Dansai Bunri no Crime Edge – Episode 4

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I trust those echoing cries are but a figment of my ever-fraying mind. I welcome the madness, now; perhaps it might offer succor, some measure of release from the guilt of what I’ve done.

I warned him, the damn fool. Gods be merciful, I warned him. And yes, I admit it – I followed him down that hair-streaked path. Aided and abetted; perhaps my complicity may in some measure make me culpable for those unearthly events, whose creeping specter haunts my waking hours. But as I pen my recollection of those spine-crawling phenomena, memories which even now summon the distant snipping of phantom clippers to my tortured ears, I beg you to believe me ignorant of their true import – I knew not then the bewitching danger of that siren Hair Queen, nor the hideous strength of those damnable Killing Goods.

I first encountered my associate Kiku in a ramshackle salon, seeking shelter from the pelting rain of one more malevolent New England downpour. Oh, how the hills of that forsaken land breathe with foul intent! But I digress.

Steeped in shadow, his distinctive hair-tuft mutton chops and the ominous shears at his side branded him as some manner of ne’er-do-well. He had a wild look about him, and spoke like a man possessed – like a man whose very actions were driven by the contrivances of poorly conceived narrative inevitabilities. However, his easy manner and clear passion for our mutual craft won me over in short order. We passed the time talking lightly of our trade, until, in a sharp crack of thunder, the figure lurking in his shadows was illuminated in sable and gray. As her frightful ebon tresses crossed my eyes, I could swear the wind whispered, gently, softly…

Episode 4

0:00: Her form mimicked that of a young girl, but I remained unconvinced. By some lamentable trick of her summation – perhaps that too-girlish curl of her cheek, or her bulbous, dinner-plate eyes – she came across as almost too much a young girl, like a proto-girl conjured by unpronounceable sorceries to disarm and provoke some feral protective instinct. She clung to my new companion with a tightness that belied all agency, as I struggled with my own unwelcome urges to pet her head.

0:15 – Gesturing wildly, he spoke in whispers of a great discovery, and I was forced to still my excitement. Could he have discovered some clue to reviving the dead, or perhaps a map to that accursed Lost City of Leng? No, he assured me. Apparently, his scissors could cut her very special hair.

He begged me for my aid, nigh-hysterical with the burden of these cutting shears, and also the hair. How could I refuse a fellow craftsmen?

Thus began, through a series of events remarkably improbable yet surprisingly tiresome and unworthy of recollection, my time shadowing Kiku and his majestic Hair Queen at a Japanese finishing school.

2:45 – In hushed tones, he haltingly admitted to having been cutting her hair on a daily basis. I laid a reassuring arm on his shoulder even as my mind reeled at the staggering depths of depravity to which my companion had descended. Yet I could not deny my own fascination with his journey, and perhaps even a hint of jealousy at the reckless abandon with which he had surrendered himself to the carnal pleasures of unchecked hair-cuttery.

3:03 – That silver-haired girl. Byouinzaka, she called herself – or at least, that was the pronunciation given her name by our course, mortal tongues. Her slack-eyed stare and lack of all emotional affect brought that Innsmouth look sharply to mind, with all its foul, fish-faced connotations.

3:21 – “You’re just a difficult person to approach,” my friend responded reassuringly, deftly failing to address her twin addictions to syringe injections and incestuous heavy petting.

3:47 – Kiku smiled at her, and for a moment I wondered if he himself were beginning to think her behavior normal. How far had his hair-raving madness spread?

4:25 – As the Innsmouthian needle-addict extended her arm towards the Hair Queen, I could not help but see the situation as some achingly misguided perversion of a classical love triangle. A cruel joke indeed

5:15 – A smile cracked the fish-woman’s face as the Queen forgave her, brightly forgetting her earlier attempts at obvious murder. But, I glumly reflected, in a world marked by Hair Queens and needle-obsessed fish-women, what’s a little attempted murder between friends?

6:37 – Despite all my protestations, as well as the direct premonition of the obvious consequences by the gutter-voiced fish-woman, Kiku resolved to accompany his Queen to an antique dealership her father frequented, despite living within a world whose sole distinctive feature was the presence of antique murder tools, murder tools which had in fact been used to kill that selfsame father who frequented that exact dealership. I resignedly shuffled behind, though my own steps were not marked by dramatic slow-pans and resolute sepia freeze-frames

6:57 – As the golden-haired maiden spoke, I could not help but wonder at her intonation. Could she be a child of fabeled kTsun Dhere? That lost land fabled for its mighty walled citadels and tendency towards swift, utterly disproportionate retaliation? I quelled my excitement forcefully, well aware of the danger any unchecked emotion might provoke in a kTsun Dherany rage-maiden.

8:05 – As Kiku gazed at the piano, my own thoughts turned to darker concerns; how simple would it be commit murder with such a device? After all, if syringes and hair shears were somehow comparable murder-tools to a sledgehammer, surely a piano might contain equivalent murder-relevant potential?

8:55 – Kiku’s steely gaze confirmed my own thoughts – he too had realized we were in the presence of an Author. I readied myself for action, but was struck dumb as Kiku continued his stare, which I now saw was in fact blank, and had not realized anything at all

11:41 – A second glance confirmed both our suspicions – the man did in fact have triangles for teeth

12:25 – The man’s words confirmed what I had suspected all along, the only rational conclusion – that the woman whose hair grew really long every night had the power to grant wishes

12:45 – Despite my distrust of saw-tooth’s sneer, I had to admit he had a rakish, anti-heroic charisma

13:09 – Sawtooth sneered, and then helpfully exposited both the first and last name of the woman who he already knew. I was grateful to receive the information

14:30 – As the rope dug in to the remarkably inept policewomen’s neck, Kiku stared grimly, waiting until all possible strangely sexualized camera angles could be exhausted. As the woman finally passed into unconsciousness and possible brain damage, he smartly cut the noose

14:55 – As the man explained his unearthly power, I realized Kiku had in fact not cut the rope, and had been merely standing and watching the woman die. The rope cut itself

15:14 – Did sawtooth consider himself Batman? Or perhaps Rorschach, but with a better suit? I pondered these questions gravely as a freeze-frame of Kiku’s face flashed backwards in a crude imitation of dramatic foreshadowing

16:33 – As I glumly wondered if my companions had realized the obvious implications of the amply bussomed woman’s song, the irritatingly PowerPoint-derivative freeze-frame once again answered the question for me

17:11 – As the policewoman lustily confessed to her perversion, I breathed a sigh of pity, confident in the relative mundanity of my own hair-related fantasies

18:15 – The stern fire-haired girl exposited glumly on the dalliances of the upper class, but my attention was drawn to the neon-painted ears, eyes, and lips that floated lasciviously before me. Was I losing my own grip on reality? Would I escape this hell with my sanity intact?

20:07 – “I’m deaf, so I wouldn’t understand that,” he explained to his lover of some number of years.

20:32 – Her lips parted in a seductive blush as they romantically explained to each other their roles and Killing Goods-related titles

Epilogue

As I tossed and turned in my unyielding bed, I reflected on the events of the day. What import could be drawn from their scattered and relentlessly sexualized nature? Perhaps some message on addiction… or perhaps… high society… or… the nature of perversion, and the commonalities of our human lusts?

No, I decided, breathing a sigh of relief and sinking into merciful slumber.

They didn’t mean anything at all.

And Done

Jesus christ you guys. Don’t expect me to do that again. Fuck.

This show’s still awesomely terrible though. See you next week.

Thoughts on Formulaic Storytelling and Critiquing Entertainment

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Management: This discussion was prompted by the creator of this blog post reflecting on the role repetition plays in enabling climactic and satisfying reversals in storytelling, and how our repetition-bred expectations can lead to more resonant moments in media. It’s a great article and a fascinating subject, and I only begin to explore the artistic implications here.

Question:

Do you consider the formulaic structure so much anime adopts a problem for you?

Bobduh:

I really like the point your article raises, about formula-breaking moments containing that much more power and significance by virtue of how established those formulas were prior to that point. The problem as I see it is that those moments don’t actually validate all the formulaic stuff that came before – sure, they lend it added significance, but they don’t make it in and of itself worthwhile or artistically interesting. I don’t know if there are any easy answers here, either… hm… let me cover some other facets of this, and then I’ll try to loop back around to that.

Alright, first, I do think formula does in fact have a place in certain works. It’s generally not that compatible with tight storytelling/character-building/thematic explorations, but not all shows are about those things, or need to be – for example, I think Madhouse’s Hunter x Hunter reboot is just a very fun exploration of the shonen genre, and most of the arcs follow semi-typical shonen structures, but the show is meant pretty specifically just to entertain. Well-crafted popcorn can be its own reward, and I think formula can be used to great effect there.

But regarding shows that actually want to say something, or develop characters with emotional resonance? There, I think it’s much more difficult to argue for formula, but there are still examples that kind of ride the borderline. For example, I think Cowboy Bebop is a great show that articulates a classic but still solid theme about the difficulty of rising above your past self and redefining/rebuilding yourself, but I also think it uses formula to great effect – many of the episodes are just “bounty-of-the-week” adventures, but they work very well as independent storytelling vignettes, and they contribute both to the mood/world-building as well as the slow-building empathy the audience is meant to feel for the emotionally distant/reserved protagonists. And many great shows are built almost entirely of similar thematically related vignettes (Kino’s Journey), and many other shows use a series of utterly unconnected and similarly structured conflicts to slowly build a mood and set of characters for the underlying story (Hyouka). There are endless examples of degrees of this, and frankly, the fact that anime is an episodic medium means that for most shows, the mere necessity of an initial conflict, rising tension, and resolution each episode will result in a number of semi-similar structures. This is just how storytelling works in mediums like this.

But I think your point was treading on more difficult ground – if the formulaic structure is useful purely because it provides a structure that can create suspense and surprise if deviated from. Honestly, within a single work, I don’t think this leads to incredibly successful art – it might lead to great moments, but as I said at the beginning, the subversion doesn’t retroactively grant all the prior material meaning, character, and distinction if it didn’t have those things to start.

However, I do think the meta-narrative trick of subverting expectations with the entire scope of a work can be effective and lead to consistent artwork, as long as that work is internally consistent. This is where I think shows like Eva and Madoka fall – even if part of their power comes from changing what came before, all the parts of those shows are solid on their own merits, and in fact the first few episodes of each provide some of that original context (though obviously well-written and tonally/thematically consistent with the later parts) to provide a portion of that dramatic turn even for people not well-versed in the relevant genres. Most of what makes these shows good is not their deconstructive or genre-defying nature anyway – it’s the fact that they’re well-written and well-produced stories with a lot of good inherent ideas, regardless of their position within an artistic tradition.

Incidentally, I think another interesting example of a similar effect is Aku no Hana – I don’t think it would come off nearly as effectively if audiences were used to rotoscoping, and that the art style intentionally serves to unbalance viewer expectations. But again, I think that art choice also results in a mood that works in that show’s favor outside of medium-conditioned viewer expectations, which makes this another example of “it works partially because of this expectation-subverting trick, but it also just plain works.”

Question:

Management: I’m rewriting this question so my response makes any goddamn sense – it wasn’t even really a question initially, but the subject is so interesting that I kind of went off on it regardless.

I think there may be differences in our standards of evaluation. I look for anime to succeed first and foremost as entertainment – and that moment of unexpected subversion results in great entertainment for me, regardless of whether it succeeds as “high art.” Also, you’ve covered a variety of ways formula can affect anime, but isn’t the phenomenon I’m referring to with Mazinger a little different from the craft arguments you’ve put forth?

Bobduh:

I don’t really mean to deny or demean the role of entertainment in media, I just feel that even (in fact, sometimes especially) shows that exist primarily to entertain still work within structures that can be examined and discussed – they have “goals” just like any message-oriented art, those goals are just different. For example, I think Redline is a pretty perfect piece of entertainment and nothing more, but it’s far from a stupid work – it displays an incredibly high degree of craft through its mastery of propulsive storytelling structure and economy of characterization/dialogue. Its “goal” is to entertain, but it entertains by doing what it does very intelligently and well. I don’t think saying “this work is just meant to be entertaining and nothing more” means it’s not useful or interesting to critically examine that work – it might not have deep themes to discuss, but storytelling is an art form worthy of discussion even if you disregard “message” works. So when I talk about whether a work is “successful” or not (I also don’t really like the high art/low art divide, and don’t find it all that meaningful), I’m mainly talking about whether I think it did the best job it could to succeed in its own goals, be they tell a taut and entertaining story or illuminate the nature of the universe or whatever.

But your point about entertainment being a relative value is a sound one. As much as I believe there are definite ways mastery and execution of craft can be close to objectively measured, art’s effect on the viewer, and what specific elements that viewer responds to, will always be a subjective, personal thing. It’s always good to keep that in mind.

I also agree that the specific situation your article describes is different and distinctive from the ones I’ve been discussing. There’s something more fundamentally shocking there, something that really seems difficult to quantify according to classic storytelling models… if I understand the kind of series Mazinger is, it seems like it conditions you to love these characters in the context of one entire genre over years, and then flips the table on you. That’s not just deconstructing a preexisting genre – that’s changing the stakes of a world you’re already emotionally invested in. The only example of that kind of thing which immediately comes to mind for me is Clannad, which is basically one story and genre of anime for 35 episodes, then abruptly shifts to another story and genre of anime, while keeping the characters you’ve already associated with the first mode. The thing is, I don’t think Clannad actually works in the way I talk about things “working,” because, well, first the writing is just not very good, but more fundamentally because the kinds of repetition that characterize the early arcs are not the correct kind of repetition for the emotional turn it’s hoping to provoke – they reflect more on tangential side characters, and their emotional stakes are not tied tightly enough to the actual protagonists, at least not often enough.

But if a story did do that… if it used the kind of repetition I mentioned Bebop or Hyouka employing for many episodes, and then veered into a turn in the way Clannad or Mazinger does…

Yeah, I think there’s a whole goddamn lot of resonant storytelling potential there.

Damn, now I’m getting all kinds of crazy ideas…

Thoughts on Art Appreciation, Anime Culture, and the State of the Medium

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Question:

How do you think anime and manga have affected your view of Japan and its culture/people?

Bobduh:

It hasn’t really influenced my perspective on Japanese culture, because most anime don’t try to be realistic, the ones that do tend to paint Japan as a nation of people just like any other (with some cultural quirks, obviously), and anime is generally not created to cater to the sensibilities of the “average Japanese person,” if such a thing can described of any person of any nationality (it can’t).

What it has done is give me a pretty solidly negative impression of the relevant, anime-watching market. But again, that’s still not a monolithic group.

Question:

Can you you elaborate on your negative impression of the anime market? I’m curious because I always see you give pretty insightful analyses of anime in general.

Management: I promise, I would have rephrased this question to be more neutral if my own response didn’t actually address the choice of words – and I think the tone of my response is kind of critical to keeping these discussions civil, so I’m leaving it as it was originally written

Bobduh:

That’s a dangerous question, but you also flattered me, and that’s well established to be my only weakness.

Let me preface this by saying that these are all my opinions, and most of what I’m talking about are things that are frustrating for me specifically as a consumer of media who would like to see more media that appeals to my interests. They are not value judgments on anyone outside of myself, and obviously people like media for different reasons, and that’s totally fine. People find their bliss in all sorts of ways; that’s totally cool. And I’m being reductive here as well, and I admit that, and I understand people are complicated organisms. And in addition to that, I don’t personally live in Japan, so everything I’ll be talking about will be inference based on the media I’ve seen, the ways I’ve seen audiences interact with that media, and the news surrounding fandom that has reached my distant, obviously not-fully-informed ears. One more time: these are all just my opinions, based on what appeals and matters to me. Alrighty.

Well, first there are the issues that could be leveled at the general audience of virtually any medium: the audience places a heavy premium on works that don’t really challenge them, they highly value familiarity and specific, sometimes problematic, sometimes just storytelling-averse tropes, they judge shows based on a variety of surface details as opposed to their underlying quality and nature, they judge all shows within similar frameworks of their own media desires, and will condemn or simply not engage with shows that have goals and ideas outside of their specific avenues of appreciation…

But as I said, that’s pretty much every medium. Anime seems to combine this with a few distinct and in my opinion negative additions: a pervasive acceptance of and even desire for sexist works, a particularly virulent desire for catering to their specific media and cultural preferences (Sakurasou getting attacked for containing a Korean meal, of all things), a predilection for “untroubled worlds” that don’t reflect any aspect of real experience and are generally storytelling and meaning-averse, a strange conflation of their media preferences and actually real-world identity and opinions (which is fine in moderation, but that’s not what I’m referring to here – and when you combine this with that fetishizing of “untroubled worlds” that don’t reflect reality you get things like the Aya Hirano slut-shaming scandal or the general idea of “idol purity” as something to be valued), and a related near-idolizing of various elements of their media (Love Plus vacation experiences, etc). Basically it seems like a portion of the audience’s attitudes and the industry’s need to cater to those attitudes to survive creates some kind of media obsession feedback loop that strikes me as socially limiting and also predisposed to result in awkward, artistically uninteresting media (which brings us back around to this being a problem primarily because I’m mad not enough people like what I like to dictate the majority of what gets produced, not because people don’t have the right to be who they are and like what they like, which they obviously do).

Question: 

It seems like you’re implying that anime will only continue on a downward spiral due to continuous re-enforcement of what you view as negative tropes (although I say “what you view as,” I’m pretty sure 90% would also regard those same tropes as negative). Think there’s any realistic way the current models can change?

Bobduh:

I honestly don’t think the situation is quite as dire as my post possibly implies – in fact, although many shows do seem to reflect the things I bring up, I’d say we’re actually entering/living within a period of relative artistic vitality.

Many people complain of desiring a return to anime’s “good old days” of the late 90s/early 00’s – perhaps there is something to this, but I personally I think this is partly nostalgia infusing old shows with merit they didn’t actually possess, partly a compression of the greatest hits of a ten year period and disregarding of the actual “average show” of that period, and partly a fact that the mainstream entertainment back then just catered to a different audience – the action and adventure shows that came across as more popular then weren’t necessarily “better” than the current trends (less psychologically questionable might be a decent argument, though), they were just different trends that appealed to different people.

It seems to me that, although the anime-culture trends I’ve referred to aren’t really positive ones, there’s actually a greater variety of solid works coming out these days, and certain studios are taking creative risks, whether they end up being rewarded or not. And there’s a whole gallery of talented and creative writers and directors who are being given a great amount of artistic free reign in spite of any ostensible market trends. The market also seems to be growing – charts like this one seem to imply more people are buying anime in Japan in general, which can only be good for the diversity of productions. And though obviously some people could happily watch shows catering towards the market I was describing forever, I think the law of diminishing returns applies here, and most of the audience will move on towards the next big thing soon enough. Regardless, it seems like there’s still room for shows to make at least reasonable profits without bowing to any perceived fandom needs.

Most things in most mediums will not be that artistically profound or interesting, and I don’t think anime’s entering any kind of death spiral in that regard. I just think some mainstream views within anime culture/fandom are pretty problematic in a very specific way, and that appeals to those attitudes tend to be reflected in too many works.

Suisei no Gargantia – Episode 3

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Gargantia!

Man, I have been eagerly awaiting this episode. That dramatic finale last week has proven the unstable nature of Ledo and the Earthlings’ temporary peace, as well as given the Earthlings (I should probably switch to “Gargantians,” but referring to them as Earthlings remains funny to me) a much sharper understanding of what they’re truly dealing with. Did his obliteration of the pirates violate some general understanding of acceptable violence in their world? Will they try to use him now, or assassinate him in some way that prevents retaliation? They still don’t necessarily believe in the existence of the AI – I could see that truth become clear to them in dramatic fashion if they try to go behind Ledo’s back. But this is all conjecture, and this show is awesome, so I’m just gonna get right to it.

Episode 3

0:10 – Wow, we’ve never gotten a full pan of the city like this before (probably because the show’s been trying to keep us mentally trapped with Ledo on that crane arm). It’s beautiful

1:00 – I think this is the first time I’ve heard “____ no baka!” in response to pirate genocide

2:32 – God this show is gorgeous. How does Urobuchi always gets these incredibly colorful, very distinctive art pallets? Do talented artists just flock to him?

3:40 – I really like that our heroine is smart enough to immediately recognize her own partial culpability in what happened. “Help us” was something that needed to be translated across cultures, not just languages

4:42 – Consuming carcasses left and right. Ledo’s a champion

6:20 – Pff, everybody contributing to a humane, prosperous society? We don’t need none of that commie-talk here, Bellows

8:28 – Ahaha, my god, those trollish pirate thug designs

13:53 – This is a little weird. I just can’t feel much tension here when Chamber exists as a being of essentially limitless power in their world. And obviously the show knows that – but it’s dragging out this conflict quite a bit considering the context. Perhaps the tension is more supposed to be drawn from him using this conflict to make or break his alliance with the Gargantian commanders? If so, I’m not sure that’s being entirely successfully conveyed

14:48 – This I like. Using Ledo/Chamber only as support, because what the Gargantians really need to convey is the normal fleet’s willingness and ability to fend off the pirates themselves

18:25 – It’s weird seeing Urobuchi’s staple ideas and storytelling get mixed with more lighthearted stuff, like a freaking pirate queen riding a surfing lobster mech

20:30 – And now they’re spinning the lobster in circles while politely asking it to surrender. Okay, I’m totally on board with this

And Done

This show is so great. This episode got much sillier than I was expecting, but it totally worked – at this point, considering how rarely the tone has gotten all that serious, I’m thinking this might be something like Urobuchi’s stab at a Ghibli-esque production – just a wonderful, continuously enjoyable adventure in a vivid, beautiful world

This is what pure entertainment looks like to me. It’s light, and it’s happy, and it’s propulsive, but it’s never stupid – the writing never betrays your trust in the characters, world, or storytelling. This is entertainment done right

Attack on Titan – Episode 3

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ATTACK! On TITAN!

Pointless intro paragraph deleted. There’s no time for that, there’s Titans at the gates! Let’s do this.

Episode 3

2:55 – Already liking this episode. Getting its Full Metal Jacket on all over these pigshits from shit city.

5:35 – Wow, the reports of Potato Girl’s fantasticness were not exaggerated. I think the last expression was a little more absurd and hilarious in the manga, but using this anime’s super-dramatic pans and close-ups to heighten the tension of Potato Girl’s Last Stand was pretty amazing

7:00 – And here’s another scene I like – the cadets all crowding around to ask for scenes from the war front, since it’s still just a far-removed adventure to them. I really enjoy when this show just re-contextualizes classic war film tropes into the Titan world – they’re familiar, but they’re well-written, help to ground this world in something tangible, and help to round out the personalities of our suddenly formidable cast of characters

9:00 – Maybe it’s just the highlighted lips, but I feel they’ve made Mikasa more classically anime-beautiful than she was in the manga, which I don’t really like

10:40 – “Is this… BREAD?!” I’m so happy this show’s aware of the way drama can turn to silliness with these melodramatic close-ups, and is actually using it that way. If you understand the effect of your own shots well enough to use them for comedy, you’ll probably be fine when it comes to actual drama as well

12:12 – Eren what are you doing that is not how you belt-fly.

Wow, the last thing I expected was an episode full of actually pretty solid jokes. I also appreciate that they’re using the 25 episode runtime to dedicate serious minutes just to establishing their system of training and combat, so when shit goes down, it’s not just “woo, crazy action, woo,” you actually understand the stakes and powers of our protagonists, so you’ll know when something is impressive, dangerous, or foolish in the terms of their world. As I’ve said before, action scenes are just noise if you can’t tell who’s winning or losing

14:51 – Damn, Potato Girl is getting a dramatic workout this episode.

I don’t even know what to say about the drama to comedy tonal shifts going on here – because the humor is mainly created through setting these scenes with the same dramatic tricks the allegedly tragic scenes of the first two episodes used, it seems like the show is kinda making fun of itself. Which is a weird place to be

17:30 – I really like this guy’s speech. I really like a lot of things about this episode, actually; it might be the first one that’s really sold me on this show as its own thing with its own tone and ideas, and not just this season’s action spectacle

18:15 – This show keeps hammering in that theme of not being truly human if you don’t have the strength to choose your own destiny. Very interested in seeing where they go with that – this show is too dark and has too many long, character-focused conversations for an idea as simplistically optimistic as that to go unchallenged for long

21:35 – Okay, now I’m starting to see the JoJo argument as it applies to this show – it goes crazy with its dramatic angles and reaction shots, but it’s still honestly committed to those scenes, and understands it’s kind of going overboard. The contrast between those scenes, the comedy scenes where it actually makes fun of that kind of trick, and the actually very traditionally effective quiet drama scenes, is a little jarring, but I’m not against it – the show is doing its own thing, and I always appreciate that

And Done

Fun stuff! I had some misgivings about the way the comedy and drama bounced off each other, but by the end I think I just had a better grasp on what this show is actually about, and so all that stuff kind of fit into place. Overall I very much enjoyed this episode, and it gave me a great deal of confidence in the show going forward. I’m interested to see if they maintain this seemingly self-aware tone (well, the comedy makes it obviously self-aware, at least) going into more dramatic stretches, or if this was just to build a false sense of security – I honestly hope it does, cause I think I personally will enjoy the show more if it tries to have a little fun with its storytelling, and doesn’t try to make us feel the weight of all this tragedy all the time.

Bakemonogatari – Episodes 9 and 10

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Nadeko’s OP is my clear favorite of the season (though the Fire Sisters both kill it dead).

So, as I mentioned in the last discussion, I wasn’t actually planning on rewatching this after having watched the whole series so recently. But as SohumB pointed out in the last thread[1] , these Nadeko episodes play in a really weird sexual space that has definite relevance to my thoughts on Nise – so I’m watching that pair specifically to see what I think.

And my first impression, only a few minutes in, is that the cinematography in this show is much more often interested in pacing than Nise’s constant emotional inference – though obviously both are still in effect, many of the shots seem designed more to keep the visual narrative constantly flowing than to impart a great deal of context.

“Being kind to everybody is irresponsible, after all” – now I actually do want to watch the whole series again, in search of all the ways they articulate variations on this theme. Making one of the core narrative issues of the harem genre a core, overt characteristic of this very self-aware show’s protagonist is one of the greatest successes of this series.

Alright, here’s the scene, Nadeko in the bedroom.

Hm. It’s tricky to say exactly how this scene is supposed to be played – there are a lot of variables involved. Yeah, it’s partially Araragi’s perspective. Yeah, it’s partially also just this season’s more jumpy and propulsive style of visual storytelling. And importantly, this scene also serves a lot of narrative purpose that needs to be conveyed visually – the actual, narrative plot of this scene is her revealing the curse on her body, so a great deal of the visual storytelling is dedicated to clarifying what’s actually happening in the story. Most of what I was discussing in Nise basically contrasted the visual storytelling against the narrative storytelling – here, they’re kind of too muddled together to be playing off each other.

In the next episode, it seems more overtly clear that Araragi’s deeply uncomfortable with this situation, but is maintaining the banter of 9 and the exposition of 10 to keep it from getting any weirder than it has to be.

Hm… that WIDESCREEN scene where she’s getting dressed is questionable. The argument could be made that it’s designed to reflect Nadeko’s sense of vulnerability – but if that’s true, I don’t think it did a great job of it. The fact that they’re lampshading it with the “Widescreen” breaks in the first place leads me to think it’s just pointing out fanservice while unabashedly presenting it.

Maybe this whole arc is supposed to be uncomfortably voyeuristic – it definitely comes across that way to me. The way they emphasize Nadeko’s clear discomfort in 9 supports that interpretation, too.

I wasn’t sure before, but it seems like Nadeko’s “attempting to remove the curse only made things worse” might intentionally reflect Hanekawa’s “trying to help everybody will come back to haunt you.” This idea is also pretty ridiculously overt during Nise’s Karen Bee. And Araragi’s barely-remembered interactions with young Nadeko causing long-lasting unintended emotional consequences is yet another reflection of it.

Araragi drawing attention to the pain of her scales causing her even more discomfort – another scene playing with her unwilling vulnerability during this arc.

And now, with the school swimsuit (can’t believe I didn’t remember that), I’m even more confident this arc is definitely playing with the expectations of this kind of show, and how the kind of voyeurism they normally represent would actually relate to characters who you’re supposed to treat as human beings. In fact, this seems like a more blunt reaction to standard fanservice than most of Nise does – while that goes beyond mere criticism and begins to address positive ways cinematography can address sexuality, these episodes are basically saying, “here’s one of those young girls you like seeing dressed up and stripped down so much. Look how much she’s enjoying what you’re doing to her”

Hah, I really like the use of a music-box rearrangement of Nadeko’s theme for this climactic scene.

It’s interesting that the kind of affection she has for Araragi isn’t just standard romance – in the scene she reminisces about, she is fawning over the ways he’s taken care of her. Remind anybody of anything? Yeah, she’s positioning herself as a moe object.

“And now we’re torturing her. You like that? This still getting you off?”

This episode’s brutal.

Ironically enough, this theme of Araragi’s helpful nature being an obsessive and unhealthy thing was something I was always hoping Clannad would actually bring up – hell, that show even had plenty of already-existing motivation for a complex like that, in the presence of Tomoya’s father as an example he’d be rebelling against.

Okay, those two episodes were really interesting. I think the ways it worked as a meta-commentary on sexuality and storytelling in anime wasn’t as tightly woven into the actual emotional/narrative story of the show as it is throughout Nisemonogatari, but it definitely wasn’t as interested in subtlety in general – these episodes came across as legitimately angry, and creator passion is pretty much as satisfying to me as character passion.

These episodes seem, in a wide variety of very overt ways, to be about the kind of voyeurism that’s often taken for granted in anime, and how that informs the viewer’s “relationship” with characters, and what that actually means in a human sense. The “widescreen” scene that begins episode 10 is the only one that resembles the traditional voyeurism of fanservice – in episode 9, she’s aware she’s being watched, and is deeply uncomfortable and ashamed because of it. In episode 10, they frame her exorcism in one of the most classically anime-fanservice tropes there is (the school swimsuit), and then take it a step too far, and then take it ten steps too far, seemingly all to make the viewer aware of their own reactions to this kind of material. It’s crazy stuff, and I don’t think it comes across as entirely natural (thus my recollection of these episodes as playing in weird sexual space that seemed somewhat unrelated to the narrative/emotional goals of the characters), but it’s certainly a strong and fiercely articulated argument.

Aku no Hana – Episode 3

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Welp, time to feel a little bit worse about our fundamental human nature, I guess.

Aku no Hana can make twenty-three minutes seem like an awfully long, uncomfortable time. Can you imagine watching this show straight through? Hell, can you imagine owning the DVDs, and then just casually suggesting you and some friends sit down for a little anime? This show is a dangerous commodity.

But also a great one. That first episode rode perfectly on creeping tension and atmosphere, and the second one dragged us uncomfortably far into Our Hero’s tortured, claustrophobic, adolescent mind. Now he’s formed some kind of hellish contract with Nakamura, and has possibly ruined his social life and chances with his Muse regardless. Kasuga now lives in a nightmare realm of fear and shame, his last threads of dignity held in the grasp of an inscrutable demon-girl. Why this isn’t the breakout romcom of the season, I’ll never know.

Episode 3

0:30 – Maybe they do break with the tone of everything else, but I fucking love Kasuga’s wild-man screams. They’re obviously funny, but I think they also kind of point to the inherent disconnect between his florid, romanticized inner monologue and the actual world he’s living in and experiences he’s living through. You can frame your problems as the last cries of a tortured soul all you want, but you’re still just a kid wailing because people are gonna make fun of you

0:54 – Also probably good to leave the humor at the beginning, so it doesn’t break the tone elsewhere – I think the intro does something pretty similar. So far, the tone has been maintained so well that I hadn’t really considered the show might be thinking on a level above that tone and that world, but I’ll be keeping an eye out for it

4:30 – Couple things. First, the background art for this show continues to be spectacular. Beautiful in a tired, semi-decrepit kind of way – much like the rotoscoping, it’s just realistic enough to outline all the faults and ugliness of the real world to a level approaching the grotesque. Second, now I’m a bit more confident the show is playing with the protagonist’s perception of his conflicts – the disconnect between his panic and all the oblivious people around him seems to be directly indicating the distance between his mental state and the real world

6:10 – Nakamura’s actress has a fantastic “inspecting a strange and mildly interesting insect” default expression

6:52 – Still loving how the show uses that tower shot of the school as a kind of chapter title page

7:02 – Here’s a great example of what they’ve done with the backgrounds – virtually every element of this building has been reproduced perfectly, but then painted over with what looks almost like a watercolor speckling of mud. Like the whole world’s been neglected and has started to decay

12:00 – Goddamn, he was so close! But now it’s easier to fall in with her enabling influence – easier for him to believe his interior world really has some relation to the real world, that he is something truly different from everyone else.

Now he be fucked

13:38 – Why worry if they see, Kasuga? You’re better than them. You’re different

I was worried the writing wouldn’t be good enough, but so far this show’s thematic darkness is doing pretty well to hold up to the incredible aesthetics

16:21 – Ugh, this is brutal. They each want such fucked up forms of affirmation from the other. This show

And Done

I really love that trick with the ED over the fading final scene, and I think it’s a good example of the very distinct and difficult line the show walks regarding drama versus melodrama. While the tone virtually always absolutely supportive of Kasuga’s interior world, the show seems aware he’s living in a very personal, heightened reality, and that the actual reality is a quite different place. Not sinking entirely into his world while still respecting it and making you empathize uncomfortably with it is a ridiculous tough balance to strike, and I don’t think it’s always perfect, but I think it’s still doing an incredibly good job. Plus, all the visuals, the music, the voice acting, the non-voice acting… everything else remains stellar. The only question left is whether this story is worthy of all this meticulous artistic prep work – sure, it’s already an incredibly strong tone piece, but I’m excited to find out what this story really has to say

-edit- I didn’t comment on it at the time, but since finishing this episode, I’ve kept mulling over that multi-second frozen pause around 19:40. What effect is that supposed to create? Calling it animator laziness is lazy criticism – this show’s direction is too purposeful for that, and even if they wanted to cut corners, they could easily do it in less obvious ways, or just frame the shot differently. So what’s the actual intent of that frozen shot? I’m still unsure

OreGairu – Episode 3

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This show is stressing me out.

With Crime Edge, I know it’ll be terrible, and that’s what I’m there for. With Aku no Hana, I’m fairly sure it’ll be great, but I’m not emotionally invested, so it doesn’t really matter to me if it spins off the wheels. With Gargantia, I trust Urobuchi enough to know he’s not gonna fuck up.

With OreGairu?

I love this show. I have love love loved those first two episodes. But I have no way of knowing if it’s going to fall apart. And as the hour approaches, I find myself praying, “Please be good. Please, please, please be good. I want you to be good so badly.” Because goddamn do we ever need more shows like this. So one last time, OreGairu, please – continue to be this smart, continue to be written this well, and continue to explore both the vicious truth of young insecurity and the heartwarming passion and humanity that lies beneath it.

Please. Give me this one, at least.

Episode 3

0:43 – I always feel weird praising this show for its incredibly believable inner monologue, because really, the reason I find it so believable is that it almost perfectly represents a Younger Me. Applauding yourself for the combination of variables you’ve combined to excuse yourself from effort while still appearing eager to participate? Yeah. I’ve been there.

1:35 – Once again, mere minutes into the episode, I ask myself, “Why was I worried?” “Walls are a part of youth.” Profound wisdom from Best MC

3:30 – A nice little humanizing moment for Hiki here, enjoying a moment to himself where he doesn’t have to be on the defensive. Of course, all his actions humanize him – his motives and insecurities are transparent in all of his actions (kind of like “wall of Jericho” Asuka in that way – another one of my favorite written characters). But it’s nice to see him get to relax

4:15 – Wow, she’s got her Yuki impression down

4:20 – I like how Yuki’s easily-provoked competitive streak fits in so well with her superiority complex. It’s nice when personality quirks and deeper insecurities mirror each other like that

5:33 – Car accident. Our second clue, to accompany that flashback when Hiki saw the dog last episode

6:07 – “You’re making me blush, EHEHEHE.” I love how when Hiki’s engaged in conversation in a positive way, he reverts to that, “More like hot AND humid, AMIRITE?” artificial positivity

8:46 – Yuki’s anger seems far more deeply felt than Hiki’s. I can’t wait to see more honesty out of her

9:35 – I think it was xRichard in the last thread who mentioned a fear this show would become too “problem of the week” to maintain its initial strength? I think that concern’s valid, but I also think that, even more so than last episode, this episode has been expanding our understanding of the main trio while also containing a side story. I don’t have a problem yet, but this could certainly happen

10:50 – I really like that they didn’t feel the need to reintroduce our Chuuni friend – he just happened to be around, so he hung out with them for a while, and it wasn’t a big thing

12:00 – Hiki’s fighting back! I suppose he feels more confident with a few people already on his side

15:10 – “Worst case scenario: I’ll have to get serious.” Yeah, you don’t have any Chuuni instincts whatsoever, Hiki

15:42 – “I guess self-deprecation creeps people out if you don’t know them well enough.” Yep! That one took me a little while too

16:46 – “Though a certain someone calls me ‘The Ice Queen’… not like I care or anything.” Ah, youth

18:10 – “RAZE THEM TO THE GROUND!” I think I’m gonna like having this guy around

19:22 – “Lunch break will be over soon… usually I’d be in my favorite spot.” That same ocean breeze rustles his hair, and he smiles. See, this episode wasn’t about the side arc at all – it used that to create a concise little narrative arc about Hiki, and further develop the relationships between the main characters.

This is also just a well-crafted trick – the callback makes sense, along with the wind he unreservedly appreciates revealing his ultimately more optimistic nature.

And Done

Welp, it’s still doing it. At this point, the initial shock of a high school romantic comedy that treats smart, negative people as human beings has somewhat worn off, and I’m just enjoying how well these characters are written, how nicely they bounce off each other, and Hiki’s all-star narration. I like the various tones his narration took this episode – there was his default “I know high school sucks, but whatever” shield tone, there was his unshielded mini-ode to his favorite spot, there was the heightened, chuuni-recalling “high school sucks, and I’m a hero for surviving it” when he actually got passionate about the game and let his guard down, and there were his bitter, unguarded remarks towards the perfectly reasonable guy he was using as a stand-in for all the people who never thought to include him. This show knows this guy, and cares about him, but it never romanticizes him. And it’s smart enough to make sure that all comes through.

Maybe next week I won’t be so terrified it’ll all fall apart.

Kakumeiki Valvrave – Episode 2

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I don’t always (in fact, I don’t often) agree with them, but I think Cart Driver[1] pretty much had Valvrave’s number regarding that first episode. The most blandly anime anime in the anime kingdom. I ain’t doing a real writeup for this, but you might as well know beforehand that my current expectations won’t be tough to exceed.

Episode 2

1:30 – Wow, I am impressed. Shooting a gun out of your subordinate’s hands… without looking at him… from behind your back… while lying prone on the ground.

Fuck, I said I wasn’t going to do a real writeup. Well, I still won’t. Starting now.

2:04 – I love those custom anime guns that only graze people’s noses, and never actually scar or, god forbid, kill them.

Goddamnit I’m doing it again.

2:09 – Goddamn this fucking gun! Why will it perfectly disarm an opponent when fired behind the back while lying down, but only graze my target’s shoulder when I hold it in both hands while looking straight at him??!!

2:41 – AHAHAHAHAH THEY SWITCHED BODIES?!?! Oh my god that’s beautiful

3:42 – This generic-ass OP. At least Geass had, “I CON-TIN-UE TO FIGHT! I CON-TIN-UE TO FIGHT!” to entertain me

4:04 – It is at this moment, watching a parade of color-coded neon robots present their glowing phallic symbol-weapons, that I realize this show is Not Going To Be For Me. But hey, I’m already sitting in this chair, can’t stop now.

4:27 – Gawd, so many fucking characters in this OP. There’s definitely a specific audience type this sort of thing caters to – it’s like a lesser version of Horizon in the Middle of Nowhere, where the sheer volume of data the world contains is for some reason very compelling to a certain audience. It’s not my thing, but there’s nothing inherently wrong with it – it just makes tight storytelling and pacing/emotional beats that much harder (but not impossible) to pull off.

5:10 – “I’m the boss in this school, shitheads” – he’s exaggerating, but it wouldn’t actually surprise me for the superintendent of their school system to be a fourteen year old loli.

5:15 – Finally, someone discovers a use for those goddamn pistols – just hit people in the head with them

…as I typed “them” in that sentence, OpenOffice auto-corrected to “thematically.” Not sure how I feel about that

5:53 – Using his rocks-paper-scissor skills to test his identity is actually a pretty cute gag. That writer has earned their salary

6:26 – “The body doesn’t forget how to fight” – so it’s Bourne Identity – Bishie Edition.

7:30 – Is the show expecting any of this political nonsense to resonate in any way? Oh! That’s another issue I have with the “raw data” worldbuilding style – unless you set your conflicts in personal or thematically resonant terms, they have a tendency to be emotionally sterile. I don’t inherently care whether the Jibberjabbians successfully defeat the Zamafloovians – either your points have to resonate with something real, or your characters have to be people I care about

7:55 – So this guy’s Geass power is… shooting people with a gun

On the other hand, it’s actually pretty intense that a default wishy-washy high school protagonist just straight-up murdered two people and justified it as necessary casualties of war. Perhaps this guy is more entertainingly crazy than I thought

8:52 – Okay, who’s got the gif of Our Hero belly-diving the scientists from a helicopter and landing with his foot in that guy’s face?

10:18 – Alright, that actually is a pretty sweet Geass, I have to admit. I’d be more excited with the narrative possibilities if the OP weren’t so dedicated to robots fighting pew pew, but I guess that’s the kind of things OPs naturally highlight, so maybe this will actually be more fun than I thought

13:07 – Blitzendegen… so these guys are literally space Germans.

…fine.

15:50 – Isn’t there like, an entire armada watching as these teenagers deal with their hormonal betrayal issues? Do they have any thoughts on these proceedings?

16:07 – Oh FUCKING REALLY? SHE’S ALIVE? As if giant robot shows didn’t have low enough stakes already

18:26 – L-Elf was so moved by Hero’s tears for his lady love that he decided to actually help him defeat his own cause? I… guess that makes as much sense as anything else that’s happened

21:45 – And he sidesteps the love confession. Welp, that completes my anime cliché bingo sheet. In fact, that completes the entire fucking grid. I’m done. Episode paused, episode closed. Packing up. Going home.

Finally Done

Final thoughts: Why.

Okay, so I gotta think about this show that way, then. In that case, I’d say this show is actually a lot less enjoyable than Crime Edge – although it’s equally terrible, it’s terrible in a much more routine, polished way, and not in the delightfully weird and sex-obsessed way Crime Edge happens to be. This show is just like the Platonian ideal of highly budgeted generic bullshit. It is anime as written by fairly stupid robots

On the Value of Visual Uniqueness

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Question:

Is it worth pursuing a unique visual style even if it adds nothing to the narrative, or does it simply amount to crying for more attention from “sophisticated” viewers?

Bobduh:

I think there are a couple different arguments that could be made here, and the topic is, as you admit, a broad and ambiguous one.

First, there’s the argument that many people have made here and that seems true to me – in a visual medium, there is no such thing as a visual style that exists outside of the narrative. It always affects the viewer’s experience, and thus the best visual style should be the one that best services the needs and goals of the show. If that is a style that will be labeled “pretentious” by some, so be it – it’s only actually pretentious if it really does somehow work counter to the show’s own goals, and thus is being misused and its effect misunderstood.

But I think you could also make the argument that most anime following such similar visual standards is basically a failing of creativity, and that the only reason these styles come across as so intentionally provocative is because there just aren’t enough shows that experiment and take risks with their visual storytelling. I can respect the need for works that try bold ideas and fail, because it is the shows like that which lay the groundwork for future successes incorporating those bold ideas. OP raised an interesting point about how the history of anime has guided visual and storytelling standards to the point of polish we’ve currently reached, and that makes some sense to me, but I feel there is ample room for other, wildly different visual styles and standards that also achieve those effects, or at least that the pursuit of alternatives is a valuable one. So even in shows that don’t necessarily use their unique visual style to greatest narrative/thematic effect, I can see something valuable, because I consider them trailblazers who are feeling out the future potential for narrative and thematic resonance that only these kinds of experiments can discover.

Not only that, but as IssacandAsimov noted in his discussion with BrickSalad, there is (though this isn’t necessarily true of anyone here specifically, I’m just speaking generally) definitely a tendency to ascribe some provocative intent to unusual visual styles, which I frankly feel is unfair to the shows that use them. Obviously these styles are often used to create some specific effect, but I feel the starting assumption within the audience that they are aspiring to be some different kind of art can damage their effectiveness – it’s like the audience has less trust in the show, and expects it to have to prove itself, because it has started with an art style outside of the norm.

On a related note, someone raised Aku no Hana as an example, and that brought an interesting thought to mind – the specific value novelty and unfamiliarity can bring to a show. Obviously Aku no Hana creates its mood through every element of its production, but I feel one distinctive component of that is the fact that its visual style is something people are not very used to – they are not familiar with seeing characters regularly portrayed in this way, and so they are immediately put at a comfort-level disadvantage. This effect would not exist if shows like this were more common, and Aku no Hana would be less effective as a mood piece for it.

I think the point I’m stabbing at here is more communicable through using comedy as an example. A necessary component of comedy is novelty – jokes that are familiar lose their power, and humor is very often derived from undercutting expectations, which is not a repeatable trick. Comedians constantly have to chart new “storytelling” terrain, because the demands of their art requires a constant influx of novelty. Obviously this is not necessarily the case within visual storytelling (Aku no Hana only works so well as an example because part of its goal is to remove the viewer from their comfort zone), but I think it’s an interesting result of the pursuit of new visual storytelling methods that’s worth being conscious of. As well as the opposite effect – that the standard methods of visual representation used by so many anime result in a constant feeling of “safety” or “familiarity” that complements or contrasts with everything else the show is trying to do. Many shows take advantage of this effect, or deliberately use it to thwart expectations, as people here have noted. Shows like Madoka or Evangelion take it the step further of presenting both that visual style and a familiar starting narrative framework, but I think that standard visual style by itself isn’t truly neutral, and can carry its own set of expectations.

Management: This was a discussion question raised on TrueAnime, and my response only really scratches the surface of the directions you could take this. BrickSalad and IssacandAsimov go incredibly deep on the topic of subjectivity in art evaluation, and their back and forth was both very illuminating and partially the reason I didn’t really touch the subject myself. I mean, you’ve all seen my style of critique – I clearly fall pretty far on the “art is not a wholly subjective experience, and in fact is most often a craft that can be judged just like any other – a show will sink or float based on its structural integrity just as easily as a boat will” end of the spectrum.

I think one of the main takeaways of my wandering points, which I should have made more explicit in my original response, is that the fact that non-standard art styles immediately connote specific intentions in the viewer’s mind makes the application of those art styles almost doomed to failure, because the average viewer will be spoiling the actual intent of that artistic choice by automatically assigning their preconception of what artistic choices like that say about what kind of story the work is to that piece of art. And it seems to me like the only solution here is to be utterly unbiased in your approach to any media object (hah), or for the medium to reach the point where unique art styles are so ubiquitous that they no longer carry the pretension baggage they currently do.