UlasanAnime.com – In the past, when I managed Google ads on my self-hosted blog, I wrote about the nature of pornography, which eventually led to a flag from Google, likely due to automated bots. However, my writings at the time did not engage in the explicit activities implied by the term.
The same observation can be applied to Nisioisin’s animated work, “Nisemonogatari,” specifically its portrayal of “Nonexistent Youths.” In reality, the discussion should also encompass “Bakemonogatari,” as that series also features a significant amount of adult-themed content. While not as pervasive as in “Nise,” “Bake” has several moments that prompt introspection and questioning of the viewer’s experience.
For those who might shy away from the source material, understanding Nisioisin’s approach to his characters is crucial for grasping the anime adaptations of “Bake” and “Nise.” Based on the few translated books I’ve accessed, Nisio Isin’s writing style is remarkably direct. JP Meyer noted on Twitter that the scenarios and set pieces in “Nise” closely resemble those found in fan-made doujinshi for the series, a fact that becomes painfully obvious when the scenes are deconstructed to their core elements. It’s important to note that Nisioisin’s works, or at least those I’ve explored, are consistently like this. The naming convention he employs for the “monogatari” stories further suggests the interchangeable, mash-up nature of his narratives.
By centering the plot on these readily understood scenarios, the director is afforded the freedom to pursue any creative direction during the interim. This allows for the highlighting of quirky characters who exist like pixel-perfect, graphed conical equations, sharply focusing on the stress points of these well-curated tropes. The word “trope” feels insufficient here, as it refers to their intended effects. It’s akin to the difference between showing a picture of a snake and simply writing the word “snake”; both evoke the same response. The actual nature of the snake becomes secondary to its symbolic representation and the viewer’s preconceived notions, with the ultimate goal being the “money shot,” which in this context translates to the animated versions of the audience’s favorite elements from Nisioisin’s work.
Oh, wait, isn’t that a signature technique of SHAFT?
[Next up: SHAFT depicts a shark and repeatedly writes “SAME” within a single episode’s cut.]
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When Nadeko revealed herself fully in “Bake,” I felt a sense of discomfort, understanding the underlying implications perhaps too well. However, when Shinobu enjoyed a bath with Koyomi, I didn’t experience the same queasiness. I suspect I was meant to react similarly to how Araragi harassed Hachikuji. Should I also react that way when Kanbaru became naked and wrestled Araragi? Or when Nadeko attempted to seduce him? What does this imply about Karen and Tsukihi?
Ultimately, I don’t believe our individual reactions to these events are of paramount importance. What matters more is the fact that we did react, rather than the fact that four episodes in, the arc’s main storyline has barely begun. To me, this suggests that the specifics of the plot events are of little consequence (unless they culminate in an epic fight scene that SHAFT couldn’t animate in time). Instead, viewers are more interested in seeing Senjougahara tilt her head or Nadeko play Twister. “Nise” delivers this in abundance. This is fanservice, and if you watched the first four episodes of “Nise,” you’ll find it packed with fanservice from beginning to end. It is, by far, the most fanservice-heavy show currently airing.
Therefore, when discussing the discomfort some experienced when Shinbo revisits a favored subject—the aged loli vampire—we must consider the context. Is fanservice unexpected in a show built around it? Is this particular form of fanservice different from others? By what metrics are these distinctions made? Does this measuring stick retract or extend based on arousal? Do we even wish to know? Can we contextualize our desires with some form of understanding? I sincerely hope to avoid reading valid objections and concluding that “these people are simply prudes and hypocrites,” as that wouldn’t accurately represent who they are.
Perhaps there’s a scarcity of “dutch angle” pornography online, and SHAFT is diligently working to address this deficiency.
