All the Earth’s a Stage, Captain

April 20, 2014 § 2 Comments

akari yomatsuri, akari onstage in captain earth, captain earth, globe

With the entrance of Akari Yomatsuri in episode three of Captain Earth, the series solidifies its theatrical trappings – in addition to random Shakespeare references – through use of visuals and blocking.

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All the Small Things: Remembering Details and One Week Friends

April 19, 2014 § Leave a comment

one week friends, isshuukan friends, kaori fujimiya, rooftop bento

 

Kaori Fujimiya’s memory processes, or lack thereof, are intriguing, as she only forgets one important piece. However, missing that specific piece – her emotional ties to another person – effectively blocks the incoming tide of memories.

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Yoppi’s “Flu Game,” and the Emotional Narrative of Wake Up, Girls!

April 15, 2014 § 6 Comments

wake up girls!, wug, yoshino nanase, yoppi, kaya kikuma, minami katayama

“Matsuda, do you remember what I told you at the audition? About idols being a story? They’ve written tons of stories this past year, and today will become a new story. I know I shouldn’t be saying this, but these girls are idols.”

-Green Leaves President Junko Tange, Wake Up Girls!, episode 12

Where The Idolm@ster plays with traditional harem elements to captivate its audience, AKB0048 is the next evolution of Macross, and Love Live! is a high school musical, Wake Up, Girls! makes a compelling case for itself as more of a classic sports narrative. President Tange tells Matsuda – and by extension, frames the series for viewers – that idols are “a story.”

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The Stop After the Next

April 11, 2014 § 18 Comments

ping pong the animation, smile, peco, masaaki yuasa,

Every time I write a post I wonder, “Is this good enough?”

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Visual Storytelling in Captain Earth

April 6, 2014 § 22 Comments

captain earth, starry sky, mysterious woman sihouetted in captain earth

Captain Earth reunites two Sailor Moon veterans, Takuya Igarashi and Yoji Enokido, with the former overseeing the series’ direction and the latter the series’ composer. Both are well-known names hailing from the “Kunihiko Ikuhara tree,” Ikuhara having had a hand in Sailor Moon‘s direction since the first season before leaving following Sailor Moon SuperS in 1996 to direct Revolutionary Girl Utena in 1997. Igarashi stayed on with Toei Animation to direct the final, and my personal favorite, season of Sailor Moon: SailorStars, while Enokido wrote Revolutionary Girl Utena, which was directed by Ikuhara.  Igarashi and Enokido were reunited in 2006 by Ouran High School Host Club, and most recently, the two worked on Star Driver, again as director and series composer respectively.

As their latest offering, Captain Earth has trappings of series past, in addition to leaning heavily on repetition to provide a narrative framework for protagonist Daichi Manatsu. It reeks of Igarashi, Enokido, and Ikuhara in style. Additionally, the series is dripping with sexuality.

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