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Of course, the riddles and the bombings are all planned such that they eventually lead the police to the truth of their past, a truth that would be impossible to get out any other way.
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Two teenaged boys named only ‘Nine’ and ‘Twelve’ – presented as orphans from some facility, a mysterious background that’s gradually elucidated upon – decide to carry out a string of bombings in Tokyo while taunting the police through riddles referencing ancient Greek mythology (specifically, the tragedy of Oedipus) for reasons kept close to themselves. Zankyou no Terror’s premise is an interesting one. We figured it would explode in popularity! Needless to say, just the very announcement sparked a wave of excitement and anticipation across the fandom, and – much like Space Dandy – Zankyou no Terror was destined to be memorable even if it bombed. If Space Dandy was Watanabe unleashing his ridiculous, comedic side, then this would be the same for his mature, sombre, considered side. You have an acclaimed director, a serious, original (both in terms of not being an adaptation as well as having a distinct premise) story, the promise of post-9/11 reflections and themes ( Eden of the East left everyone wanting more), and the potential for a lot of excitement, tension and drama. Shinichiro Watanabe writing a serious drama about two teenage terrorists in Tokyo is one of those things you can’t help get excited for, because it ticks off so many boxes on the “modern classic” checklist. And while most of us came into the season feeling a bit lukewarm toward Space Dandy, the hype for Zankyou no Terror was pretty damn high. What’s interesting and unprecedented about the summer season is that not only did we have the second half of Space Dandy, but we also had another Shinichiro Watanabe original work – Zankyou no Terror, or Terror in Tokyo.