UlasanAnime.com – In the second episode of Love Live, the author delves into their personal reservations about the series, attributing them not to flaws in the content itself, but to an ideological clash. This review aims to explore that perspective in detail.
The author begins by discussing Asako Nishida, whose artwork they admire, even purchasing an artbook of hers. However, they find Nishida’s style in Love Live to be jarring, pulling them out of the everyday setting. They theorize that “School Idol” draws from AKB’s “Idol You Can Meet” concept, which creates a slight conflict with the fantastical elements present in the show.
A particular point of contention is the main trio’s resemblance to a trio from another fantasy work. While acknowledging that Hikaru, Umi, and Fuu are common motifs, the author questions the inclusion of elemental signifiers in an idol anime, especially without any apparent connection to characters like Captain Planet.
The article then tackles the issue of main characters in idol anime. The author contrasts Love Live with series like iDOLM@STER and Chance Triangle Session, noting that in Love Live, there isn’t a single, clearly defined main character. They argue that a strong central protagonist might not be suitable for an ensemble cast of idols, using AKB0048 as an example where a main character might disrupt the dynamic. They also clarify that representative characters, like Haruka in iM@S, are not necessarily the main characters but act as spokespeople.
The author elaborates on why main characters may not work for an idol ensemble. It’s not that it “doesn’t work” per se, but rather that the narrative focus shifts. Instead of concentrating on who the characters are and their individual journeys, the emphasis becomes on what the characters collectively aim to achieve. This is a delicate balance, and the author suggests that having a main character might not be the optimal approach, though they remain open to Love Live proving them wrong.
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A comparison is drawn to Tari Tari, a series with a similar plot of a group facing administrative obstacles to put on a show. However, the author points out that by the end of its second episode, Tari Tari had already established its club’s identity and held a concert. Love Live, in contrast, seems to be taking a more gradual approach to major plot points, focusing on events rather than deep character exploration.
As the series progresses, Love Live slowly introduces the growing roster of idols within μ’s. The author observes that the main character is burdened with responsibilities, while the other girls simply need to be themselves for the group to gel. This dynamic allows the main character to gradually share the burden, distributing screen time, lines, and attention among the other members. This is already happening, and the author believes the show benefits from this distribution, finding episode 2 more enjoyable than the first.
The author identifies a problem with Honoka and other characters in this plot-driven narrative: they cross a line. This line, they explain, is similar to the one K-ON! crossed when the girls aimed for Budokan. Crossing this line transforms a realistic fantasy into a dreamy one. While it’s realistic for a group of girls to gather in an after-school music club, it becomes less so when high schoolers are performing in a nationally recognized venue. This shift alters the story’s nature and, in the author’s view, clashes with the essence of the idol group. They contrast this with AKB48, a real-existing entity whose anime spinoff can take creative liberties, and iM@S, which, being fictional, must adhere to its franchise’s core concept. The author expresses uncertainty about what Love Live is trying to convey about idol groups, feeling less clear on the message with each episode.
Ultimately, the author acknowledges that they might be overthinking the series. If Love Live’s goal is to create an engaging and interesting story, it has the potential to succeed with its current approach. If the aim is to market an anime idol group based on an anime, irrespective of the anime’s specific content beyond the idols themselves, it might work depending on the marketing and how the idol aspect is executed. However, the author remains unsure if this is the most effective strategy.
For now, the author decides to enjoy the series, at least until they can confidently associate the characters’ names with their faces.
