Hello folks, and welcome back to Wrong Every Time. Today I am feverishly impatient to get back to Dear Brother, and continue Nanako’s descent into the vicious rivalries and cunning subterfuge of Seiran Academy. After spending the first several episodes being tormented by the dreadful Misaki, it was actually Shinobu who struck the deepest blow against our beleaguered heroine. Playing up Tomoko’s preexisting anxieties about Nanako’s new status, Shinobu managed to forge a rift between Nanako and her one true friend, leaving the Sorority’s newest member adrift in a sea of adolescent animosity.

All this has made for delightfully melodramatic entertainment, particularly when you couple in Osamu Dezaki’s energetic direction. His use of heavy shadows and silhouettes, clever partitioning of the screen, gracefully audience-guiding boards, and postcard memory punchlines collectively provide Nanako’s story the theatrical framing it deserves, making Seiran feel as grand and imposing for us as it must surely feel for Nanako. Add in incidental delights like Shinobu calling people “potato heads” and “daughter of a rat dog” at every turn, and you end up with a show that demands tears, rage, and laughter in equal measure, all of which I’m happy to provide. Let’s get to it!

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Hello folks, and welcome back to Wrong Every Time. Today I am absolutely beyond eager to get back into Dear Brother, and at last find out however Nanako handles the imposing Sorority sisters. I’ve frankly been consumed with anticipation ever since I watched the last episode; I could try and feign some critical distance here, but the honest truth is this show has already swept me up, and I’m eager to simply know what happens next. I know, me caring about plot developments? It’s a strange affair to be sure, but Ikeda is proving herself a master of hooks and momentum, and Seiran is such a fantastical venue that it feels like anything is possible.

Last episode saw Nanako racing towards her destiny with renewed determination, as Misaki’s schemes forced her to abandon her comfortable passivity, and actually fight for her position in the Sorority. Her personal growth was accompanied by a variety of ingenious new visual tricks from Dezaki, ranging from the glimmering motes of light used to convey sunset’s glow, to the aggressive screen partitioning and negative space used to foster a sense of growing entrapment. Nanako’s already changed to such an extent that she’s unwilling to reveal her transformation to Dear Brother, but I imagine it’ll take even more calluses than that to survive the trials of Seiran. Let’s get to it!

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Hello folks, and welcome back to Wrong Every Time. Today I’m eager to dive back into Dezaki’s majestic Dear Brother, whose last episode presented us with a dizzying array of narrative developments and relational revelations. We swiftly learned the identity of Nanako’s alleged brother, but that was only the tip of the iceberg. In the leadup to the reveal of Nanako’s candidacy, we also saw clear battle lines drawn between the school’s three objects of adoration, as well as plenty more evidence that Shinobu will eventually burn this whole place down.

In the midst of all these passionate, larger-than-life personalities, my most urgent question is how exactly Nanako will make herself stand out. Unlike many high school heroines, there’s little that’s remarkable about her, and she’s spent the first two episodes being guided by others rather than establishing her own path. Her persistent use of Cinderella imagery to describe her school life makes it clear that she can’t quite see her Seiran experiences as real, so I imagine it’ll take a disruption of her current fairy tale framing to bring her down to earth. Regardless, I’m certain Dezaki will realize her experiences with decadent visual splendor, and eager to see how Ikeda’s tangled narrative proceeds. Let’s get to it!

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Hello folks, and welcome back to Wrong Every Time. Today I’m delighted to announce we’re returning to Dear Brother, and continuing to explore its fusion of Ikeda’s propulsive storytelling and Dezaki’s expressive direction. I’ve seen scattered fragments of Dezaki’s work before (his Cobra film, his Ganso Tensai Bakabon episodes), but I was still not prepared for the visual imagination elevating every scene of that premiere, and framing the drama of Seiran Academy at precisely the fever pitch Nanako was experiencing it. In Dezaki’s hands, anime embraces the tools of both theater and traditional painting; rather than attempting to mediate the distance between art and audience via an illusion of realism, Dezaki embraces formal artifice to create something that is both visually striking and emotionally authentic.

Also, Ikeda’s story! I was curious to learn how a boarding school would provide the necessary flint and tinder to spark a proper melodrama, and that premiere felt like a masterclass in efficiently establishing conflict and intrigue. Between Nanako’s relationship with this mysterious brother, the approaching chaos of the sorority proving, and the larger-than-life auras of Seiran’s three champions, it seems Seiran is stuffed to bursting with conflicts and dark histories just waiting to be revealed. I’m eager to see how these mysteries unfold, so let’s quit with the rambling and dive back into the show!

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Hello folks, and welcome to Wrong Every Time. Today I am delighted to announce we’re checking out one of the most essential anime series I’ve yet to see, Osamu Dezaki’s adaptation of Riyoko Ikeda’s Dear Brother. Both of these names are legends in their own right, who can rightfully be said to have shaped the course of their relative mediums. Ikeda was one of the key mangaka of what has been retroactively dubbed the Year 24 Group, a collection of female mangaka who elevated the ambitions of shojo manga, introducing new complexities of storytelling and pointed themes regarding sexuality, politics, and much else. Alongside Dear Brother, Ikeda also wrote the massively acclaimed The Rose of Versailles, a story set alongside the French Revolution that counts among the great works of shojo history, and even earned her a Legion of Honor from the French government.

And then, of course, there’s Osamu Dezaki. One of the greatest, most iconic directors in anime history, a man who essentially pioneered a visual vocabulary of melodrama. Dezaki’s influence on anime ranges far beyond individual techniques like his “postcard memory” freeze frames. His visual philosophy of drama, his deft employment of abstraction, and his manipulation of the frame via splitscreens, dutch angles, and shadows would all go on to influence countless future artists, from Tomino to Ikuhara to Shinbo. Any anime education is incomplete without a healthy dose of Dezaki, so I’m eager to dive into this beloved work.

As far as Dear Brother itself goes, my understanding of its narrative is “elite boarding school melodrama,” and I’m content to let the show itself flesh out that impression. Let’s get to it!

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