
  Just like the beginning of the story (i.e., the beginning of part 2), Mikiya walks with his umbrella under snowy weather only to get a glimpse of the same person he met 4 years ago, 「Shiki」.
  Shiki's true identity has been explained in three different archetypes in this film: Shiki as a body, Shiki as a psyche, and Shiki as a soul. As she argues, this 「Shiki」 we see here is the soul, an empty soul.

  

  The entire film reminisces on many events from previous films, such as the similarities between Shiki and Fujino which Shiki stated in part 3, the concept of the Soul and its origin which is the central concept in part 5, and finally answering my personal question about the consequences of not forgiving Shiki. What also pleasantly surprised me was the subtle similarities between Mikiya and Shiki, that Mikiya fell in love with Shiki, because of how similar his normalcy is to her abnormality.

  ##### ... who leads an ordinary life.

  Expects nothing and receives nothing, neither looks into the future nor regrets the past, never hurting anyone nor yourself. That is the normal person he is. There's a tiny line between Mikiya's nature of life (as in to live in the present) and 「Shiki's」 origins (from the nothingness), and it's a bit lovely that these two characters, each on the other side of this boundary, were able to fall in love with each other.
  This film feels more like an epilogue than a typical film because it is highly filled with dialogue, with animation and music only providing enough support to make the most of the least so as to not make it a drag to watch, although this will undoubtedly be the case for many. The peaceful and languid tempo contrasts sharply with the preceding parts' blood and gore; one could even call this an artsy entry to the franchise rather than a commercial movie. Though I do agree reading this entry in the novel works better as it is full of words, by no means this film is an abomination. Only people who think that good fights = good animation will get to that conclusion.

  ---

  Conclusion

  This is definitely a great addition (and the true conclusion I would argue) to the franchise. However,
  If you're enjoyability factors are just cool animation and fights, then you will not like this film, or even hate this film for that matter.
  If you are more interested in the characters, however, then this will be a beautiful movie to watch on a winter night.

  Fun Fact: The voice actors for Shiki (Maaya Sakamoto) and Mikiya (Kenichi Suzumura) were married, 6 months after this film debuted. I don't know, I just found it cute.

  
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• 

  NetzLain

  95/100
  Beyond animation: A journey from emptiness to harmony

  If you are someone who believes in spoilers, be aware that this essay-like review will explore some of the main themes of the anime, and some key elements of the plot may be exposed.

  Also, writing this made me feel like every thread that I decided to pull, I had to go back and revisit it from another angle. After doing so many times, I'm confident that I could do it endlessly, so I'm going to try to keep it brief for everyone's sanity.

  ---

  This episode changes the normal pace of the series and focuses on the dialogue between Shiki and Kokutou. This conversation between the two is very interesting and engaging, not only for answering the questions and exploring the ideas presented throughout the previous episodes but also for bringing us closer to understanding the main characters in a way that transcends conventional storytelling. It becomes a metaphysical exploration of identity, drawing inspiration from Eastern and Western philosophical concepts to dissect the complex interplay between mind and body, providing a conclusion to the story and a moment of reflection upon the characters' actions across the eight episodes. From the very first episode, we see Shiki struggling between male and female identities, blurring the lines between gender, consciousness, and existence. Through this exploration and conflict, the narrative makes us question the essence of identity and whether it is merely a product of consciousness. In this episode, however, we get to the bottom of this exploration, starting with Shiki and Kokutou discussing whether personality comes from the body or the mind. While Kokutou says that the brain defines personality, aligning with a more traditional perspective pointing to the mind as the location of consciousness, thought, and storage of experiences and memories, Shiki, on the other hand, challenges him by asserting that the body is the origin of identity.
  

  Western and Eastern philosophy

  By stating that personality lies in the body, Shiki echoes Arthur Schopenhauer's philosophy of the will. For him, this will is an irrational force that drives all phenomena, including the actions of living beings. It is the primal force that manifests through the physical actions and desires of individuals, creating the essence of being. In short, she is the embodiment of It, suggesting that the core of Shiki's existence lies not in abstract, metaphysical realms, but in the tangible, corporeal vessel that houses the will. She explains why that is and how we manage to deceive ourselves into believing that the mind is something special which encapsulates the self:

  Every human houses a personality in their physical body, but none of them ever perceives their own "self". That's before they can do that, the brain creates intelligence to serve as a more reliable "self" [...] Although the brain is just a part of the body, the intelligence treats it as a special entity because it was created from it, you see?

  Beyond that, Shiki's ability, the "Mystic Eyes of Death Perception," serves as a symbolic manifestation of this physical embodiment of the will. Through her eyes, Shiki perceives the inherent mortality of all things, emphasizing the transient nature of existence—a concept central to Schopenhauer's philosophy. Later, Shiki proclaims that her origin is emptiness, shedding a new layer considering the context of the Shiki between Shikis as a body without a will, devoid of desire—a vessel with no inherent longing or purpose. This emptiness is symbolic of a unique existential condition, suggesting a lack of the elements that define human experience. Shiki's character becomes a way in which the series explores a profound understanding of the nature of human desire and identity. In contrast to Shiki's emptiness, Kokutou represents a character who embraces the body for what it is. Kokutou's acceptance of Shiki's unique condition and his refusal to seek change exemplify a distinctive perspective on the human experience. His character becomes a counterpoint to societal norms that often emphasize the pursuit of desires and the quest for self-improvement. This acceptance of the body without a desire for change echoes Buddhist teachings on contentment and non-attachment, exploring the idea that true liberation comes from embracing the present moment and accepting the self as it is, free from the constant craving for alteration. The parallel journeys of Shiki and Kokutou highlight the shared human experience of lacking certain essential aspects. Shiki lacks a will, and Kokutou is somewhat denying his. Both are portrayed as individuals missing parts of the conventional human experience. Even having the power to change not only her fate but the entire world, she realizes that there is no meaning in doing so, as she claims:

  But there'd be no point in doing that, it would just be the same as dreaming something like that. That's why I dream of seeing nothing, thinking of nothing, and not even dreaming of anything and yet, it seems that Shiki and I were dreaming of different things. Shiki doesn't want to be alone. Don't you think that's a boring dream? Yes, how boring can Shiki be? How boring can reality be? How boring... Can I be?

  While reflecting on her loneliness, she also acknowledges Kokutou's:

  To live, having no characteristics, never wishing for yourself to become special. You never hurt anyone else, so you never get hurt yourself. You never steal from others, so you never gain anything. Never making any waves, you just blend into time and live an average life, then quietly draw your last breath. That's the kind of ordinary, neutral life that you all lead; however that's just the end result, nothing more. Most people don't lead that kind of life because they want it. The result of trying to become special, only to fail... that's the shape of a human who leads an ordinary life. And that's why the most difficult task is to try to live such a life from the start. In my eyes, that's a special shape for a mind, more so than anyone else's. So special, I can't even touch it…

  Uniqueness that no one will ever understand, universality that no one ever tries to understand. Because he's so ordinary in everyone's eyes, no one will ever try to understand him. Someone who will never be hated by others, but also not to attract anyone. He appears to be the crystallization of blissful days. If that's true, then she's not the one who's actually all alone... You're going to live, as a matter of course, and then die, as a matter of course. Oh... How lonely...

  Shiki's emptiness and Kokutou's acceptance both reflect a sense of existential solitude, highlighting the universal experience of loneliness inherent in the human condition. Despite their contrasting approaches, both characters grapple with a profound sense of isolation, seeking connections and understanding in their own ways. This suggests that loneliness is not merely a personal affliction but a shared human experience. This loneliness becomes a driving force behind the characters' actions, influencing their will and shaping the dynamics of the story. It serves as a catalyst for self-discovery, making them confront their innermost desires and fears. Kara no Kyoukai suggests that the essence of humanity is multifaceted, and individuals may find fulfillment in diverse ways, even when lacking certain conventional elements. Shiki and Kokutou's journey emphasizes that by embracing these perceived deficiencies, we can find wholeness and harmony. Firstly, with Shiki between Shikis, as she states:

  SHIKI and Shiki are always side by side, so they remember each other well. I, on the other hand, am the "me" that neither of them can perceive. [...] Those two with their conflicting tendencies could never have coexisted.

  And then, later on, explain how they manage to coexist and overcome such a paradox:

  To get along with the physical body, Shiki will look outside, while I'll keep looking staring at the inside.

  Secondly, as we see, Shiki and Kokutou's dualities form a Yin (passive and dark) and Yang (active and bright) relationship within the narrative, illustrating the interdependence and connection of these contrasting elements. This philosophical framework is used to explore the equilibrium between opposing forces, emphasizing the idea that harmony can be found in the coexistence of seemingly contradictory elements. This is even more evident in this episode:

  

  This visual representation further underscores the concept of Yin and Yang, with Shiki's white kimono representing purity, light, and the feminine, while Kokutou's black attire symbolizes darkness, strength, and the masculine. Their contrasting appearances highlight the duality that exists within them, but also the way in which they complement each other. The juxtaposition of uniqueness and universality in the characters' lives aligns with Buddhist notions of individual karma and interconnectedness. Each character's journey, while seemingly solitary, is intricately interwoven with the experiences of others. The show subtly suggests that understanding one's uniqueness requires acknowledging the shared human experience. Incorporating these Buddhist concepts adds a layer of spiritual profundity to the series, inviting us to question the nature of existence, desire, and the path to enlightenment. In essence, the exploration of the nature of personality transcends simplistic dualities and offers an alternative that weaves together the mind, body, and the philosophical concepts of Schopenhauer's will. The brain is presented as a filter for the primal forces that shape human essence, emerging as a crucial element in understanding the complex interplay between consciousness and unconscious drives. As the characters delve into their inner selves, we are asked to reflect on the delicate balance between intellect and instinct, unraveling the enigma of identity between the brain and will.
  

  Animation

  The animation maintains the Kara no Kyoukai level of quality focusing on the details, even with not much going on action-wise, the composition of the scenery is very well thought out and it acts accordingly with the episode which the main focus is its dialogue creating a unique and thought-provoking narrative. In my opinion it doesn't need to be more than It is. It's effective in conveying the narrative and themes.

  The camera angles and details are almost poetic. The care and attention to detail are even more evident when Shiki gazes into the camera, revealing a warm and sometimes chilling side, a reminder of her inner struggle between her two selves.

  

  
  

  Gender

  The dichotomy between male and female Shiki, broadly examined in previous episodes, provides space for the Shiki that exists between these two seemingly distinct entities. This intermediary Shiki serves as a bridge, a liminal space that defies conventional categorizations. Here, the narrative compels us to question whether the space between dualities is as significant as the dualities themselves, challenging the tendency to perceive identity as a binary and encouraging an exploration of the dynamic, evolving nature of the self, emphasizing that identity is a continuum rather than a static point.
  
  

  Conclusion

  Shiki's will is defined by her determination to understand her own existence, confront the emptiness within her, and forge her own path. This relentless pursuit forms the core of her character, driving her actions and decisions throughout the episode. Conversely, Kokutou's will is characterized by acceptance, embracing the present and finding fulfillment in the connections he forms with others. Embodying the Eastern concept of harmony and balance, he seamlessly navigates the narrative's complexities with a calm and composed demeanor.

  In summary, Kara no Kyoukai surpasses the boundaries of anime, becoming a profound philosophical inquiry into the complexities of human identity, consciousness, and the inherent struggles that accompany existence. Inspired by Eastern and Western philosophical traditions, the series invites us to engage in deep reflection, challenging our preconceived notions and embarking on a philosophical and spiritual journey.
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