internetfemcel's Blog

Anime Relations: Hunter x Hunter (2011), Nekomonogatari: Kuro, Jujutsu Kaisen

The summer months have been a rather taxing time for me, all things considered. While the days are longer, there's a part in me that can't help but feel like my sanity grows shorter in comparison. It's seasonal depression, just for the summer. However, in my emotional comatose state, I've had an idea in my head for something that I'd like to do on my blog for a while: 'Recently, I've Read'. The goal of this is to condense my feelings for all the animanga I've seen into one spot, so that I'll have a record of my thoughts. (NOTE: While anime will usually be included on these, I've decided to omit a few just because they weren't long enough or rewatches that would only be rehashes of previous points I've made.) We've prolonged this enough, so shall we begin?

Hunter x Hunter (2011)

What a series. Shonen is a genre that, often times, can feel repetitive. It's not ridiculous to say that. A strong protagonist, their brooding secondary and supporting cast.. it takes a lot to stand out within the genre and create something wholly amazing. Somehow, despite this, Yoshihiro Togashi manages to put to pen a story that is so moving that it feels disrespectful to even consider it shonen. It easily breezes high above the previous heights reached by other writers within the genre, and does not stop from the first chapter. Watching Gon mature so much faster, experience so much pain and joy of what the world truly offers in such a short amount of time, moved me to tears on multiple occasions. It's not perfect of course, I thought that the first two arcs were especially boring, but that can hardly be considered a downside when the rest of the show is taken into consideration. Greed Island hit my heart in a very weak spot, some place I didn't know it could. Masterclass.

Jujutsu Kaisen

Where do I even begin. Should I shake my head or just stare blankly into space? I'm honestly not sure. Gege Akutami's first professional work is one of the most disappointing, horrible, and sad manga I've ever had the misfortune of reading. It's clear to me that this series was plagued from the beginning with large ambitions and a story that snowballed out of control quickly is the evidence for that. Maybe it's because they're still a young mangaka, but the writing really needed to be pulled in. So much unnecessary fat comprised of useless exposition, disappointing backstories and dead ends could have been trimmed off here, but most of it sits directly in the main story. Though, that being said, it wasn't all bad. Maki is amazing (if disappointing at times), Todo is a joy, Nobara is wonderful, and I really enjoyed Hidden Inventory and the schools warring. Beyond that though, the conclusion is so underwhelming that I would not even recommend this series to first graders. You'd be better learning good storytelling from Bleach. That should say enough.

Kowloon Generic Romance

Bit of an interesting shoujo manga that I found from a youtube short (lol) and decided to pursue. In fact, the more I think about it, the more I honestly believe that 'interesting' is one of the only things I can say for this manga. Don't get me wrong. It was enjoyable. At a surface level, the artstyle is amazing, and the characters are compelling enough to keep you engaged like in any good shoujo manga. That alone is a rarity these days, as now most men in this genre are so insufferably stupid that it ruins whatever setup their is for the core story. However, where KGR really stumbles is around the mid way point. There's a lot of questions raised by the characters (many of which are the hooks that keep pulling you to the conclusion) that just.. get answered. Those lines of questioning begin to snap as you're quickly able to figure out everything in your head, and by the time you've done so it's too late. There was a point where I just felt fulfilled, like what I read was satisfying enough.. I'm not sure if that's a good thing (as most shoujo tend to drag on unnecessarily) or a bad thing (there wasn't enough there to keep me engaged). Overall, I'd recommend it. Though, not enthusiastically or anything. It's enjoyable enough for a Thursday night where you've got nothing else to do and that's about it.

Murcielago

This manga is three parts shonen, two parts yuri, two parts eroguro, and one part hentai. It's a strange composition of things that you'd never really expect to come together and form something so cohesive, but it's actually pretty good. From the beautiful two page spreads to the beautiful (albeit poorly developed) romance, it's a good time all around. The sort of series you just keep reading because you're thoroughly engaged until you realize you've been reading for three hours. It's that kind of addictive. However, at points it's incredibly apparent that the author is male which limits the amount of expansion that can be done with the female characters. The mecha chapter made this incredibly apparent to me, and to an extent you can tell the MC could easily be swapped out for a man. Other than that.. I really have no complaints. It's great!

Gambling Apocalypse Kaiji: Part One

This one's been sitting in the back of my mind for a while now. What a series. Kaiji manages to do something that is the mark of all good manga, that being creating a pit inside of my tummy. Throughout my time reading this, it was engaging to see our main character clench up and feel his palms sweating, death inches away from him, and feel that too. It's conveyed not only through the (insanely lovable, Doraemon-esque stupid) artstyle but the wonderful narration and Kaiji's internal dialogue. The first arc I thought went on for a little too long, but that's absolutely not a complaint considering what follows: An utterly flawless breakdown of the human psyche, and the dissection and consequent rebuilding of Kaiji's character. Wonderfully unique, and I'd recommend anyone who likes it to go read Hikaru no Go. It'll make you feel similar emotions!

Nekomonogatari: Black

I started reading the novels for this one, and enjoyed my time a lot more with it as a direct result. Spending so much time in Araragi's head is such a joy, and never manages to bore or annoy me (Okay, well that's a lie. The seven page panty discussion did irk me, but that's by design.) in ways that other narrators, reliable or not, often do. Reading this and being able to look at the Araragi from Bakemonogatari and Nisemonogatari and recognize just how evolved he is really makes this short pit stop worth it. More than anything, however, what the best part of this book is would have to be Tsubasa Hanekawa. I won't go into too much detail about her here, but the seeds planted in your mind begin to sprout and unfurl their leaves starting here. It's a wonderful end to cap off part one of the Monogatari series, and something I will look back on with spectacular admiration for NISIOISIN's esoteric usage of writing devices.

All in all, summer was a bittersweet season for me. Taking the time to slow down and enjoy my time with things some more lead to a more thorough and matured enjoyment of these works (aside from JJK, lol) in a way that makes me excited to continue on. Out of everything, I think I'll have to go with Kaiji as my recommendation here. It's got such a large appeal that no matter who you are, you'll enjoy it as long as you can stomach the artstyle. Though, if you really are so picky about that sort of thing, it worries me for your mental state. No seasonals during the summer either.. to be honest, there was a lot that looked interesting but I've been coming out of NEETdom so giving up seasonals seemed like it was fair. Take care, I'll see you again in the winter~

Anime Relations: Girls Band Cry

In 2009, a show called 'K-On!' would revolutionize anime culture forever. With its stunning blending of animation, music, and grounded storytelling, it would embed itself into the hearts of fans all across the globe. In its wake, a new sub genre of anime was formed. Four years later, 'Love Live! School Idol Project' was released to mass critical acclaim among otaku. It blended the real world's idols with an anime that took inspiration from 'K-On!', proving to be a formula for massive success. 'Love Live!' would go on to gain a sequel season and multiple subsequent series. Fast forward to March 16, 2017. 'BanG Dream: Girls Band Party' (affectionately shortened to 'Bandori') releases, and takes the idol style of marketing and expands it to fit 25 members across five bands. Now, 'Love Live!' has always had a great story. But to many, it felt restrictive in its genre as the story always played out in a similar fashion. Enter Bandori. Its day-to-day storytelling along with a wider range of characters and units attracted many previous fans of 'Love Live' (and Idolmaster. This series is notably missing from the retrospective because I don't know enough about it. Apologies!). It would go on to gain three seasons of anime and a spinoff series, each better than the last. Recently, properties like 'Love Live!' and Bandori have begun to have mass falloffs in popularity, with the 'Love Live!' series closing three of its mobile games in the past three years. With the stage open to new competitors, who will step up to the challenge?

We'll begin with the past and work our way toward the future, starting with the dissection of Kawaragi Momoka. Momoka is a 20 year old guitarist and former member of 'Diamond Dust', an idol band. In many ways, it's very possible to read Momoka as the 'after' scenario for most girls band anime-- an example of what happens when the afterglow fades, leaving us with the cold, harsh truth. People drift apart, are pulled in entirely different directions in the transition from high school to adulthood, and can't afford to stay in one spot forever. It's something I appreciated in 'Love Live! The School Idol Movie' that's done even better here as Momoka and Honoka have a lot in common. Leaders of their groups, both aiming for the top with their music while brandishing an earnest smile, but with a key difference between them: one knew the dream was over, while the other did everything to keep it alive.

Asahi Rokka is the guitarist of Bandori's RAISE A SUILEN. Just like Nina, she's a country bumpkin making her way to Tokyo, inspired by a band to start making music. Rokka and Nina feel like echoes of one another, and their parallels cannot go unnoticed. Nina's the next step in writing for the genre, adding more depth and realness to Rokka's character. Her snarky side and snappy remarks play in contrast to the past's protagonist, and her demeanor is by all means an improvement. Bandori was hopeful, a gleaming star to guide. Girls Band Cry is bittersweet, yet 100% realer in every way. These anime share a few key aspects that are absolutely worth mentioning, firstly the phrase 'Girls band revolution'. It's used by Momoka in episode eight, and a similar phrase is used by Rokka in episode one of 'BanG Dream! 2nd Season': 'Girls band era' (I know someone says the direct quote in Bandori but I can't find it anywhere. If you or someone else knows, please tell me.). These two quotes play in direct parallel to one another. To revolutionize, you must raze the previous era and cast it all to the wayside. 'Girls Band Cry' does exactly this in its evolution of the past tropes and style common in Bandori. GBC feels like a logical next step for the genre, and I'm confident that it will continue to blaze a trail to make a name for itself.

This is, of course, analysis at the end of the day. Just another lens. That being said, it's a really interesting lens to view the show and its characters through, one which adds another layer of depth and builds upon the idol/band genre. I'm confident that with the mass success of this show, the next girls band revolution will be legendary. Here's to the future, and thanks for the past.

Anime Relations: Girls Band Cry

with the recent release of episode five of 'girls band cry' came a few phrases from the MC, nina iseri: 'scream out everything you're feeling. leave nothing out. let out all your frustrations, your shame, your anger, your sadness, your pathetic self, that past you hate so much you want to crawl into a bed and die, and all those regrets that haunt you. lay them all bare!' i was utterly moved to tears in a way that a girls' band anime (and by extension, idol anime in general) has not done for me in quite some time. enjoying these shows is all about the growth your main characters go through, the pain and sadness they endure, and how they use it to overcome the countless obstacles in their way. when i say that 'girls band cry' is shaping up to aim so much higher in its writing, i do not say that lightly.

in just five episodes, this show has accomplished more than many of its contemporaries do in twelve. nina is a complex main character with many rough layers to her that still continue to surprise me well into week six of the show's episodes, which says a lot considering most anime aren't even brave enough to dig deeper into their mcs beyond a surface level (especially in this genre!). every character introduced so far has been just as interesting as nina in complexity, with apt room to breathe and grow around her. it's refreshing to see this show avoid the same pitfalls as its contemporaries and introduce every character by episode three.

the music and animation here are also top notch. after last year's 'MyGO!!!!!', hopes of seeing something even come close to touching sanzigen's work seemed like a pipe dream but i am pleased to say that toei animation have more than outdone themselves. the expressions, movements, and interactions are all fluid and move in such a way that is so pleasing to the eyes. momoka's actually playing guitar, and it doesn't look egregiously mocapped! the music in the show is a great blend of j rock and pop that fits the show perfectly in an apathetic way only achievable by a group of losers. hell, even the background music is good. it's also worth mentioning that the show doesn't randomly plop a three to five minute long performance in your lap out of nowhere. they're saved for the end and replace the ED most of the time which i prefer much more.

girls band cry is an absolutely incredible show so far, and i hope to see it continue to reach new heights in its writing, style, and animation. it's such a fresh take on the genre that inspires so much hope, change, and introspection all while continuing to be grounded. it's reached out and touched me in a way i've got no words to describe. here's to seven more 10/10 episodes

Anime Relations: Bakemonogatari, Kizumonogatari I: Tekketsu-hen, Nisemonogatari, Kizumonogatari II: Nekketsu-hen, Kizumonogatari III: Reiketsu-hen

Bakemonogatari

wasn't initially sure how much i'd enjoy this series at first, but then i was absolutely captivated by senjougahara's character. everything about her arc just fell into place so well: metaphors, scenery, music, it was utterly stunning. say what you want about this series, but it absolutely knows how to make a lasting impression on you with its honest and complex composition from top to bottom. the way that nisio isin writes is so esoteric in the best way possible, from araragi's stupid (not really) internal dialogue to senjougahara's avoidant rants about what kind of woman she is: it's clear to me that these characters will grow into something even better in my mind with the existing seeds planted by their respective arcs. it's got this cadence to it that scratches the back of your mind while feeding it beautiful metaphors and tense action and i can't ever pull myself away easily because of it.

something i'd like to mention about this series is that kanbaru is the best character. (i use 'best' lightly, interchangeably with 'favorite'.) that's all i have to say in this section. i like kanbaru

for all the endless praise i could give bakemonogatari, i'd also have to mention that, without a doubt, parts of nadeko's arc fall a bit short in comparison to everything else. it's absolutely not a bad arc by any means, but it does end up being the worst of the best because of its short length that didn't seek to serve a larger purpose like hachikuji's did. i know that's a bit obtuse of me though, and that i'll eventually come around on it.

all in all, i think about 95% of this season is absolutely perfect. those beautiful memories kissed by the sunset of each mundane day will stick in my mind forever, and they will be nurtured with me to grow into something, someone beautiful by the time the sun rises

Kizumonogatari

what's there to say? i want kiss-shot? obviously.
i really thought i'd hate this arc the most, to be completely honest with you. i never imagined that a loose end left mostly open ended due to its simplicity could become something so deeply touching for me, but god was i wrong. 'the simple loose ends are where monogatari succeeds, moron!' is what i'm telling myself and i don't think that could ring any truer than it is within kizumonogatari. just stunning, absolutely flawless. from the first movie i knew that this would be something special but i could never have imagined it would be this special. empty corridors, the hollow existence of nearly 500 years breeds the insane ego death of a woman bruised and damaged by her own hubris. it's a stunningly tragic tale that is absolutely going to stick in my heart for some time. my god, without delving too deep into spoilers, i've never seen a football pitch so stained with the blood of two sinners

i'd like to take a moment to talk about the music. in places, it's rough around the edges yet in others it's soft, with piano melodies curling around the comfortable embrace of the strings ensemble behind it. kiss-shot's theme here is tragic, bold, and twinkly and it's woven so well into 'tsumetai me'. tracks like 'toukatsu jigoku' push you to the ground, punch you in the face, take your lunch money, then scratch themselves on a rusty nail. and you know what? it feels amazing every time.

needed more kanbaru though.

Nisemonogatari

i think this one's a bit of a mixed bag. definitely not as solid as bake and shouldn't be put in the same conversation as kizu by any means. that being said, it shouldn't be scoffed at. for what it's worth, senjougahara's arc here is incredibly satisfying along with most of karen's. there's a bit of fat from it that could have been cut, though.. 7 episodes is a bit much even if it does represent karen's large ego well. tsukihi (my daughter) should have gotten at least one more full episode dedicated to her because she's such an interesting character. more of her speaking her mind please!! her platinum happiness is one of the best aspects of her character and it's done with such tact and i just want to eat that writing. it's so good.

a good amount of kanbaru. acceptable

Conclusion: Too Many Rabbits

throughout the time i've spent watching, two things have become apparent: one, that i am being handed the ingredients to craft a delicious meal and not three complete dishes, and two: that the ingredients themselves are what make the meal taste so good. i was foolish at first, thinking that there was something i was missing in all of this, that maybe i just wasn't getting it. no.. monogatari is about building upon your pre-existing knowledge and adding layers of story and symbolism onto those established metaphors. i started chasing all the rabbits and ended up catching none of them.

Anime Relations: Shoujo☆Kageki Revue Starlight Movie

last week, my english teacher gave an assignment to the class: visual analysis. the first thing that popped into my mind upon hearing this was 'revue starlight: the movie'. i'd been sitting on this topic of 'movement' for a while, waiting with all these thoughts in my mind yet the assignment seemed narrow. five minutes. enough to fit the opening four (precisely four minutes and eleven seconds) in, sure, but a bit restrictive when i feel that the entire film makes usage of movement in beautiful ways. today, we will be discussing the way that all parts of this film move-- its characters, setpieces, and plot.

let us begin with defining some terms. when i say 'movement', i am referring to the directions that a character is showcased moving in during their scenes. for example, take these two shots from the first episode of the anime.





not only would i say that karen is literally falling down, but in terms of the plot she is falling down a spiral she will not be able to shake until the very end of the series. while characters may not always have a specific direction associated with them, the ways in which they and the camera move can give way to many different interpretations and understandings of the film.

with that out of the way, we can kick things off by beginning with karen and her (aforementioned) consistency of downward momentum in the movie. think, if you will to this scene with junna and karen:



while both characters are acting out a scene, this is a very emotionally charged moment and a rare one for karen where we get to see her lashing out, venting her frustrations in the only way she can: being on stage. she is looking down on junna here and aimlessly asking what she should do out of frustration and a general lack of direction for her life moving forward. in the bigger picture, it feels as though she is looking down on junna for how easy it is for her to move on. really, it could be saying something about the entire cast here and how she feels in comparison. it's a bit of that childlike selfishness, with her putting her feelings before all else and only thinking about what she wants-- for hikari to come back. without a stage to leap onto, karen feels as though she is nothing. if she does not exist there, then why does she exist at all?



for those of you thinking that this is all conjecture and based on nothing (i would refer you to a basic art history class as a good starting point), i would like to use this shot to go off of. interestingly enough, its colors correspond to four of the main characters in the series and their respective forms of movement. i doubt this is unintentional for so many reasons but it's incredibly interesting to think about how it portrays karen as the slide, delivering people to their destinations with ease and confidence.

the same scene also showcases one of my favorite things done with hikari and karen. in this movie, whenever karen looks up, it is at hikari. her entire motif of downward momentum is sent into a panic when she turns to look at hikari and it's antithetical for the both of them. karen looks hopefully up into hikari's gaze while she returns it, looking down at karen with a gaze only two lovers can share. it is very romantic!





with nana, it seems as though karen's movement tends to go flat. the shots here are explicitly horizontal, as if to show that the two are shown on equal ground. for this scene, it is not the movement that is important but the lack of it that makes it important. karen is not making any progress of her own here. within nana's presence she is travelling only as the narrative wishes for her to-- directly forward on a predetermined course, travelling from station to station on a train that is headed to nowhere. when karen is contrasted with nana's cold, harsh demeanor, she does not know how to confront it without the stage. the last time the two clashed, karen let her performance do the speaking but now they are forced to confront one another. nana's feelings of anguish toward moving forward with time are exemplified in karen, the things she says in this scene are all to showcase her feelings on the matter after nearly a year to reflect on it.



this shot and accompanying flashback as a whole are where this movie begins to hit me the hardest with its imagery. the towering, enormous presence of tokyo tower looms over karen's presence as she begins to find herself beneath it, the top stretching into the heavens far higher than she could ever dare to go. not only is it symbolic of hikari and karen's relationship, but it also shows the room for growth that she has in comparison to everyone else. the train tracks that stretch forward to and beyond the tower serve as a place for karen to idle on without understanding. without others to be her fuel, karen cannot divert from her course. she cannot change track, and her engine cannot run when forced to part.

aijo karen is a protagonist that moves in a myriad of ways. forward, backward, up, left and right are all directions that she eventually travels in her journey to find her place in the world, yet down is the most important one. for karen, down is a place of beginning and end. she began her descent into the starlight theatre by jumping headfirst into it at a breakneck pace and dually, she ends her journey by coming down from the tower.



note: thank you for reading! i will hopefully be doing one of these for every character in the future as i really, really do love this movie. there is a lot of it left up to the viewer to interpret which lends itself quite well to thinkpieces such as this. please keep in mind that this is an analysis based on my personal interpretation of the film and as such, this is not a 'revue starlight: EXPLAINED' post. watch the movie for yourself and come to your own conclusions regarding it.