UlasanAnime.com – The term “dramedy” often sparks debate, and in the context of anime, it’s crucial to distinguish between genres to appreciate the nuances of storytelling. This article delves into why the anime Shirobako, despite its humorous moments, is fundamentally a drama and not a comedy.
The author expresses a personal dislike for portmanteaus, setting a tone of critical examination. This bias is immediately relevant when discussing the classification of Shirobako as a “dramedy.”
A comment on a blog post about anime power rankings referred to Shirobako as a dramedy. This label acted as a trigger, prompting a series of questions: what exactly is a dramedy? Is Shirobako truly one? The author speculates if regional language use might influence such classifications.
In a specific context, “dramedy” is synonymous with “dramatic-comedy” or “comedy drama.” It signifies a hybrid genre, particularly within television and radio dramas. However, the author argues that many works labeled as dramedies are, in essence, still dramas. The rise of this term is attributed to mass marketing strategies and the need to differentiate types of television shows.
The core argument is that all forms of storytelling contain elements of both humor and seriousness. Most sad stories have moments of levity, and most happy stories touch upon serious themes. This inherent blend is not something that typically warrants a distinct genre classification, especially in earnest critical discussion. The term “dramedy” is seen as largely an artifact of American mass entertainment.
This line of thought lingered with the author, leading them to explore related articles. One such piece was an interview with comedian Chris Rock. Rock’s perspective on the difficulty of writing comedy versus drama is particularly insightful.
I don’t think people understand how hard it is to write comedy. The gestation period, the trying out of jokes, the whittling them down – a lot of people may not understand that, in some ways, drama may be easier.
It’s not may. It is easier.
Go on.
It just is. Hey, man, I loved Gone Girl. Loved it. But you could probably get other directors – I’m not saying they’d make it as good as Fincher, but you could get it from beginning to end and get a reaction out of it, where you can’t really do that with comedy.
Every moment has to pay off.
In this sense, comedy’s really fair. It’s not like music, where you can hire Timbaland and he gives you a beat and a song, and even though you can’t sing it’s a hit. Comedy, especially stand-up comedy, it’s like: Who’s funny?
It’s a ruthless marketplace.
It’s the only thing that smacks Hollywood out of its inherent racism, sexism, anti-Semitism. It makes people hire people that they would never hire otherwise. Do they really want to do a show with Roseanne Barr? No, they want a thin blonde girl.
But she’s funny.
She’s just funnier than everybody. I’m not even sure they wanted to do a Seinfeld show, but he’s just funnier than everybody.
You might also be interested in : Why Hibiki Struggles with Animal Names in Shirobako 08
He’s not a matinee idol. He’s Jewish, nerdy. And recently he said publicly he was somewhere on the autism spectrum as a comedian.
He bores easily. I bore easily. Not because I’m on some spectrum, but because I hear so many conversations again and again. So many people come up to you, and not enough people try to take into account what you’ve heard already.
Let’s put it this way. Take Anchorman. Now switch the directors of Anchorman and Gone Girl and give them their movies to do. Adam McKay’s going to get closer to Gone Girl than Fincher is going to get to Anchorman.
Absolutely.
It’s not even close.
Okay, but Woody Allen?
I don’t even think Woody does comedy. I think he does dramas with jokes. They’re all sad at their core.
The author firmly believes that Shirobako, like the majority of TV anime, is a drama. While it contains jokes and can be funny, these elements do not automatically classify it as a comedy. The author contrasts this with shows like Teekyuu and Azazel, which are genuine comedies. The difficulty in writing about and creating good comedy is highlighted, especially in the context of international anime production.
Shirobako’s director, Tsutomu Mizushima, is known for his comedic work, particularly his contributions to Crayon Shin-chan, a staple of Japanese children’s comedy. Mizushima’s comedic sensibilities are evident in the humorous moments of Shirobako. Chris Rock’s insights into the nature of comedy and its role in breaking down barriers in Hollywood are also referenced, suggesting that humor can be a powerful tool in storytelling, even in serious contexts.
The author draws a parallel between the dramatization in Shirobako and the way stories are told in general. The anime depicts the everyday realities of anime production, focusing on industry professionals rather than the typical otaku audience. This approach, while potentially humorous due to its relatable portrayal of struggles, is fundamentally a dramatic exploration of a specific industry.
Shirobako’s classification as a comedy might stem from its “cut” – the way scenes are edited and presented, creating a sense of levity. Director Mizushima’s direction contributes to this. However, the author distinguishes it from shows like “The Office” or “Wagnaria!!,” which are unequivocally comedies. The perceived lightness of Shirobako is attributed to its honest portrayal of challenging work and its use of humor to make a dry topic engaging.
The author expresses disappointment with the casual use of terms like “dramedy,” suggesting it reflects a superficial understanding of comedy. They argue that truly appreciating comedy requires life experiences and an awareness of current events, as referenced by Chris Rock. The author advocates for moving beyond a consumerist mindset where comedy is treated as just another genre category.
The discourse surrounding comedy in the anime social network is described as rudimentary, often focusing solely on timing and puns. The author believes there’s a lack of deeper engagement with what constitutes good comedy.
A postscript notes that Wikipedia’s “dramedy” page redirects to “comedy-drama,” and discussions on talk pages often dismiss “dramedy” in favor of “tragicomedy,” implying that the term itself is often seen as imprecise.
