The Wee Book of Calvin: Air-Kissing in the North-East is a delightfully awful book by the talented Bill Duncan. A collection of sayings and essays that focus on the stark, strict nature of Scotland, the book promises to make you feel “a lot worse after you read it”. From the bleak and forbidding highlands to the similarly gloomy weather to the austere traits and character of its inhabitants, the book describes the unforgiving nature of the Scottish formed through their colonialist past and Calvinism. “Yir nae better than ye should be” and “If ye faa asleep durin the day, dinnae complain if ye wake up deid” are just some of the merry phrases – yet despite the subject matter, you can’t help but laugh. It’s a gem to atheists, pessimists and nay-sayers everywhere.
Like The Wee Book of Calvin, Sayonara Zetsubō Sensei is from the same vein of ore, draped in the veil of comedic anime. Based on the manga by Kōji Kumeta, it has a very similar core: at its heart, its cynical, sarcastic and irreverent. But, like the Wee Book that takes an existing template (the self-help guide and little books of cheap enlightenment) and body-slams them, Sayonara Zetsubō Sensei builds on all the existing anime stereotypes to the nth degree, creating a large cast that are so extreme in their obsessions that the show practically writes itself. (I’ve put little comments on all the thumbnails, if you hover your mouse pointer over them, you’ll see…)
In the opening episode, we’re introduced to the main character – Nozomu Itoshiki, a suicidal and pessimistic teacher who has just hung himself from the blooming sakura. Little could he realise that by doing so, he would encounter a fate worse than death… or rather, a person. Enter Kafuka Fūra AKA Kafka. Unlike Nozomu, who sees everything in the worst possible light, the world for Kafuka is a joy-filled place, where everything is just hunkydory.
After saving her soon-to-be-sensei, the debate that follows pretty much sets the par for the course: Kafuka argues that no one would want to kill themselves on such a fine day. When challenged about Exhibit A: Noose, Kafuka states that clearly Nozomu was trying to increase his height, and that her mother and father had tried to increase their heights on occasion as well. Oh, and a trash can is apparently a treasure chest for the homeless.
This initial exchange is just the first of many. Do not come into Sayonara Zetsubo Sensei expecting a plot. You will be disappointed, but only briefly. The show relies heavily on its wacky characters to get it through whatever scenario is presented, and for the most part it totally works. Throughout the series, we’re slowly introduced to each of the characters, each one with an excessive trait from which their name is derived: Meru Otonashi, who is completely silent and only communicates through abusive cellphone emails; Matoi Tsunetsuki, a serial stalker and Chiri Kitsu who has a hotdamn sexy voice, and can totally ensure that I am living an appropriate lifestyle according to my status, if you know what I mean is very proper and correct (read: anal) about everything she does.
Sayonara Zetsubō Sensei’s humour is very much dialogue-driven, so it would be easy to get away from with sub-par artwork and animation. But, like the jokes, this department absolutely sparkles. Animated by SHAFT (who have worked on a broad variety of shows including Noein, Ouran High School and Mushishi), it’s clear, crisp and smooth, with a variety of colour palettes, textures, insertion of real-life photography and art styles intermingling (ranging from Andy Warhol-esque colour tones to ukiyo-e to art nouveau). Sayonara Zetsubō Sensei has a very distinct – and dare I say, unashamedly fun – feel to it, and many shows could do well to follow its example.
While there are a number of pop-culture references and for-the-fans jokes in the forms of messages on the chalkboard (my personal favourite has to be “I’m not prostrating, I’m looking at the sky on the other side of the earth”) and occasional animation sequence that hints at some other anime, you never feel like you’re out of the loop. Pani Poni Dash!, another SHAFT project, has many similarities to Sayonara Zetsubō Sensei, but would often overwhelm the viewer with the amount of hidden easter eggs and homages to obscure items of otaku culture. Sayonara Zetsubō Sensei takes itself far less seriously, and can easily be enjoyed by the casual viewer.
All in all, despite only watched eight of the twelve episodes, I have absolutely no qualms recommending Sayonara Zetsubō Sensei to anyone who likes a bit of dark humour.
PPS: The OP
Mention must be made of the opening and closing songs and animations. The OP has the very relevant Hito to shite Jiku ga Burete iru, or As a Person, My Axle is Shaky (thanks, Wikipedia) sung to Nozomu delving into the deliciously decadent, with the female students in various bondage and yuri poses, only to run in fear of their retribution (hint: excessive interpretative artistic license at work here) later on. The ED is less to my liking, but certainly no less impressive.
OP:
I disagree with this show having sub-par animation. I found it to be very avant-garde, minimalistic, and reminiscent of pre-1985 styles. It was simple, yet used many varying techniques to represent moods
Kris, if you read my review carefully , you would have noticed that I actualy praised Sayonara’s animation style. Please refer to the quote below.
“”Sayonara Zetsubō Sensei’s humour is very much dialogue-driven, so it would be easy to get away from with sub-par artwork and animation. But, like the jokes, this department absolutely sparkles. Animated by SHAFT (who have worked on a broad variety of shows including Noein, Ouran High School and Mushishi), it’s clear, crisp and smooth, with a variety of colour palettes, textures, insertion of real-life photography and art styles intermingling (ranging from Andy Warhol-esque colour tones to ukiyo-e to art nouveau). Sayonara Zetsubō Sensei has a very distinct – and dare I say, unashamedly fun – feel to it, and many shows could do well to follow its example.”