Reception
Lain was first broadcast in Tokyo at 1:15 a.m. JST. The word "weird" appears almost systematically in English language reviews of the series, or the alternatives "bizarre", and "atypical", due mostly to the freedoms taken with the animation and its unusual science fiction themes, and due to its philosophical and psychological context. Critics responded positively to these thematic and stylistic characteristics, and it was awarded an Excellence Prize by the 1998 Japan Media Arts Festival for "its willingness to question the meaning of contemporary life" and the "extraordinarily philosophical and deep questions" it asks.
According to Christian Nutt from Newtype USA, the main attraction to the series is its keen view on "the interlocking problems of identity and technology". Nutt saluted ABe's "crisp, clean character design" and the "perfect soundtrack" in his 2005 review of series, 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." Anime Jump gave it 4.5/5, and Anime on DVD gave it A+ on all criteria for volume 1 and 2, and a mix of A and A+ for volume 3 and 4. 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". It notes that the red spots present in all the shadows look like blood pools (see picture). It notes the death of a girl in a train accident is "a source of much ghost lore in the twentieth century", more so in Tokyo.
The Anime Essentials anthology by 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. Professor Susan J. Napier, in her 2003 reading to the American Philosophical Society called The Problem of Existence in Japanese Animation (published 2005), compared Serial Experiments Lain to Ghost in the Shell and Hayao Miyazaki's Spirited Away. According to her, the main characters of the two other works cross barriers; they can cross back to our world, but Lain cannot. Napier asks whether there is something to which Lain should return, "between an empty 'real' and a dark 'virtual'".
Unlike the anime, the video game drew little attention from the public. Criticized for its (lack of) gameplay, as well as for its "clunky interface", interminable dialogues, absence of music and very long loading times, it was nonetheless remarked for its (at the time) remarkable CG graphics, and its beautiful backgrounds.
Read more about this topic: Serial Experiments Lain
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