May 9th, 2017
Eromanga-sensei 01 Review: On Dialogue, Siscon, and the Fallibility of Family
Anime Relations: Ore no Imouto ga Konnani Kawaii Wake ga Nai, Eromanga-sensei
I'd like to note this is my first time doing one of those "anime blog" things, wherein the cool kids write up pieces on anime and post them.
So, for whatever reason, I just decided to quickly write a piece on Eromanga-sensei's first episode; not because it was a great anime, but only because it subverted my expectations in an interesting way. Hopefully this will open the way for me to write more words on anime, I've been yearning to do so! Expect to see future Eromanga writeups and other seasonal coverage.
Enough preamble; let's get into Eromanga!
Coming into Eromanga-sensei's first episode gave me... reluctance. With the key art for the show boasting in its center a maybe-12-maybe-13 year old, silver-haired girl betraying a faint blush, accompanied by other girls in bombastic poses that might as well be winking the otaku audience -- you could practically hear one going "Kyaa!" as she tries blocking a creeping wind from navigating its way into her pantsu -- alongside the prominence of, seemingly, the only male character. Showing his wry, yet cheeky smile, particularly in the direction of the center girl, I rolled my eyes.
Oh boy, this is gonna be another one of those anime, I thought, lamenting on all those harems my horny, otaku self wasted time watching
But, almost as if to make fun of the cliche prejudice I held against it, Eromanga greeted me with what I least expected it to have.
Good Characterization.
Now, Eromanga is by no means a show in which characters give out some great, larger-than-life impression with some rich history or complex emotions. It's the opposite. They're the people you've constantly seen in what seems to be every anime: the onii-chan in high school, the childhood friend, and the bashful imouto. They're as mundane, and almost archetypical, as you can get.
But, somehow, even if it's characters may very well be variations of the same ol' tropes, there's a sense of life and autonomy given to them that makes them so much more enjoyable and engaging to watch. They're given spices to them that season their humanity, even if just a bit.
For instance, the main protagonist, Masamune Izumi, could have just been another void 'Sef-Insert Protagonist', in the same vein as Kyousuke "Sister Fucker" Kousaka. But he's not. He's made to be much more grounded his own person with his own individuality. Sure, the show likes including his wanting of reuniting with his reclusive stepsister, Sagiri Izumi, as an integral part of his character, but he's not defined solely by that.
The revelation of Masamune, in fact, being a young light novel author, gives enough texture to his character that it in itself that tells an entire story. There's a sense of modesty he has towards his creator identity that shies away from directly opening up to people out of fear for getting weird comments, but a naive desire for popularity and attention towards him that lurks right behind that same modesty that contradicts it.
Had Masamune not been given this insecurity, even if comically, he would have seemed standoffish as a character, at most resembling a caricature of self-glorification. But it's this insecurity that really opens him up to the audience to connect with him as a person. Masamune is built up from this idea, making his notable strengths, such as his deft in cooking or his general confidence, balance out his patheticness to make him and all the more likable, real character.
Little snippets like these into the characters lives is ultimately what makes Eromanga's dialogue, a fundamental part of light novel adaptions, nuanced. Conversations between characters, or at times, lack of, tells us more about each participant's personality through the words they say, how they say them, and to who in a very natural way.
The brief interactions between Masamune and Tomoe, a female friend, exemplify this in a fun, yet endearing way. In their initial interaction, they don't say much; in fact, we only get to hear two lines from then, with Masamune's monologuing taking focus; body language is their conversation for the most part. But this itself is sufficient in realizing a dynamic. An eager Masamune finds comfort in someone like Tomoe enjoying his creations, whereas Tomoe herself is sharp enough to point out its flaws and Masamune's own, much to the wry disappointment of Masamune.
Eventually, they wisecrack at each other's comments, but they end up still showing a genuine friendship for each other. Tomoe is the only one Masamune feels is able to reveal his insecurities regarding his writing to, and she herself tries her best to comfort him.
It's not a flawless dynamic as of yet -- Masamune's own worries blocked Tomoe from really creating her own individuality -- but Eromanga still managed to convey the fact these two are dorky friends authentically without the need for any monologued introduction or saturated trope between the two.
And while these types of relationships are all good fun for a light slice of life, they lack a kind of tension, for now, that'll really create a reason to keep watching Sure, they're cute, but they're sure to run dry if they keep on going without any change for so long.
Which is where Sagiri and Masamune's dynamic comes in. The relationship between the two is what defines what Eromanga is good at -- it has to; it's the main gimmick of the show. But, nonetheless, the nuance which these two contain is so multifaceted in the themes which they represent, yet simple in the humanity they have, that Eromanga failed to ever elude me with the influences the two have on each other.
In the first minute of Eromanga-sensei, we're told so little about the history between Masamune and Sagiri. All we know is that, a year ago, an eager Masamune was introduced to a more timid Sagiri as his new stepsister, which forced her to call him "onii-chan" under her breath, which ignites delight on Masamune.
From there, the memory fades away; there is no more history to them. For an inexplicable reason, Sagiri is left hiding in the confinements of her room, sealing the two from ever interacting with each other for a year.
That brief flashback says so little, yet just enough. Both Sagiri and Masamune know nothing about each other; they only have generalized versions of each other within their memory. It would be impossible for the two to truly connect with each other like this.
Masamune is burdened with the responsibility of taking care of a sister who he hardly knows about, and he acknowledges this. He gets nervous at times when delivering breakfast to his sister as the lingering possibility of her possibly hating him in secret, for whatever reason he's ignorant about, creeps to him. But he still gulps that fear down and takes care of her as to fulfill the brotherly responsibility first sparked in that distant memory.
However, Masamune does not desire a stagnant relationship like that. He feels it is his duty to make up for lost family time and find a way for her to open up to him. So he invites Sagiri to meet him anytime with tiny, decorative notes in her meals, as if to add on to the somber atmosphere of their household, she never replies.
The two, quite literally, have barriers against each other that prevent them from interacting. From the physical barriers in the form of Sagiri's door to the emotional barriers the two place themselves in their tenuous understanding of each other.
Yet, the two become connected in one of the most ironic ways possible: through the creator alter egos they perform in.
Masamune's author identity is secretly in collaboration with that of Sagiri's artistic identity in the form of 'Eromanga-sensei', who draws the illustrations for his light novel. Masamune never once physically met Eromanga-sensei; with a conspicuous penname like that, he just assumed, like anyone would, that they'd be some raunchy old man. With the minimal information he knew about Sagiri, his last guess would have been that it was his 12-year old stepsister who has been drawing half-naked girls for his horny light novel.
While this creates a comedic scenario which accentuates their ignorance of each other, the accidental revelation does finally allow them to interact with each other for the first time in a year. As one might expect, there are a few campy instances which are sparked from this (such as Masamune failing to find a totally-not-awkward-and-creepy way for him to notify Sagiri of him knowing her identity, but ultimately doing so by 'guarding her nudity' against internet folk), but from here onwards is when their dynamic really starts to shine. It starts to feel like a character in itself, with its own autonomy, strengths, and flaws.
In their first meeting in a year, things are as awkward as you might expect. Sagiri, flustered that someone knows her Eromanga-sensei identity, denies that she knows anyone by that name and tries shooing her brother away with some coy glances. Masamune gets slammed by her door as he tries opening up to her, but eventually regains his confidence to finally gain access to, at the very least, her room.
From there on, the two have light-hearted misunderstandings between each other, sneaking in some sly comments in the process. Their exchanges are rather cute to watch considering how they've been grounded as characters, especially Masamune, who lets the ideal image of his stepsister accidentally warp some of her words.
But there's also that layer of tension between their miscommunications that creates authenticity. It's a given that they'd be nervous; the scenario they're in is incredibly abrupt. It's only natural for the two to have their wandering thoughts regarding what they think about each other infiltrate their perception, and, thus, their communication, of each other as well. Joking is often a way to repress uncomfortable feelings, after all.
Eventually, the otaku identity which they both share is what makes them open up to each other. Even after having worked, albeit unknowingly, with Sagiri as Eromanga-sensei for years, Masamune still takes up to himself to praise Sagiri's artwork as being "chou ero" and congratulates her for having found a medium where she can express herself. Inversely, Sagiri chides Masamune's excessive attachment towards his deadlines, making an emphasis on the times she's left without meals because of it.
The two finally find enough comfort in their common identities to speak their minds clearly, which invites the audience to naturally take comfort in their conversation as well.
As the two gradually warm up to each other, Masamune expresses his concern for wanting to know more about his stepsister, which prompts Sagiri to reveal some details as to why she's fond of drawing.
At this point, we're told some important things regarding how Sagiri's character thinks and acts, both directly and indirectly. She draws as a way to connect with people -- to be acknowledged and affirmed by people. Thus, she relishes in the Eromanga-sensei identity in things like streams, where everyone nonjudgmentally has a liking for her and her work. Sagiri cannot quite get that in the harsh environment of reality, so she finds home in her alter ego mask.
But it's not a medium that's flawless in design; she develops a personal insecurity from this. For past, familial reasons, she forms an almost self-deprecating identity of her 'Sagiri' self, fearing that others may hurt her. She even questions to Masamune why he's even bothering having a talk with her.
Masamune, of course, replies simply by saying "Because you're my little sister." He wants to find ways to spend time with Sagiri and do mundane, everyday things with her and take care of her, even if he does not quite get what those things constitute yet. He comprehends any reluctance Sagiri may feel from this and respects her individuality, but still feels it is the right thing to do for both of them to stabilize their relationship.
His proposal very much nails the genuine intimacy which Sagiri desires, which shocks her into showing a glint of hope in her eyes, the hope of finally being accepted by someone for who you. Accompanied with some meaningful, nostalgic lighting, this scene puts the audience right into the Izumi family, holding their hand and sharing their newfound hope with us. You don't want to let go.
Yet, this very sincere, delicate hope, is immediately brushed away by Sagiri as Masamune reasons his desires with the phrase "Because we're family."
The logic that because people are a family in name they should be close is perceived by Sagiri as insensitive. For whatever memories she may have, she simply does not believe that to be the truth. Just because you're connected to someone by the labels of family doesn't necessarily mean said person really knows you, or even cares about who you really are, for that matter. Which is something that is accentuated by the fact that Masamune and Sagiri as just 'step'siblings.
And that's the fundamental theme that runs Eromanga. These characters want to understand each other, they really do, but they can't help have their own preconceived notions of each other. Masamune and Sagiri both know about their creator identities, but they simplify them as being completely distinctive from their 'real' identities, when in fact, their dualities are constantly, fluidly influencing each other.
People are more complex than that; these characters are more complex than that. And by building up to this theme and highlighting it to its characters, Eromanga is training us as viewers to also read between the lines as to what these characters really are and to an extent, how people really are.
This isn't meant to justify that Eromanga is a perfect anime, or even a great anime, for that matter. It's still a very 'Light Novel Adaption' anime; lewd camera angles feel unnecessary at times, transitions between sequences aren't all that fluid, and the plot's pacing at times just feels like it's needlessly cramming in content to just fill in time.
But, nonetheless, for what Eromanga is, it does an immensely good job at representing itself with maturity. The theme, while sensitive, is handled with enough maturity to intrigue, and it's proven itself to have worthy enough potential to grow even more thematically. Eromanga highlighted many other interesting ideas into its text, such as witty commentary on otaku culture a la Saekano, and an introspective look into how creators are influenced by the content they create.
But, obviously, this review has gotten longer than expected, so those may be topics of further discussion for future, episodic writeups. However, for now, Eromanga has established itself as definitely being at least better than Oreimo.
Also, Sagiri is moe as hell.
So, for whatever reason, I just decided to quickly write a piece on Eromanga-sensei's first episode; not because it was a great anime, but only because it subverted my expectations in an interesting way. Hopefully this will open the way for me to write more words on anime, I've been yearning to do so! Expect to see future Eromanga writeups and other seasonal coverage.
Enough preamble; let's get into Eromanga!
Coming into Eromanga-sensei's first episode gave me... reluctance. With the key art for the show boasting in its center a maybe-12-maybe-13 year old, silver-haired girl betraying a faint blush, accompanied by other girls in bombastic poses that might as well be winking the otaku audience -- you could practically hear one going "Kyaa!" as she tries blocking a creeping wind from navigating its way into her pantsu -- alongside the prominence of, seemingly, the only male character. Showing his wry, yet cheeky smile, particularly in the direction of the center girl, I rolled my eyes.
Oh boy, this is gonna be another one of those anime, I thought, lamenting on all those harems my horny, otaku self wasted time watching
But, almost as if to make fun of the cliche prejudice I held against it, Eromanga greeted me with what I least expected it to have.
Good Characterization.
Now, Eromanga is by no means a show in which characters give out some great, larger-than-life impression with some rich history or complex emotions. It's the opposite. They're the people you've constantly seen in what seems to be every anime: the onii-chan in high school, the childhood friend, and the bashful imouto. They're as mundane, and almost archetypical, as you can get.
But, somehow, even if it's characters may very well be variations of the same ol' tropes, there's a sense of life and autonomy given to them that makes them so much more enjoyable and engaging to watch. They're given spices to them that season their humanity, even if just a bit.
For instance, the main protagonist, Masamune Izumi, could have just been another void 'Sef-Insert Protagonist', in the same vein as Kyousuke "Sister Fucker" Kousaka. But he's not. He's made to be much more grounded his own person with his own individuality. Sure, the show likes including his wanting of reuniting with his reclusive stepsister, Sagiri Izumi, as an integral part of his character, but he's not defined solely by that.
The revelation of Masamune, in fact, being a young light novel author, gives enough texture to his character that it in itself that tells an entire story. There's a sense of modesty he has towards his creator identity that shies away from directly opening up to people out of fear for getting weird comments, but a naive desire for popularity and attention towards him that lurks right behind that same modesty that contradicts it.
Had Masamune not been given this insecurity, even if comically, he would have seemed standoffish as a character, at most resembling a caricature of self-glorification. But it's this insecurity that really opens him up to the audience to connect with him as a person. Masamune is built up from this idea, making his notable strengths, such as his deft in cooking or his general confidence, balance out his patheticness to make him and all the more likable, real character.
Little snippets like these into the characters lives is ultimately what makes Eromanga's dialogue, a fundamental part of light novel adaptions, nuanced. Conversations between characters, or at times, lack of, tells us more about each participant's personality through the words they say, how they say them, and to who in a very natural way.
The brief interactions between Masamune and Tomoe, a female friend, exemplify this in a fun, yet endearing way. In their initial interaction, they don't say much; in fact, we only get to hear two lines from then, with Masamune's monologuing taking focus; body language is their conversation for the most part. But this itself is sufficient in realizing a dynamic. An eager Masamune finds comfort in someone like Tomoe enjoying his creations, whereas Tomoe herself is sharp enough to point out its flaws and Masamune's own, much to the wry disappointment of Masamune.
Eventually, they wisecrack at each other's comments, but they end up still showing a genuine friendship for each other. Tomoe is the only one Masamune feels is able to reveal his insecurities regarding his writing to, and she herself tries her best to comfort him.
It's not a flawless dynamic as of yet -- Masamune's own worries blocked Tomoe from really creating her own individuality -- but Eromanga still managed to convey the fact these two are dorky friends authentically without the need for any monologued introduction or saturated trope between the two.
And while these types of relationships are all good fun for a light slice of life, they lack a kind of tension, for now, that'll really create a reason to keep watching Sure, they're cute, but they're sure to run dry if they keep on going without any change for so long.
Which is where Sagiri and Masamune's dynamic comes in. The relationship between the two is what defines what Eromanga is good at -- it has to; it's the main gimmick of the show. But, nonetheless, the nuance which these two contain is so multifaceted in the themes which they represent, yet simple in the humanity they have, that Eromanga failed to ever elude me with the influences the two have on each other.
In the first minute of Eromanga-sensei, we're told so little about the history between Masamune and Sagiri. All we know is that, a year ago, an eager Masamune was introduced to a more timid Sagiri as his new stepsister, which forced her to call him "onii-chan" under her breath, which ignites delight on Masamune.
From there, the memory fades away; there is no more history to them. For an inexplicable reason, Sagiri is left hiding in the confinements of her room, sealing the two from ever interacting with each other for a year.
That brief flashback says so little, yet just enough. Both Sagiri and Masamune know nothing about each other; they only have generalized versions of each other within their memory. It would be impossible for the two to truly connect with each other like this.
Masamune is burdened with the responsibility of taking care of a sister who he hardly knows about, and he acknowledges this. He gets nervous at times when delivering breakfast to his sister as the lingering possibility of her possibly hating him in secret, for whatever reason he's ignorant about, creeps to him. But he still gulps that fear down and takes care of her as to fulfill the brotherly responsibility first sparked in that distant memory.
However, Masamune does not desire a stagnant relationship like that. He feels it is his duty to make up for lost family time and find a way for her to open up to him. So he invites Sagiri to meet him anytime with tiny, decorative notes in her meals, as if to add on to the somber atmosphere of their household, she never replies.
The two, quite literally, have barriers against each other that prevent them from interacting. From the physical barriers in the form of Sagiri's door to the emotional barriers the two place themselves in their tenuous understanding of each other.
Yet, the two become connected in one of the most ironic ways possible: through the creator alter egos they perform in.
Masamune's author identity is secretly in collaboration with that of Sagiri's artistic identity in the form of 'Eromanga-sensei', who draws the illustrations for his light novel. Masamune never once physically met Eromanga-sensei; with a conspicuous penname like that, he just assumed, like anyone would, that they'd be some raunchy old man. With the minimal information he knew about Sagiri, his last guess would have been that it was his 12-year old stepsister who has been drawing half-naked girls for his horny light novel.
While this creates a comedic scenario which accentuates their ignorance of each other, the accidental revelation does finally allow them to interact with each other for the first time in a year. As one might expect, there are a few campy instances which are sparked from this (such as Masamune failing to find a totally-not-awkward-and-creepy way for him to notify Sagiri of him knowing her identity, but ultimately doing so by 'guarding her nudity' against internet folk), but from here onwards is when their dynamic really starts to shine. It starts to feel like a character in itself, with its own autonomy, strengths, and flaws.
In their first meeting in a year, things are as awkward as you might expect. Sagiri, flustered that someone knows her Eromanga-sensei identity, denies that she knows anyone by that name and tries shooing her brother away with some coy glances. Masamune gets slammed by her door as he tries opening up to her, but eventually regains his confidence to finally gain access to, at the very least, her room.
From there on, the two have light-hearted misunderstandings between each other, sneaking in some sly comments in the process. Their exchanges are rather cute to watch considering how they've been grounded as characters, especially Masamune, who lets the ideal image of his stepsister accidentally warp some of her words.
But there's also that layer of tension between their miscommunications that creates authenticity. It's a given that they'd be nervous; the scenario they're in is incredibly abrupt. It's only natural for the two to have their wandering thoughts regarding what they think about each other infiltrate their perception, and, thus, their communication, of each other as well. Joking is often a way to repress uncomfortable feelings, after all.
Eventually, the otaku identity which they both share is what makes them open up to each other. Even after having worked, albeit unknowingly, with Sagiri as Eromanga-sensei for years, Masamune still takes up to himself to praise Sagiri's artwork as being "chou ero" and congratulates her for having found a medium where she can express herself. Inversely, Sagiri chides Masamune's excessive attachment towards his deadlines, making an emphasis on the times she's left without meals because of it.
The two finally find enough comfort in their common identities to speak their minds clearly, which invites the audience to naturally take comfort in their conversation as well.
As the two gradually warm up to each other, Masamune expresses his concern for wanting to know more about his stepsister, which prompts Sagiri to reveal some details as to why she's fond of drawing.
At this point, we're told some important things regarding how Sagiri's character thinks and acts, both directly and indirectly. She draws as a way to connect with people -- to be acknowledged and affirmed by people. Thus, she relishes in the Eromanga-sensei identity in things like streams, where everyone nonjudgmentally has a liking for her and her work. Sagiri cannot quite get that in the harsh environment of reality, so she finds home in her alter ego mask.
But it's not a medium that's flawless in design; she develops a personal insecurity from this. For past, familial reasons, she forms an almost self-deprecating identity of her 'Sagiri' self, fearing that others may hurt her. She even questions to Masamune why he's even bothering having a talk with her.
Masamune, of course, replies simply by saying "Because you're my little sister." He wants to find ways to spend time with Sagiri and do mundane, everyday things with her and take care of her, even if he does not quite get what those things constitute yet. He comprehends any reluctance Sagiri may feel from this and respects her individuality, but still feels it is the right thing to do for both of them to stabilize their relationship.
His proposal very much nails the genuine intimacy which Sagiri desires, which shocks her into showing a glint of hope in her eyes, the hope of finally being accepted by someone for who you. Accompanied with some meaningful, nostalgic lighting, this scene puts the audience right into the Izumi family, holding their hand and sharing their newfound hope with us. You don't want to let go.
Yet, this very sincere, delicate hope, is immediately brushed away by Sagiri as Masamune reasons his desires with the phrase "Because we're family."
The logic that because people are a family in name they should be close is perceived by Sagiri as insensitive. For whatever memories she may have, she simply does not believe that to be the truth. Just because you're connected to someone by the labels of family doesn't necessarily mean said person really knows you, or even cares about who you really are, for that matter. Which is something that is accentuated by the fact that Masamune and Sagiri as just 'step'siblings.
And that's the fundamental theme that runs Eromanga. These characters want to understand each other, they really do, but they can't help have their own preconceived notions of each other. Masamune and Sagiri both know about their creator identities, but they simplify them as being completely distinctive from their 'real' identities, when in fact, their dualities are constantly, fluidly influencing each other.
People are more complex than that; these characters are more complex than that. And by building up to this theme and highlighting it to its characters, Eromanga is training us as viewers to also read between the lines as to what these characters really are and to an extent, how people really are.
This isn't meant to justify that Eromanga is a perfect anime, or even a great anime, for that matter. It's still a very 'Light Novel Adaption' anime; lewd camera angles feel unnecessary at times, transitions between sequences aren't all that fluid, and the plot's pacing at times just feels like it's needlessly cramming in content to just fill in time.
But, nonetheless, for what Eromanga is, it does an immensely good job at representing itself with maturity. The theme, while sensitive, is handled with enough maturity to intrigue, and it's proven itself to have worthy enough potential to grow even more thematically. Eromanga highlighted many other interesting ideas into its text, such as witty commentary on otaku culture a la Saekano, and an introspective look into how creators are influenced by the content they create.
But, obviously, this review has gotten longer than expected, so those may be topics of further discussion for future, episodic writeups. However, for now, Eromanga has established itself as definitely being at least better than Oreimo.
Also, Sagiri is moe as hell.
Posted by Todokete | May 9, 2017 1:04 PM | 0 comments