Review: Paranoia Agent
How can I possibly describe Paranoia Agent? Like much of creator Satoshi Kon’s critically-acclaimed work (Perfect Blue, Paprika, Millennium Actress), it eludes precise classification. Many fans try to sell it as a J-horror anime, but that label feels both inadequate and reductive; rather than emphasizing such generic fears as dark-haired ghost girls and sadistic murderers, the series instead revolves almost entirely around social anxiety—most of it arising from the director’s favorite themes: double identities, the conflict between causality and chaos, and the uncomfortable intermingling of fantasy and reality.
The setting perfectly suits the material. The story unfolds in the early 2000s, when new and exciting technology is uniting people in unprecedented ways. These connections, however, are impersonal, artificial, and insubstantial; in truth, the citizens of Tokyo use their cell phones and laptop screens to hide their intentions, mask their insecurities, and evade their obligations. Through this digital Hell glides Shonen Bat, a diminutive terror clad in a pair of golden rollerblades. His crooked baseball bat delivers salvation to anyone “backed into a corner,” offering an avenue of escape from responsibility and societal pressure (as the lead detective investigating the serial attacks observes, the slugger’s “victims”—which include an artist struggling to live up to her own past successes, a middle school student that hangs his self-esteem entirely on his popularity, and a corrupt cop on the wrong side of a blackmail racket—often seem relieved to have been assaulted). But is he really a liberator... or just another illusion?
In the interest of avoiding spoilers, I’ll refrain from discussing the plot any further. Suffice it to say that Paranoia Agent is quintessential Kon: the narrative constantly twists and turns in unexpected directions, effortlessly shifting tones (from existential dread to every conceivable flavor of comedy) along the way—yet this overarching atmosphere of weirdness and surrealism is always grounded by a minute attention to detail. Despite the cartoonish exaggeration of their stylized designs, the characters consistently move and behave with a sense of weight and emotional authenticity—when they sweat, when they gasp for breath, when they choke back tears, when they tremble from nicotine withdrawal. The result is a delightfully bizarre paradox of a television show—simultaneously immediately familiar and utterly alien in its visual presentation—and I won’t soon forget the experience of discovering it.