Japanese Title: Zankyou no Terror
Similar: Death Note
Eden of the East
Watched in: Japanese & English
Genre: Psychological Thriller
Length: 11 episodes
- Compelling premise.
- Love the soundtrack.
- Tackles some concepts rarely covered.
- Muddled motivations and actions.
- Main antagonist is garbage.
- Riddles solved easily.
Why would you do this to me? Why would you set up so well, promise so much and then tear it away? You are tearing me apart, Lisa Terror in Resonance!
A terrorist bombing leaves Tokyo in shock, for the only clue the police have is an internet video of two masked people calling themselves ‘Sphinx,’ presenting a riddle on the whereabouts of the next bomb. Plutonium also went missing from a nuclear facility six months ago. Lisa witnesses two teenage boys, Nine and Twelve, from her school planting toys stuffed with explosives. They give her a choice: become an accomplice or die. Thinking her life unable to get any worse than it already is, she joins them.
So, teenagers as terrorists – that’s interesting. An emo girl roped into the operation – could be good. Shame it isn’t. The worst is that Terror in Resonance seems good as your watching it, but in the latter half when they reveal the secrets and motivations, it retroactively contaminates elements that seemed solid.
Most notably is the motivation behind these edgy teens. I won’t give anything away, but it’s imbecilic. A thousand ways come to mind that are better at changing the world for the better than random bombings. To give an analogy, imagine someone killing puppies. You guess he’s evil. But, ah, yes, it’s because these puppies are being tortured and killing them is mercy. That makes sense. Wait, you think, why not free them? Well, they can’t survive without anyone to care for them, so it’s better they die now than starve in the cold. That makes sen—why not give them to somebody? Surely, there must be other avenues to try before euthanasia. Terror in Resonance doesn’t even ask these questions. It goes straight to the nuclear option, made worse when you’re told these kids are geniuses.
That’s another thing – the “intelligence” of characters and strategies is idiotic. Take the first riddle (‘Sphinx’ motif at play). It’s easy to solve with a quick Google search (or Yahoo, as is popular in Japan) and I’ve heard it before. Yet the detective in charge never thinks of that.
Later, they introduce Five, a “genius” girl working for the FBI, to catch Nine and Twelve. If the quirky naming scheme wasn’t obvious enough, Resonance wants to be Death Note. Nothing wrong with that. But to draw inspiration from another piece, one must understand said piece, particularly what made it succeed. The Resonance writer seems to think that throwing random crazy and nonsensical mental duels at the story was Death Note’s secret.
She has edge and crazy instead of character. Yes, L was an oddball in Death Note, but that’s on top of his depth. Five’s motivations make no sense, as every move she chooses puts her further from the objective of recovering the plutonium. One duel has Five face the boys in a shopping centre. Her team has eyes everywhere, while the boys must navigate the surveillance in a grid like a chessboard. It’s nonsense. Especially once you realise no one needs to play this convoluted game. I assume the writer thought the scene needed some hook, some quirk to draw the audience and forced in the cliché chess angle.
I almost forgot Lisa – as the plot did (ba-dum tss). Each episode, I kept wondering about her purpose to the story, as the camera occasionally cut to her moping in the hideout or around town. She has none. She leapt at Twelve’s invitation, yet is unwilling to partake in the bombings. Resonance’s main theme is cycle of abuse and if one would break the cycle when given power of one’s abuser. She’s a concentrated proxy of this cycle, but with so little personality and impact, her metaphorical role amounts to nothing, like all edgelords. Cut her from the story!
The writer muddled the message by trying to make everything more complicated than necessary. It didn’t need all the Death Note touches – should have been itself. These kids want to change the world through extreme means; however, their actions are confusing. So many better decisions could have had higher efficacy. Terror in Resonance’s art, music, and concepts are better than the story itself.
Art – High
Terror in Resonance has nice clean art and animation, rarely relying on static shots. Colours pop.
Sound – Very High
I love the soundtrack, from the ethereal OP and ED (I hated skipping them twice when pressed for time) to the instrumental background music. With Yoko Kanno (Cowboy Bebop, Wolf’s Rain) on the music, her international folio delivers, including Indian Tabla – a rarity in anime – for tension. The dub is better than the original, as the American characters don’t speak Engrish and it matched voices better. Original is still good, overall.
Story – Medium
A terrorist attack on Tokyo leaves little clues outside an internet video with a riddle warning of another bomb. Sadly, a need for edge and desire to be Death Note fails to deliver on the premise.
Overall Quality – Medium
Recommendation: Try it. I debated extensively on whether to go for a high or medium rating, but the faults dampen the end feeling. I recommend Terror in Resonance on the merits of its visuals, audio, and the concepts it tackles, in spite of its story stumbles.
Awards: (hover mouse over each award to see descriptions; click award for more recipients)