Review of Code Geass: Lelouch of the Rebellion

Probably one of the most blatantly obvious train-wrecks of bad writing in the history of serial visual narrative production, shamefully destroying its own at first stimulating concept of alternate reality with awful characterizations, extremely weak script and cheap developments that only serve the purpose of working as a “shock-factor” to keep the audience entranced beyond the notice of a very clear lack of sequential planning. Honestly speaking, the show is certainly fun and even held itself within certain quality standard during the irregularly interesting initial 11 episodes but as characters exponentially lose their own minds and personalities we are nothing else but witnesses of the nowclassical conceptual phrase in entertainment: “jumping the shark”. By the badly plotted twist in its “praised by the masses” stage 22 the series barely keeps itself as dirty and trashy fun that that makes you willingly embrace the filth of Japanese animation: the very price of marketing in a ridiculous attempt at dramatic storytelling that takes to oblivion without any justification its own suspension of disbelief.

The core problem is, of course, Lelouch. Some may argue it’s hard to portray a genius but in the end it’s as simple as keeping him from committing underdeveloped mistakes just for the sake of progressing the chronicled history. Not to mention how the rest of cast just acts without any justification whatsoever and never lives up to their indicated development or makes any attempt at decently stopping their inevitable crash into mediocrity. Nevertheless I got to admit that despite her poor dialogs Cornelia remained amazingly likeable, and that must say something about the value hidden in the idea of her original concept.

And so, with the lack of any real literary theme so to speak besides the hilariously exploitative Machiavellian motivation of its ridiculous excuse for a lead, the show honors the words of director Goro Tanigushi and exists as just an excuse to create a “hit show” to appeal both males and females. He succeeded for sure, shame it was at the cost of all the artistic merits of the finalized production.