It would be false to say that there are mainstream and niche anime series when anime as a medium is niche, its audience perhaps even more so. Beyond the One Piece’s, with their absurd viewership, there is a definite split between the popular, attention grabbing series - the Code Geass’, the Sword Art Online’s - and the smaller, less broadly approachable ones. Zankyou no Terror (Terror in Resonance, Terror in Tokyo) is firmly the latter, but starts out as the former.

With the bombing of the iconic Tokyo Metropolitan Government Building the first episode builds sublime tension while simultaneously introducing the principal cast members; and for the next few episodes at least, the series pitches itself as a cat-and-mouse style detective thriller, with adolescent terrorists Nine and Twelve goading the police while destroying key locations within Tokyo. Kenjirou Shibazaki, a hard-boiled but relegated detective, meanwhile might just be smart enough to catch them. What doesn’t become apparent until much later is that this structure, “catch us if you can”, is not even close to what Zankyou no Terror is about.

Please note: the remainder of this review contains spoilers for the entirety of the Zankyou no Terror series.

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So how are we going to follow Higurashi? We can't diverge too much from the formula otherwise people won't like it! What about if we set it on an island? And use a bunch of aristocrats instead of teenagers! We'll have to have some annoying teenagers in there somewhere. And a creepy child! But keeping with the murder theme? We'll use a witch this time, totally different from the demon we had scuttling about in Higurashi...

And so the first three episodes of Umineko naku koro ni unfold in a similar but no less enticing way than its predecessor, Higurashi no naku koro ni. Building on the success of its forerunner, Umineko continues the same malevolent and supernatural atmosphere while subtly twisting it into its own beast. With nary a reset in sight, the nouveau rich are bumped off with surprising speed until only a select few are left to solve the mystery of whether a witch is to blame (similar in nature to when wizards do it) or whether one of their own is taking up finger painting with other people's blood. The switch from a remote village to a closed-off island serves the same isolating purpose but opens up the alluring possibility of using the island itself as an antagonist rather than simply letting the box of scorpions scenario play out; likewise the shift from village dwellers to an affluent family keeps the paranoia and tension running thick. Indeed, the story revealed in the first episodes of Umineko is just as captivating as the first arc of Higurashi.

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