Code Geass: Lelouch of the Rebellion (Review)

Code Geass is An Absurd Chess Match Where the Pawns are Nations.

One of the tropes that I love the most about anime is the absurd “chess” matches that characters play with each other and none of them takes it further than Code Geass. The series is basically characters outsmarting one another over and over and over and over again. It’s a series that subscribes to the motto “brains over brawn,” but time and time again it takes things just a bit too far. Of course, that didn’t stop me from loving every moment of it.

Unlike so many anime out there, Code Geass is a completely original series that takes place in a parallel universe in which Brittanian Empire (Britain and America) have pretty much taken over the world and rule it with an iron fist. This gives Ichirō Ōkouchi plenty of opportunities to play with race relationships between Caucasians and the Japanese (because of course, this series takes place in Japan). While this could have been a crutch to make the series feel more “woke” this is actually a core element for the two primary protagonists of the series, Lelouch Lamperouge (Johnny Yong Bosch) and Suzaku Kururugi (Yuri Lowenthal).

These two heroes are opposites to a point where it gets a bit ridiculous. Lelouch is a brilliant descendent of British nobility and someone who sees revolution as a way to achieve what is best for the people. Suzaku, on the other hand, is a perfect physical specimen and the son of a Japanese Prime Minister who believes that change is only possible through peaceful methods. It gets a lot more extreme from there, but you can tell that the characters are written in such a way that they’re almost lazy. Despite this though it’s interesting to see how these two manage to grow and change over the series, which is 50 episodes divided into two subseries. A lot of the other characters in Code Geass serve mostly as fodder to move the plot along, but all of them manage to make enough of an impact to be memorable, mostly because of the impressive character designs, by Clamp Studios.

Code Geass has an interesting style, to say the least. All of the characters are impossibly lanky and boarder on appearing almost anorexic. However, the designs created by Clamp are beautifully done and quite memorable without being over the top (especially when it comes to the school uniforms worn by the students in the series). To be honest, I’m torn on how I feel about the animation as a whole. On the one hand, it leads to some very intriguing and dramatic sequences, but on the other, the liberties taken with human anatomy are stylized to the point where it’s almost distracting. Don’t get me wrong, I really enjoyed the series and the action sequences are quite satisfying, but a lot of the series revolves around characters talking with each other. It’s during these lulls that I can’t help wondering why they all look as though they were pulled through a taffy machine. It’s a style I’ve never really been a fan of, but Code Geass manages to make it work. Then again, director Gorō Taniguchi is no stranger to lanky anime character.

Like Death Note, Code Geass is a series that pits two rivals against each other while both try to stay one step ahead the entire time. Most of the characters spend their time trying to outsmart each other and because of this the narrative plays its cards close to the vest. Most of the series involves them setting up elaborate traps and countermeasure which they spring in grandiose fashion. While it’s a lot of fun watching Lelouch snatch victory from the jaws of defeat, he seems a little too powerful. This is exacerbated by the introduction of “Geass” to the series, which are special abilities that certain individuals have. Lelouch’s allows him to give one order to anyone and they have to follow it, and Lelouch manages to exploit every loophole possible in order to use those around him like pawns.

To make things more interesting, Code Geass also happens to be a mecha series. While the designs behind these giant metal suits might not be the best I’ve seen over the years, I definitely like a lot of the thought that went into them. Most of them are land-based with wheels attached to their feet that allow them to zip around and seem pretty damn practical all things considering. As the series goes on through the suits get bigger and bigger with crazier upgrades. By the end of it, pretty much every character is running around with an OP suit making the legions of other mechas pretty pointless.

Code Geass is a series that’s about strategy and manipulation. While there are a ton of action sequences, it never abandons this approach to its storytelling, which is something I greatly applaud. While it might take it a little too far at times, the characters are written and developed in such a way that it seems perfectly normal for them. The biggest downfall though is that Code Geass continues to become more and more eccentric as it goes. The first half of the series is focused on geopolitical and military strategy and the second half introduces a ninja maid, cyborgs, and a “Thought Elevator.” Because of this, there is a tremendous lull in the middle of the series, but it slowly manages to claw its way out of that hole and ends on a high note.