April 19, 2014 § Leave a comment
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.
April 15, 2014 § 3 Comments
“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.”
April 11, 2014 § 17 Comments
Every time I write a post I wonder, “Is this good enough?”
April 6, 2014 § 20 Comments
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.
April 4, 2014 § 6 Comments
Asuta Jimon is someone who is admittedly lost. His initial introduction shows him wandering the streets of West Udogawa aimlessly, having just left the shelter of his incredibly powerful father. As we come to know him in the series, he is someone who values closeness, specifically when it comes to mealtime, and eschews the influence that he could have had from being the son of Kyoshiro Jimon: Governor of Tokyo. He lacks direction, and doesn’t know what he wants to do. The idea of what he should do with his life has presumably been laid out for him from a very early age, with only one path to travel.
However, he is very firm in his belief that, even while lost, he should be allowed to make his own mistakes, going against the plans that were structured for him. Asuta may not have a plan for what he wants to do with his life, he may still be attempting to define what he cares about the most, but in the midst of all of that indecisiveness, he knows that he wants a world in which he is allowed to choose what he wants to do.