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Rick and Morty: “The Ricklantis Mixup” (S3 E7) Recap and Review


After waiting two weeks after the premiere of the previous episode, “Rest and Ricklaxation,” the stellar Rick and Morty is back, and proves yet again why it’s one of the best shows currently airing on TV. With a focus on world-building, this new episode seamlessly combines four different storylines into one, laces each one with sharp political commentary addressing the numerous ills plaguing the Rick Citadel, and seems to finally continue the main cliffhanger from season 1 concerning Eyepatch Morty, though that is still left fairly ambiguous. Oh, and of course, it’s all punctuated with hilarity and fantastic voice acting on Justin Roiland’s part. What makes this episode unique, though, is that it accomplishes all this in the most Rick and Morty way; by using and expanding upon the infinite versions of Rick and the infinite versions of Morty to shape the world they reside in, and reflect our own society.
The episode begins with the main Rick and the main Morty, the ones who act as the protagonists for most of the show. They are preparing to go to Atlantis when another, nondescript Rick and Morty show up through a portal. Nondescript Rick asks Main Rick if he’d like to contribute to the Rick Citadel Redevelopment Fund. Remember that Main Rick is the one who destroyed the citadel’s Council of Ricks in the first place. Main Rick refuses, with Main Morty making some snide comments to accompany those of his grandfather. Nondescript Rick is slightly taken aback by how assertive Main Morty is, and then leaves the scene with Nondescript Morty. Main Morty is surprised to learn that Ricks and Mortys were still living in the Citadel, whereas Main Rick replies with, “Anyone continuing to explore the Citadel is either stupid, or one of the unfortunate millions held hostage by their terrible ideas.” With that, Main Rick and Main Morty then go to Atlantis, but instead of following them on their fun adventure, the focus of the episode shifts to the Citadel of Ricks.
Immediately upon entering the Citadel, the audience is given a clear picture of the power divide between Ricks and Mortys, as you see the frustrated Campaign Manager Morty (who’s wearing a shirt and tie, and who you find out is a campaign manager later in the episode) trying to get a taxi, but the taxi speeding by to pick up a random Rick in a suit and tie, much to Campaign Manager Morty’s distaste. You also see Cop Rick complete his training, and then a bunch of Mortys closing their lockers, all of which have a picture of Morty’s crush Jessica within them, as they amble off to class under the watchful eye of Teacher Rick. Then you see Factory Rick riding on a train to work glancing despondently at a Rick, who hasthe same IQ and credentials as him, enjoy the high life. After an advertisement for Simple Rick’s Wafers, the news then announces that the campaign for the new, democratically-elected leader of the citadel is beginning, and that, strangely enough, a Morty was running for the position, much to the amusement of the newscasters, since a Morty can’t possibly beat a Rick in their eyes.
From the footage shown, Candidate Morty seems to be standing up for the civil rights of Mortys, who are constantly trampled upon or straight-up abandoned by their Ricks all the time, and you can tell that tension between the Ricks and Mortys is tightening, marking a potential period of drastic change. Of course, though, the Ricks don’t catch on. Finally, Campaign Manager Morty is shown on screen again, discouraging Candidate Morty from participating in the debate, though Candidate Morty is strangely confident about it, which is more than a little strange for the stereotypically cowardly and weak-minded Morty.
Following that, you see a Morty parade, and an onlooking Cop Rick, sipping coffee and waiting for his partner to pick him up. His partner arrives, nearly running over some celebrating Mortys in the process. To Cop Rick’s surprise, his partner is a Morty, and a particularly ruthless one at that. When a Marching Morty announces that “Mortys Are Human,” Cop Morty electrifies him after screaming at him, much to Cop Rick’s dismay. They’re called in to address a robbery in Morty Town and head off.
Next we switch back to the Morty School, where Teacher Rick is teaching them how to be ideal Mortys. One Morty stands out - the Slick Morty, who talks with his friends Lizard Morty, Fat Morty, and Glasses Morty after class. They decide to go to the wishing portal on their last day together, despite the risk of ending up in Morty Town if they don’t show up for graduation. After that we cut to Factory Rick at his boring factory job, but in a turn of events, his boss announces that his position will be opening up. Factory Rick is hopeful, but then his boss announces that he hired another, completely unrelated Rick as the new boss, shattering Factory Rick’s hopes. Factory Rick raises his hand to ask why, and is completely ignored.
Next, the Cop Rick storyline is continued, and we finally get to see what Morty Town actually looks like. It bears an uncanny resemblance to real-life lower class city neighborhoods; hardened Mortys running amok, homeless Mortys sitting by the fire they made in a steel canister, and vaguely threatening music playing in the background. Cop Rick is utterly dismayed and despondent, while Cop Morty is callous and indifferent. They arrive at the store that was robbed, where Owner Morty tries to give them information. Unsatisfied, Cop Morty approaches some random Mortys on the street and violently coerces them into revealing the identities of the criminals. Cop Rick points out that Cop Morty violated many codes, but Code Morty doesn’t care, and the cops leave.
Following that, we are shown the Presidential Debate, where we see Candidate Morty face off against the entourage of Candidate Ricks. The latter all have fairly stupid and incomprehensible answers, but they still get applause based on the fact that, well, they’re Ricks that still sing praises for the Citadel despite its awful state. Despite this, Candidate Morty gets the hardest question to answer - how will he fix the intense divide between Ricks and Mortys - and is made fun of before he even answers the question. Candidate Morty, on the other hand, wins everyone over, by answering with, “The division I see is between the Ricks and Mortys that like the citadel divided, and the rest of us.” As he furthers his point, we are visually shown the different storylines introduced beforehand via montage, convincing his audience - both within and outside the show - that his words are right. Most significantly, Factory Rick gets fed up and shoots his boss, then runs to the Flavor Core and hides. Candidate Morty wins everyone over, and Campaign Manager Morty is fired.
Whoo, that’s a lot of information. And we’re only halfway through the episode. Hang tight there, reader!
After the commercial break, we see Factory Rick resisting arrest, demanding a portal gun to take him off this “prison.” We then cut to a reporter, very terribly reporting on the situation, completely ignoring Factory Rick’s arguments and just telling the viewers to stay in their place, because “it could always be worse.” The news then switches to the election, and it is announced that Candidate Morty has become the favored candidate to win. When asked about his original reality and original Rick, Candidate Morty states that he can’t remember, though his words feel fake, indicating that maybe he does remember and just doesn’t want to share? This is the instance when I first felt suspicious of him, and his possible connection to the episode Close Rickcounters of the Rick Kind. The scene transitions to focus on Campaign Manager Morty watching Candidate Morty on the screen, and my suspicions were furthered when Detective Rick gives Campaign Manager Morty some incriminating files related to Candidate Morty.
Then, we see another group of Mortys watching Candidate Morty on another television, where they talk to Rickman, who appears to be constructing something for the gang. Cop Rick and Cop Morty bust down the door, and Rickman tries to escape with his bootleg portal gun, only to fail. Cop Rick searches the place, where he comes across a crying Morty. Cop Rick picks him up and carries him out, only for Crying Morty to literally stab him in the back. Cop Rick throws Crying Morty off of him and shoots. Cop Morty walks in and explains that Mortys sometimes do that to emotionally manipulate Ricks, while bandaging his wounds. Cop Morty tells Cop Rick to go back to the car, and with Cop Rick’s back turned, Cop Morty disintegrates the building they were just in, killing the gang of Mortys inside.   
Next we see the group of Mortys searching for the wishing pool. They try to pick some exotic fruit but are verbally attacked by Redneck Rick, who owns the farm. At night, we see the friends talk about what they think they’ll find at the wishing portal. Slick Morty is the most pessimistic, and reveals that his Rick gave him a drama implant, who makes everybody sad and down. His friends comfort him. Afterwards, we see Campaign Manager Morty attempt to assassinate Candidate Morty, because of the information on the incriminating files Campaign Morty received earlier.
Following that, Cop Morty and Cop Rick go to the Creepy Morty, a bar and quasi-dance club. They meet up with Big Morty, who likes to “contribute to keeping the peace in Morty Town,” but it’s very clear that Big Morty just wants the town clear of his enemies, as he’s a drug lord. Cop Rick states that, even though Morty Town is bad, as cops, they shouldn’t be stooping down to their level. Cop Rick tries to arrest Big Morty, with Cop Morty helping Cop Rick and a gunfight going down. Cop Morty gets Big Morty on the ground, and Cop Rick tries to convince him to do the right thing, which Cop Morty does not, resulting in the death of both Big Morty and Cop Morty, the latter by Cop Rick’s hands. Cop Rick exists the bar and turns himself in, saying, “The same old story. Ricks killing Mortys.”
Next we cut back to Factory Rick, who receives his portal gun. To test it, Factory Rick unplugs Simple Rick and tosses him into the portal, but as it turns out, it was a portal to the Blender Dimension. Factory Rick screams at the cops that he’s the Rickest Rick, and to come get him, until the owner of the factory comes out and pardons him...only to force Factory Rick to take Simple Rick’s place as the source of Simple Rick’s Wafers. Afterwards, the group of Mortys come across the Wishing Portal, where each friend gives up something important for the hopes of gaining something better. Slick Morty then wishes that life on the citadel would change, and sacrifices himself to the wish portal - or, as we learn, the garbage dump.
After that, we see Campaign Manager Morty explain his actions, only to realize his efforts were fruitless, as Candidate Morty lives, and is now President Morty. Campaign Manager Morty is cast out into the endless abyss of space. We then see Cop Rick, wondering why he hasn’t been cast out into space, when he’s freed from imprisonment. Confused, Cop Rick asks why, and they say it’s because there are new departmental codes, so therefore he hasn’t violated anything. Then, we cut to the group of friends, who come to a changed school with no graduation. They celebrate how Slick Morty’s wish must have come true.
Finally, and most importantly, we focus on President Morty’s meeting with a council of businessmen Ricks. The Ricks all talk about how they don’t care who’s in the seat, since they’d been running the citadel long before the council came along. Then, President Morty orders the execution of all the dissenting Ricks, leaving the indifferent Ricks completely bewildered and terrified. He ends the episode with the line, “Speeches are for campaigning. Now, is the time for action.” We see a shot of all the Ricks and Mortys that died over the course of the episode, and then the credits roll, with foreboding music playing in the background (“For The Damaged Coda” by Blonde Redhead if anyone’s interested).
If you stay until after the credits, though, the depression and tension are diffused with an entertaining scene featuring Main Rick and Main Morty happily recounting their time in Atlantis. Morty does wonder what’s going on in the citadel, but Rick says that it will have no bearing on their lives whatsoever, and the episode ends.
There is so much information to unpack in this episode that it honestly astounds me, and all of it is presented in twenty-two measly minutes. Allusions to the real world are clearly made, including but not limited to Morty Town’s resemblance to The Hood, the struggles of the working class, the way school tries to beat the uniqueness out of its students, dirty cops literally getting away with murder, how businesses secretly control everything, and, most importantly, how politicians can target and exploit societal divisions for their own personal gain.
The episode is very clearly a commentary on how racism and classism can distort everyone involved, whether it be the Mortys forced to live in a slum or the Ricks being disappointed in themselves for not living up to the potential that has supposedly been imposed on them. Both sides are displayed to have both strengths and weaknesses; the Ricks are smart, but callous and oppressive. The Mortys are the underdogs and are clearly victims of a cruel system, but they can still manipulate and control the system in negative ways. If this divide didn’t exist, then both sides might be at peace, but the issue lies in the Ricks continually attempting to suppress the Morty population. Everything can be traced back to, shall we call it, the “Ricktriarchy.”
The most important character of the episode appears to be President Morty, since the incriminating documents Campaign Manager Morty had reveal that President Morty is actually Eyepatch Morty, last seen from the episode “Close Rickcounters of the Rick Kind.” Why is this important? Well, within that episode, Eyepatch Morty is revealed to be the mastermind behind the framing of Main Rick. It would then make sense that President Morty would want to control the citadel; he obviously has a huge bone to pick with Main Rick, and if he gains power over an army of Ricks and Mortys, then he can easily exact his revenge.
In spite of the connection to Main Rick, the true evil of this episode is the way that President Morty gains power; he exploits the clear divide between Ricks and Mortys by promising all of them happiness, while never actually explaining how he will accomplish this or showing his real personality to everyone. His supporters are caught in a daze of despair, and President Morty suddenly gave them hope, and he won the support of the masses who don’t think critically or have any skepticism of what might actually happen in the future. This shows just how diabolical people can be, and he uses the same tactic as the Morty who stabs Cop Rick; pretending to have innocent goals while secretly plotting everyone’s demise.
While the actual content is definitely the most intriguing aspect, I think it is also worth praising Justin Roiland’s incredibly versatile voice acting in this episode. It’s amazing to think that he is the sole person behind the microphone, since he provides the voices for all the Ricks and all the Mortys here. He gives each individual Rick and Morty slightly different tones and word choices, like how Cop Rick is more soft-spoken than most Ricks, how Slick Morty sounds a little more depressed than your average Morty, and how President Morty speaks with loads of confidence and is very articulate, without any sort of the classic Morty stammer. How someone has the talent to convey different interpretations of the same character so subtly and effectively is beyond me.
Overall, “The Ricklantis Mixup” is now my new favorite episode of the entire series, not just Season 3. It is the most ambitious, it is the most sharply written, it contains phenomenal voice acting, it provides biting political commentary, all its new one-off characters feel defined and real despite getting very little screen time, the Citadel of Ricks feels like a tangible place with conflicts and hardships, and is still hilarious when it needs to be. I don’t think I’ve ever seen an episode combine so different storylines in twenty-two minutes and manage to make every single one work. All I can say is, the excruciating gap between Season 2 and Season 3 was definitely worth it, if not solely because we got this masterpiece of an episode.
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Long Thoughts: Scum's Wish


Video Version: (coming soon!)

Romance stories always seem to utilize the same plot devices. There are love triangles, instances of unrequited love, innocence levels that barely resemble real life, and the masking and endorsement of relationships that may actually be incredibly abusive. Anime is no stranger to these plot devices, as stories that focus on the building of a relationship are far too common, and it barely leaves any room to explore the most interesting part of any romantic relationship: the actual relationship. Scum’s Wish, on the other hand, is a romance anime that decides to break those trends by looking at them from a different angle. It focuses on characters that are either in a clearly screwed-up relationship or are suffering from the pangs of unrequited love, and creates a web of romantic feelings so complicated it makes Mari Okada jealous. However, being different is one thing; being good is entirely another. Let’s see how Scum’s Wish fares when looked at as a show instead of as an abnormal and interesting concept. Keep an eye out for minor spoilers.
The anime is adapted from the manga of the same name, written by Mengo Yokoyari, and produced by Studio Lerche, who was also responsible for Assassination Classroom and Rampo Kitan. Masaomi Andou, who also directed White Album 2 and...Gakkou Gurashi of all things, is credited as the director. The story follows a group of people who are all having romantic troubles, pretty much creating a love...shape with an indefinite amount of sides. While many different perspectives are shown throughout the anime, the main protagonist is Hanabi, a high school girl who has a crush on her childhood friend, Narumi. This sounds innocent enough, but Narumi is her homeroom teacher, is around five to ten years older than she is, and he is in love with another teacher who is much closer to him in age, Akane.
Things start changing when she meets fellow high school student Mugi. (show picture of Mugi from K-On) No, not that Mugi, though that would be pretty funny, but this Mugi. He has a scummy wish that’s eerily similar to hers; he’s in love with Akane, because she used to be his tutor when he was younger. The two bond over this strange mutuality, and decide to become a couple...sort of. Their relationship consists of pretending that the other is the person that they desire, in an attempt to live with their unrequited love and be less lonely as a result. On top of all that, there are other characters who harbor unrequited feelings for both Hanabi and Mugi, and then there are characters who harbor unrequited feelings for them, and it all results in a huge, confusing mess of feelings and lewd urges.
Instead of taking the easy way out by, say, exploiting its sexual content for the sake of selling figures and/or uncensored cuts of the show, Scum’s Wish treats romantic relationships between teens with the maturity they deserve: they’re confusing, consuming, based entirely on impulse, illogical, and usually amount to nothing. No character in Scum’s Wish views sex as a joke; instead, it’s treated as something relatively sacred, alien, and strange. There are characters that are more experienced with it, and characters that know next to nothing about it. Of course, while the show can get a bit over-dramatic at times, there are no huge shouting matches accompanied by music that forces the viewer to cry. In fact, the contrary is true; Scum’s Wish is one of the quietest shows I’ve ever seen, with music that fades into the background and a heavy emphasis on what’s going on inside the character’s heads.
It is also worth noting that the main relationship of the show, the one between Hanabi and Mugi, is very noticeably unhealthy. One could even interpret it as Mugi taking advantage of Hanabi, since he’s more experienced and she never gives vocal consent to his advances. I like how her consent is kept ambiguous, because it adds to the overall screwed-up nature of their relationship, and in a genre that likes to sugar-coat potentially damaging relationships, this transparency is a breath of fresh air. There are even characters, namely Sanae and Noriko, who see the relationship as unhealthy and despise the fact that they’re together. Of course, this could also be attributed to the fact these characters have romantic feelings for those involved in the relationship, but it’s still an inkling of self-awareness that I appreciate.
Speaking of romantic feelings, I also really like how the show actually focuses a web of feelings instead of shoehorning it in as a plot device. By creating a show solely focused on the web, we are allowed to explore the actual intricacies, complexities, and pain of unrequited love, and how it actually defines the lives of these characters. For instance, Noriko is a character who has a crush on Mugi, because they were childhood friends. An entire episode is dedicated to developing her character, showing how he gained those feelings, and how she’s choosing to live with those feelings, knowing that they will never be reciprocated. This is accomplished by showing her on a date with Mugi, and showing her perspective on the events that follow. Through this, we are able to fully understand who Noriko is, why she’s important in the story, learn that she’s willing to move on from her childhood crush, and ultimately sympathize with her.
Another aspect of Scum’s Wish that really elevates it is that it allows us to see the perspectives of numerous characters, which therefore allows us to understand their actions more. The anime loves to utilize interior monologues, and while many of them belong to Hanabi and Akane, most episodes feature at least one other character’s perspective or backstory, which greatly adds to the mature feeling this anime creates. After all, a romantic relationship, unrequited or not, does involve two parties, so ultimately, we learn more about those relationships by understanding the mindsets of both participants.
This does lead to a downside of the show, though; the show sometimes spends too much time telling instead of showing. The interior monologues are valuable, but they aren’t subtle, which unfortunately makes them a little less impactful in a visual medium like anime. No character is a bigger victim of this problem than Akane, whose mindset is simply explained to us via interior monologue and accompanying visuals in the beginning of an episode. Then, we see her talking with Hanabi, and the same thing happens; her emotions are expressed visually, but also via her thoughts. This is valuable insight into her perspective on the events unfolding, but the show feels it necessary for her thoughts to always be stated aloud, even when the audience can piece it together through the visuals and previously provided information.
Another potential problem of the many perspectives is that many of them do blend together. They’re all delivered in a monotone voice with similar imagery, and while the backstories are different enough to stand on their own, it’s made obvious that the character’s personalities and thoughts are all focused around their romantic lives, or lack thereof. While the flat characters do serve a thematic purpose - most of the characters feel empty, don’t know much about themselves, and are consumed by their love lives because those are the only aspects of their lives that make them feel fulfilled - it does make it hard to identify with the characters beyond that, which unfortunately can be a huge problem for any viewer.
This is probably the reason many anime fans haven’t gravitated towards this show, or showered this show with appraisals. The characters, while being justified and relatively sympathetic, are all pretty awful and pathetic. Every character seems to be going through the motions, and they barely take any meaningful action based on their feelings. When they do, it rarely results in a happy ending, and passive, pathetic characters aren’t exactly people we want to sympathize with, beyond thinking, “Thank god I’m not him or her.” This doesn’t mean that the characters in Scum’s Wish are badly written or anything, but sometimes it is hard to emotionally invest yourself in characters that don’t have any meaningful, distinct, or strong emotions about anything. However, I would argue that this is the point; the characters all feel dead inside, and are all trying to find a means of connecting with other people. The main goal of these characters is to find something passionate to grab on to, but they are unable to, and continually attempt to rationalize and logically think through their emotions to find a solution, thereby sucking all the emotion out. Then, they believe that that solution is the only solution possible, in an attempt to remain in control of their own situation. These thoughts that the characters have are not necessarily logical, but they are not supposed to be, because these characters are emotionally immature, particularly Hanabi and Akane.
These two characters basically share the spotlight as the main protagonists, and are very well-developed. What makes them interesting is the fact that they are foils for the other, and develop in completely different ways. Hanabi is inexperienced, slightly awkward, and exerts no control over herself or the people around her. She never takes any action, because she’s always afraid of the ramifications, and just lets her feelings boil up inside without the willingness to act upon them. She also lets other people control her, almost willingly, as shown by how submissive she is whenever Mugi tries making advances on her. As the show progresses, Hanabi finally takes action and learns how to be more independent and less pathetic, gradually becoming more likable as she learns her life lessons. Hanabi transforms from a character that always seems sad, discontent, and trapped in her own inability to act to one who is willing to move on and look beyond her present predicaments, and it’s fairly satisfying to watch. Even if you don’t (understandably) relate to her struggles in the beginning of the show, I think most people can relate to her ultimate desire to change and become a better person as a result.
Akane, as stated earlier, is the complete opposite of Hanabi. She only feels comfortable when she controls other people, is very experienced when it comes to sex, and loves it when men shower her with attention and she sees the jealous glares of girls who aren’t as lucky. She has a strong sense of self-validation, but needs to keep reinforcing it by being with men, whoever he might be. However, despite all that, her life can still be seen as hollow. Akane has a difficult time forming true connections with other people, to the point that the only way she can get by is if men are fawning over her. She’s never felt the pangs of love, the embarrassment of the high school crush, or the simple joy of being with someone she legitimately cares about. While the resolution to her character arc is fairly predictable - she finds someone who she finally begins to share a mutually loving relationship with - she is undoubtedly the most interesting and realized character of the entire show. Her arc is so satisfying that I kinda wish there was no love web and the show just focused on her for its entirety, but at the same time, I’m good with a few episodes that are completely focused on her.
It also helps that these two characters are elevated by incredible performances in the Japanese dub. Chika Anzai, the former voice of Reina from Sound! Euphonium and Merry from Grimgar of Fantasy and Ash, does a terrific job voicing Hanabi. She nails the despondency and loneliness of the character, gives her a suitable lighter side during scenes of levity, and nails it whenever Hanabi is feeling bitter or upset. It’s been a long time since I’ve heard a voice bring a character to life in such a way, and it’s a welcome change from all the high-pitched happiness we normally see from female characters in anime. However, Aki Toyosaki, who also voiced...Yunyun from Konosuba and Yui from K-On...wow, that’s unexpected...definitely steals the show with her performance as Akane. She’s able to capture Akane’s fake innocence extremely well, but also is truly excellent when we see Akane’s true sly, petty, and self-centered personality. There’s a certain drawl to her voice that just fits perfectly. The other performances as also good, but these two really stand out, and the combination of the voicing acting and accompanying visuals really bring this show to life.
Scums’ Wish opts for a dusty, unfinished, chalky-looking characters and world, almost as if it were an actual moving drawing. The character designs look like typical shoujo designs, except with a more dreary edge, and there are no bright colors to be found; everything feels like it’s tinged with grey, and is desaturated. It looks weird, but it adds to the disconnected and sorrowful mood the show is clearly trying to convey. Characters always look like they have something else on their minds, with eyes that rarely seem passionate, even when the character is supposed to feel that way. It makes their interactions feel meaningless and empty, which, mixed with the dialogue and the show’s overall intent, is a perfect design choice. The lack of passion displays how each character is still looking for something - or someone - to fulfill their lives, but they're constantly failing. The actual animation is fairly consistent and fluid, with no huge drops in quality or major sakuga moments, but it’s nice to look at.
The show also likes to use split screens a lot, cutting away to a closer shot of a character’s face or something while maintaining the previous shot. As cool and different as it is, though, I personally think it's overused. There are some instances where it’s used perfectly, allowing us to see a more subtle emotion on a character’s face. For instance, there’s a scene in episode 9 when Hanabi and Sanae are in a car, and when Sanae mentions something about their close relationship, the screen adopts a white border around the scene. Right after, the shot goes back to full screen. This sudden change shows how Hanabi has trouble processing or understanding what Sanae just said, and is trying to put it out of her mind. It emphasizes the awkward nature of their relationship, and how Hanabi always tries to dodge huge, emotional discussions, which perfectly builds up to the episode’s resolution. Other times, however, it's completely unnecessary. It also doesn't help that the overuse diminishes the technique’s impact, and that does happen after a few episodes, unfortunately. If you want more insight into why Scum’s Wish uses this aesthetic technique, AniTuber RogerSmith2004 already made an excellent video about it, which I’ll link in the description.
The music of Scum’s Wish was composed by Masaru Yokoyama, who also composed for Gundam: Iron-Blooded Orphans, Maiyoga, Rampo Kitan Game of Laplace, and Your Lie in April. It mostly consists of soft piano that perfectly accompanies the somber mood of the show. There aren't many pieces that particularly stick out, but the main theme is a beautiful piece of melancholy, perfectly capturing a feeling of loneliness and despondency. Unfortunately, the soundtrack isn’t easily accessible for those who just want to listen to it casually, so apologies for those who wanted to check it out.
The opening, on the other hand, is my favorite song within the show, mainly because it's so freaking over dramatic that it's enjoyable, but it also oddly fits the show. The noise, dramatic instruments, passionate voice, and lyrics that contain every love cliche on the planet adds to the anime’s empty feeling, like the characters are struggling to find happiness through traditional means and completely failing. Regardless of its meaning, though, it is a pretty fun song, and is accompanied by pretty visuals that garner more and more meaning as the show progresses. I never skipped it, and it always put me in the mood to watch more. The ending is also pretty great, though overall less interesting and the visuals are simply...strange, to say the least. Still, it fits the show, and it’s worth listening to at least once or twice.
Overall, would I say that Scum’s Wish is worth watching? Well, despite its flaws that might turn some people away, I'd say definitely. It's not something that is absolutely required viewing, but in terms of being simultaneously different, interesting, and entertaining, it's a very solid entry into the romance genre, which sorely needed some shaking up. I would not recommend it for people who are simply too immature to watch sexual content, however. I'm not going to slap an age limit on this show, but if you're unsure, I would read up about it and decide from there. For those of you who have seen Scum’s Wish, do you agree or disagree with me? Leave your answer in the comments, and I'll see you guys next time!
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QuickThoughts: Yuri on Ice's Comedy

As you may or may not know, I love observing the anime community’s collective reactions to certain shows. I follow numerous reviewers, check out forums, and encourage discussion on my numerous social media platforms - when I actually post stuff. Anyway, something I’ve noticed while traversing the internet is that certain viewpoints tend to be repeated, to the point that they become what I like to call “popular criticisms,” and I’m always curious to see if they’re legitimate when I actually watch the show in question. Maybe it’s a bad mindset to have, considering it means I watch a show with expectations instead of blindly, but I am a critic, and I do think it’s fun to see what if the parroted opinions actually hold some credence.
One that recently caught my attention was, “Yuri on Ice’s comedy breaks the tone of the series and is unnecessary.” So, when I actually watched the show, I decided to keep that in mind. As you could probably tell by the title of this view, I did see what people were talking about, even though it didn’t the show nearly as much as I thought it would. To be honest, my experience watching Yuri on Ice was positive with a few bumps along the way, with the comedy in the earlier episodes being one of them.
However, I didn’t see much discussion about why or how Yuri on Ice’s comedy breaks the tone of the series. Instead, people just seem to kind of recognize it, like with most other “popular criticisms,” and then move on with their lives. I suppose that’s just the nature of parroted opinions, but what’s the fun in simply addressing a problem instead of explaining why there’s a problem in the first place? Apparently there isn’t a lot of fun in it, at least according to most people, but I think it’s fun, and my opinion the only one that matters in this piece since I’m the writer-
So let’s discuss why I believe the reason why the comedy in Yuri on Ice bugs some people, including myself.
Firstly, let’s talk about the difference between “tone” and “mood.” Tone is the author’s attitude towards their work, whereas the mood is the general atmosphere that the work conveys. Tone can establish the mood of a certain scene, but it is important to note that that they are not the same. For instance, why don’t we quickly analyze the tone and mood of the awful joke I tried to tell earlier: “I follow numerous reviewers, check out forums, and encourage discussion on my numerous social media platforms - when I actually post stuff.” This line has a humorous, causal tone, and is meant to establish a comfortable atmosphere in which I can joke around while discussing anime. Sure, whether it actually succeeds is entirely up to you, but that’s not the point - the point is that the tone of the line creates a certain mood.
When talking about tone and mood in a visual medium, you need to keep those definitions in mind. In Yuri on Ice’s case, the reason why the comedy does not necessarily work is because the tone and mood clash. This is not necessarily a bad thing - a lot of parody comes from the idea of tone and mood clashing with each other - but it doesn’t quite work in Yuri on Ice because of the mood established by the animation. The obvious intent of the writers when they included the comedy in this show was to lighten the mood, so the tone of these comedic scenes is exactly that: lighthearted, and comedic. However, the actual mood of these scenes is not comedic or lighthearted, mostly because of what the visuals and colors convey.
What's the tone of this picture? What mood does it convey?
Yuri on Ice!! uses a pallet that is slightly muted and much more grounded in reality than most anime. The colors are very warm, with realistic skin tones, natural hair colors, natural lighting, minimal bright colors, and an emphasis on deep blues, grays, whites, and wintery colors. The character designs are also fairly realistic, with different body types and human facial features. The show creates a calm, wonderful, beautiful winter-like atmosphere that feels down to earth and realistic...which is why the unrealistic, mood-lightening anime comedy Yuri on Ice utilizes doesn’t always work.
Before I go on, I should make something very clear - I love anime comedy. I love the chibi faces, the overreactions, the sweat beads, the exaggerated facial expressions, and how these comedic moments can actually be a window into a character’s mindset. However, the main reason why this type of comedy does not work in Yuri on Ice is because, by default, anime comedy is meant to be unrealistic. For instance, the anime comedy in Free! works because it previously established its tone as mostly light-hearted, and only occurs in moments that are meant to be comedic - it cuts out all the anime comedy when the show becomes serious, which actually makes the more dramatic scenes more dramatic because all the light-heartedness is sucked out. There’s a reason why the show chooses for most of the dramatic scenes to occur at night, and for the comedic scenes to emphasize the bright colors.
Yuri on Ice, on the other hand, doesn’t have a good distinction between what is supposed to be dramatic and what is supposed to be comedic most of the time. This is made very apparent in the first episode, in the first major scene, when Yuri is in the bathroom stall. When talking on the phone, his character makes an exaggerated comedic expression, and then soon after we see him cry. This directly contrasts with this defeated, depressing, and joyless moment, and it would have been more impactful if the exaggerated face was replaced with a more subtle expression of embarrassment or confusion. In other words, the tone and mood would have a stronger connection, enhancing the impact of the scene.
Another instance is when Yuri is jogging outside of the ice rink, and Yurio kicks him through the door. In this case, the show is supposed to be comedic, which is fine, but again, the realistic tone that the visuals convey completely clashes with this comedic moment. While this unrealistic slapstick would be funny in, say, Sabagebu, Kekkai Sensen, Mob Psycho, or any anime that revels in the fact that it is an animation and not a realistic portrayal of human beings, it’s not funny in a show that revels in the fact that it’s supposed to resemble reality. Anything does not gel with the anime’s atmosphere just feels wrong.
This is not to say that Yuri on Ice does not have funny moments, though. Yuri on Ice is at its comedic best when it just shows the characters interacting, and the resulting laughs that result from these big and definable personalities bouncing off of each other. Most of these moments involve Yurio, the rude, edgy mcedgster of the group, and it’s simply hilarious watching a small, 15-year-old boy act like that. That’s why it’s funny when Yurio acts all angry until he sees a T-shirt he likes. This is where, even though the anime face doesn’t entirely gel with the tone of the show, the comedy works - it’s a contrast that plays with expectations, and gives us insight into what Yurio is like beyond the surface-level edge and anger.
Overall, I would say that this criticism does have legitimacy, but it comes nowhere close to ruining the show; it’s just a flaw within a show that is generally pretty great. If you disagree, I’d love to hear your thoughts about it. Also, let me know if you’d like me to cover any other quote on quote “popular criticisms” concerning your favorite shows. Either way, I hope this was informative, and I’ll see you guys again soon!

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