The comfort that Japanese people had been able to take from being able to look about and instinctively feel that people around them are thinking in the same way is being eroded. Working in factories, construction work and most visibly in recent years in convenience stores, it’s becoming increasingly common to encounter foreign faces around Tokyo. Instead, the work boomers are seen doing in the Tokyo of 2040 is work that is increasingly being done by immigrants in present-day Tokyo. While the Japan the show depicts seems on some level to be racially integrated (judging from their names, most of the main cast are at least mixed race), the show doesn’t deal with the issue in any direct way. Robots have often been used as metaphors for slavery, but in BGCT2040 they also make (probably unintentional) parallels with immigration. Employed primarily in heavy labor and low-skilled service work, boomers are taken for granted at best and often mistreated by the humans they interact with, and the show invites the viewers to consider whether these incidents of boomers going postal might simply be a natural response any human would also have to the nature of their work and social status.
#Priss bubblegum crisis 2040 series
While the original series tended to focus on the ways the Knight Sabers interacted with people whose lives had been touched by boomers or Genom, the Tokyo 2040 incarnation mostly disregards the existence of the human population in favor of a deeper dive into the philosophical issues raised by the boomers themselves.Īs with the machine intelligences of all good dystopian sci-fi, the boomers of 2040 are going rogue, mutating into monstrous forms and generally causing a ruckus. That series set up the core concept of the Knight Sabers-four women in sexy powered armor, fighting robots called boomers (or voomers, depending on who you ask) and uncovering the sinister machinations of dubious megacorporation Genom. However, it also meant that people who worked on these shows like Konaka had rather more freedom than creators of previous generations, whose work had been primarily targeted at kids.īubblegum Crisis Tokyo 2040 had another, much more obvious progenitor in the original Bubblegum Crisis OVA series, released sporadically between 19. As a result, a lot of the shows that emerged in its wake were staggering under the weight of their garbled, half-baked, heavy-handed political, philosophical and/or religious themes by the end of their run. Konaka- Bubblegum Crisis Tokyo 2040 exists under the shadow of Neon Genesis Evangelion.įollowing its release in 1995, Evangelion had blown apart the model for what anime series were supposed to be and who they were for.
#Priss bubblegum crisis 2040 serial
Like a lot of anime series from the late-1990s-like 1998’s Brain Powerd, as well as shows like Serial Experiments Lain and Gasaraki that featured BGCT2040 writer Chiaki J. At the same time, it’s also a wonderful show in ways that are intimately tied together with its flaws. Let’s be clear: Bubblegum Crisis Tokyo 2040 isn’t a very good show in a lot of ways.
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