UlasanAnime.com – The concept of “slice of life” in anime and manga is often debated, with its definition being fluid and sometimes leading to confusion. This article delves into the nuances of this descriptor, questioning its true meaning and suggesting alternative ways to categorize narratives.
The author begins by stating their intention to lay out overall thoughts on the topic, rather than simply objecting to the term “slice of life.” They propose that “slice of life” is a metaphor, perhaps even a “tortured one,” used to describe pacing and narrative styles where the plot centers around everyday life. The author suggests that replacing “life” with “everyday life” would be a more accurate descriptor when focusing on the narrative or plot as a point of distinction.
The core argument is that everyday life can possess as much narrative force as any other type of storytelling. This is evident in compelling biographies or stories that follow characters on a day-to-day basis, even incorporating traditional plot structures with build-ups, climaxes, and revelations. This makes the classification of “slice of life” as a distinct genre or even an element a significant grey area.
The article uses the popular anime K-ON!! as a prime example. While often labeled as slice of life, the author argues that K-ON!! masterfully demonstrates how a chain of events can drive a story forward. Even when the narrative consists of cute and humorous antics, it serves to develop rich characters, week after week. K-ON!! effectively utilizes this build-up, leading to climatic moments that evoke genuine emotion, a rarity even among “kuuki-kei” (atmosphere-style) anime, and arguably on a scale not seen in other “slice of life” works.
Other works, like Hidamari Sketch and Aria, are also cited as prime examples that occupy a different space within the “kuuki-kei” category. The author distinguishes these by suggesting that some “kuuki-kei” pieces, like K-ON!!, focus on “who” the characters are, while others, like Yokohama Shopping Log or Mushishi, focus on “what” and “where” the events take place.
Compared to a typical Jump manga, the author feels that the narrative focus shifts towards “what happens next.” However, they admit that this distinction isn’t always clear-cut. The more they consider it, the less elegant the metaphoric rule about plot becomes. They question whether the specific details, like a character yawning or scratching themselves while discussing racing teams in Sket Dance, truly matter in defining the narrative’s “slice of life” aspect.
The article also explores boundary cases, such as shows composed of short stories like Sengoku Collection or Seraphim Call. In these series, each episode or pair of episodes presents a conclusive arc but reveals little about the overarching universe. The author wonders how these shows differ narratively from series like Darker than Black or Cowboy Bebop, which also feature episodic elements.
This leads to a fundamental question: what is the defining characteristic of these narratives? The author notes that some viewers dislike Cowboy Bebop precisely because it lacks the cliffhanger-driven, conveyor-belt narrative structure. They question whether defining genres through negative space is efficient or merely a sign of laziness, or perhaps a lack of appropriate vocabulary. The author proposes moving away from the “tortured metaphor” of “cutting things up.”
While acknowledging that people are free to use the term “slice of life” if they find meaning in it, the author expresses skepticism about its broad application. They point out its use in describing a wide range of works, from Black Lagoon to Love-Hina, and Bunny Drop to Cosprayers. The author finds it more bothersome how a fuzzy logic indicator is treated as a significant categorization, especially when the fandom still mislabels Love-Hina as “shoujo.” They assert that “slice of everyday life” is no more or less grand than any other aspect of life; it’s the stories themselves, like those in Aria, that hold the true grandeur, not the genre tags.
The author commends the instinct to categorize within the fandom, recognizing the creation of new constructs to explain experiences. In the context of anime, which for many is a first taste of Japanese culture, these new terms are valuable. However, to achieve clarity, the author suggests avoiding terms like “slice of life.” They believe that creating new, complex labels isn’t necessary unless absolutely required. Just as Calvin and Hobbes or Peanuts don’t need to be labeled “slice of life,” neither do works like Yotsuba& or Yokohama Shopping Log.
Finally, the author references an essay on Aria by 2DT, emphasizing that relying solely on fuzzy logic invites fuzziness. They question whether this is desirable, suggesting that while it might offer usefulness, it can also obscure clearer descriptions. The author concludes that the superior approach is to call things what they are, which requires close observation of the work itself.
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