The rain hasn’t stopped for hours. When I first woke up, the sky seemed clear enough; but of course, I slept through my first alarm, and thus slept through my chance to start the day with some kind of head-clearing walk or jog. That failure heralded a cascade of other minor tragedies, as long-term wellbeing projects were once more shelved for the day, with the hope of “I’ll get to that tomorrow” tempered by the reality of all the tomorrows where I failed to get to them. For now, for today, let’s just focus on the job, and the maintenance required just to keep the lights on.

Welcome back to Wrong Every Time. Today we’ll be returning to ODDTAXI, a show which has so far captured the mundane adult experience with more acuity than virtually any anime I’ve seen. Its characters slump with the fatigue of professional fatalism and personal isolation; bereft of purpose or community, they cling to the hollow affirmation of social media, or simply accept that life will always be like this. These bedraggled misfits are my people – I also feel most alone when scrolling through tweets, yet can’t help crave that dwindling dopamine rush of online validation. It’s not the internet’s fault that we are all fundamentally alone; it has merely underlined the issue, and offered the opportunity to reinvent ourselves as brands rather than individuals. In a world as segmented and dehumanizing as this, perhaps that’s the best we can hope for.

Well, I hope Odokawa makes it out okay. Let’s return to ODDTAXI.

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Hello everyone, and welcome back to the site. Today I am both eager and nervous to return to ODDTAXI, a show which has so far proven itself to be exceptional beyond any reasonable expectation, and elevated by some of the best dialogue in recent memory. It’s such a smart, deftly executed show that it’s frankly a little intimidating, but that’s a feeling to be embraced – within art, it is the works that genuinely surprise you which expand your horizons, and broaden your understanding of what art can be.

So far, I’ve been learning that art can be Kemono Friends and Twin Peaks at the same time, and also that the two might not have possessed that much separation in the first place. ODDTAXI’s disarming character designs are doing their best to keep things light, but there is darkness seeping in through every seam of this narrative, be it the conventional malaise of adult disappointment, or the sharp prick of a gun in your back. Odokawa has largely remained on the periphery of this narrative’s central mystery, but with the presumed killer in his backseat and Shirakawa awaiting his return, he may end up involved in spite of himself. Whatever comes, I’m sure it’ll be executed with the same confidence of storytelling, maturity of perspective, and distinctiveness of voice that all make this show special. Let’s return to ODDTAXI!

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Hello everyone, and welcome back to Wrong Every Time. Today I am thrilled to be getting back to ODDTAXI, a show whose premiere impressed the hell out of me. ODDTAXI’s dialogue is simultaneously naturalistic and idiosyncratic, reflecting an author who’s clearly attuned to the quirky nuances of everyday conversation, but still has a strong voice of their own. The show’s wry, deadpan sense of humor evokes a world-weariness that I can strongly relate to, and its characters have not just quirks, but also voice and perspective – clear worldviews and distinct ways of expressing them.

As a medium that generally involves expert animators adapting stories written for an adolescent audience, writing tends to be anime’s weakest component – but ODDTAXI’s dialogue has both a distinctiveness of style and grace of delivery that caught my ear from the start, and I’m eager to see where this story goes. On top of that, the show’s direction seems to draw deeply from film drama and noir, accenting the understated script with some expressive flourishes, employing graceful transitions that keep the drama flowing, and generally letting the cold beauty of this world filter through.

Finally, ODDTAXI’s overarching story is being conveyed with refreshingly confident pacing. There’s no rush to get to the gory details; instead, the underlying not-quite-rightness of this scenario seeps in through the cracks, as incidental conversations are ornamented with new details about the missing girl. Pacing like this reflects an author who trusts their audience to pay attention, rather than one who is desperate to keep their focus. The author trusts that we can embrace this story for its distinct voice and grace of delivery, rather than demanding a parade of shiny narrative baubles until we’re emotionally hooked. As a result, the work feels more like an organic, living organism, portraying life without ornamentation until the key narrative beats arrive. It’s an expression of faith you generally see more in art cinema than anime, but I’m always delighted to be treated with this sort of authorial respect (see also: every Tomihiko Morimi adaptation). I’ve probably gushed enough at this point, so with my feelings so far made abundantly clear, let’s get right back to ODDTAXI!

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Hello everyone, and welcome back to Wrong Every Time. Today we’re checking out another currently airing show, as I’ve been hearing all manner of wild things about Odd Taxi. Sources have reported that Odd Taxi’s dialogue and structure put it squarely in “how the hell was this ever greenlit” territory, and I’m always down for an anime that’s artistically ambitious and relentlessly unmarketable. Even the show’s staff is profoundly strange: Odd Taxi’s director Baku Kinoshita has no other anime credits, yet has handled every single storyboard for the show so far, along with its character designs. My only expectations so far are “refreshingly human conversations between genuinely adult characters,” so with that frustratingly rare treasure in mind, let’s dive right into the show. What’s your deal, Odd Taxi?

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