From its first episode, Darling in the Franxx uses flower language and plant genetics to frame the entire series. It’s not subtle about any of these trappings, which continue to appear in each passing episode week after week not only in commonly-used titles (like pistil, stamen, etc.) but also in flowers found in the on-site greenhouses, in various rooms, and the series’ most recent ending sequence.
“Is this emotionally manipulative?” is a question frequently asked regarding Japanese animation. I first heard it regarding Clannad — particularly in relation to Kotomi Ichinose’s narrative arc, but also about the series as a whole — but this query dogs certain anime, even if the series in question is completely upfront about these goals, like Clannad. The floating teddy bear in the ocean, the empty, overgrown garden, the musical cues, they’re all in service of eliciting tears from the audience. It’s the equivalent of Russell Crowe’s Maximus screaming, “Are you not entertained?” only the unspoken scream is “Cry, damn you!” to the affected viewer.
In the current anime season, two series have fallen into this category according to the community: Violet Evergarden and A Place Further than the Universe. Within the past week, both shows told similar but diverging stories regarding mothers, daughters, and letters that play with ideas of time and transience. These stories offer an easy point of comparison between each other while also pushing carefully constructed emotional buttons.
However, the question shouldn’t be whether something is emotionally manipulative, but whether it works, strings and all. Do these feelings still feel genuine despite obvious cues and pre-existing narrative structures? My definitely-not-dry eyes say yes, but whatever personal conclusion you come to, Violet Evergarden and A Place Further than the Universe offer parallel case studies — nearly a week apart in airtime — in what make letters and messages such emotional sucker-punches.
The white lily (shirayuri/白百合) is the third image to appear in Yuri Kuma Arashi. First the anime opens with what we learn later is a bear alarm — resembling a tornado or earthquake siren — next, an outside shot of Arashigaoka Academy, complete with a title. Kunihiko Ikuhara loves stagecraft and with less time to work with, Yuri Kuma Arashi‘s episodes are packed with images, often accompanied by specific titles, to set the stage.
Then a white lily appears.
Whether working directly with the language of flowers through naming schemes of the series’ mechs or framing its narrative with floral genetics and reproduction, Darling in the Franxx has never hidden its floral influences. It’s also not a subtle show, so when the entirety of Episode 8 is framed by Kokoro talking specifically about floriography — the flowers used for the robot names have always been present in the Plantation 13 gardens — the series is effectively painting a gigantic arrow that says “pay attention” pointed at flowers used within the show.
This is punctuated by an ending sequence that resembles Kiznaiver‘s, assigning a flower to each of the women in Darling in the Franxx. There are a lot of similarities between Kiznaiver and Darling in the Franxx — I’m personally inclined towards Kiznaiver since I think people generally have more trouble fumbling through empathy towards each other than sex — floriography being one of them. Where Kiznaiver used flowers as another frame of reference, dropping hints at the individual pasts of its female characters, Darling in the Franxx uses them unsubtly as possible, going as far to include this small shot at the beginning of this latest ending sequence, again telling us to pay attention.
The chrysanthemum and cherry blossom are both national flowers of Japan. They’re also the names of the two plantations that “kiss” in Episode 5 of Darling in the Franxx, bringing two teams of parasites together.