In Tokyo, an impenetrable field known as "Hell's Gate" appeared ten years ago. At the same time,
psychics who wield paranormal powers at the cost of their conscience also emerged. Hei is one of the
most powerful of these psychic agents, and along with his blind associate, Yin, works for one of the
many rival agencies vying to unlock the mysteries of Hell's Gate.
(Source: Anime News Network)
The story Darker than Black, delivers well on its own premise. A sense of attachment that gives the already sorrow setting a rugged feel to it. The characters fit nicely in the surroundings, where the four members accent each others characteristics graciously. The world itself gives you the feeling that it's balanced which is in complete contrast with the "main" character who does not feel balanced at al. Which in turn keeps you interested in what he is doing, notifying you why you should pay attention to him. The visuals of the show are good, if not great. I've never felt that something is out of place or does not work in how the world is moving. The differences in characteristics when the characters show their true colours feels genuine and gives them a bit more natural feel. A decent amount of background visuals while something is happening in the focus area also makes the world feel real and accents what is happening in the foreground. The characters individual stories and quirks makes the show worth the watch. Each character has his/her motives and reasons why they move and act. When a character makes a choice or move, eventually you'll understand why or what it is they did. It feels as though there was put a lot of care into the reasoning of a character. Not just for the "main' character but also every other character in the world. Except there are a few characters where they felt a bit out of place because of their eccentricities. But that can easily be explained by saying "I don't know enough about the world to understand any and every character that walks around". If you have been able to read the whole review I'll leave you with a gift. There are multiple ways to watch a show, you can enjoy the story, the visuals, the characters. But when you see the whole picture that the author is trying to portray it get's it's own personal meaning. Something only you may be able to understand. Or not. All in all a good watch. I give this show/anime a 84 out of 100. I would even go so far as to say that I would watch it again if enough time has passed and no other anime can keep my interest.
I am convinced this is _someone's_ favorite anime. I can see people completely vibing with this. It has good characters, good world-building, a good score (not even close to her best but a Yoko Kanno score is still a Yoko Kanno score). The show looks like a Yoshitoshi ABe show animated by Bones. Clean and clear, but still has that darkish tone. This show is EXACTLY what I want out of adult animation. It's about a vigilante who takes down organizations of people with superpowers, and everything is given a down to earth tone. A realistic show with adult themes that is, well, dark. Also, I respect a show that isn't afraid to show blood while also not wanting to have Hellsing levels of violence. However, being down to earth and going for an adults-only crowd (not in its content mostly, but in the way it tells its story) comes at a cost and that is that this show is boring. I thought it was going to be an ongoing plot about Hei's life living in that apartment complex while also living a double-life as a vigilante. Heads up, do not get attached to characters in this show. Not because it's like Danganronpa where your favorite character can just up and die at a moment's notice, but because this show is primarily episodic where every week (or actually every 2 weeks, I'll get to that in a bit) Hei goes against another part of the overall crime syndicate in Tokyo. This show is more about themes than an actual ongoing plot. I couldn't get attached to any of the characters and I don't think I have a "favorite episode". This might sound like a petty thing, and trust me it didn't factor into my score, but I don't think this show should have been half-hour episodes. I get that with anime your show can't be composed entirely of hour long episodes, but the first 22 episodes of this show are all 2-part episodes. So I essentially watched 11 hour long episodes, plus 4 more bonus episodes (yes I watched the OVA). Honestly, I think it would have helped the show if every episode was an hour long. It sure would be daring, and also more similar to how live-action dramas are structured. I'd say give the first two episodes a watch (don't watch this show in odd numbered chunks, that's weird) and if you are REALLY into it, I highly recommend that you keep watching. As for me? I'll struggle to even consider watching the second season.
Introduction/Background: This was one of the first series I ever ended up watching in 2010 and thus, is held fairly close to my heart.I remember thinking Hei was pretty badass, the use of superpowers was actually fairly competent and physics based, and the action choreography was also good. I revisited this series in 2015. While many aspects of it retained their beautiful quality, I observed that certain aspects can't necessarily hold or captivate an audience. It is definitely a product of its time, for better or for worse. Plot: 5/10 The plot is serviceable. It gives a basic narrative to follow along with, while having an episodic format, so that the main plot either subtly ties in, or takes centre stage a few times. The episodic nature is in service of worldbuilding, and it paints a dark world decently well. However this isn't the type of show where you'll be at the edge of your seat, anticipating the next narrative beat with baited breath. Characters: 8/10 DtB Season 1 has some good, nuanced characters. The development and/or vices of the main cast of characters is more subtle than it is pronounced, but we do get to see how they act in various scenarios and this is done pretty well. Our main protagonist for example, is painted as a deadly cold blooded killer within the first scene. However, the analysis of his actions and internal struggle show anything but that over time. Since these reviews are to be non-spoilery I won't delve into the others too much, but even one-shot characters usually receive some sort of poignant development to service them and make them feel at least two dimensional. Animation: 9/10 Bones delivers some stunning animation. For 2007, you'd be hard pressed to find something with this much attention to detail (for series, not movies) in choregraphy between hand-to-hand combat and use of abilities, stuff like FMA 2003 comes to mind and this too is from Bones. (Edit: I have been in discussion and it seems I worded this poorly. There are other series from 2007 with stunning animation, most notably TTGL. What I should have said is less to do with specific animation and more to do with attention to detail.) The series as a whole shows consistency here, although a point has been taken off for perhaps not going all out for general non-combat scenes. But this is few and far between. Soundtrack: 9/10 Simply amazing. Yoko Kanno does amazing work as usual, and this soundtrack is accessible enough that it appeals to a wide demographic. Expect a lot of hard rock, jazz and jazz/funk fusion. It is also a vast and massive OST for a 26 episode series (the other seasons and OVAs all have their own OSTs too). There is amazing classical music here too - basically Yoko Kanno flexes her breadth of compositional ability to create a soundtrack perfect for a noir thriller, but also for an action-packed espionage series. Conclusion: Darker than Black has aged decently well, while perhaps being too laser-focused on the dark tones of it's world; at the cost of missing out on a large section of the watching demographic. But it is steadfast in sticking to its roots and manages to deliver a moody and unforgiving narrative for its harsh world.
# _~~~__This review contains major spoilers for Darker Than Black and minor spoilers for the 1972 novel Roadside Picnic.__~~~_
By 2007, Tensai Okamura was already a well-established figure in the industry, having amassed nearly three decades of experience that included collaborating with some of its most legendary names.
Under Yoshiaki Kawajiri, he had begun as an in-betweener for *Neo Tokyo*, and had later become a key animator for *Wicked City* and *Ninja Scroll*, [receiving mentorship on the key principles of shot composition from the director during this time](https://caroline-leroy.eklablog.com/interview-de-tensai-okamura-darker-than-black-a168068608). As a storyboarder, he was instructed in the [diametrically opposed schools of Hideaki Anno and Shinichiro Watanabe](https://www.animenewsnetwork.com/feature/2017-08-09/interview-tensai-okamura/.119921); for *Evangelion*, only the minimum and necessary information was to be kept, while *Cowboy Bebop* demanded meticulously planned and maniacally detailed storyboards.
The key commonality between all these projects was that they were wholly original. Creating storyboards from scratch, with no pre-existing material to use as reference, meant that Okamura was able to develop a fluent cinematic language of his own early in his career, which would later prove invaluable when directing *Wolf's Rain*. ~~~img400(https://i.imgur.com/GAe8PqM.png)~~~
Though he had been involved the writing, it was *Cowboy Bebop's* Keiko Nobumoto who was responsible for the creation of *Wolf's Rain*, as well as the vast majority of its script. With that in mind, *Darker Than Black* signified the director’s first foray into creating an original anime.
Captivated as a child by the detective shows of the 70s and by manga about ninjas, Okamura had decided he wanted to make a [spy story set in Tokyo revolving around morally ambiguous characters](https://web.archive.org/web/20070310033621/http://www.presepe.jp/m44/sp/id/fqfANnHR_UY%3D).
These influences are palpable in *Darker Than Black*, not only in terms of the noir aesthetic and character archetypes but also in the structure itself; the anime consists of mostly episodic two-parters, emulating the one-hour dramas of Japanese television.
Okamura was savvy enough to recognise that writers should handle two episodes at a time, and the result is an accumulation of stories that often differ in tone and themes, in a way that adds depth and flavour but also threatens cohesiveness at times. Among the team of writers assembled, there are varying degrees of experience and creativity on display.
Shinsuke Oonishi is the uncontested stand-out, able to craft poignant and compelling backstories for the main cast, and weave strong themes that resolve themselves in a satisfying way by the end. Although Oonishi can be heavy-handed at times, with symbolism and parallels made overly explicit, he has a talent for creating characters brimming with personality. This is particularly evident in the duo Kiko and Gai. Despite their comedic nature, Oonishi’s careful handling ensures they never undermine the more sobering moments. ~~~img400(https://64.media.tumblr.com/tumblr_lisgupyQD61qi0j3lo1_1280.jpg)~~~
On the opposite end of the spectrum, the relatively inexperienced Kurasumi Sunayama is responsible for the series' lowest moments with episodes 9 and 10, and later 17 and 18. These arcs stagnate the show with uninspired storylines characterised by predictable twists, and a lack of real stakes or urgency. Sunayama devotes significant runtime to developing the relationship between Misaki and Hei, but these efforts result in tedious scenes—awkward mall encounters and coincidental meetings—that do little to meaningfully explore their connection. Ultimately, this undermines the big reveal of Hei’s identity to Misaki, as the viewer is never fully convinced that this relationship was worth their investment in the first place.
Yuuichi Nomura and Okamura also contribute to the script, and while their writing is competent, they are not as pivotal to the plotting as the late Shoutarou Suga.
Suga bears the brunt of the world-building and series composition, particularly in the second half of the show. To say the Strugatski brothers' [*Roadside Picnic*](https://en.wikipedia.org/wiki/Roadside_Picnic) is an inspiration would be an understatement. Rather, it constitutes the very foundation upon which *Darker than Black* builds its setting. The Gates bear a strong resemblance to the Zones described in the Russian novel, from the surreal atmosphere that surrounds them to the research facilities located nearby.
That being said, Suga does not merely plagiarise; he adapts the material in a way that makes it distinctly his own. In the first half of the anime, the Gate-centered episodes are the most intriguing, as more and more questions are raised as few are answered. The introduction of the meteor fragments serves as a compelling MacGuffin that allows the setting to be explored in a meaningfully interesting way. It speaks to his quality as a writer that Suga is able to provide emotional depth to the characters and create convincing motives, rather than relying on mere exposition—Nick and Havoc's arcs being prime examples of this. ~~~img500(https://randomc.net/image/Darker%20than%20BLACK/Darker%20than%20BLACK%20-%2012%20-%20Large%2024.jpg)~~~
However, at some point, it becomes clear that no one in the team fully understands the workings of the world they have created.
For a time, this ambiguity plays to the show's advantage, as it allows viewers to form their own interpretations, particularly regarding the humanity of Dolls and Contractors. Additionally, the seemingly arbitrary nature of Contractor remunerations adds to the sense of inherent randomness in the cosmos.
Yet, as the plot progresses, the mounting questions become overwhelming, and the rules of the world begin to contort in increasingly contrived ways. By the end, the Gate and Hei’s relationship to it have become so amorphous and ill-defined that it is no longer a coherent part of the narrative.
In the Strugatsky brothers’ masterpiece, the lack of explanations are the very point of the book. Humanity has been visited by aliens who left behind mysterious phenomena, offering no answers, no clear purpose, and no communication. While we are not alone in the universe, our cosmic neighbours did not deem us important enough to even explain themselves.
*Darker Than Black* borrows this narrative approach by virtue of using the book as the basis for its setting, but does not convey the same ideas. The vagueness in *Roadside Picnic* underlines the existential insignificance of humanity, whereas in the anime, it feels like a narrative shortfall; an intriguing mystery that gradually unravels into confusion rather than a deliberate commentary on mankind's place in the universe.
To add insult to injury, Suga readily abandons narrative ambiguity when he introduces the character of a scientist to explain the convoluted rules he had constructed, and sometimes contradicted, just so Hei can be given a third option in what was previously presented as a binary during the climax.
Much like the writing, the quality of the directing in *Darker Than Black* fluctuate significantly as the series passes through the hands of nine different episode directors.
There are moments when the show strikes gold with its writer-director partnerships. For episodes 7, 14, and 19, Oonishi’s scripts are adapted by Shingo Kaneko, whose [impeccable sense of comedic timing and use of musical cues perfectly complement the writer.](https://www.youtube.com/watch?v=8u-aY_Pswf4&embeds_referring_euri=https%3A%2F%2Fanilist.co%2F&source_ve_path=MjM4NTE)
Kaneko proves to be a gifted visual storyteller; his clever use of transitions makes for the best scenes of the series. Throughout episode 19, Kaneko employs various devices—[an alcohol bottle](https://i.imgur.com/pHzkLzR.mp4), the light of a cigarette, even the sound of rain—to seamlessly link the past to the present as Huang’s backstory unfolds on-screen, elevating the thematic and emotional undertones in the process. webm(https://i.imgur.com/I9BrdUz.mp4)
Despite envisioning the anime as an anthology of two-part arcs, a perplexing production decision prevents directors from staying on for two consecutive episodes. Just as the Kaneko-Oonishi partnership begins to flourish during the first part of an arc, he is inevitably replaced by someone with a conflicting approach and no established synergy with the writer. Aside from the tonal and stylistic clash this creates, it also means that some directors never find their footing—Takefumi Anzai never seems able to move beyond trucking over still frames or flat shot/reverse shot dialogue scenes.
Some aspects of *Darker Than Black*’s visual identity remain consistent throughout, despite the frequent changes in directors. This consistency is likely due in large part to Okamura’s active involvement in the storyboarding process. Unshackled by pre-existing imagery, and drawing from his extensive experience, Okamura and his team are able to frame shots that feel distinctly cinematic, often utilising POV angles and dynamic shadows that only work in a moving medium. webm(https://i.imgur.com/R4nXbIp.mp4)
The consistently detailed background art certainly helps in this regard, even if it’s [occasionally cluttered by intrusive product placement](https://i.imgur.com/6aWgBHa.png). ~~~img500(https://i.imgur.com/2TfhL28.png)~~~
On a similar note, the fight sequences, though typically frustratingly brief skirmishes that rarely exceed a minute and sometimes resolved off-screen, [are nevertheless expertly choreographed and animated](https://www.sakugabooru.com/data/856daf84621391b9c6bf24e14a905e8d.mp4).
Unsurprisingly to those familiar with Yoko Kanno, it is the soundtrack that stands as the pièce de résistance. Kanno's brilliance lies in her ability to draw from a seemingly bottomless well of influences to craft an unforgettable score. While pieces like [*Go Dark*](https://www.youtube.com/watch?v=mb93CZ-CLh8) align with her unmistakable jazz-fusion style, Kanno also demonstrates a willingness to depart from her previous work and explore a wide range of genres.
For instance, [*Shadow*](https://www.youtube.com/watch?v=K8WdHnmtGBU) and [*Shido*](https://www.youtube.com/watch?v=eiK3Syskc5s) delve into *Bossa nova*, with the latter being a blatant rearrangement of Baden Powell’s [*Berimbau*](https://www.youtube.com/watch?v=4miRO1NMaP4), while [*Hai Hiru Ranawei*](https://www.youtube.com/watch?v=GjHnWuMSkqI) exhibits strong Latin influences. Kanno’s versatility doesn’t stop there; she also borrows from [one of the great composers of post-war Spain](https://www.youtube.com/watch?v=Idsb6gk6j_U) to create Hei’s heart-wrenching leitmotif, [*Kuro*](https://www.youtube.com/watch?v=_1dsm-jvEmQ). Not all of Kanno's musical references are quite as unexpected. For example, [*Guy*](https://www.youtube.com/watch?v=osrGHYADuCA) is a homage to [the iconic opening of the 1970s Japanese detective show *Taiyou ni Hoero*](https://www.youtube.com/watch?v=hDt4Tq2ZPKI).
[Running contrary to sound director Wakabayashi’s instructions](https://www.d-black.net/1st/special/in01.html), Kanno composed a soundtrack that overflows with personality and emotion—precisely the qualities lacking in contractors and dolls. It is this contrast that makes [the vocal, sentimental songs voiced by Mai Yamane all the more powerful and evocative](https://www.youtube.com/watch?v=RSdo4idlRGI), conveying what the images cannot.
Of course, when the music and characters' behaviours match perfectly, Kanno is not shy about using more conventional string and piano-based compositions, such as [*M25-3*](https://www.youtube.com/watch?v=V8eid84VU0M), [*In no Piano*](https://www.youtube.com/watch?v=FM2dD80JVZc), and [*Parting Regrets*](https://www.youtube.com/watch?v=nW3GIvUpzAE). Even the [noisy synth and monotonic electric guitar-based tracks](https://www.youtube.com/watch?v=hCABFcKfjhg) used during fight sequences fit perfectly because of their simplicity.
Seventeen years later, the industry has become increasingly prone to looking inward for inspiration. As the medium’s global popularity has soared, it has paradoxically grown more insular, iterating on its own tropes in attempts to provide twists or subvert genres. Sequels dominate seasonal lineups, and the appearance of "new" anime are in fact adaptations of light novels, manga, video games, or sometimes all of the above.
Original works, in the truest sense of the word, do exist but have become a rarity.
With this modern context in mind, it feels all the more cruel and unfair to scrutinise an original work to this degree—to obsessively pick apart the flaws of inconsistent writing and directing from a group that dared to look outward, taking from the worlds of literature and television before attempting to create their own story.
Perhaps it is precisely because of this that *Darker Than Black* becomes all the more frustrating. The talent behind it is undeniable. Kanno, Oonishi, Kaneko, and Okamura himself are all gifted artists who come tantalisingly close to creating something great.
Unfortunately, the show stumbles past the first hurdle, lacking a unifying vision and coherent story. Most crucially, the guiding hand needed to prevent tonal and stylistic clashes is absent.
Yet, like the Contractors in its story, *Darker Than Black* still shines brightly in the constellation of the medium, enduring in the age of endless information and media mass-production, and showing no signs of fading any time soon.