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Serial Experiments Lain

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Serial experiments lain

Lain wasn’t interested in computers until she received her first email from a formerly suicidal classmate. Her newfound desire to connect with the dead will lead her into the twisted maze of the “wired world.”

Accela – a designer drug born of nanotechnology – is a big hit with the club kids, but what’s that got to do with Lain? Only a madman who painted the dance floor with blood can answer that question – and he’s dead.

Lain has questions about a computer chip someone left in her locker, and her Dad’s not talking. Some kids at the club say they know all about it – but they want a piece of Lain’s wired wild side.

The more involved with computers she becomes, the more Lain begins to transform. In the cybernetic cocoon that was once her room, she’s hard at work blurring the lines between reality and the wired.

Lain’s friends suspect her involvement in a series of computer errors that caused a lethal traffic accident. Meanwhile, her sister is haunted by mysterious messages demanding that she “fulfill the prophecy”.

When an image of herself appears in the clouds, the “real” Lain enters the wired on a search for answers. Her quest leads to a “child-killer” scientist whose devious work is being exploited by the Knights.

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Ayako Kawasumi

Kaori Shimizu

Obayashi Ryunosuke

Rei Igarashi

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© 1998 Triangle Staff/Pioneer LDC

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The Terrifyingly Prescient ‘Serial Experiments Lain,’ 20 Years Later

How the anime classic predicted the obsessive and compulsive habits of our online life

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At the onset, Lain Iwakura’s father warns her about the social perils of the internet, alternatively known as “the Wired” in the parlance of Serial Experiments Lain . “When it’s all said and done,” he says, “the Wired is just a medium of communication and the transfer of information. You mustn’t confuse it with the real world. Do you understand what I’m warning you about?”

Lain is young, and doesn’t yet know how to use a computer, but she knows better than to place her faith in the older generation’s rigid distinction between real life and online performance. “You’re wrong,” she responds.

At age 14, Lain was extremely online. Yes, she’s a fictional character—a cartoon, even — but there is no more frightfully prescient web parable than her story, Serial Experiments Lain , the 13-episode anime series that first aired in Japan in July 1998. Twenty years later, Lain is a distressingly faithful portrait of online life in the 2010s—a hellscape of warring avatars, self-serving mythology, catastrophic self-importance, compulsion, and inevitably, disillusionment.

At his young daughter’s sheepish request, Lain’s father installs a state-of-the-art personal computer—a Navi—in Lain’s bedroom. Lain’s father takes pride in his daughter’s budding technological interest. “In this world,” he explains, “people connect to each other, and that’s how societies function. For communication, you need a powerful system that will mature alongside your relationships with people.” Curiously, Lain’s father doesn’t seem to have many enviable relationships of his own. His conversations with his wife are cold, and his enthusiasm for his daughter is born conditionally from her interest in her father’s profession. Lain’s father wears glasses that are frequently filled with a monitor’s awesome light, even when he’s sitting on the couch with just a newspaper in front of him. He sees the screen at all times.

Fearfully, Lain regards the new, glowing screen stationed at the far corner of her bedroom as a haunted portal. But she’s chasing her former classmate Chisa — a young girl who kills herself in the show’s opening scene only to email Lain the day after she’s thrown herself from the roof of their school. Inevitably, Lain’s search for Chisa leads her into “the Wired,” whence Chisa claims to have retreated. By Episode 3, Lain is assembling a desktop fortress without her father’s supervision. As the series progresses, Lain develops her technical proficiency exponentially, and her hardware expands to turn her bedroom into a dim, electrified jejunum.

Through intensive study and ingenuity, Lain accesses deeper, darker levels of the Wired, which is to say, the internet. By Episode 7, Lain—a character who predates the following phrase by nearly a decade—is glued to her proto-smartphone; her eyes glow, too, lit constantly with a forum troll’s fervor. Online, Lain builds a second life, and she even cultivates a fan base—but her interactions within the Wired mostly anger her. Online, she hacks and bickers. Offline, Lain ditches her friends and stalks through her suburb defensively, evasively, in paranoid silence. Gradually, Lain realizes that the Wired is a disaster and a trap.

For Lain, the web portends intrigue, delusion, and death. In the Wired, Lain is an altogether different person—a much darker person who is easily moved to vengeance. Quickly, Lain sees that her digital presence is a cruel and gutsy perversion of her true self; a cunning doppelgänger who’s already cultivated some fearsome mythology about the girl named Lain Iwakura. As the real Lain watches in shock, the digital Lain confronts a delusional young man, addicted to nanomachines, who shoots up a nightclub. “No matter where you go,” the digital Lain tells the gunman, “everyone’s connected.” She means it as a threat, and the gunman is so horrified by the Wired’s ubiquity that he then turns the gun to his mouth and takes his own life. The digital Lain is a bully, and the real Lain struggles to comprehend her personality and her mission. The real Lain—the meek middle school student who avoids human interaction and confrontation—greets the digital Lain with a gasp.

Throughout the series, the real Lain’s struggle to reconcile herself with the digital Lain drives the former toward a full and fateful resemblance of the latter. The real Lain ditches her friends, taunts her father, and barks back at her pursuers. She turns to a permanent state of obsession and rage. The web bolsters her personal mythology while ruining her mood and disposition. But she cannot log off; nor can she tell her friends or herself why. Without predicting social media as a popular mode for online life, Serial Experiments Lain nonetheless prefigured its addictive and ruinous qualities. The protagonist, Lain, and the antagonist, Masami, both cultivate self-importance and an illusory “control” that the viewer recognizes as a disastrous loss of self-control. They can’t stop posting.

Admittedly—for all its prescience— Serial Experiments Lain looks quaint. The technological sprawl that overtakes Lain’s bedroom includes big fans, black tubes, and bulkheads. There are wires everywhere—from the show’s opening credits through its twisted climax. There’s a great fondness for the word “cyber,” such as the popular nightclub being named Cyberia Café & Club. There’s text-to-speech interludes and ominous command prompts, all recalling so much other Y2K cinema, from The Net through The Matrix . Visually—to an amusing degree, honestly—the series fails to anticipate the great shrinkage and stylistic minimalism of the present century’s consumer electronics. Essentially, however, the Wired is an astoundingly prophetic depiction of the World Wide Web—especially its lawless, anonymizing communities—as a cipher of misinformation and malaise.

Many critics find that Lain often pales in comparison with Neon Genesis Evangelion , another turn-of-the-century anime series that culminates with lengthy ruminations on the self and a sad, messianic transcendence for its weepy protagonist, Shinji Ikari. Evangelion came first, and it’s far more acclaimed than Lain for its dramatization of the subconscious; Lain is widely seen as a smaller, lesser successor to Evangelion ’s intellectual pretensions. Their shared existentialism aside, Lain is uniquely and definitively concerned with web obsession. Literally, Serial Experiments Lain is about a young girl’s reluctant march toward digital martyrdom. Today, Lain’s story resonates more so as an allegory about the perils of forging one’s identity—an alternative identity, however false, misguided, perverse, delusional—using the internet. The Wired is Lain’s world. Other users just live in it at her mercy.

Eventually, Lain dispenses with her real-world pursuers, the Knights of Calculus, the Men in Black; so Lain and Masami export their conflict to the web exclusively. That’s where they live. That’s where they wrestle for singular, godly dominance. It is understood, then, that the web doesn’t require conventional, physical grunts to enforce threats against a human being. The web is perfectly equipped to destroy a person on its own terms and within its own structures. Despite the web’s many catastrophes, Lain never unplugs. Rather, she burrows deeper into the Wired, convinced through equal parts deduction and delusion that humanity lives and dies by her unique participation in the Wired.

Ultimately, Lain’s will wins out over Masami’s plot to demolish the distinction between the material world and the Wired. The series doesn’t climax with Masami’s gruesome disintegration in Lain’s bedroom, but rather with Lain’s friend Arisu barging into her room to drag her from the buzzing cave. Laughing, the real Lain reasserts herself, and she embraces her fearful friend. Serial Experiments Lain ends with a teen girl sobbing over a madeleine, regretting her terminal investment in digital life . In the final scenes, Lain shows no hardware or wires, yet the worrisome murmur of electricity resounds in every corner of civilized life. No matter where you go, Lain feared, everyone’s connected. Presumably, the sound is Wi-Fi.

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Serial Experiments Lain

• Strange things start happening when a withdrawn girl named Lain becomes obsessed with an interconnected virtual realm known as "The Wired".
• Lain Iwakura, an awkward and introverted fourteen-year-old, is one of the many girls from her school to receive a disturbing email from her classmate Chisa Yomoda-the very same Chisa who recently committed suicide. Lain has neither the desire nor the experience to handle even basic technology; yet, when the technophobe opens the email, it leads her straight into the Wired, a virtual world of communication networks similar to what we know as the internet. Lain's life is turned upside down as she begins to encounter cryptic mysteries one after another. Strange men called the Men in Black begin to appear wherever she goes, asking her questions and somehow knowing more about her than even she herself knows. With the boundaries between reality and cyberspace rapidly blurring, Lain is plunged into more surreal and bizarre events where identity, consciousness, and perception are concepts that take on new meanings.
• A week after Chisa committed suicide, her classmates begin to receive emails from her. Hearing rumors fly at school, a quiet withdrawn girl named Lain goes home that day, turns on her dusty Navi computer for the first time and has a conversation with the dead girl. Chisa's message reads that she killed herself because she didn't need her body anymore, and she now exists in The Wired. When Lain asks why someone would do something like that she gets a response: "Because God is here". — Anonymous

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Serial Experiments Lain

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Serial Experiments Lain is a thirteen-episode anime miniseries written by Chiaki J Konaka and directed by Ryūtarō Nakamura .

It tells the story of Lain Iwakura as she finds her way through The Wired .

The series was originally broadcast on TV Tokyo from July 6 to September 28, 1998, and explores themes such as reality, identity, and communication through philosophy, computer history, cyberpunk literature, and conspiracy theories.

• 2.1 Production
• 4 Theme songs
• 7 External links
• 8 Citations

Episodes [ ]

• Infornography

Development [ ]

Production [ ].

Serial Experiments Lain was conceived, as a series, to be original to the point of it being considered "an enormous risk" by its producer Yasuyuki Ueda . He explained he created Lain with a set of values he took as distinctly Japanese; he hoped Americans would not understand the series as the Japanese would. This would lead to a "war of ideas" over the meaning of the anime, hopefully culminating in new communication between the two cultures. Later, when he discovered that the American audience held the same views on the series as the Japanese, he was disappointed.

The Lain franchise was originally conceived to connect across forms of media (anime, video games, manga). Producer Yasuyuki Ueda said in an interview, "the approach I took for this project was to communicate the essence of the work by the total sum of many media products". The scenario for the video game was written first, and the video game was produced at the same time as the anime series, though the series was released first. A dōjinshi titled "The Nightmare of Fabrication" was produced by Yoshitoshi ABe and released in Japanese in the artbook Omnipresence in the Wired. Ueda and Konaka declared in an interview that the idea of a multimedia project was not unusual in Japan, as opposed to the contents of Lain, and the way they are exposed.

In 2009, Yoshitoshi ABe announced a spiritual sequel to Serial Experiments Lain called Despera who will reunited many of the staff who worked on Serial Experiments Lain, including Chiaki J Konaka and Ryūtarō Nakamura .

Reception [ ]

Words like "weird" or "bizarre" are almost systematically associated to review the series by English Language reviews due mostly to the freedoms taken with the animation and its unusual science fiction, philosophical and psychological context. Despite the show judged atypical, the critics responded positively to the thematic and stylistic characteristics. It was praised by the Japan Media Arts Festival, in 1998, for "its willingness to question the meaning of contemporary life" and the "extraordinarily philosophical and deep questions".

In 2005, Newtype USA stated that the main attraction to the series is its keen view on "the interlocking problems of identity and technology". The author saluted Abe's "crisp, clean character design" and the "perfect soundtrack". It concluded saying that "Serial Experiments Lain might not yet be considered a true classic, but it's a fascinating evolutionary leap that helped change the future of anime."

In 2001, Lain was subject to commentary in the literary and academic worlds. The Asian Horror Encyclopedia calls it "an outstanding psycho-horror anime about the psychic and spiritual influence of the Internet" noticing the presence of horror lore (like ghost from train accident story) and horrific visuals.

The Anime Essentials anthology, Gilles Poitras describes it as a "complex and somehow existential" anime that "pushed the envelope" of anime diversity in the 1990s, alongside the much better known Neon Genesis Evangelion and Cowboy Bebop.

In 2003, Professor Susan J. Napier, in her reading to the American Philosophical Society called The Problem of Existence in Japanese Animation. Napier asks whether there is something to which Lain should return, "between an empty real and a dark virtual ".

In 2020, the review-aggregation website website Rotten Tomatoes, classified Serial Experiments Lain as one of the 25 anime TV series that have been essential to the medium over the last five decades. [1]

"Serial Experiments Lain helped usher in a new style of anime, of more digitally-produced shows with a glossy bloom and deeper, darker, complicated storylines. In the wake of Neon Genesis tearing up the typical anime playbook, Lain pursues a surreal, interior cyberpunk story about a withdrawn high school girl who receives an email from a classmate who has recently committed suicide. Questions of hyperreality, consciousness, and the everyday tangibility of cyberspace ensue. Lain is pretentious, symbolic, and absorbing – a prime example of a brave new world in anime."

Despite the general positive feedbacks, some negative critics stated the "lifeless" setting it had [2] , how the last episodes failed to resolve the questions, and how the show relied so little on dialogue [3] .

• Japan Media Arts Festival 1998: Excellence Prize [4]

Theme songs [ ]

• Opening Theme: " Duvet " by BOA
• Ending Theme: " Tooi Sakebi " by Reiichi "Chabo" Nakaido

• Despite this claim, Lain contains extensive references to Apple computers, as the American brand was used at the time by most of the creative staff.

External links [ ]

• Konaka's Official SEL site
• Angelic Trust - Lain:Omnipresence
• Thought Experiments: Lain
• Mebious SEL Wiki

Citations [ ]

• ↑ https://editorial.rottentomatoes.com/article/essential-anime-series/
• ↑ https://web.archive.org/web/20110927060034/http://www.animeacademy.com/finalrevdisplay.php?id=201
• ↑ https://web.archive.org/web/20110826092828/http://www.ex.org/5.2/25-anime_followup_lain.html
• ↑ http://archive.j-mediaarts.jp/en/festival/1998/animation/works/06an_serial_experiments_lain/
• 1 Lain Iwakura
• 2 Serial Experiments Lain
• 3 The TSUKI Project

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newest discussions

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• comments 1 2 3 4 by the system on Thursday, 11.09.2008 12:37 65 3314 by juggen on Friday, 03.11.2023 21:41
• Serial Experiments Lain Appreciation Websites by Jorogumo on Saturday, 12.12.2020 04:54 0 76 by Jorogumo on Saturday, 12.12.2020 04:54
• Some after thoughts on Lain by ikons on Thursday, 10.06.2010 09:19 3 1090 by m0ngk on Monday, 14.04.2014 20:46
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