UlasanAnime.com – When encountering a typical figure review, such as one found at RIUVA, it’s common to feel somewhat bothered by the intense, almost fanatical passion some individuals display towards the latest polymer idol being reviewed. This sentiment is likely a universal aspect of human interaction, akin to engaging in casual conversation with colleagues about topics you either dislike or disagree with, such as the assertion that “Jessica Alba is hawt.” However, who am I to dismiss these preferences? I too have my own eccentricities, which are probably less commonly shared than the popularity of certain idols and actresses.
What truly concerns me, however, is the tendency for anime fans, as a whole, to fall into very predictable herds when it comes to character design preferences. My earliest recollection of this phenomenon dates back to Escaflowne, and this recurring complaint has been evident in other works by Nobuteru Yuki. At the time, I found myself thinking, “Who cares about their noses?” My overall opinion of his work remains quite high, at least until he began to recycle his Hitomi designs. Many of these designs exude a sense of liveliness, and his characters’ faces are expressive because all the various elements coalesce effectively. This is in addition to the fact that his designs are generally more detail-oriented.
In the current era, the prevailing trend in anime character design favors inoffensive, cookie-cutter aesthetics that appeal to the masses. Complaints about droopy eyes, lacking lips, or the absence of a nose (a characteristic that seems to be broadly accepted) are rare. Similarly, the excessive use of ‘zettai ryouiki’ or a lack of detail in areas outside of hair and eyes are often overlooked. This approach, it seems, is a deliberate strategy to pander to a wider audience and make the show more accessible.
Consequently, when I express my admiration for Red Garden, stating, “Red Garden is gorgeous!”, I often receive peculiar looks. While it is undeniably the most visually appealing anime of the current season (with the exception of Kanon), its beauty is often met with surprise. The vibrant colors effectively accentuate its goth-emo tendencies, a testament to the involvement of the Rozen Maiden team. The bold linework, the specific camera angles employed (most noticeable in scenes where characters walk down hallways), and the overt pandering to mood through sweeping landscape shots of the upper east side all contribute to its striking aesthetic.
Setting aside two significant drawbacks of Red Garden – its rather superficial portrayal of American school life and its excessive emo elements – the anime presents a unique and compelling visual package. After viewing three episodes, I cannot definitively comment on the overall depth of the series. However, even after seeing episode three and rewatching the first two, I have already begun to notice subtle internal consistencies that I missed on the initial viewing. The attention to detail is remarkable.
Yet, it seems that the use of thick lines in character art within anime is a practice that is actively discouraged. This is even more pronounced when considering the animation of characters without relying on moe dynamics. I believe it transcends mere personal preference or eccentricity when a work of genuine quality is criticized simply for being different.
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