UlasanAnime.com – The author, swamped with work and the allure of Burning Crusade, finds it challenging to dedicate time to deep thought and writing about anime. However, ideas do surface, including the justification for their current workload and gaming habits.
Building on the negative reception of Futakoi Alternative, the author explores the idea that just as viewers dislike being bored by anime, they also dislike when an anime deviates from expectations. This leads to the construction of a framework for understanding anime, where different shows are approached with distinct perspectives, or “hats.”
To illustrate this, the author presents several examples.
Tweeny Witches is described as a curious show, brimming with visual flair and a sense of “coolness.” However, much like Studio 4C’s shorts, it demands to be taken at face value. While its subtext and background information aren’t as deeply integrated as in Satoshi Kon’s works, Tweeny Witches expects the viewer to be ready for it rather than easing them in. This approach is particularly challenging given its format as 9-minute TV episodes.
In contrast, Paprika, being a feature film, primes its audience with the expectation of experiencing a complete narrative. Viewers enter the film with the mindset that it is a cinematic work, prepared for a tightly packaged and timely full story. Unlike serialized publications, a feature film doesn’t rely as heavily on a hook, focusing instead on delivering a profound experience.
Zero no Tsukaima represents an entirely different category. The author questions whether simply labeling both “anime” adequately captures their shared, medium-sensitive natures within the broader context of “modern visual culture.” While both are widely recognized names, a rigorous dissection reveals Zero as a parade of tropes built upon a simple yet charming juvenile high-fantasy skeleton. This structure makes it easy to enjoy and requires minimal effort from the viewer.
Suzumiya Haruhi no Uuutsu shares similarities with Zero no Tsukaima, though its superiority is debatable upon deconstruction. The key distinctions might lie in its hype and production quality, encompassing animation, direction, acting, and attention to detail. It strives to offer more than just a rehash of familiar tales and devices, even if it does employ them for a significant portion. The “Kyon order” of the story is considered its greatest asset.
Mushishi was a significant experience for the author. Despite using some common tropes, it’s a well-crafted show that successfully packages a compelling narrative within a format the author typically dislikes. While Mushishi can be enjoyed casually, it requires a specific mood. Its uniqueness, beyond production value and immersion, lies in its consistent exploration of themes surrounding human imperfection, stemming from a lack of understanding, yet ultimately bound by fundamental human connections. However, the author found it challenging to simply sit down and watch, even when adequately prepared, due to the nature of its unfolding narrative.
The author pondered the reason for this difficulty, attributing it partly to personal quirks and a need to be in a specific mental state, balancing empathy with apathy. Black Lagoon, on the other hand, resonated well with the author, working effectively whether they were feeling melancholic or gleeful. The show itself is a blend of various elements, and while its inconsistency might deter those seeking a singular focus, it manages to deliver a substantial amount of content.
Futakoi Alternative is presented as a counterpoint. Despite its excellent production values, the show is perceived as somewhat dry, suffering from a lack of substance spread too thinly over its runtime. The direction, while suited for a film format, also utilized the serialized TV format in some episodes to achieve a slice-of-life feel. While many aspects of the show were effective, others fell short. It offered a variety of elements, but their cohesive integration is questioned.
Just as some shows are best enjoyed seasonally, others are best appreciated when the viewer is in the right frame of mind. For some, this might mean when they are older and tired; for others, when they are fresh and unjaded. Still others may simply need a new day to look forward to, or the presence of the right company.
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