Originally released in 2011,Guilty Crownwas a highly anticipated anime series. Produced by Production I.G (Ghost in the Shell) and airing on Fuji TV’s prestigious Noitamina block, the series had a team of proven hitmakers behind the scenes. Director Tetsuro Araki had previously worked onDeath Noteandwould later go on to directAttack on Titan, while the story was composed by Hiroyuki Yoshino, known forCode GeassandMacross Frontier. Character designs were provided by then-red-hot digital illustrator Redjuice. And yet, despite the talent and hype,the 22-episode series received a lukewarm reception from audiences worldwide.
A recently unearthed interviewwith director Tetsuro Araki sheds light on how he and his team felt about the reception toGuilty Crown. As he bluntly puts it:
“I thinkGuilty Crownwas a work that got an unfortunate treatment. I think the public’s evaluation of what we did and what we achieved is too low. It’s a very frustrating work for us. Even though we did some pretty amazing and difficult things,the public simply described it as a ‘poorly made, crappy anime.’”
The Vision Behind Guilty Crown: Genetic Powers and a Dystopian Future
A War-Torn Japan and the Power of Kings
Guilty Crownoriginally took shape when Aniplex producer Yo Oyama and Production I.G’s Tetsuya Nakatake sought to create a new original anime. They envisioned a near-future world centered on themes of genetic manipulation and superpowers, with a grand narrative featuring two male leads. Mecha elements were also considered to bring a fresh perspective to Fuji TV’sNoitaminalate-night time slot, typically reserved for older viewers.
Set in Japan in 2039—ten years after the outbreak of the “Apocalypse Virus” led to the catastrophic event known as “Lost Christmas”—the story follows high school student Shu Ouma. After encountering Inori Yuzuriha, the lead singer of the internet band EGOIST and a member of the resistance group Funeral Parlor, Shu inadvertently acquires the “Power of Kings,” allowing him to extract weapons called “Voids” from people’s hearts. Drawn into the struggle against the ruling GHQ organization, Shu faces numerous challenges while uncovering hidden truths about the virus and his own past.
Aesthetic Brilliance but Narrative Shortcomings: How Guilty Crown Faded Away
From Guilty Crown to Attack on Titan: How Failure Led to Success
Initial reviews and viewer reactions praisedGuilty Crownfor its stylish visuals and memorable soundtrack featuring artists like Supercell and EGOIST. However, many felt that the series struggled to deliver a satisfying conclusion and failed to fully capitalize on the potential of its talented staff. Over time,Guilty Crownbecame just another series buried beneath the constant wave of new anime releases.
Yet, for Araki,Guilty Crownwas far from the end. The frustration of the project may have fueled his determination for his next major work—Attack on Titan. Shortly after, he became involved in the series, first as an episode director and then as chief director for Seasons One through Three.Araki himself was the one who introduced Hajime Isayama’sAttack on Titanto the newly formed WIT Studio. Reflecting on the moment in the recently unearthed interview, he shared:
“There was a work calledAttack on Titan. I thought this team at WIT would be a good fit for me, so I pitched it to them. That was my idea. Tetsuya Nakatake, the president, and Joe Wada also had their own plans, and it all came together.”
WhileGuilty Crownmay not have reached the heights its creators had hoped for, its impact—at least on Araki—was undeniable, setting the stage for one of anime’s biggest modern hits.
