Apocalypse Hotel

Mcsuper★ 9

Anime originals are hard to get right. Let’s face it, a lot of anime originals suffer from a variety of things, whether it is a lack of creativity, poor pacing, production woes, you name it. However, when an anime original manages to push through the obstacles that the anime industry faces, it can sweep you off your feet, and that is exactly what Apocalypse Hotel did. From the very first episode, I was thoroughly charmed at the setting, the characters, the music, basically everything, and the rest of the series followed suit. It reminded me of another anime original from last year that put itswacky ideas to good use, which was Train to the End of the World, which thrived on its absurdity. It is another reminder that when creative minds come together, and work on something that they clearly WANT to do, amazing things can happen. It is an irreplaceable experience being able to speculate on what would happen next in a story, without anyone being able to spoil you on how it ends. Human-robot interaction in media is something that has been done plenty of times. With a lot of them revolving around humans getting to know a robot, and the robot becoming more “human” at the end, I thought this “genre” was getting a tad bit old. So what if, there were no humans left in civilization? Humanity has been wiped off the planet seemingly, but they could return at any point. Therefore, one day, people could flood back into the Gingarou Hotel, the main setting of the series. The hope that human civilization would return once more was a hope that Yachiyo, the main character, and a robot no less, was clinging on to, and when there is hope, hard work will ensue. And that is where the charm kicks in. Seeing a group of robots clean up so willingly and happily, proud of their work, even when no customers showed up. The story of Sisyphus comes to mind, as after each day ends, the same work would have to be done with the hotel, over and over, for hundreds, thousands of years, until someone, anyone would visit the hotel once more. The unwavering nature of the robots won me over even in the first episode, because to live a fulfilling life even in a bleak, dying world, I thought it was quite inspirational. Oh, and by the way, these are just robots. Why am I feeling this way? The anime was melancholic but hopeful throughout, and provided the viewer with a wide range of material, whether it was the joy of cleaning and working, dealing with wacky animal customers, insane action scenes, or exploring the areas around the hotel. Even as the characters were as happy as could be, dancing around, partying, or in whatever adventures they were in, reality remained the same, in that the world would not be returning to how it was before. However, the story tells you that is okay. The backgrounds were among the best I have seen in anime, and combined with the soundtrack, the atmosphere was immaculate. I thought some of the best moments were ones that were dialogue-free, where we could just revel in the beauty of the desolate. It is undoubtedly a world that I would not mind being a part of, even as bleak as it looked. In that, it reminded me a little of Girls’ Last Tour, where the main message was how we can still get along with the feeling of hopelessness. Undoubtedly, one of things I always appreciate the most is unrestrained creativity. Just writers and authors letting their ideas flow. It might not be “perfect”, it could be a bit rough around the edges, it might be so wacky that it breaks the confines of what an ordinary person could ever imagine, but in the end, it is what they chose to do. Even if *Apocalypse Hotel* ended up not working out, I would have still appreciated it greatly. There is nothing more powerful than a group of people with crazy ideas about a story, and having it come to life. Truly a beautiful thing. Full props to Kana Shundou on his directorial debut, and everyone else who had a hand in this. I hope they all get many more chances to work on anime in the future. That gacha money from *Uma Musume* was definitely put to good use. I was wondering though, what would end the world faster, mass pollutants, or not having a shampoo hat?

ZNoteTaku★ 9

Before I review this, let me put on my shower cap! In a world destroyed and depopulated, there would be but a few actually meaningful pillars left standing that somehow provide evidence that it was once teeming with life. In a series that wanted to treat such an apocalyptic scenario with the stone-cold seriousness of what such a situation would demand, it might opt for a museum or library, places designed to preserve and protect the records of humankind. And perhaps then it could provide some kind of grand introspection about how the true meaning of such records was that, though humanity or the planet hasentered its twilight, they were here at one point. It's rather telling therefore that two such “after the end” otaku properties primarily involve robots and places that don’t involve any of that. When Ashinano Hitoshi wrote *Yokohama Shopping Log* back in 1994, he imagined a world that was dying, but it was one I would gladly live in. The people (and Alpha, the café-running robot) have accepted the end and choose to spend the remainder of their time enjoying the peace and tranquility. The sea rises, Misago spends time with the children, and Alpha wonders if her master will return. But until such time, she’ll pour a cup of coffee with a smile on her face, gazing at the sun, and take photographs of a moment in time. And I can think of no higher compliment that I could give *Apocalypse Hotel* than I would give anything to check in to a room there for a time, or perhaps even work there as an employee. To be clear, this anime is not directly a successor to *Yokohama Shopping Log*, but it likewise is informed by its influence even in the midst of all its differences. Standing eternal watch over its microscopic corner of the planet, the Acting Acting Manager robot Yachiyo spends every day at the check-in desk of Gingarou Hotel, waiting for the moment that humanity will return through the doors generously opened by the Doorman Robot (assuming he doesn’t need water splashed on him again). Everything until then will be meticulously maintained, and even as the number of robots on “indefinite leave” increases over time, Yachiyo always stays steady…or seems to, anyway. That kind of steadiness spreads itself into the setting: in a 24 June 2025 interview which involved series writer Murakoshi Shigeru, he mentions the deliberate attempt to make Ginza the location for the series. According to him, Ginza as a real-world setting walks the line between the past and the future, with Edo-period traditions intermixing with Western culture and influence. Fashioning a futuristic fictitious hotel out of a real department store, all while occupying the same general space as an old kabuki theater or small shrine in-universe, certainly seems like the way to do so. With such a backdrop, one might think that a *NieR: Automata* approach of exploring each landscape or location and feeling the ephemerality through the wind and quiet expanses would make the loneliness of Yachiyo, her workers, and the still-shining Gingarou Hotel even more poignant. The series generally chooses not to do so, and there’s something so dismaying and delightful about such a framing. Despite all the literal decay of the surrounding buildings and the “decay” of the overgrow consuming the rubble, *Apocalypse Hotel* hypercondenses the “life of Ginza” into this one single location, an inherent juxtaposition between the traditional manner of Japanese hospitality and caring for guests against a bunch of robots that follow their orders to a silly degree. Like true robots, their rigidity is nigh-absolute. So, imagine the likewise-absolute worry that ensues when a shower cap goes missing, or Doorman Robot cannot fulfill his singular duty of opening a door. Life at Gingarou therefore happens in bursts of things that could be rectified rather simply, but MUST occur with over-the-top abandon because “that is how it is supposed to be.” Similarly, it is because Gingarou is the last vestige of meaningful activity on the planet that its guardians must honor and protect it – under the circumstances, there is no greater dynamic than polishing that floor or taking care of that central tank. Perhaps it is the fate of robocentric fiction that such things cannot remain that way forever. Sometimes by deception and other times by sheer happenstance, guests arrive and Gingarou begins to become a more colorful place, and as such, the comedy itself takes on increasingly colorful dimensions. As fun as the robots are in their eternal quest for perfect maintenance or aggressively checking the environment can be, they discover rather quickly that serving or “living” with others (especially those who are decidedly not humans) is not something that can be so easily written into a rulebook or programming. Their lives get harder, no doubt. But on the sweeter upside, their lives get more enriching as a result…or at least, as far as enriching can be felt by an unfeeling(?) robot. With such a lack of interaction from non-robots for so long, is it any wonder that Yachiyo would temporarily forget herself and just act like a giddy child when it seems like all that waiting will at last pay off? But a melancholic overhang still exists, no matter how funny the show may be at any given moment. Any apocalyptic story, even one as warmly conceived and realized as *Apocalypse Hotel* or *Yokohama Shopping Log*, carries with it the knowledge that “the time before the point of no return” in-universe will not return. The show doesn’t run away from this; the earliest minutes tease the idea of what if indeed nothing happens and Yachiyo and company are trapped within real-life purgatory, perhaps themselves damned to be on “indefinite leave” like all those that came before them. Even as the show progresses and Gingarou becomes more bustling both guest and employee-wise, there’s no complete escape from that question. Acknowledging the overhang however is part of the appeal. It’s precisely because the mortality and “mortality” of the Gingarou employees, their waiting, and its hotel exist that the comedy can itself crackle. There’s an old saying that it’s only when it’s darkest that you can see the light, but that doesn’t mean much unless you look beyond the light and see why it’s even shining in the first place. *Apocalypse Hotel*, in a way similar-but-not-too-similar to *Girls’ Last Tour*, argues with a smile that the darkness itself is the source of that light. As such, the most crazed and bewildering ceremony atop the hotel can take place and not only have it feel completely at-home within the show’s context, but also walk the line and evoke the kind of laughter that only stuff that goes just a bit too far in its oddness or perverse sense of humor can manage to do. In that same interview with Murakoshi, series director Shundou Kana remarked on the difficulty of his first true directorial debut, saying that he caused problems due to his own lack of experience. Perhaps his own work as assistant director for *League of Nations Air Force Aviation Magic Band Luminous Witches* and its production problems lingered in his mind as a potential sign of his own inability. It hardly shows. With great control over everything in sight, every episode works wonderfully in throwing a new obstacle at its cast and its setting, sometimes challenges of their own making or things or from an outside influence. It treats itself seriously enough to give room to breathe and dwell on the inherent ridiculousness of a moment, then doesn’t break any sweat—not that robots can sweat, anyway—as it gives Ponko and Yachiyo a moment to themselves later. With *Apocalypse Hotel’s* completion, CygamesPictures has now made two robot-centric original IPs in the past two years, the first being the wildly bizarre and awesome *Brave Bang Bravern*. If there’s anything to glean from these efforts, it’s that they have an intuitive sense of what it is about robots that people love, find endearing, and cannot help but laugh at. Like Mizushima Tsutomu and most of his output that involves derangedly playing with his toys, whoever is in charge of story development and scouting at CygamesPictures has a keen understanding of trope and convention, seamlessly intermixing it with setting, tone, character, and larger paratextual ambiance. Stories like *Apocalypse Hotel* make anime a better place not necessarily because they “say something” about who we are as people or grappling with larger themes inherent to life. Rather, they recognize the inherent fun to be found in taking an idea and following it to the end of the rainbow. Gingarou happened to be where the rainbow led. Who knows where it’ll lead next?