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Another 95 page artbook titled Code Geass: Lelouch of the Rebellion – The Complete Artbook (ISBN 9784048541183) has also been published. Finally, CLAMP, the well-known manga artist team who did the designs for Code Geass, put out their own artbook, entitled Code Geass x CLAMP: Mutuality. [citation needed] Internet radio broadcasts[edit] "Code Geass" has also been adapted into a series of weekly internet radio broadcasts, which were streamed online on the BEAT☆Net Radio! portal, the first of which, Code Geass: The Rebellion Diary (コードギアス 反逆日記, Kōdo Giasu: Hangyaku Nikki), began streaming
from October 6, 2006. It featured Sayaka Ohara (voice actor of Milly Ashford) and Satomi Arai (voice actor of Sayoko Shinazaki). The second, Code Geass – Mountains of the Rebellion (コードギアス 反逆の山々, Kōdo Giasu Hangyaku no Yamayama), was first streamed on December 12, 2006, and were hosted by Jun Fukuyama (voice actor of Lelouch) and Noriaki Sugiyama (voice actor of Rivalz). During R2, a new show named Code Geass – LuluKuru Station (コードギアス ルルクルステーション, Kōdo Giasu Rurukuru Suteishōn) was streamed, hosted by Fukuyama and Takahiro Sakurai (voice actor of Suzaku). [citation needed] Reception[edit]
Critical response[edit] Code Geass has achieved great success and earned critical acclaim since its release. Anime News Network's columnist Todd Ciolek attributes the soaring popularity of Code Geass to "the series hitting every important fan sector", with the audience appeal points ranging from a "complex cast of characters and a fast-paced story, told with Goro Taniguchi's capable direction" for "general-interest fans" to "pretty and just-a-little-broken heroes" for "yaoi-buying female fans". [85] Carl Kimlinger also finds that the series "has the skill and energy to carry viewers over the top with it, where they can spend a pleasurable few hours reveling in its melodramatic charms. "[86] He also adds that Taniguchi "executes the excesses of his series with care, skillfully intercutting events as Lelouch's plans come together (or fall apart) and using kinetic mecha combat". [87] T.
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Joanna Levesque (Demo) at Discogs. Retrieved July 31, 2013. ^ Gillis, Robert (November 14, 2002). "An interview with Joanna Levesque, aka "JoJo"". RobertXGillis. Retrieved
February 2, 2014.
Ultimately, these conflicts are meaningless because everyone just moves right onto the next equally tedious and overblown stage of the Squid Game while effectively nothing has changed or evolved in any real or emotional terms, and this is all true even despite the biggest puff of smoke the series insists on blowing up its own ass: the plot twists. The so-called plot twists in this show are completely empty and have no real bearing on the story in the same way that the conflict has no real bearing on the plot, and some of them—many of them, in fact—are invalidated within minutes. They exist purely for characters to have an excuse to make an edgy face.
Things will be moving toward the single OBVIOUS direction, someone will randomly pop in with some utter buffoon shit which, in the mind of any reasonable fucking
person on the planet, would only make themselves seem more suspicious than the person they’re accusing, but everyone will just be like, “OMG that’s so smart! I didn’t even think of it like that! So let’s all adopt that line of thinking now and go the complete opposite direction so the contrivance that is this stupid fucking game can keep being turned into a shitty anime!” It’s SO all over the place with who is and isn’t playing 4D chess! In one set-up, one character will be a smirking, Machiavellian edgelord engineering the psychology of everyone around them, and in the next, it’s someone completely different. Whoever needs to be the devil on the shoulder of whichever character can successfully become so instantly, and if the person they need to manipulate actually had their wits about them in previous scenes, their wits will very quickly be not-so-about them, and they’ll prance blindly into whatever trap they need to prance into to keep the contrivance train rolling. The resulting mess is too frustrating for words, and while the characters are all horribly written, I guess the show succeeded in making you emotionally engage with them anyway, because their braindead decision-making will—I promise—make you want to tear your Goddamn eyes out. Whether a character is saying something totally daft and unreasonable while everyone else is treating them like the prophet, or for no reason refusing to say the ONE expectable and reasonable thing any real human being would say in their situation while everyone else is acting like their behavior is a legitimate smoking gun, the level of contrivance required for conflict makes every character feel downright detached and confusing whenever you actually try putting yourself in their shoes.
But forget about our cast of miserable non-characters for just a minute and let it sink in how stupid this is purely from a plot perspective. For example, in one episode they’re playing a game where they get to anonymously expose awful things about one another, and the live audience moves each of them closer toward final condemnation by voting for who they hate as they grow to dislike each of the characters based on what’s revealed about them. At one point, they enter a gambit where one character is presented with an opportunity to nominate another character to have something horrendous revealed about them by the showrunners. In other words, it’s not just some
gossip being revealed by another character, but rather a piece of damning information which the organizers of the Tomodachi Game themselves have privately investigated with whatever resources they have at their disposal, implying, “Your friends may know some dirty shit about you, but we know EVERYTHING about you, including your deepest, darkest, most well-kept secrets.
