Trust, Agency, and The World God Only Knows

Initially, I wasn’t really sure if there was a point to reviewing this one. I mean, it’s the third season of a self-aware harem comedy/parody. If you’re watching it, you know what you’re getting, and if you’re not, you know why you’re not. What would be the audience for a piece like that?

But the more I thought about it, the more I realized this season basically makes the show. Sure, it’s always been funny. Sure, it’s always taken pointed but lighthearted jabs at harem scenarios and anime character writing. But this season takes the gloves off. This season makes a point.

Alright, I’m gonna use one of my least favorite words here. Normally, I think it’s both misapplied and meaningless, but for once, it just might be appropriate.

TWGOK S3 completes the show’s arc as a deconstruction of harem comedies.

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Brief Aside – The Point of School Days


What’s up with School Days?


It’s an uncomfortably scathing and cynical commentary on the nature of most harems and dating sims. Not a fun ride, but a pretty necessary one.

Most harems exist as sexist power fantasies, relying on the relative inoffensiveness, blandness, or obliviousness of the protagonist, as well as generally a lot of not-taking-themselves-that-seriously, to (theoretically) avoid coming off as creepy and narcissistic. School Days doesn’t do that – School Days plays it straight. It takes a callow, nebbish male protagonist with a weak moral center, and surrounds him with girls with such significant personal issues and such weak self-image that his realizing he can have sex with people just by wanting it and pursuing it makes it actually happen. It’s a relentlessly negative show, but that’s the point – it’s saying that harems are pretty ugly things, and that the circumstances of a harem require a lot of shitty behavior on the part of the guy and a lot of psychological dependency on the part of the girls. By mapping the escapism of harems to characters with actual issues, it acts as a scathing critique of the idea of “winning” girls.

That said, the writing is suspect, the pacing is sluggish in ways that don’t support the material, and the show never actually grapples with its themes, it just exists as a representation of them. The points it makes are a lot more interesting than the package they’re wrapped in.