Vanitas no Karte (The Case Study of Vanitas)

Scorned by others of his kind for being born under a blue moon, the vampire Vanitas grew afraid and desolate. According to legend, he created a cursed grimoire known as the "Book of Vanitas," and it is said he would one day use it to bring retribution upon all vampires of the crimson moon.

In 19th century Paris, Noé Archiviste is searching for the fabled Book of Vanitas. Whilst traveling aboard an airship, he is saved from a vampire attack by an eccentric doctor who calls himself Vanitas and carries the very tome he seeks. Ironically, the self-proclaimed vampire specialist is a mere human who inherited both his name and the book from his master, the same Vanitas of legend. As the odd case of the Charlatan's Parade crops up, the doctor's ability to restore sanity to vampires by recovering their true name will prove most beneficial.

[Written by MAL Rewrite]

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Adaptation:	Vanitas no Karte
Sequel:	Vanitas no Karte Part 2
Summary:	Vanitas no Karte: En Route Pour le Gévaudan, Vanitas no Karte: Le Chemin Parcouru Depuis la Rencontre

More characters

Characters & Voice Actors

Vanitas

Main

Hanae, Natsuki
Japanese

Archiviste, Noé

Main

Ishikawa, Kaito
Japanese

Jeanne

Supporting

Minase, Inori
Japanese

de Sade, Dominique

Supporting

Kayano, Ai
Japanese

Fortis, Roland

Supporting

Kawanishi, Kengo
Japanese

d'Apchier, Chloé

Supporting

Kugimiya, Rie
Japanese

Murr

Supporting

Komaki, Miyu
Japanese

de Sade, Louis

Supporting

Shimabukuro, Miyuri
Japanese

Granatum, Astolfo

Supporting

Murase, Ayumu
Japanese

Vampire of the Blue Moon

Supporting

Park, Romi
Japanese

More staff

Staff

Komatsu, Shouta

Producer

Odagiri, Narumi

Producer

Itamura, Tomoyuki

Director, Storyboard

Wakabayashi, Kazuhiro

Sound Director

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Opening Theme

"Sora to Utsuro (空と虚)" by sasanomaly

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Ending Theme

"0 (zero)" by LMYK

Reviews

Sep 17, 2021

KANLen09

Recommended

Make no mistake, if there's anything of the next big thing for hardcore fans of Jun Mochizuki to receive an anime adaptation of her immaculate work that properly does its translation onto the small screen well, we finally got it in "Vanitas no Carte" (a.k.a The Case Study of Vanitas). And as someone who had watched the Pandora Hearts adaptation and felt somewhat burned by the last stretch (go read the manga, it's literally better), I'd say that how Vanitas started out (at least for the 1st half here) made me remember how much I initially love about Pandora Hearts in both AniManga forms in ... its deep, rich lore and constant, not-clickbait, smooth, condescending plot twists that Jun Mochizuki is famously known for.

To properly explain what Vanitas no Carte is all about from the perspectives of both sides of the coin that did and didn't read Pandora Hearts before, the basis is this: Jun Mochizuki likes to keep the setting as simple, but let the characters flow slowly but extensively with complexity, and be weaved into its intriguing story and plot that will keep you invested in the material for as long as it does service on the countless rhetorics it likes to consistently build up in its course run. And just like how Pandora Hearts had the setting of an "Alice in Wonderland" imagination, Vanitas starts out being this 19th Century steampunk aesthetic of Paris about the world of vampires and humans living alongside one another in total secrecy. Think last season's Mars Red, but better executed overall in terms of its hypotheses, which contributes to its likeness of how Jun Mochizuki likes to intersect both serious and comedic relief moments to even out her subtle characterizations to give some breathing room. It's also a detective show, which is centered around "The Vampire of the Blue Moon" Vanitas himself, creating the "Book of Vanitas" grimoire to one day bring retribution to the traditional vampires whom have scorned his existence: "The Vampires of the Red Moon". And in comes this unassuming vampire by the name of Noé Archiviste, whom seeks this illusive book to save vampires from their predicament of becoming "curse-bearers" via malnomen: name-corrupted vampires of uncontrolled blood lust. And oh look, since the human doctor-claiming Vanitas's goals and objectives aligns with Noe's, there begins their quest to be vampire doctors to save other vampires from being cursed by Charlatans. Seems simple and not overly complex enough, init?

As with any Jun Mochzuki work, she loves characterization to an insane degree, and more than the subtle story that Vanitas provides, it's the characters that shine the best in their given like-mindedness, being on either side of protags or antags. Everyone has the 5W1Hs reasoning of their existence in this story, and nothing feels displaced, adding up to the testament that the constant plot twists will always throw you off with what to expect in both action and dialogue forms. And this is very evident on no small part of the protagonists Vanitas and Noé. Right off the bat, you would think that Vanitas, the name being inherited from the same "Vanitas of the Blue Moon" legend and its infamous text of healing through his grimoire as a vampire, his name would obviously be a mainstay to those whom have heard of the legend past. But nope, as much as the self-proclaimed vampire doctor that Vanitas is, he's an ordinary looking human with a sinister past that's perfectly hidden from his usual stance of a kind demeanor. The underlying truth is that the human Vanitas was a guinea pig of vampire experiments, done in no small part of his parents being exterminated by vampires and taken in by this Church-devoted, anti-vampire slaying group known as the Chasseurs to be performed ruthless experiments on which cost him part of his humanity. It's the reason why we don't see Vanitas much being cold to the people working alongside him in human Paris, where the vampire world of the alternate Altus Paris is where much of the story actually takes place in to give some context to Vanitas's sidekick that is Noé. A member of the Archivist Clan, simultaneously a true vampire and child of the Shapeless One with his "the Fangs that Lay Bare Blood" ability to discern people's memories from drinking their blood, Noé is a true white-haired beauty of a handsome Ikemen, if like Vanitas, accounting for a similar dissonance of a past with friends being curse-bearers and having to live through a frightening situation where the execution sentence only awaits their salvation. Since then, Noé has lived through a recluse of moments trying to undermine the Charlatans and their objectives by seeking out the Book of Vanitas, which as mentioned before, is able to relieve corrupt vampires from their curses.

What Jun Mochzuki has done here with the characters, it's such an astounding beauty worthy of a "Case Study"-like breakdown of a work. Since Vanitas and Noé's character chemistry is the most important base foundation of the series, it doesn't feel forced to see that both of these handsome-looking guys with their inadvertently back-and-forth comedy-cum-serious conflict banter provides a sense of depth into portraying what lies beneath the rabbit's hole (giving the reference to Pandora Hearts). This kind of relationship is no doubt special, made by the fact that both of their lives were tarnished by vampires of different kinds, and the claim to eke out salvation through the use of the "Book of Vanitas" grimoire is such an intriguing backstory, all things considered. Don't try to read too much into the story as you will not be amused by its overarching, bland-ish concept, but pay special attention to the characters and how each and everyone of them gels like spider threads to this mystery that is like the gift that keeps on giving. Characters like Lucius "Luca" Oriflamme, Hellfire Witch Jeanne (which serves as Luca's chevalier and Vanitas's love interest), Noé's "childhood friend"-cum-engaged Dominique "Domi" de Sade and many more delves deep into how they are interconnected to the main duo in all circumstances, and how they are existentiality fighting for similar goals to quench the Charlatans while keeping both sides of Paris safe from harm. If there's are a few aspects that you can love about Vanitas no Carte, it's the retrospection and subtle foreshadowing of keeping the story cohesive, while the plot remains complex and unpredictable, while characters influence the plot which pushes characters to act and develop. There are clear protagonists and motivators, but the story is much bigger than themselves, and almost everyone at least had a chance to make a terrible mistake, which doubles down on being emotionally invested and connected in the tonal shifts of the characters that's played out like a Shakespeare play. A complication of human-feeling motifs and motives, but a much-needed one for first impressions to dig into this detective story.

I'd never thought that Jun Mochizuki's illustrations could be bested by anime productions, but since this is Bones, and they do have the capacity to do so, thanks to famed Monogatari director Tomoyuki Itamura and chief animation director-cum-character designer Yoshiyuki Itou. Both of these men have years of invaluable experiences helming the series under their belt to different degrees of success, and now that they're collaborating together on this project, it's no wonder that Vanitas gives off a very Monogatari-esque kind of vibe, while Itou's designs on the anime looks so grandoise that adds to the world-building within the show. It's simply a delight to see Bones flex its production values best (that's not just relegated to the juggernaut that is My Hero Academia alone). Even with some occasional production hiccups *cough* double-digit episode directors *cough* it still delivers on content and action alone for the long-haul investment.

The music though, really is something else. OST fanatics will know the absolute one-trick pony Goddess of music composition that is composer Yuki Kaijura, and believe it or not, her extensive biography even dates back to the anime adaptation of Pandora Hearts (aside from the Type-Moon Fate franchise which solidified her position even more). Any project that has her name plastered on it is already certified akin to platinum statuses and for good reason, and Vanitas has that Yuki Kaijura flare to it that never disappoints at all. For the OP, Sasanomaly hasn't been in this scene much from his last debut song that is Natsume Yuujinchou Season 5's OP, and that was back in 2016. To come back 5 years later with this soothing song of a slick OP, it is a pretty good song that's worth a listen. Even with the ED, this is LMYK's 2nd song (her debut was for a Chinese movie), and "0 (zero)" is another soothing song of a classical, modern ED. Seriously though, what's up with these unknown and future stars being laid dormant in the background, because their music is really good. Definitely a masterclass aspect of Vanitas overall.

As evident from the past work that is Pandora Hearts, it's very hard to get a sublime and intricate work like Jun Mochizuki's adapted right, and I've seen a few fair shares of manga readers complaining even the most minor of details that are being cut out of the anime that adds to the overall sense of deplorability that the manga heavily banks on to tells its coherent story. But as an anime-only, I can attest to the fact that even without these details, as a standalone product, Vanitas is at heart, a conspiracy manoeuvre of a delicate balance between surrealism and reality. The exploration of humanity at its best and worst, human or vampire, a keen sense of engrossment with enthralling obsession just will not do, and I'm very looking forward to the 2nd Cour when it drops to continue that journey down the rabbit hole.

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Sep 18, 2021

Rinshuu

Mixed Feelings

(SLIGHT SPOILERS - ep 1-3)

I want to preface this interview by saying I have zero knowledge of the manga this work was adapted from nor do I have any prior experience with Jun Mochizuki's other works.
I watched this completely blind.

When I began watching Vanitas no Carte, I was not expecting to get the story that I ended up getting. The art, story, character design and the fact Bones was animating it, lead me to believe it was a more female-audience targeted shounen, such as Bungou Stray Dogs, Black Butler, KK, etc., however I was not expecting to go into a show that had copious amounts ...

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Sep 17, 2021

SingleH

Not Recommended

Of all the things you can criticize this show for, you certainly can’t fault it for false advertising. You expect vampire yaoi-bait full of pretty boys blushing, pretty boys hand-holding, pretty boys naked, pretty boys with weirdly intimate physical relationships, pretty boys kissing submissive girls, pretty boys LICKING submissive girls, and whatever else it takes to fuel the fires of fujoshi fanfiction, and that’s exactly what you get. Aside from all the heavy breathing, sensual moaning, and sexy blood-sucking, this show is about Vanitas and Noé, two men on a mission to save all vampires. From what? I dunno. How? I dunno. Why? Actually, we ... do kinda learn Noé’s motivation, but other than that, their mission is kept intentionally vague so the story can meander around, not really doing much for all twelve episodes. The show insistently interrupts every serious scene with unfunny comedy or goofy facial expressions, suggesting the show isn’t really meant to be taken all that seriously, but it also has an info-dump or a flashback every episode, suggesting we should actually be taking notes. The presentation is just poorly planned, and the tone is all over the place. One minute Noé is having Vietnam flashbacks about this grotesque face-eating monster, and ten seconds later we’re joking around with clingy oujo-sama waifu again. The action scenes are also pretty lackluster. It’s just a bunch of assholes standing around spouting meaningless attack names, doing some flashy nonsense, and incapacitating the enemy without the show ever attempting to introduce a cohesive magic system or well-defined power scale. I’m gonna be totally honest, there were many times throughout this show where I didn’t really know what someone was talking about. The characters would go somewhere or start some conversation, and only then would I realize I had zoned out and didn’t understand the context behind what was happening. I’m not saying the details weren’t there. I’m just saying the show was too boring to communicate them to me. This is ironic because, in other instances, the show repeats itself way too much. It’s constantly reminding you of its cookie-cutter vampiric lore and completely failing to appreciate its own banality. Yuki Kajiura will be playing this tremendous piece of gothic music while Vanitas is giving this epic speech, the characters are acting like the world is falling down around them, and all I can think is, “I'm sorry, but didn’t he already say that, like, two episodes ago?”

This show made me realize Tomoyuki Itamura only ever seemed like a competent director because he was working under the tutelage of Akiyuki Shinbou and constantly in a state of imitating the Studio Shaft aesthetic which better, more unique directors like Tatsuya Oishi had helped to define, and I’m not happy. I thought it was just a coincidence when the same thing happened with Shin Ōnuma slowly over the course of the last decade and Yuki Yase literally the second he left, but I guess this is the fate of those who leave Shaft: washed-up at a worse studio and with zero style of their own, pumping out nothing but forgettable and painfully boring seasonal shlock. Visually, I can’t really say this show looks better than just alright. The average production quality of modern anime is just so low, it makes this look like something phenomenally impressive when it really isn’t. For Bones, though, I thought it looked quite good. I watched the first episode and thought, “well, there’s no way they’re going to keep up this level of costume detail,” and I was right. However, instead of doing what they usually do and making a wildly inconsistent mess with a few over-animated action scenes to trick people into thinking the rest of the show looks presentable when it really doesn’t, they actually balanced everything out and crafted a much more solid work of animation. Another pleasant surprise from Bones was the outstanding art direction. Usually, the backgrounds are the weakest part of any Bones show, but the art direction in this show is great, especially in the gorgeous opening animation, and it really brings the setting of Paris to life. The last time an anime set in France looked this good was Le Chevalier D’Eon, and that’s cheating because the studio was Production IG and the art director was Hiroshi Ōno. But sadly, these pretty visuals are limited by the lifeless directing. In the first episode, there was this scene of Vanitas and Noé fighting which was storyboarded so that a metal grate would momentarily obscure the shot, and I legitimately felt physically ill for recognizing it. I mean, out of all the Akiyuki Shinbou trademarks Itamura could’ve ripped-off to communicate the fact he has no directorial identity of his own, why choose one of the most famous visual tricks from Shinou’s post-90s legacy at Shaft? I don’t know, it just seemed pathetic to me. Frankly, the whole show is steeped in mediocrity, and while I can’t fault it for anything serious, I doubt I’ll remember it fondly, assuming the smut isn’t all I remember.

Thank you for reading.

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Vanitas

Archiviste, Noé

Jeanne

de Sade, Dominique

Fortis, Roland

d'Apchier, Chloé

Murr

de Sade, Louis

Granatum, Astolfo

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