I sort of dispute SDS’s claim that this anime is unique. I think the undercurrent that Jintai rides on is no rarer than the sort of jokes you find in Kometa’s manga adaptations or even in Welcome to the NHK. To wit, after 3 seasons of SZS and now with Joshiraku running along, Jinrui wa Suitai Shimashita is not some sore thumb standing out in a sea of not-satires. One of my favorite anime adaptation of satire comes alive in season 2 of Seitokai no Ichizon, so this is not something that I would call a rare occurance, at any rate.
What makes Jintai unique, I think, has more to do with the straightforward western style of satire that you find in contemporary British literature. Dry wit, satire as fine as piano wires that cut just as deep; or something resembling the opposite spectrum, like a large aquatic animal. Or bread, in this case. But this made-in-Japan slash, I think, cuts so finely that so many probably don’t quite realize that they’ve been made fun of in the very show they enjoy to watch. To me, it’s very fun because the show portraits exactly what I am thinking of, which is a great testament of the way the story is adopted and written. I mean, it’s less ham-handed than me saying “hey guys, great minds think alike.”
But also along this line of thought, this is why I think there are people who watch Jintai for the fairies, just like there are people who watch Joshiraku for the cute girls. It captures well that spirit of decontexualized otaku thing that, indeed, leads to our decline. It is no surprise that bullying and how the protagonist and her cohort retreat to their own little project in which makes up a relatively mainstream response to the cruelty of humanÂ societiesÂ and ills that has plagued us since time immortal, even if it means resorting to becoming the queen of fairies.
Lastly, we do have to look at ourselves. Just how meta is it to enjoy escapism via media that is about escapism through critiques of escapist media using media? Can I say I enjoyed Jintai for Mai Nakahara’s resurgence? At first I thought the role was relatively straightforward and narrator-like. I did not expect the role of the protagonist to show enough of a range, from earnest deadpan, slightly vulnerable, to coyly manipulating and mildly annoyed. It’s safe to say this model seiyuu elevator school graduate passed with flying colors.
On second thought, this post is kind ofÂ embarrassing. Well, hopefully it’ll tickle all the N’s out there.
[First a bit about that picture. As far as I know Otakon is the only large anime convention that allows its attendees to select from a set of image badges every year. Reason being that it is extra work for the registration folks, slows the registration lines down, and cost more money–why would you do any of these things? I guess because it’s awesome? And I think it’s driving/driven by con badge culture. As a beneficiary of custom badges over the years (I probably show take a picture of that too) I can’t say I want Otakon’s choose-your-own-badge thing to ever go away. Also, at around 2003 they started doing the badges without lamination, which makes for a duller but more standard (and more importantly, faster) registration process/badges. Imagine that, laminated badges for everybody…]
I ask myself this question all the time at a con. Being at a con feels just so contrary to my nature that every time I find myself in that situation I ask why I’m at a con in the first place. But since I hit so many cons and thus have such moments on a regular basis, maybe I should change the question:Â When an anime con goer turns 30, does he become a magician?
Short of making this into a joke the truth is this fandom is aging and all my friends are not getting any younger. Some of us are married and/or have children. Others are settled with mortgages, ongoing job responsibilities, and having to walk that work-family balance. And then there’s me, who has gone to about 5 cons a year for the past 4 Â years. Anna might have started in 2002 and she went to her first because her friend asked her to go; my take is more of the person doing the inviting.
This is how I feel when Shannon Sharpe (Hall-of-Fame NFL pro and now commentator) this morning mentioned that the “Ravens will be better served with a little less Flacco, and a little more Rice”:
KOTOKOTOÂ nikondaÂ KAREE
SUPAISUÂ futasajiÂ keikenÂ shichae
dakedoÂ genkaiÂ Â karasugite…Â mouÂ DAME
BIRIRIÂ Â BIRIRIÂ Â BIRIRI
OhnonoÂ nonoÂ nonoÂ noÂ nonono
KAREEÂ CHOPPILIÂ RAISUÂ TAPPULI
OK, yeah, actually I laughed at Sharpe (who’s known to have a mouth, so to speak) for about a minute. Then again, this is how I feel about Ray Rice generally. It has a lot to do with my Rutgers upbringing but he’s the man to electrified a local football program (along with now-NFL coach Schiano).
This post is brought to you by the strange realization that playing Space Chem from 12:30 AM to 3:30 AM makes the sunlight’s glitter just a little off.
Looking forward to MNF, though. And I’ve re-uploaded those “Asadayo~” tones. Help yourselves.
Mary sue is a loaded term, which is why when appropriate, chuunibyou seems like a much better alternative when describing TV anime; “chuunibyou” is sufficiently new and foreign enough that most people aren’t quite sure what it is yet. To the point, both terms address fundamental complaints in terms of realism and suspension of disbelief.
Of course, when we deal with anime, certain things are going to be taken as is. Realism in this context has to do with the way the audience engages the material. For instance, most of us attack late-night TV anime as character and drama pieces. We care about character development, and often times you see people try to approach even gag 4koma adaptations from that angle, resulting in a mismatch and the resulting 3rd partyÂ chagrin. When I watch Full Metal Alchemist: Brotherhood I watch for what’s happening to who and what plot is being unraveled and realized, and how are the good guys going about to do their thing as far as the hook goes. I don’t really care about the type of ammunition being used in the frozen environs versus the desert, or the type of socks the military issue to soldiers in those environments–but somehow I am suppose to care about the automail people wear, because it’s kind of an plot device. I guess I’m not suppose to sweat the small stuff.
With that in mind, let’s look at choir drama Tari Tari. In a recent episode, a petty thief was subdued by the power of costume play and hot-powered vocals. The marathon bike chase scene where the costumers chased, on foot, the biking thief that leads into the vocal performance probably did not help either the pursuers and the criminal. Still, we are suppose to believe that the guy on the bicycle is some how even more tired than the high school 3rd years in their tokusatsu outfits. When the second bar of the song kicked in, we are to believe the thief was mesmerized by Wien’s brave visage in front of the setting sun, in some way. Perhaps we can swallow that Sawa’s mother somehow had these outfits, that happens to fit these one-size-fits-all Japanese bodies (along with their one-size-fits-all character designs, maybe), along with the opportunity to make some money on the side. This is drama, we can chalk all that stuff up to coincidence, right? Just like how there’s a thief who’s pocketing something in public, during a public event, right? What’s Japan’s crime rate again?
I suppose it is much better to care about petty things like that, than where would Sawa ride Saburo around–there are not a lot of places around there to fit a fine animal like Saburo without running into people. It’s like the scenic shots across Enoshima, with the Choir And SometimesÂ BadmintonÂ Club running up and down the seaside mostly by themselves. It’s strange because it’s probably full of people if you ever visit Enoshima in real life. To Tari Tari’s credit, thankfully we don’t typically ask these kinds of questions, because we are preoccupied with Konatsu’s plight and the characterization of the group. That’s how we engage with Tari Tari.
But why would I ask these questions? Because I was thinking about it. This is the strange tension between going all Chitanda on something, versus checking your brain at the door and just enjoying something without asking too much questions. The former is great if you can get the audience engaged but you probably don’t want them to ask too many questions and poke through the thin veneer–a beautiful production may be reduced to its component gear-works. This is basically what has happened to SAO for me. This is why being too chuunibyou in the story is problematic. It makes the audience ask the wrong kind of questions.
A better example of this is actually Guilty Crown. In that case, the chuunibyou factor was not extreme, but it was enough, that when combined with its convoluted web of messy plot devices, conspiracies, and strange character dynamics, people have no choice but to engage with straight questions that GC’s flimsy web can’t handle. And once we see the underlying mechanics, we can’t help but to point out where it could’ve been better, because we all have seen it done better somewhere else.
On the flip side, you can see how a story like Hyouka can be very engaging without letting people know its ultimately chuunibyou underbelly. After all, it’s just a boy-meets-girl story where the boy feels like he holds all the cards, and the girl is at least kind enough to let him know about how she wants to approach the situation without outright manipulating him. The end result was a less-predictable life for the boy, a knock and a notch down from that specific, middle-school disease. [If you read my blog and you didn’t know Houtarou starts out in Hyouka with a Type A case of chuu2byou, well, now you know.] It’s very Japanese too in how the men have all the face, because the women are great people who save them.
As an aside, this is partly why I have a hard time watching shows like FMA and mainstream shounen stuff, because precisely I think too much, and those shows ultimately reveal theirÂ underbellies if you batter it enough for long enough (most things do). From experience, outside of One Piece, it’s probably never pleasant. I think there are shows that also target this specifically, to their benefit: Simoun comes to mind as a great example. I also think of certain meta shows like Seitokai no Ichizon as a way to both celebrate that problem and bring toÂ catharsisÂ that sort ofÂ frustration.
Lastly, I don’t have to explain about shows where that do require checking your brain at the door, right?
PS. I think I just used chuunibyou two different ways in my post, I hope you didn’t get confused.