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‘Babylon’s Moving Moral Theory

Babylon finds hope in our connection to the good.



The battle of good and evil has been waged over and over again across all art forms – especially anime. Some spiky-haired protagonist fights demons in the name of some clear good, saving buxom women and/or the world in the process. That’s precisely why Babylon is special: it breaks the mold. What begins as a murder mystery quickly becomes something much deeper. Babylon is not a tale of triumph; it’s an inquiry. What exactly does it mean for something to be good?

Babylon pursues its answer by tormenting series protagonist Zen Seizaki, a public prosecutor from Tokyo. Zen, whose name literally means “good,” pursues a demon-like woman named Ai Magase. She can cause anyone she talks with to commit suicide – causing great pain to Zen as friends and countless colleagues kill themselves. The catch: Ai is not forcing anyone to do anything.

Aside from one brutal exception, Ai does not actively kill or coerce anyone. She just brings an awareness to people. One character compares the experience to Adam and Eve being tempted by the snake in the garden of Eden. Adam and Eve are tempted by the knowledge of the fruit just as Ai’s victims are drawn to death’s endless possibility. Death is humanity’s greatest unknown and behind it lies the secret of life itself.

Ai just prods what is already there. Like the snake making Adam and Eve aware that God gave them a choice by telling them not to eat the apple, Ai makes people aware they have a choice by simply being alive. They have a choice whether or not to continue to live. The trifecta of life’s mystery, immediate choice, and removal of fear cause any Ai tempts to kill themselves, excitedly.

Babylon anime

Ai’s influence eventually leads to a global, moral crisis. Following a Japanese city’s legalization of suicide, governments from all over the world are faced with a quandary: “Is suicide a bad thing… is it, possibly, even good?” It is in this moral crisis that Alexander Woodward enters the scene. He is the U.S. President in the series and widely known as “the thinker,” thanks to his philosophical nature. He decides the question of suicide’s moral standing depends on what it means for something to be good or evil.

Seeking a definition for the good, Alexander eventually finds the following answer: “Good is continuing.” This view of continuation is not as simple as continuing one’s own life. Instead, continue concerns life, or even more broadly, existence itself. Alexander, during his epiphany, sees visions of humanity’s growth. He sees no particular thing because all things that live eventually die even the sun is not immortal. Only existence never ceases. This means to do good is to act in a way to support existence while evil is acting to harm, or end, existence.

Alexander’s definition is general. Much like the layman definition of the good, what it means to continue is pretty subjective. The definition could validate conflicting viewpoints about the same moral topic. For instance, consider earth vs humanity. Someone could argue that annihilating humanity would be good because it protects the continued growth of life on earth. However, someone else could say that human sentience indicates a special form of consciousness – life – that ought to be protected. If the earth must be sacrificed to ensure the continuation of humanity that is a good. Both answers, while contradictory, fit within Alexander’s definition.

Despite those problems there is a profundity in the simplicity. It captures the similarity of differing moral theories. Whether you debate for concrete rules or the importance of probable outcomes, you argue for what is in the best interest of continuing. That is to say, the good is something known to each of us, even if it’s abstract. We feel it whenever we understand another person, and they understand us. In Plato’s Republic Socrates speaks of the “good” as something intangible but real: a form or idea. “The good” is something within each of us, something to which we all aspire.

Babylon anime

Babylon‘s strongest argument for its viewpoint is found not in the show itself but in the experience of the viewer. When Zen and president have their tragic discussion on the rooftop there is a clear understanding present between them and the audience.

Alexander becomes smitten with suicide, unable to resist the knowledge of death. However, he knows the pain his suicide will wrought – not just to his own family but the world. This leaves him in agony. Zen, out of kindness, kills Alexander as they exchange expressions of mutual understanding. Before dying, Alexander tells Zen, “You are a good man.” The strength of the scene lies in the fact that the audience shares in their understanding. We understand Alexander wants Zen to end his pain and that they both desire what’s best for life’s continued growth.

Just as the show has a definition of good, however, so too does it have a view of evil, and just as with the good, that view is not as simple as it seems. Evil, according to Alexander, is to end. However, to end is not referring to death. As all toddlers learn from The Lion King, the cycle of life and death propagates more existence, more life. Death does not act to impede life; it’s intertwined with it.

Ai, on the other hand, is the incarnation of evil: She acts with the intention to destroy life because destruction, for her, is joyful. The one time Ai directly kills involves Zen’s assistant. Zen feels admiration and attraction for the noble investigator. That is precisely why her death is so vicious. Ai kidnaps the woman, strips her, ties her down then kills her through dismemberment all as Zen watches over a stream in a horrific display all for Ai’s amusement.

Babylon anime

Ai’s depiction suggests evil is something — like the good — ingrained within us; the other side of experiencing existence. Just as experience faces continuing itself, it also faces ending itself. Sure, most of us do not wish to exterminate life but Ai’s essence can be seen in us in more mundane ways. We all get angry and for flashes wish something, or someone, to be gone – to end – even if just for a millisecond. This is why Ai, with the aforementioned exception, never kills anyone. She’s a temptress, yes, but the choice, to end or continue, is our own.

Babylon searches for moral truth and finds a compelling answer. In focusing on what we experience rather than a concrete definition, Babylon isolates “the good’s” domain. Whether it be from evolution, God, or ourselves the good exists and it exists within us.

Nicholas Straub is a contributor and former Game Informer Intern. He graduated from the University of California San Diego with a degree in philosophy. He loves delving into what makes art, especially video-games, so moving. You can find more of his writing at and his newest thoughts on twitter:

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Anime Ichiban 33: Coming into Maturity



Anime Ichiban welcomes our anime waifu overlords, old and new. Join Matt and Kyle this episode as they discuss the return of the Goddess of Anime, Haruhi Suzumiya herself, then hop on over to the new virutal sensation that’s finally sweeping English-speaking nations: Hololive Vtubers!

For this episode of Anime Ichiban, the SHITSUMON! topic will have the duo diving into recently released Aggretsuko Season 3 and The Great Pretender and explore how the two shows work with mature themes.


0:00 – Introductions and what we’ve been up to
23:33 – The Return of Haruhi Suzumiya(‘s light novels)
37:23 – The Debut of Generation 1 of Hololive English Vtubers
53:07 – Minor news roundup: (Shenmue anime announced; Fate/Stay Night Heaven’s Feel Part 3 movie debuts to huge success; KyoAni fire updates)
58:35 – SHITSUMON! How does anime portray mature themes in its storytelling?

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Anime Ichiban 32: The Art of Following a Formula

Corporate shakeups and Galapagos Syndrome spell omens of a changing global landscape for the anime industry.



diary of our days at breakwater

Corporate shakeups and Galapagos Syndrome spell omens of a changing global landscape for the anime industry and that the crew digs into along with how a series can effectively perform within its genre conventions.


0:00 – Introductions
12:28 – Legacy piracy site KissAnime shuts down
28:45 – AT&T reportedly looking to sell Crunchyroll
43:27 – Galapagos Syndrome: Is anime in danger of losing its global identity?
58:41 – News Reel
1:02:20 – SHITSUMON! How do shows perform effectively and still entertain in genres whose formulae are already well known and expected?


Intro – “Cagayake! GIRLS” by Houkago Tea Time (K-ON! opening theme)
Outro – “Tsuri no sekai e” by Umino High School Breakwater Club (Our Diary at the Breakwater ending theme)

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‘One Piece: Stampede’ is an All-Star Behemoth Buckling Under Predictability

Does One Piece: Stampede sail all the way to Laugh Tale, or remain anchored in an East Blue of mediocrity?



As the fourteenth film in Eiichiro Oda’s One Piece saga, One Piece: Stampede was released in 2019 to critical and financial success. As a big-budget commemoration of the anime’s 20th anniversary, Stampede has lots to live up to, from successfully stamping a momentous two decades, to satiating the hype of a passionate global fanbase. Does it sail all the way to Laugh Tale, or remain anchored in an East Blue of mediocrity?

It’s party time at the Pirate Fest!

The Pirate Fest, a grand gathering of the sea’s most infamous individuals, is underway! At the festival, the Straw Hats compete with their Worst Generation rivals to retrieve a treasure of Gol D. Roger. But behind the scenes, festival organiser Buena Festa and legendary pirate Douglas Bullet are scheming something sinister.

Cutting to the chase, One Piece: Stampede soon kicks into an all-out battle against said Douglas Bullet, with Luffy working with friend and foe alike to fell his opponent.

Much like Dragon Ball Super: Broly, also animated by Toei Animation, each frame of One Piece: Stampede is a treasure to behold. Fluid animation and colors spell eye-candy magic, and the odd bit of 3D animation isn’t (too) visually jarring.

One Piece: Stampede nails its mission statement of lightning-paced popcorn entertainment to a tee. Goofy shonen films don’t have to transcend ‘awesome action and silly superpowers’. Rather than shooting for the moon and coming up short, Stampede settles for smashing the sky. With white-knuckle fights and satisfying character moments conveyed with a zippy pace, One Piece: Stampede assuredly brings what fans want. And whilst not as developed or memorable as other film baddies (One Piece: Strong World’s Shiki or One Piece: Z’s titular Z), Douglas Bullet is terrifyingly tough enough to tick the boxes.

Playing It Safe

Whilst the ‘playing it safe’ ethos of One Piece: Stampede succeeds on the surface, the imaginative innovation of One Piece: Baron Omatsuri and the Secret Island is missing, and the excess of characters prevents the possibility of channeling the simplicity of One Piece: Dead End Adventure. Stampede works as anniversary celebratory bombast but isn’t the series’ smartest, and with the core of the film occurring in a single spot and under dull skies, location fatigue rears its head.

For some, the draw of One Piece: Stampede is its constant character cameos. From the instantly recognizable to the deep cuts, it’s a fun gimmick for fans, although the absence of big names like Kuzan and Jinbei are noticeable. Some cameos fall on the side of groan inducing-ly forced, shoehorning a requisite Zoro fight, or overtly shouting to audiences “Remember them?!” Having no effect on the story, these cameos are clunky and break narrative immersion.

Far from the worst of One Piece’s wildly varied films, Stampede is what it needs to be. It lacks the creative spirit of One Piece’s heights and is dampened by its inconsistent cameo execution, but it’s a fine anniversary celebration for one of manga and anime’s, if not the world’s, best works of fiction. For the uninitiated, it’ll be like an avant-garde acid trip, but for those clued-into Luffy’s antics, it’s a barrage of ballistic glee!

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