More on Bakemonogatari and Narration

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“At our three-year high school with two hundred students in each grade, you end up sharing a living space with about a thousand people in all during your stay if you include the graduating and incoming classes and the faculty. Start wondering how many of those people mean anything to you, and the answer is going to be bleak for just about anyone.”

-Koyomi Araragi, Bakemonogatari vol. 1

The Monogatari series — both in the light novels and the anime — is known for its verbosity. This is why the Kizumonogatari movies were so novel to me. Nearly all of their storytelling was done visually, removing the Koyomi Araragi monologues and narration that define the Monogatari series. Hiroshi Kamiya’s voice permeates the series, and even later installments of Monogatari Series: Second Season feature monologues from the series’ beloved heroines.

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Little Witch Academia on “magic (anime) is dying.”

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“Luna Nova is reaching the end of its usefulness anyway. All I want is to collect on it before its value drops to nothing.”

-Fafnir to Akko Kagari, Little Witch Academia, Episode 5

How many times have we heard the phrase, “anime is dying?”

How many times have we heard its sister phrase, “anime was a mistake?”

Both of these memetic sayings have been repeated ad nauseam, accompanied by the latest screencaps or bits of dialogue from currently airing series, across various forms of social media. The latter is a misattributed quote to legendary anime director Hayao Miyazaki, subtitled over scenes from the 2013 documentary on Miyazaki’s Studio Ghibli, The Kingdom of Dreams and Madness.

Although “anime is a mistake” is a false line, Miyazaki has continuously and cantankerously expressed derision towards the modern anime industry — among many other things — in interviews and his own memoirs. His attitude is not a recent shift, but an opinion reiterated and repeated over time. “Almost all Japanese animation is produced with hardly any basis taken from observing real people, you know,” he said in an interview for Golden Time (translated here on rocketnews24). “It’s produced by humans who can’t stand looking at other humans. And that’s why the industry is full of otaku!”

Yet the inspiration of so-called lowbrow anime to a fledgling animator is what Little Witch Academia is all about. “There is the story about Hayao Miyazaki entering the anime industry because he was moved by Panda and the Magic Serpent,” Little Witch Academia director Yoh Yoshinari said in an interview about the original OVA. Then he watched the movie again afterwards and was disappointed by how bad it was (laugh). Yet, even if it’s actually not enjoyable at all, it can be irreplaceable for that person. What’s important is the feelings you got from watching it, and the fact that you had admiration for it. That’s the theme we were looking for.”

This will be a bit of a stretch for some, but another framework through which to view Little Witch Academia is a continuing celebration of the anime fan.

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Adapting Nichijou (on visual and consumption differences between anime and manga)

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Robot high-school student Nano Shinonome is late for school. She calls back into her house — a small, older unit close to the train overpass — not to a parent but to her young professor before dashing out the door. Running, she checks the small digital watch set in her forearm. It’s 7:50 a.m.. “Maybe if I run, I’ll just barely make it,” she says.

As she nears the first intersection, a blond boy with headphones appears. He hums along to his music while walking. Nano begins flailing her arms like pinwheels in an attempt to stop suddenly. “Watch out!” she yells. It’s too late. The collision causes an explosion felt all over town. A few moments later, debris hits fellow high-school student Yuuko Aioi.

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Indulging our lowbrow influences — Little Witch Academia

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When I was younger, I consumed books. Every Saturday morning was spent pouring through another story after breakfast until I was kicked outside by my parents to do yardwork. When I fell ill — this happened fairly regularly — books would pile up underneath my pillow. I slept flat, without a pillow or on my arm, because the pillow concealed books from my parents. After they checked in on me before going to bed themselves, I would turn my nightlight on, curl up, and continue reading.

To this day, I don’t sleep on a pillow. To this day, my parents still believe that I was afraid of the dark until I was well into high school.

In fifth grade, I was inspired to play the piano after seeing the Boston Symphony Orchestra play Modest Mussorgsky’s “Pictures at an Exhibition.” A renowned, and generally well-liked work, there’s no shame in saying that “Pictures at an Exhibition” was an inspiration. It makes for a cute anecdote— one where an elusive sense of so-called good taste is implied.

There’s far more shame in saying that you were inspired to become a writer from Ann M Martin’s Baby-Sitter’s Club series, RL Stine’s Goosebumps series, or Michael Stackpole’s Rogue Squadron — the latter of which skirts fanfiction territory, inviting even more derision. Inspiration is something that’s deeply personal, regardless if your impetus for picking up writing comes from Stephenie Meyer’s twilight or Aldous Huxley’s Brave New World.

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On Pillow Shots, Nichijou, and Miss Kobayashi’s Dragon Maid

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Many anime use cherry blossoms for lingering shots, full of deep longing or the ephemeral Heian mono no aware. Makoto Shinkai’s 5 Centimeters Per Second immediately comes to mind, as do the more recent series Your Lie in April or Amanchu!, both of which frame principal relationships with blooming cherry trees.

Yet, only one other anime series came to mind when I saw this shot from the third episode of Miss Kobayashi’s Dragon Maid. Another quirky comedy animated by Kyoto Animation — Nichijou, or My Ordinary Life.

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