For the tiny amount of regular readers that I had, you may have noticed that this blog isn’t really updated like it has been previously.
Many reasons for this.
Mainly to do with poor mental health (Bipolar with delusional psychosis -basically a low-end psychopath) & lack of mood & time to watch any series to its end &/or write about it once done.
Other reason is not spending as much time watching anime or other things. Would say I’ve been playing more TCG stuff but that’s hardly the case either.
Anyway, am back to watching & critiquing things & will hopefully have a few catch up pieces posted over the weekend as well as finishing up some half completed retro reviews & other articles that I left on the wayside.
Want to be able to post an article at least once a week at minimum & get back to bulk critiques at the end of each anime season.
No promises but no one has hopes up for such a tiny tiny speck on the internet anyway.
Miyazaki, known for his dislike for computer generated images in his works, has announced that he is working on a 10 minute 3D animation to be screen at the Studio Ghibli Museum with a possible public release after that.
The production, despite only lasting 10 minutes, is expected to take 3 years to make.
Once again, this blog is not dead. I’ve just been swamped by real life, including several months without proper internet access (no home connection, only using wireless broadband) after moving across my country & have been desperately trying to catch up on things that the absence of internet left me -such as 3 seasons of anime, my own work & current pop culture trends.
This is my Master’s thesis that I have worked on for the past two years.
It’s about Miyazaki Hayao’s relationship to soft power, in how he subverts government efforts of agendarisation & control through his own films (primarily discussing Porco Rosso & Spirited Away).
So, BANZAI for it’s completion!
I’ll also be making some changes to the blog.
I’ll be doing interviews with people known within the geek community & with some actors as well. The first of which shall be a little known actress whom some of you may have seen a lot of of last year in historical medical drama The Knick.
I’ve also started a Patreon page to help me acquire the materials to help me work & to enbiggen the blog somewhat.
Title: Sanzoku no Musume Ronya (Ronja the Robber’s Daughter, Ronia the Robber’s Daughter, Ronja Rövardotter)
Format: TV series
Genre: historical, comedy, drama, family life, light fantasy
Series Creator: Astrid Lindgren
Series Director: Goro Miyazaki
Studio: Polygon Pictures with assistance from Studio Ghibli
Series length: 26 episodes
Original Airing dates: October 11, 2014 – March 28, 2015
Reviewed format: high def download with fan subs
Ronja, the only child of a bandit chief, grows up among a clan of robbers living in a castle in the woodlands of early-Medieval Scandinavia. When Ronja grows old enough she ventures into the forest, exploring and discovering its wonders and dangers like the mystical creatures that dwell there. She learns to live in the forest through her own strength, with the occasional rescue by her parents. Ronja’s life begins to change, however, when she happens upon a boy her own age named Birk, who turns out to be the son of the rival clan chief.
I am pretty much in two minds over this series but one thing that I am utterly certain about is that is has the worst opening theme I have heard in simply forever. It basically sounds like the themes from the late 70’s anime that I saw as dubbed repeats when I was a kid (in the 80’s). The entire series seems to be harkening back to those early colour anime in terms of it’s art & themes yet doing in such a modernist fashion.
The mish-mash of art styles is what really bothered me about the series.
With the characters being modern cell-shaded CGI & the backgrounds being lovingly hand drawn.
It seems that the CGI has bothered a lot of the audience, because people came to the series through the idea that it was entirely a Studio Ghibli production & it would stick to Miyazaki Hayao’s hand drawn styles. I too thought that but knowing it was directed by Miyzaki’s son, Goro (of Tales From Earthsea infamy) I had figured that it Ghibli didn’t have their hand completely within the production once I saw the CGI -which was confirmed by some basic research.
I’ve honestly never cared much for the sort of cell-shaded CGI that they use in anime these days. It really didn’t work in Knights of Sidonia & it only works a little bit better here.
What I think really bothers me is that it can never capture the subtle motions of the mouth & eyes, rendering some expressions way too close to the Uncanny Valley for my liking. Other broader expressions it can do well, but when they try to do delicate or joyous smiles, the faces really look fake & freaky.
In contrast to CGI characters, you have these amazingly details background. The forest is exceptionally beautiful with how they’ve drawn the littlest bit of moss or gotten the mushrooms just right for the season. It must’ve taken so much work to get it looking so good & it truly speaks to the craftmanship that Studio Ghibli is famous for. Part of me really wishes that the entire series was drawn in such detail but then it probably would’ve pushed the production time & cost way out of reach of any return profit.
Despite my gripes with the graphics & the opening theme, the series itself is very solid. It’s a tried & true forum, based on a classic Swedish children’s fantasy novel –Ronja Rövardotter by Astrid Lindgren, who is most famous for creating Pippi Longstocking (which she refused to allow Miyazaki Hayao & Takahata Isao to adapt in the 1970’s, possibly because she was xenophobic). The story is genuinely like the European story adaptations that I grew up watching on ABC in the 80’s, but that’s mainly because it is adapting an old story in a very similar way.
The basic themes of it are about over coming preconceived prejudices, maturing & learning that your parents are fallible as well as dealing with the dangers of live al whilst having an adventure. These are the most fundamental staples of any classic children’s story, ones that have been seen in anime from the 1960’s & 70’s hundreds of times but still used to great effect in Sanzoku no Musume Ronya.
The central protagonist of Ronja (also spelt Ronya & Ronia) is smart, fearly & a touch precocious. Utterly spoilt by her father Mattis & his band of robbers for being the only child born to their clan (which I genuinely find strange, since it’s never mentioned why Mattis & his wife Lovis never had or tried to have other children). One the night that she is born, a bolt of lightning strikes Mattis’ fortress, splitting it in two -causing the bandits to abandon the other half. As Ronja grows, she is influenced by her Lovis’ wisdom, Old Pelle’s cunning & Mattis’ hatred of the rival band of robbers led by his former childhood friend, Borka.
In fact, the two rival bands often clash over robbery targets in the forest but whilst Mattis is completely gaga over baby Ronja, Borka also begins to disappear back to his hideout at odd times before robberies -confusing the few in Mattis’ band with wits enough to notice.
As Ronja grows, she’s allowed to explore the forest under certain conditions -such as returning before nightfall- but she’s granted utter freedom whilst she’s outside of the fortress. This often means that she has to deal with the mystical creatures of the forests -such as the beautiful yet evil harpies (face of women, bodies of birds)- relying on nothing but her wits. This all changes when she encounters a boy on the abandoned side of the fortress, who turns out to be Birk Borkason -Borka’s only son, born moments after Ronja was, when the lightning bolt split the fortress in twain. Because she has only learnt about the world from her father & the other robbers, she’s first hateful of Birk, challenging him to contests, but the boy is far more open minded then her yet goes along with her challenges because he’s still pretty smug about things.
From that point on, the relationship between Ronja & Birk becomes the crux of the series. As it goes from hatred to curiousity to kinship & eventually a form of love. The catalysts for how it begins to change is routed in Europe folklore, mixed with some Japanese ideas of what that is. Primarily it’s Ronja almost falling victim to the Other Folk (pretty much elves or fae), who try to spirit her away (a common theme in almost all folklore across the world, probably connected with murderous paedophiles kidnapping children) but Birk holds her back until their spell wares off. Her also helps her against the Harpies of the forest -large eagles with the face of beautiful women but are spitefully & violently jealous of anything prettier or more interesting then them -which is namely Ronja & Birk.
Keeping the traditional folktale elements in the story does really enrich the narrative, because they represent forces beyond the children that they must confront & overcome (or at least watch in wonder). For example there are the owl-like Grey Dwarves, who love to terrorise humans but will run away as soon as they see that the human is not afraid of them. Ronja’s encounter with them & subsequent rescue by her father shows her that no matter how scared she may be, she can’t show it less she begins to panic. They are basic moral lessons that don’t beat the audience over the head but they are still well done for the most part.
The folktale morality also plays into the familial relationships but not in the way that a Christian morality tale would -with the parents always being right & a child suffering until they learn this. In the story, Mattis is a super-strong man child whose emotional reactions are always out of proportion with the situation & his physical reactions always too extreme. He wants Ronja to remain his ever loving little girl but his behaviour means that Ronja sees him as fallible & not a source of childhood pride. Lovis is strong & stoic dealing with this side of her husband, letting Ronja grow at her own pace & make her own mistakes, even if it causes Mattis to have a temper tantrum. Similar, the other bandits are all pretty much over grown men-children, with the exception of Pelle, who is a cunning old trickster who wants a better life for Ronja outside of being forced to become a bandit.
In the end, this a very old fashioned story that is so in the vein of Miyazaki Hayao’s work. In that it has strong female characters, is about maturation & moving away from being the person your parents are combined with accepting those who are different from you or supposed to be your enemies, so you can approach them with friends &, eventually, love. It is not as though Goro is trying to ape his father’s narrative style but rather he is demonstrating the inherent power of this classic, non-agendarised moral style of storytelling. Ronja is empowered but vulnerable, only able to grow but realising that she can rely on other people. It’s also about the fallibility of parents, in that they are not an absolute authority who must be followed unquestioningly (maybe Goro is working out his own paternal issues with that). Rather they make mistakes & can do great harm -even if unintentionally- because they are human & prone to misjudgement & overbourne emotion.
Whilst the series does drag at points & the CGI animation does detract, it’s still the perfect series for a family to watch. It’s great entry level anime & am I’m surprised that the English dub hasn’t been rushed forward. For every misstep the show makes, it amends in other ways. If you are craving an anime that isn’t about sexy superpowered ninja cyborg magical girls fighting angelic demons who transform into foxes (all the anime cliches!), then I highly recommend this series.
Even though it does epitomises everything that I can’t stand about Japanese media -in terms of hypersexualisation, harem comedies & the enforcement of gender roles- I can’t helped but adore he mangaMonsutā Musume no Iru Nichijō because it takes such clichéd tropes & subverts them by making all the female characters into cute monsters, vying for the affection of a constantly put upon nice guy, in the form of Kimihito.
The manga is surprisingly sweet & funny, despite all the nudity & adult situations (you can tell that the mangaka Okayado started off making porn -monster girl porn!), so was stoked to find out today that there will be an anime adaptation coming in July.
Here’s the PV of it:
It might just be the worst anime ever, more so with all the fan service & hypersexualisation, but I’m already a fan, so am looking forward to seeing what they do with it (& to see how they’ll censor it as well).
Format: tv anime
Genre: slice of life, satire, comedy, drama
Series Director: Tsutomu Mizushima
Studio: Warner Entertainment Japan P.A.Works
Series length: 24
Original Airing dates: October 9, 2014 – March 26, 2015
Reviewed format: high def download with fan subs
The story follows a group of five best friends, Aoi Miyamori, Ema Yasuhara, Shizuka Sakaki, Misa Todo, and Midori Imai, who all go into the anime industry after their experiences in the animation club of their high school. The series depicts the daily troubles and hardships the five experience in their respective jobs, as well as their efforts to overcome them, largely focusing on Aoi and her fellow staff at animation studio Musashino Animation as they work on two anime television series.
Whoever wrote & created this series was doing three things:
1: show a fanciful yet realistic depiction of what goes into creating anime by showing the drama, tension & creative issues behind the scenes of an animation studio.
2: pack in as many references to their favourite series, creators, directors & artists as they could by altering their names & general depictions but still letting the audience know who & what they are talking about.
& 3: getting revenge on people by depicting various characters as incompetent idiots or selfish, lazy or generally scumbags. Truly, the people behind this series are taking the opportunity to put the boot into as many people as they feel fucked them over during the careers -from uncooperative authors to over-confident but useless P.A.s, artists who can’t meet deadlines & directors too wrapped up in themselves to be able to finish anything.
All three points are references heavily throughout the series & that just makes it an utter joy to watch -especially the depictions of people as feckless to get revenge on someone. Brilliant!
I truly adored this series, knowing nothing about it when I started watching it.
Like so many comedy-dramas, it’s about people finding their goals in life & working towards their dreams but unlike so many other series out there, Skirobako focusses not on teenagers overcoming the struggles of adolescence into maturity but rather on the daily struggles of young women -either at university or have graduated from it- as they try to realise what they want from life & deal with whatever obstacles may get in their way.
Like so many protagonists in such series, Miyamori Aoi is indecisive about what she really wants to do with her life. Her love of anime lead her, along with most of her friends from her high school anime society, into a job in the animation industry but she’s unsure if she has the ability or passion to move beyond being a simple Production Assistant. This lack of confidence extends over to her 4 friends as well; with Ema questioning whether she has the talent for drawing animation; if Misa should stick with a secure job in 3D graphic design or take risk with an unsecure job; Midori wandering what it takes to be a writer; & Zuka fretting over if she should continue trying to be a voice actress after so many failed auditions.
The questions of confidence & ability extend into the extremely extensive supporting cast. With many characters questioning if they have the talent to be working in the animation industry whilst others, like the exceedingly & purposely annoying Takanashi, being over confident in their utter lack of ability or understand. Yet Takanashi, despite all his many many many annoying (many) traits, has a dream that he wants to achieve & sticks to his guns no matter how useless he is.
The recurring themes of confidence, talent & ability -whether natural or practised- is a constant within anime & manga. This is often depicted that those who have a natural talent for something as being inherently superior because they don’t have to work at anything, where in reality it is always the opposite. With those working hard to get better often being more talented than those for whom it comes naturally because they often get bored with the lack of challenge.
Upon the surface, Shirobako seems to fall into the former camp of praising the naturally talented but in fact the series goes on to show that those whom people proclaim to be “geniuses” or naturally talented in fact worked, struggled & fretted over their own abilities & talents to reach where they are. The use of the term -& characters whom embody- genius is used in the show to demonstrate how people can be dismissive of others &/or themselves for not fitting moulds that they don’t understand. More so if someone outside of the specific field judges everyone by the standards of whom they consider a genius yet are entirely ignorant of what goes into achieving any success in that field.
Which is, in turn, another major conceit of the series. That is: exploring (almost) every facet of creating anime.
The series delves into the many roles & jobs that goes into making a TV anime series, even down to the most obscure & seemingly perfunctory ones. That is because, in the creator’s mind, every role in the series is important. Which the director Kinoshita keeps saying to every member of the production team; that they specifically are the most important part of the series they are creating. & to show the importance of pretty much every job in the animation industry, they feature an exceptionally large cast of characters; many of whom make a single appearance & then aren’t seen again until the final episode. Which is actually fine, because they exist to explain what their actual jobs are or to make references to past techniques, productions or figures involved in animation.
Complimenting this job are Aoi’s two imaginary figures -her goth loli doll Mimuji and her bear Roro (Lolo)- who act as Aoi’s subconscious. They’re function is to work through the dilemma or stress that Aoi has or explain to the audience the various tasks that Aoi is doing. The flashback to how they came about as figments of Aoi’s imagination is very cute, basically involving her older sister using them to talk to Aoi whenever she felt stressed or depressed.
In fact, the turns of imagination are some of the best parts, such as when Kinoshita envisions himself flying or enacting parts of one the two series he directs. Better yet is when the series forgets reality entirely & throws in one of the best Ryu from Street Fighter references that has ever been!
The arc of the series encompasses Aoi’s life as she works at an animation studio, Musashino Animation, that is trying to regain it’s former glory after a string of failures. Likewise, the overweight & emotionally immature Kinoshita is trying to regain confidence after his last anime series Boing Boing Paradise (a reference to hypersexualised fan service mega-breasted anime like Eiken) but is constantly reminded of his failures & falls into slumps of laziness & depression. Similarly, most staff or external workers for the company all have their own issues that they are trying to overcome in order not to lose face. Or, like Takanashi, are completely lazy, over-confident or shirking their work to do other things.
The series begins with a perfect tribute to Initial D, as Aoi races to beat a rival animation studio PA from recruiting a freelance animator Segawa Misato. This is important because Musashino Animation are trying to regain their reputation with a new original anime, Exodus (a reference to Magical Girl idol anime stuff) & goes into details the struggles with writing, getting people onside & the daily grind of animation production; all whilst Aoi & her 4 friends try to figure out what they want to do.
The 2nd arc is Musashino Animation, having gotten kudos for their work on Exodus, managing to score the rights to adapt a highly sort after manga, The Third Girls Aerial Squad. This shows Aoi being promoted to the head of the Production Desk (basically, running all the day to day operations & managing the other Production Assistants as well as liaising with & recruiting other freelance workers). This arc goes into more depth of the politics involved when dealing with other creators, publishers & sponsors -all of whom want to control or add their own little bits or do what they want because it will make their companies look better. It really shows the struggle with trying to please everyone but stay true to your own artistic vision. Couple with individual characters personal struggles.
The characters are truly what makes it work, even with such an extensive cast. They all have their distinct visual styles & personalities as well as little quirks.
This is very much a moé series with touches of hypersexualisation. Yet these are not for fan service but rather referencing how fan service is used. A few of the female characters are really sexy but they are not sexualised. They are not lingered upon or ogled by the camera. Their beauty is there as part of the moé experience. All of the characters are designed to be cute or interesting in some way; each with their own visual signature or clothing style but are dressed differently episode to episode -for the most part that is.
Over all, the quality of the animation is superb. With vibrant colours, clear lines & very well rendered action. It even throws back to more classic styles of animation when they flash back to a past series such as Anders Chucky (kinda like Kimba the White Lion or other similar cute animal series from the 70’s). It even through complete Gundam & Neon Genesis Evangelion reference in for good measure, even using their animation styles for the posters & back ground clips playing on things. A lot of love has gone into the designs & animation, making sure you know who is who & what is going on -even as they mix in the meta-series that they are working on (both with their own unique styles). The series even goes into detail about how CGI is used in modern anime series & how this can cause conflict with those who wish to be more traditional.
In the end, this is a series with so very few faults. I utterly adored it. Finding it clever, touching & exceedingly funny. There are so many references & great moments buried within it that it bears watching again & again if you can. I do wish that I could talk about it more, but that would just spoil all the little things that you’ll pick up in it. Some characters are designed to really piss you off (Takanashi primarily but there are others too) but once you realise this was someone getting their revenge on people who had pissed them off, it makes the series all the more greater!
The 1st few episodes of the series is all about extreme dehumanisation through violence, degradation, sexual assault & humiliation & turning a joy-filled girl into a terrified non-entity & eventually an effective killing machine.
This is all done through the worst forms of visual denigration seen outside of BDSM hentai media. In that basically the titular heroine, Ange, is beaten, stripped, abused, molested, pseudo-raped, near (lesbian raped), degraded, deprived & humiliated until all that remains of the once happy is mistrustful sociopath who is only looking to survive & get revenge on all those who destroyed who she once was.
The reason that I didn’t condemn this series like I previously (& briefly) did with the aforementioned Kenzen Robo Daimidaler) is that all the degradation has a narrative context. It exists for a purpose outside of the titillation of the (majority male) audience. That does not mean that I liked or approved of it but I understood why such acts were within the story. I did not forgive or tolerate Cross Ange for that, more like I endured it. I put up with all the nasty Fan Service & brutality because it seemed to be leading to a point of character & narrative development & had shown that dehumanisation within context shows how terribly people can be transformed &/or destroyed.
And then the series committed the Cardinal Sin of entertainment: it bored me.
At some point, all the development suddenly stopped & Ange was stuck as this angry, untrustful, violent creature who constantly had Tusk (the male love interest) constantly falling into her crotch for comic effect or otherwise getting sexually entangled with her. The Fan Service (in the form of revealing clothes, hinted nudity & lesbianism) dragged on & got worse & the plot just got itself tangled up after they began to (finally) reveal what’s going on within the narrative universe.
The basic conceit of the series is that humans live in a Utopia where “The Light of Mana” fuels everything & grants people magical abilities. There is no war or poverty but it all comes at a price. For within society there are women who can’t use The Light of Mana, called Norma (taken from the word ‘normal’) & there very touch actively destroys any magical field. They are scapegoated by the rest of society, degraded & hated as being violent creatures who wish to destroy the world. So as soon as they are found, they are taken from their families & removed from the world. Naturally, Ange (formerly Angelise), being the ruling princess hates them, so is in denial when it’s revealed that she’s secretly a Norma & her parents have been keeping that fact a secret from not only the kingdom but from Ange herself.
After her father is deposed for hiding the secret & her mother is killed trying to protect her, Ange is taken to the Norma prison, where she is molested, sexually assaulted & humiliated by the commanding officer of the Normas & told that she must fight the DRAGONS or die.
All the Normas are put into transforming mecha units to fight dragon-like creatures, for which they get a bounty for each confirmed killed to use on whatever they want to buy within the prison. Having never committed an act of violence before, Ange is terrified of being thrown into such a situation & her cowardice costs her team several lives. Being humiliated & isolated by the other Norma girls, Ange rebuilds herself as a vicious killer in order to humiliate those who humiliated her & eventually gain her revenge.
This character arc changes after a few episodes, when Ange begins to accept that she’s a Norma & that Normas aren’t as she was taught growing up. Being a Norma is a self-fulfilling prophecy, in that they can only become violent & anti-social because that’s what society turns them into. They are the weapons in a war that the rest of humanity is completely unaware of & one that means they can keep using their precious Mana-imbued powers.
Once they start revealing the nature of the Norma, the history of the world & the truth behind the DRAGON attacks, things start to get muddled & vexing in a form.
You’re presented with all this info as to why you’re meant to see how the dehumanisation of the Norma occurred but Ange remains a basically unlikeable & selfish character that you find it hard to support her when all of her actions are contradicting others & she keeps denying information presented to her even when the facts are to her benefit.
That becomes the problem when dealing with a narrative around dehumanisation.
It’s exceptionally easy to break a person down but it’s next to impossible to rebuild them again from that point.
I feel that’s the major problem with Ange as a character and with the series as a whole.
After spending the 1st half dozen episodes ripping Ange apart -mentally & physically- they don’t really try to rebuild her as anything other than angry & mistrustful.
I didn’t want her to return to normal, not being any mental, emotional or physical scars -because trauma is inescapable- but I did want to see her develop into someone who takes their pain, their scars & their hatred & channels into into a positive force for others.
Maybe it does go that way, I won’t know because I lost any & all engagement with it around episode 16, when they crossed over into the ‘real’ world & the truth of the DRAGONS was revealed.
From this point on, I could bang on & on about the extremeness of the hypersexualisation within the series or how the Fan Service was so blatant that it became numbing but that would be pointless. That dead horse has been flogged so long it’s not a bloody pulp beneath my mighty boots (guessing no one will get those references).
I might come back to this when they release the blu-ray version but unlike considering the back catalogue I still have to watch (over 2 terabytes on computer & dozens of DVDs/BDs).
So, lessons to take from this: dehumanisation is OK if it has narrative context & purpose & isn’t glorified in any way, shape or form; don’t bore the audience or they won’t go with you to the conclusion.
Oh, & don’t bother messaging me with your butthurt over how I didn’t like this series when I did or how you feel that it’s nothing like I depicted with the dehumanisation & so forth because I will ignore you. If you try to defend your masturbation material in the series like others have with other series I dislike, I will insult you until I get bored.