Gachiakuta’s Anime Adaptation Is Finally Here, And It’s Very Angry

Gachiakuta’s Anime Adaptation Is Finally Here, And It’s Very Angry

Stories about class disparity are all the rage right now, and it probably has something to do with the fact that, in the real world, the chasm between the wealthiest individuals and everyone else continues to insurmountably widen. At their best, these tales streamline the many injustices that define the moment, concocting clever metaphors and circumstances that tie into these commonly felt problems. And in this media landscape where an increasing number of popular shows and movies passionately indict the status quo (Severance, Squid Game, Parasite, Andor, etc.), it seems very possible we may have a newcomer to that list: Bones Film’s adaptation of the popular manga Gachiakuta.

As Rudo goes about life in a walled-off slum that sits in the shadow of a decadent metropolis—which literally and figuratively looks down on him and the other “tribesfolk”—he goes about his days collecting trash discarded by the wealthy. Years ago, his foster father, Regto, told him that if items are shown a proper amount of love, they can develop a “soul.” Whether he still believes this or not, it instilled a deep respect for objects wastefully thrown away by the cityfolk, so much so that he sifts through piles of garbage that the rich greedily protect.

The classist imagery here isn’t particularly subtle, but in an increasingly unsubtle world, this feels appropriate. In the beginning minutes, the wealthy openly gossip about the people who live on the other side of the wall in earshot of Regto, continuing to whisper how they find the tribesfolk “filthy” and how they “wish they’d stick to their side.” The cityfolk’s pristine white clothes and equally pristine white architecture contrast nicely against the rusted, lived-in feel of the other side of the wall, where people wear quilted garb with a great deal more personality than those of their condescending counterparts. The visual design here is quite striking across the board as both the background art and the clothing place us in this specific place.

These readable visual metaphors are further sold by the cherry on top: the slums are designed to slope downwards so that no matter where you are, you can see the gallows that sit at the bottom of the incline. If it wasn’t clear, the cityfolk lead an incredibly punitive society, one where tribesfolk are sentenced to death without a trial: specifically, they’re dropped off a giant cliff. It’s gnarly, it’s unpleasant, and it makes it quite clear that this place is rotten to the core.

However, where a lot of the nuance comes into play is that this tendency towards punitive measures is drilled in at every level of society: the tribesfolk also resent the “criminals” being executed because they believe these alleged “crimes” end up giving the cityfolk more reason to distrust them and collectively worsen their reputation. It’s a good stand-in for how those at the top of the pyramid often find ways to sow division and self-hate in those underneath them, the frequent executions a means to keep them in line through fear that has the added benefit of lowering their self-worth by making them feel like human “trash,” as the series repeatedly puts it. We see how deeply this viewpoint penetrates when Rudo is subject to bullying by other tribesfolk kids because his dad was executed for murder, making him largely shunned even in this lower rung for something he didn’t do.

Unfortunately for Rudo, it doesn’t take long for him to find out just how deeply the cityfolk love punishing people, and after being falsely accused of a crime he didn’t commit, he finds himself being sentenced to death with no semblance of due process. But of course, since this is just the prologue to the story and not its ending, after narrowly escaping his demise, Rudo finds himself in the place where we’ll presumably spend the rest of the story: the Abyss.

It’s a true hellworld, a place where trash spreads as far as the eye can see and toxic fumes eat through human lungs. And worse, there are giant trash monsters! Just when you were starting to forget that this manga is serialized in a shonen magazine, the action kicks off with a bang, showcasing Bones at its best as an enigmatic warrior with a bladed umbrella effortlessly slices through these massive monsters at lightning speed, a classic “cool first guy” we meet in one of these stories who teaches the main character (and the audience) the ropes while demonstrating the gap between him and our hero. In this case, we learn that people in this world can control objects that they’re emotionally attached to, allowing them to pull off superhuman displays of combat prowess, like our initial cool guy.

Gachiakuta

This introduction to the series’ battle system very much works, largely thanks to this oxygen mask-wearing warrior and his ability to turn his tool into a spinning death drill that cuts through these junk monsters with minimal effort. As he zooms across the battlefield, the sharpness of his umbrella blade is mirrored in his sharp movements; from top to bottom, this team succeeds at driving home this guy’s overwhelming skill. There’s also a part where he calls out his finishing move before breaking the sound barrier in the single coolest cut of animation here. What’s not to love!

If there’s one small drawback to this flashy sequence that showcases Bones at their best, it’s that the previously described trash creatures are rendered with 3DCG that, while not completely distracting, doesn’t always fit in with the rest of the gritty, grounded art style. It didn’t entirely take me out of this setting, but it didn’t pull me in further either.

As for Rudo, he soon receives a lesson about how this Mad Max-ian underworld is unfortunately victim to the same disparities as above: the people down here hate those who came from above, because they somehow have it even worse than the tribesfolk.

Rudo is quite fed up with the situation, and it’s hard to blame him. However, what may make or break this show is how they handle the protagonists’ intense anger. On the one hand, Rudo’s initial downfall parallels many uninteresting anime and manga centered around a “betrayal” where the main character is treated with cartoonish levels of injustice by everyone around them, causing them to become an edgelord obsessed with blind vengeance.

Still, the clear and constant allusions to multiple layers of classism and exploitation are quite promising, a set of themes that are just waiting for our protagonist to engage with—at one point, someone close to Rudo very directly pleads for him to “Change this shit heap of a world” for good. While these first two episodes that we saw early didn’t answer which side Gachiakuta will end up on, if nothing else, it’s shaping up to be a frenetically animated action series with a trashpunk flair. And if it can tie its greater ideas together, it just might prove it has that special kind of staying power. After all, someone’s got to change this shit heap of a world, right?


Gachiakuta premieres Sunday, July 6 at 11 AM ET on Crunchyroll. It will release weekly.

Elijah Gonzalez is an associate editor for Endless Mode. In addition to playing the latest, he also loves anime, movies, and dreaming of the day he finally gets through all the Like a Dragon games. You can follow him on Bluesky @elijahgonzalez.bsky.social.

 
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