“Starlight” is the song and dance revue troupe loved throughout the world. Karen and Hikari make a promise with each other when they’re young that one day they’ll stand on that stage together. Time passes, and now the girls are 16 years old. Karen is very enthusiastic about the lessons she takes every day, holding her promise close to her heart. Hikari has transferred schools and is now away from Karen. But the cogs of fate turn, and the two are destined to meet again. The girls and other “Stage Girls” will compete in a mysterious audition process to gain acceptance into the revue. – ANN
Episode 1 Summary: Karen Aijo, despite being a goofball and a little bit of a sleepyhead, is one of the elite students at Seisho Music Academy, a training ground for musical actresses and theater professionals. She made a promise with her friend Hikari when they were children that they’d each become actresses, and Karen has been living that promise to the best of her abilities. It’s been years since Karen has seen Hikari, but as fate would have it Hikari has recently transferred to Seisho after having lived several years overseas. Karen is overjoyed, but Hikari seems distant. When Karen follows Hikari back to school one evening, she discovers a secret hidden below the halls of Seisho. There, Hikari is involved in what appears to be the battle of her life with another of the students as part of an audition for the role of top actress in the Starlight musical. Karen, being who she is, can’t help but don a costume herself and intervene.
Tokyo in 2030. In a suburban area, suddenly a high-frequency resonant sound is heard, and at the same time a red mist shrouds the area. Anyone who hears the sound, be it human or animal, loses consciousness. The government estimates that it might be an unidentified virus, and fearful of an epidemic, blockades Tokyo and moves its base to Osaka. However, six days after the incident, those who lost consciousness from the sound awaken for no apparent reason. Those blockaded in Tokyo slowly start to get the city functioning again, but after that day strange incidents start to occur at the blockade border. Those who have awakened a hidden blood power arise, are drawn to one another, and must face a cruel fate. – ANN
Episode 1 Summary: Chihiro is a typical college student who lives with his adoptive family at their dojo. Though he’s a good swordsman, he has an aversion towards aiming for a killing blow, something his instructor (and adoptive father) warns him about repeatedly. Kotetsu, the instructor’s son as well as Chihiro’s friend and adoptive brother, dreams that the two of them will take over the dojo together someday. While they’re both on their way to university, a terrible noise rings out across the city. People begin to collapse in the street as the noise permeates the atmosphere.
Chihiro awakens in a hospital bed, where the doctor (and his moody nurse), inform him that he’s been comatose for the better part of five months. He’s in fact the last of the people affected by the incident to wake up. While he was asleep Chihiro dreamed of a void space filled with spinning architecture and a mysterious young woman with a parasol, but when the doctor asks him about his dream, he finds the images have begun to fade. Once Kotetsu retrieves him from the hospital, Chihiro begins to learn about the things that happened while he was asleep and how Tokyo is now isolated from the rest of the country by a mysterious red fog. When the two return to the dojo, they once again hear a terrible sound ring out – and discover a terrifying monster that has absorbed their father!
Beautiful high school girl Satō Matsuzaka believes she has finally found the meaning of love when she begins living with a younger girl. Previously, Satō never refused the advances of any guy around her, but that changes when she meets the girl Shio. The background and age of the mysterious girl are unclear. When Satō is with Shio, she experiences a very sweet feeling, which she understands as love. In order to protect that feeling, Satō is willing to do anything, even if it means committing murder. – ANN
Episode 1 Summary: Satou used to sleep around with various guys, but ever since discovering true love, she’s left the revolving door of men behind her. The object of Satou’s affection is Shio, a young girl of indeterminate age who lives with her. Now that the two are on their own, Satou is the primary breadwinner, so she quits her lower-paying maid cafe job to become a waitress at an upscale restaurant. As an attractive young lady, Satou draws the attention of one of her male coworkers, but as with all other potential male suitors as of late, she rebuffs his advances. Afterwards, she sees him entering the female manager’s office. Suddenly the manager starts giving Satou significantly more work than the other employees, ostensibly in order to make up for having declined her coworker’s advances and causing discord in the restaurant. The long days keep Satou from seeing Shio, and she begins to experience some intense negative feelings towards the manager for keeping her away from her love. Payday is the final straw – Satou doesn’t receive any pay related to the overtime she’s been forced to work. But Satou knows the manager’s dark secret and threatens to blackmail her. Satou has some secrets herself, though; her “happy sugar life” as she describes it may not entirely be based in reality, and the blood-covered garbage bags in her back room may have their own tale to tell.
In the year 1274, the invading Mongols have their sights set on Japan. The exiled samurai Jinzaburō Kuchii is in Kamakura when he finds himself face to face with the invasion. – ANN
Episode 1 Summary: Jinzaburo Kuchii is a former general, and one of many criminals facing exile for his crimes. On a storm-tossed boat, he and his fellow prisoners are at the mercy of the seas until a gang revolt sees several dead and Kuchii and the more reasonable members now in charge. They make their way to Tsushima, an island located between Japan and Goryeo (the modern-day Korean Peninsula) where they’re greeted warmly by Princess Teruhi who invites them all to dinner. It’s there that the reason for their exile (rather than alternate punishment) becomes clear; there are rumblings of Mongol ships 900 strong waiting to set off from Goryeo, and Tsushima is directly in their path. The criminals are meant to be the first line of defense to help repel the Mongol invasion. Kuchii vows not to get involved, but is drawn into the conflict when Princess Teruhi is nearly kidnapped by an advance force.
Urashima is an island far from the mainland. The people who live there lead carefree lives. But five years ago, the island’s three great families suffered a series of misfortunes, and succumbed to suspicion. The people of the island cut off all contact with the mainland, and began a slow decline. One day, a young man named Setsuna washes ashore claiming to be a time-traveler and suffering from amnesia. He meets three local girls: Sara, Rinne, and Karen. Their meeting will change the course of the island’s fate. – ANN
Episode 1 Summary: One day, a young man washes up on the shore of an island without clothing or a handle on his own memories. He can’t remember who he is or why he’s there, except for the fact that he’s a time traveler who’s traveled to the past for some reason. Urashima island doesn’t take well to interlopers, so the mayor makes a quick show of putting the man on a ship to send him somewhere else. He manages to escape, discovers the mayor’s daughter in her hiding place, and has some broken flashbacks of having met her in some other time or place. Left again to his own devices, he spends a night out on the beach and encounters a girl whose name, Rinne, comes to him without trouble. He then remembers that his name is Setsuna. Both he and Rinne are time travelers (she arrived five years prior), and Rinne invites Setsuna to live with her. Setsuna believes that he’s traveled to Urashima for some purpose, and there are others there who appear to know who he is and want him out of the picture. Is this mystery one that can be solved before Setsuna becomes a victim?
Impressions: Back when I started writing reviews in the mid-to-late 2000’s it felt as though there were a lot of harem romance stories being adapted into anime form. While there were some that I remember just based on how up front they were with their sexism and lewd over-the-top fanservice, there were quite a few more that were mostly-harmless and homogeneous to the untrained eye. The genre hasn’t disappeared, not by a long shot, but it does feel like harem series nowadays almost require some additional defining factor. The monster girl trend has been pretty big recently, as has the male self-insert isekai fantasy harem series. It’s rarer to see something that simply feels like the “typical” anime adaptation of a harem visual novel that I remember being very common in those earlier days.
Setsuna is not shy about his time-travel.
Enter Island, which establishes itself pretty quickly as a back-to-basics harem style series with a sprinkling of sci-fi (or supernatural?) elements to give it a little bit of flavor. The first episode hits all the beats that one would expect, including the introduction of three potential love interests with whom our protagonist might end up . It’s been a while since I’ve seen Amnesia(TM) relied-upon as so blatant a storytelling device, but I have to say that, coupled with Setsuna’s goofy and uncommonly outgoing personality, it made me chuckle a little bit. It feels almost as if the series and its creators are daring us to so much as make a peep complaining about these tropes; considering that the visual novel was released only a few years ago, it seems that its look, feel, and structure were likely very purposeful decisions on the parts of the creative staff.
All of this feels a little quaint and because of that I actually have some generally-positive feelings towards the surface aspects of this episode, but there are a couple of very brief moments that I found somewhat questionable in terms of both taste and implication. In one of the episode’s first scenes, Karen (the mayor’s daughter and one of the assumed love interests), trips on the sandy beach and falls face-first onto Setsuna’s naked groin. It’s played up for comedy, but it’s one of those things that only seems like bawdy slapstick until you really start thinking about the details. I find the thought of getting an accidental face-full of a stranger’s penis to be pretty upsetting, to be honest. As it is with a lot of these types of anime, the humor often seems to be predicated on the characters’ embarrassment, specifically sex-related mortification. Unfortunately, though it’s meant to lighten the mood, it honestly just makes me squirm in my seat. There’s also the hint of a scene that seems to be a flashback (or flash-forward? Time travel is hard!) where a nude Rinne (who’s looking to be especially pre-pubescent) appears to be in a sexual situation with Setsuna. It’s there and gone in a matter of seconds, so it didn’t register with me right away, but the coupling of the young character design with the nudity and atmosphere felt creepy and gross. And of course there are the “small boob” jokes involving the shrine maiden character and the non-consensual near-kiss with Karen. These moments are brief and might be easy to overlook for some, but they’re good reminders of some of the fundamental problems many similar series tend to have in that the women are there for entertainment and primarily at the expense of their dignity.
A fated meeting on the beach.
There was one thing that I absolutely loved about this episode, though: the school uniforms. Goofy school uniform designs tend to be a pet peeve of mine, usually because they’re created for looks rather than practicality or functionality. No one would actually wear something like that unless they were actively cosplaying. The school uniforms in Island, however, are some of the most practical that I’ve ever seen, and that’s because instead of teeny short skirts that seem too short to be worth anything, the bottoms of the uniforms are shorts. This is awesome! It fits the warm island aesthetic very well and avoids the temptation to have constant up-skirt shots peppered throughout the episode. This is one anime trend I that I hope catches on.
This episode is surprisingly watchable, and I’m admittedly just a teensy bit interested in learning about what Setsuna’s deal is, despite the fact that he’s still a little bit of a “nothing” character. I get a weird sense of nostalgia from this opening chapter which is overriding my normal taste-related instincts to drop it and walk away. Perhaps this is just the consequence of being an anime fan for so long; even tropes that you don’t like become familiar echoes of a time when watching anime was a little fresher and writing about it was less restrained.
Pros: Someone put some thought into the uniform designs. The mystery surrounding Setsuna’s situation is mildly intriguing. The show feels nostalgic.
Cons: Each of the three young women is put into a questionable and compromising position, whether in “real life” or in flashback form.
Kentarō Tachibana is the coach of Kitakomachi High School’s badminton team. He is worried because the team has so few members that it cannot even enter competitions, but then he spots a student named Ayano Hanesaki easily climbing a large tree on the school grounds, expertly demonstrating excellent motor skills. Tachibana tries to get Ayano to join the badminton team, but finds out that Ayano hates badminton. – ANN
Episode 1 Summary: Nagisa Aragaki tries her hardest to improve her badminton game and she’s very skillful, but not quite good enough to survive a match with Ayano Hanesaki, someone who seems to have boundless natural talent. After being shut-out against Hanesaki, Nagisa returns to her high school badminton club and begins to take the loss out on others. As people are driven away from the team one-by-one (including the upperclassmen), Nagisa comes to the painful realization that she’s begun to take her own insecurities out on the people around her, blaming them for her inability to achieve the things she wishes to. To add insult to injury, Hanesaki attends the same high school, and the badminton team’s new coach, Kentaro Tachibana (a former olympian), is convinced that Hanesaki is what their team needs to become competitive. But Hanesaki has no interest in playing badminton again, and Nagisa is still struggling with those painful losses.
Impressions: I was looking forward to this series a lot based primarily on some of the preview footage. I like to tell people that there’s an anime out there about anything, and that’s especially true for various sports. Badminton might bring to mind images of garden parties and women in Victorian bustle dresses, but I was impressed by how convincing the trailer was at portraying badminton as an intense sport where players actually expend a great deal of energy. As it turns out, the trailer footage is primarily taken from the opening scenes of this introductory episode, and the expression of Nagisa’s intense concentration and drive to continue a lost battle against the talented Hanesaki through her dripping sweat and tense muscles is powerful and gripping. This scene represents the most intense action in the episode, and it remains a memorable focal point throughout.
Nagisa struggles with her own behavior.
That isn’t to say that the rest of the episode is boring; while the sports action is eye-catching, there’s also a sense of tension that’s cultivated around Nagisa’s emotional journey. I was surprised by how effective this was considering that the characters are brand new at this point and their stories are only portrayed in the most basic of terms. One thing that I found helped contribute to this was Nagisa’s internal narration in the opening scene as she struggled to return each shot and yet failed to win her match. I realized that I felt a lot of sympathy towards her situation – as she asks a couple times throughout the episode, what can you possibly do when you put forth your best effort and it just isn’t good enough? How can you win against someone who has loads of natural talent when it takes you three times as much effort to get to the same level? It’s a question that I’ve asked myself a lot throughout my life, because I’ve had the joy and pain to know a lot of incredibly talented people, many of whom can best me easily in the things that I like to do but don’t have much natural talent for. With the added stress of being called “gifted” at some early point in my life and thinking I was just naturally smart, and then being confronted later on with the fact that I needed to try just as hard as anyone else at things and not having good tools to do so, you can probably guess why this part of the story resonated with me so clearly.
Hanesaki prevents a disaster.
Because the primary conflict, rivalry, and relationship in this series seems to be between two girls, at least judging by the bulk of this episode, I’m feeling a little bit less enthusiastic about the fact that not only is the male coach given a lot of air time in the descriptions I’ve been reading about the show, but he comes across as a perverted jackass from the moment he makes his on screen debut. I’d had the sinking feeling that his presence might take something away from the parts of the story that interested me, and it’s already been the case. In this Larry Nassar-tainted world that we live in, I have very little tolerance for men in positions of authority (in sports and elsewhere) being creepy towards, well, pretty much anyone, but especially teenage girls. It was the reason why I dropped Uma Musume: Pretty Derby like a hot potato almost immediately; the male coach assaulted the female main character multiple times (grabbing her body – specifically her thighs – without her consent) in the first episode and it was played for comedy. A lot of people seemed to brush it off and I gather that the show was a fun watch beyond that, but the imagery still gives me a knot in my stomach. Tachibana’s arrival is heralded by him eyeballing female tennis players from the other side of a fence, and one of the first things he does is to run to Hanesaki and start grabbing at her wrists without any sort of introduction or consent. Again, this is played for comedy, or at least is meant to imply that the coach is so focused on his sports-related goals that his possibly dubious grasp of social norms gets thrown out the window. What it is is gross, and I wish that better decisions had been made at some point along the line (possibly in the original manga, assuming this adaptation is faithful).
Hanesaki is done with badminton.
I’m not against having male authority figures in anime about girls’ sports, but I found that the story was unfolding just fine without that particular contrivance and was really enjoying the episode more when the girls were working through things in their own way, using their own voices. Perhaps I’m just overlooking some really obvious example, but I feel like sports anime starring girls tends to lack some of the seriousness that you get from much of the sports anime starring boys, and this series looks a lot like it could buck that trend. It will just have to get over the inclination towards creeper “comedy” and show a little more confidence in its characterization of the coach.
I’m finding more and more that my strongest negative reactions towards anime are not because a show is just outright terrible, but more because it managed to do so many things well and then managed to biff it in a way that bothers me personally and fundamentally. I certainly don’t think that this show is irredeemable; If subsequent episodes are anything like this one they’ll be both visually interesting and emotionally compelling. I loved the use of color throughout and though the animation was really well done. It got me interested in watching badminton! I would just hope that the coach character is given the chance to behave like a normal human being and that the show lets go of this “young adult males love to creep on teenage girls” thing it’s got going on.
Pros: The action is well-animated. Much of the episode is visually rendered very well. Nagisa’s emotions are portrayed very truthfully in a short amount of time.
Cons: There’s some ill-timed perverted “comedy” that undercuts the tone of the rest of the episode.
Teiai Group is one of Japan’s largest firms. Yukio Tonegawa, a man with a larger-than-life presence and sharp intellect, works as the right-hand man of Chairman Kazutaka Hyodo. One day, the chairman commands Tonegawa to spearhead “Game of Death,” an evil project that employs debtors. He rallies his direct reports and scrambles to form Team Tonegawa, only to encounter a barrage of challenges from the erratic chairman and his disloyal employees, ultimately leading to his demotion. – ANN
Episode 1 Summary: Long before Yukio Tonegawa met Kaiji Itou in a card game that changed both of their lives, he was simply a middle manager for the Teiai group, a finance and loan outfit providing monetary loans at unreasonable interest rates. Tonegawa and his underlings collect on their debts regardless of the circumstances, and Tonegawa himself is especially good at shaking-down those who become delinquent with their debts. His position at the company puts him in the path of the company chairman Hyodo, whose boredom has brought him to seek unconventional pleasure in the suffering of others. Hyodo puts Tonegawa in charge of setting up a “death game” wherein debtors will fight for their own lives in a series of death-defying challenges. But Tonegawa has to get over the first hurdle of telling his underlings apart before he can possibly ask them to help come up with deadly gambles.
Impressions: I’m not really sure how many viewers out there are familiar with Gambling Apocalypse Kaiji; it was a weird, offbeat sausage-fest of a thriller from about ten years ago wherein a hapless debtor goes on a last-chance trip to erase his debts once and for all through extreme gambling. The show appealed to me quite a bit and I have fond memories of it; I think we all can enjoy a good underdog story, and Kaiji is the epitome of underdogs. It also contains one of the more horrific scenes I can recall from any anime, where Tonegawa is forced to bow his head to the surface of a grill after losing the final card game against Kaiji. If it sounds as though a lot happened over the course of that series, you’d be correct (and that’s only in the first season!). Helpfully, though, the first few minutes of this episode manages to provide a decent recap of twenty-six episodes of material, so while I think Kaiji is worth a watch no matter if you want to watch this series or not, it’s not a requirement to understand what’s happening here.
A couple of Tonegawa’s lackeys.
On its surface, Mr. Tonegawa has some traits that would normally be very appealing to me. Most anime stars younger characters and tends to be aimed at teenage viewers, something which doesn’t prevent me from watching a ton of anime but it does serve to make it less-than-relateable for me as an adult viewer at times. So far this series exists fully in the realm of adults, starring a middle-aged protagonist who supervises other men in their mid-thirties. The debtors, though they clearly haven’t lived up to their adult monetary responsibilities, all seem to be attempting to live real, typical lives – buying houses, owning businesses, blowing their money at the race track (well, that last situation isn’t so universal, I hope…). It’s good to see an anime acknowledge the reality of these kinds of things once-in-a-while, because paying bills and budgeting for my lifestyle are responsibilities that are often on my mind as someone who’s been a member of the workforce for a while now (and I know there are a lot of other people around who are just as boring and typical as I am). The issue I have with how this form of adulthood is portrayed in this episode, though, is that all the people Tonegawa’s employees are hassling throughout the first half are extremely irresponsible with money to the point of spending it gambling, drinking, and shopping while still owing on their loans. It’s not out of the realm of possibility that someone might take out a loan for something serious and specific and end up mismanaging it, but all of the people squandering their funds seem as though the thought of these loan sharks collecting on their debt has never crossed their mind and they’re portrayed as silly and irresponsible. Perhaps this was a way to try to build some sympathy for Tonegawa and the job he’s doing, because his character traits certainly don’t lend themselves to sympathy on their own. In any case, I didn’t feel that it was successful in cultivating positive feelings towards the character or his job.
Hyodo is bored, which means danger is in the air.
The first episode seems to have an issue with maintaining a specific tone as well. I’m not a fan of series that try to blend humor and drama in awkward ways, and I feel like there are only a few creators that can do so really well (for example, watch any series by Kunihiko Ikuhara). This show and its creators seem to recognize that there’s a fundamental ridiculousness to the story they’re trying to tell; the premise is already far afield of realism and the cast of characters are anything but down-to-earth. That’s all well and good, but rather than embrace how silly and unrealistic the story is required to be, the final product gives off the impression that it’s taking itself too seriously. When a character is introduced literally laying atop the backs of his employees as Hyodo is partway through this episode, the aspects of his personality which are truly frightening – his casual disregard for human life and his willingness to play games with it – are overshadowed by the visual goofiness. There’s also a scene which I feel is actually meant to be funny, but which comes across poorly due to some poor choices made in narrating the scene. Tonegawa organizes a group of several men to help him with the task of developing the death games, and all the men are dressed the same, look the same, and have confusing names and the same hobby. Even Tonegawa who is said to have special managerial skill and mental cunning, gets confused and finally gives up on trying to learn which man is which. This could have been really funny but for the overbearing narration that carries throughout the entire episode and provides an unneeded play-by-play for every action. I don’t recall whether this was a trait that also got out of hand in Kaiji, but if so perhaps I was more patient with it back then.
Tonegawa always gets his money.
I really want to mention the visuals, because the character designs in particular are what originally drew me to this franchise way back when. Anime character designs are really not as homogeneous as people think, but they do tend to blend together after a while especially if you’re watching a lot of shows per season. I don’t think it’s possible to confuse Mr. Tonegawa with anything else airing this season; with all the sharp angles and extreme facial features littered throughout, there’s just no mistaking this show. I kind of love that; even though the animation itself is more functional than striking, its characters are clearly not beholden to any visual trends.
I’m slightly disappointed that I didn’t have anything better to say about this first episode, though despite looking forward to it prior to the season I was well aware of the fact that my sunny memories might have been more nostalgia than anything else. As I am now, it’s also very questionable to me when the gender make-up of a property is so profoundly one-sided in the male direction; it was the same with Kaiji even more so, but as I continue to consume media I find that my tolerance for male-heavy casts diminishes with each passing year. At least with Kaiji I felt something for the protagonist and wanted to see him succeed, whereas Tonegawa is a little more difficult to love. I think there’s potential here and I have to celebrate non-standard anime protagonists when I can get them, but this series definitely hasn’t found its footing yet.
Pros: Extremely unique compared to almost every other anime in recent memory. The cast is comprised of adults. The opening theme is great!
Cons: The constant narration is intrusive and distracting. The episode strikes an awkward balance between humor and seriousness that’s ill-fitting.
Happy Mothers Day, everyone. I’m not normally one to make holiday themed posts because most of the time by the time I remember there’s a holiday it’s the day of and there’s not much time to put anything together. For some reason, though, I’ve had this on my mind for a while and wanted to put it into writing, even if it’s a little late. I thought it might be fun to look over my last year or so of anime viewing and pick out one of my favorite mother (or mothering-type) characters.
I know a lot of blogs and news outlets like to do top-ten lists in these cases, but the fact is that anime mothers who actually have significant story-important roles in anime aren’t that common so most of those lists tend to be very similar. My arbitrary criteria for my post was to pick out a mother who was active, important, and/or memorable in some way within a series I watched that was broadcast somewhere within the past year (loosely – since this is the first one I’m reaching back a little bit further). I’m sure there are other candidates out there from series that I’m not so familiar with, so if you have someone in mind feel free to let me know in the comments.
Anime, like many other storytelling media, tends to have a “mother” problem. Meaning that so much anime focuses on the activities and adventures of children and teenagers that a parent’s presence could be seen as stifling to their ability to get into “interesting” trouble. What decent, responsible parent would willingly allow their child go places and do things that have the potential to put them in mortal danger? Sure, there are examples in anime of parents who laugh in the face of such concerns and are more than willing to allow their children out into the world (basically every incarnation of Pokémon ever), or accept that their children are in a situation where they’ll be growing up quickly and taking on adult responsibilities (Bodacious Space Pirates, absolutely), but those are less common. Coming from a more realistic perspective and looking more at anime series that are at least somewhat based around realistic social norms, if you want to have some fun it’s just easier to leave parents out of the equation (or create some plot-related circumstance where they’re conveniently unavailable). Since mothers are generally thought to be the more “present” parent in Japanese households, what with social norms and gender expectations being what they are even today, when the story requires a lack of parental oversight it’s usually mom who suffers some ill fate (and maybe dad who becomes a buffoon or is otherwise ineffectual). Anime is full of dead-moms-as-motivation (though in some cases, like Erased, Satoru’s murdered mother is still present in some form due to timeline realities); it’s rarer for mom to be active and involved in Important Story Activities™.
That’s just one reason why The Eccentric Family is so distinctive. Its title immediately betrays the fact that, despite its fantastical, magical setting, the story is focused on family – specifically one particular family of tanuki in Kyoto. While the original season of the show had its debut almost five years ago (which pained me to find out – time flies in anime fandom!), its sequel season appeared last Spring, providing us with a second window into the life of the Shimogamo tanuki clan. While most of the series follows the adventures of the four Shimogamo brothers and primarily the third brother, Yasaburo, their mother, Tousen, is an active participant and the glue the holds the family together, especially after the death of the brothers’ father prior to the show’s start.
The tomboy becomes a bride.
What I love about Tousen is that she’s a multi-faceted, funny, and supportive character with a lot of inner strength. Our early introduction to her in season one paints her as quite the flamboyant person; the tanuki pride themselves on their ability to transform from their furry raccoon-like bodies into almost anything else, including the human forms they often take. Tousen sometimes chooses to become a princely-looking pool-shark out of The Rose of Versailles or Takarazuka play when not in her more standard housewife getup. It’s a great expression of her inherent nature as a trickster, something incredibly important to most respectable tanuki individuals. It also provides a funny contrast to her major weakness; Tousen is scared of lightning and can’t maintain her transformations when she’s startled (a quirk of many tanuki).
I recognize and admire the way in which Tousen displays inner strength, although it takes familiarity with the backstory of the series and some of the relationships to be able to fully appreciate that aspect of her character. Having lost her husband to death-by-hot-pot (which, true to the tone of the show, is both ridiculous and tragic), Tousen does the heavy emotional labor of ensuring the stability of her immediate family, and helping her sons, directly or indirectly, manage the aftermath of the event. She’s obviously still heavily involved in the upbringing of her youngest son, Yashiro, but as the mother of four she still has a hand in all of her sons’ lives even though three of the four have physically left the nest (or the den, I suppose).
Tousen trades scents with her mother.
With all of the supernatural and magical occurrences throughout the series, it can be easy to miss the very down-to-earth family concerns that form the backbone of the character interactions, but each Shimogamo son has his own issues that Tousen has her hand in mediating. Yashiro, the youngest, is sensitive and deals with being bullied by his cousins. Yaichiro, the oldest and most serious, is gunning for the seat of Trick Magister (elected leader of the tanuki clans). Yajiro, the second son, deals with guilt, depression, and PTSD stemming from the night of his father’s death, and thus is stuck in the form of a frog. And Yasaburo is the put-upon third son, stuck in the middle trying to keep various powerful factions balanced and himself from becoming a hot-pot dinner, all while goofing-off to the max. On the surface, all of these are obstacles for the affected characters to overcome on their own, but as with many women in her same position, Tousen has taken it upon herself (voluntarily or not) to help her family address these challenges by offering advice, guidance, and unconditional love. Their challenges are, in turn, her challenges. The cherry on top is that she somehow also manages to maintain some sort of relationship with the Ebisugawa clan (Soun Ebisugawa was responsible for her husband’s death, after all, so it would be less surprising if she wanted nothing to do with them) through Kaisei, Yasaburo’s on-again-off-again possible marriage partner.
I have some ambivalent feelings over the fact that so much of Tousen’s character comes out through reading-between-the-lines, her interactions with other people, and her background presence in the stories of her offspring, though in a way that particular issue feels almost appropriate (possibly more appropriate than was intentional by the creators). Tousen is in the position of that I think so many parents, especially mothers, are forced to occupy. Despite having her own sense of self and inner life, her persona is inextricably connected with the children she’s raised and is sometimes overshadowed in favor of celebrating their more obvious adventures and accomplishments. Motherhood is so often exalted, but less examined in a realistic way or allowed to hold the primary focus in a narrative.
Aside from one example I happened to find while poking around the internet, most discussion of the anime is focused around characters like Benten, the Friday Fellows, Nidaime, Yasaburo, and other characters who viewers would typically consider more “interesting” – people getting into trouble (or causing it), and those who wield literal and figurative power. There’s less glory for or even discussion about characters who only fit into support roles or feel like someone one might actually meet in reality, though the “Tousens” of the world are the unsung diplomatic heroes who ensure that conflicts get resolved, that people know that they’re cared-for, and who show support to their loved ones – all essential acts of kindness that probably ought to be glorified more than they are.
Tousen and her mother share a moment in the sun.
I’d like to close this off by describing one of my favorite scenes from the anime. In the third episode of season two, Tousen and Yasaburo visit Tousen’s mother, a grand matriarch of their tanuki family, in order to seek help for Yajiro, who is still unable to transform out of his amphibious form. Grandma has knowledge of a medicine that might help him learn to control his abilities again. Though they easily obtain the object they’re there to get, what follows is delightful banter between an old mother and a younger one. Grandma is so aged that it takes her some effort to remember who is who, including her own daughter, but the love between the two is so clear even if the details are hazy. I love the juxtaposition of the many tanuki sitting around the forest clearing, chanting sutras as if worshiping the elderly woman on her pedestal, with the two family members joking with each-other playfully. With Tousen enveloped in the sunlight with her mother, there’s a sense that she’s carrying on a very grand tradition of mothers in the tanuki culture.
Thank you for reading, and I hope I’ve whet your appetite for The Eccentric Family! Go check it out on Crunchyroll if you have the time (and don’t miss the second season if you enjoyed the first!).
Who were your favorite anime moms from recent (or maybe not-so-recent) anime history? Please let me know in the comments. Or just show some love for Tousen Shimogamo if you have some to share!
A certain point in time, in the continent of Telesis. The great war which divided the continent into North and South has ended after four years, and the people are welcoming a new generation. Violet Evergarden, a young girl formerly known as “the weapon”, has left the battlefield to start a new life at CH Postal Service. There, she is deeply moved by the work of “Auto Memories Dolls”, who carry people’s thoughts and convert them into words. Violet begins her journey as an Auto Memories Doll, and comes face to face with various people’s emotions and differing shapes of love. There are words Violet heard on the battlefield, which she cannot forget. These words were given to her by someone she holds dear, more than anyone else. She does not yet know their meaning but she searches to find it. – ANN
Review:This review contains minor plot spoilers for the TV Series.
I don’t like to get too hyped-up about upcoming anime because it’s so exhausting to be disappointed when the final production doesn’t live up to what was promised. I like to let anime happen on its own terms rather than measured against my often incorrect expectations. But I ask you, as one anime fan to another, what am I to do when Kyoto Animation releases a teaser trailer that’s such an incredible fever dream of flawless animation and the interplay of light and color? There was no possible way for me to ignore what I had seen and start with a completely blank slate once the series was finally posted to Netflix. Rather than try to fool myself into believing that it was possible for me to be impartial, I decided to embrace impartiality and read other reviews of the show, both episodic ones and those focused on the series as a whole. I prepared myself for possible disappointment by arming myself with information.
Was this the right tactic? I’m not entirely certain, but what I can say is that going into the experience expecting to be frustrated by certain aspects of the story left me feeling pleasantly surprised by how the series was not nearly as flawed as I had been led to believe. This sounds like faint praise, but I really did enjoy the show more than I had expected to and I’m left wondering why others were more disappointed.
The series is comprised of two concurrent story arcs – one about a country at war which has at this point reached an unsteady truce, and one about Violet Evergarden, the titular character, who comes from a place of darkness and must reacquaint herself with the subtlety and full range of human emotion. The former story is the weaker one of the two; it works well as a backdrop and helps to establish who Violet is and where she’s come from, but when it comes further into focus as part of the primary conflict it feels forced and uninteresting (one might even describe it as kind of “tryhard” if one wanted to be a little snarky). The latter is where the more meaningful and satisfying developments happen, and while Violet’s story occasionally gets a bit melodramatic, viewers like me who have a tendency to get emotionally-invested will likely eat this right up.
Violet’s scars from the war are both internal and, to the surprise of others, also external.
It does take a few episodes for Violet’s story to get moving, and as I commented to some friends after I’d watched the first three or so episodes I was concerned that the series felt overly-manipulative in its storytelling. Several of the early episodes feel like one-offs that serve to build the setting and put Violet where she needs to be, but don’t quite achieve the emotional highs they try to wring from the viewer using beautiful music and imagery. As a veteran of war remembered both for her youth and her emotionless brutality, Violet is clearly out of her element as an Auto Memory Doll. The Dolls are women who compose eloquent letters for paying clients by interpreting those clients’ feelings into written language. Violet, as an orphan who has seen (and committed) countless horrors as a child soldier, is more adept at reporting facts and taking people’s words at pure, functional face value. She may have emotions, but they’ve been so blunted by her tragic experiences that it creates a wall between her and others. Likewise, the first few episodes of the show where Violet stumbles through an ill-fitting civilian existence, feel like attempts at forced emotionality that are unsubtle and unnerving. I can’t say whether this was intentional or not, but looking back it’s interesting to me how much the structure and feel of the show mirrors Violet’s evolution.
As Violet becomes more accustomed to her work and begins to allow herself to feel and empathize with others, the show capitalizes on this to tell some of its most memorable stories. My two favorites were one in which Violet helped facilitate more genuine communication between a couple of soon-to-be-wed nobles (ignoring the squicky age difference between the two), and one in which she composed a large volume of letters from a mother to her daughter. Though both stories are still what I would qualify as one-offs, they also provided great snap-shots into Violet’s progression towards not only understanding others, but also understanding herself and the relationships that she values.
Violet returns to remember a painful moment.
I’m what I would call an empathetic viewer and I generally pay less attention to plot and continuity than many others, since I find little value in picking that stuff apart. I find more value in thinking about broad themes and considering how I was made to feel. This is the perfect example of a series that I think was made for that mode of viewing, since I recognize that there are some issues with the structure of the show and feel like it could have benefited from some reshuffling of priorities. As I mentioned earlier, possibly the weakest aspect of the show is its sub-plot revolving around the tenuous peace between its setting’s warring factions. Violet herself obtains a kind of personal emotional climax a few episodes from the end of the series, and much of the remainder of the show is devoted to a sort of shoehorned-in plot about a rebellion hell-bent on mucking up the signing of the peace treaty. The last two or three episodes of the series feature some great action pieces – an attempted bridge bombing, Violet parachuting into a war zone, a fist fight atop a moving train… all things that are cool to look at, but which feel as though they come from a completely different series (though they also provide a poignant resolution to the loss of Violet’s father figure that plagues her throughout the series, so it’s not all fluff). They’re ostensibly there to prove that Violet is no longer a cold-hearted killing machine (as she eschews using her strength and speed to actually murder anyone despite the fact that it would more easily resolve the situation), but we’ve already been shown so much evidence of her evolution that the reminder is unnecessary. The series as a whole easily made it into my good graces on its other merits and I could look at these last couple of episodes as mostly-extraneous, but I can see how many people would find this much more irritating.
The way in which Violet reaches a resolution in her troubled relationship with the Bougainvillea family is one of the high points of last few, weaker episodes.
As emotionally moving as many episodes are, they’re matched or exceeded by Kyoto Animation’s cinematic visuals and animation. If I’m being truthful, being able to watch characters move in front of gorgeous backgrounds is one of the bonuses of watching almost any Kyoto Animation series (and the main reason why I’ve pushed on through more episodes than I’d like of shows like Miss Kobayashi’s Dragon Maidand Amagi Brilliant Park) and this series is perhaps their most striking, detailed effort to date. It was the original commercial for the show that captured my attention, and while the series doesn’t quite sustain that exact look throughout, it still maintains a visual lushness that’s so far above and beyond what I’m used to as a TV anime viewer that I can’t rightly complain. I can only really fangirl in a basic way over how the show looks, but if you’re interested in some more educated commentary, check out Sakuga Blog’s series of production notes on the series.
I’m not a huge fan of Netflix’s delays when it comes to streaming anime series that I’m really anticipating, but I do appreciate the fact that I can watch an entire show (or cour, at least) in one or two sittings, so I suppose it’s kind of a wash in that sense. In this case, I got a chance to listen to lucky folks in other regions post their reactions, and despite the fact that my expectations were high they were also tempered and honed by what I was hearing. As someone with an (apparently) offbeat point of view on how stories are told it seems like I didn’t have much to worry about, as a lot of the complaints aren’t necessarily my complaints, and I truly enjoyed the show as a whole for its primary focus on feelings and human interactions and not as much on its weaker political plot. It’s gorgeous testament to KyoAni’s draftsmanship skills, as well as Netflix’s apparently pretty decent skills at picking anime series to partner with. It also gets a “5” on the Jessi Silver Cry Scale (TM) (I cried/held back tears at least 5 times while watching). If you’re someone who’s more into emotional through-lines in your entertainment, you might have a very good time with this series.
Pros: Visually beautiful. The feel of the story seems to mirror its protagonist’s development in many ways.
Cons: Political plot feels unnecessary. The real character climax arrives around episode 9 and parts of the last couple of episodes don’t fit in with those themes very well.
Five girls live in 19th century London, a city within the Albion Kingdom divided into east and west by a large wall. The girls serve as undercover spies enrolled as students at the prestigious Queen’s Mayfair school. The girls make use of their individual abilities to remain active in the underground world of disguise, espionage, infiltration, and car chases. – ANN
Episode 1 Summary: A new path for history was set in motion when the strange element “cavorite” was discovered. Cavorite allowed the kingdom of Albion to create an air fleet that was unmatched in the world, but this imbalance of power tore Europe apart. Albion was split into East and West by a huge wall encircling London, and now, as in any divided country, spy networks crisscross from one side to the other trying to get the upper hand for their side.
Five young women attending Queen’s Mayfair school moonlight as spies, their current job involving helping a scientist defect so that he can get the money to help his younger sister, who is suffering from cavorite poisoning. But the scientist’s goals are muddied by who he’s actually working for, and it isn’t long before the girls discover that the ultimate goal is to draw them out from their hiding place.
Impressions: Anime is a medium that’s tackled a lot of genres and sub-genres over the years, but despite the popularity of steampunk within geek culture over the last decade or so, there haven’t been very many anime that have taken advantage of that. Steamboy is probably the most obvious one, and perhaps Last Exile as well, though that one has a slightly different feel. But for the most part it’s kind of an untapped market for anime. That’s why I was pleased to see a series like this that seems to be all-in as far as the steampunk aesthetic goes. Princess Principal seems to not only be concerned with what type of technological achievements might have been made had the world made a giant leap in discovery around the late 1800’s, but also the effects on class in society as a result.
‘Tis a very fancy school. Copyright 2017 (c) Actas/Studio 3Hz
The first episode takes place in the city of London an its surroundings some years after its eponymous battle that’s referenced several times throughout the episode (and which seems to play a large part in at least one of the main characters’ backstories). Many of the scenes occur within the elite private school the girls attend which serves as a cover for their nightly activities, and portrays the kind of upper-class Victorianesque setting one might expect in a steampunk-focused piece. With its emphasis on aesthetics, we get the expected steam-powered inventions, English gentility, and costume-like variations upon period clothing that make the genre fun to play around in. What we also see, though, are the bits and pieces of London buried beneath the thick smog, in the gutters of the city where the lower classes dwell. There are scenes of the poor clustered in an infirmary waiting room, and homeless people lining the streets. The discovery of cavorite, and likely the war that went along with it, definitely made some people wealthy, but there are clearly many who weren’t lucky enough to share in that prosperity.
The first episode doesn’t really take a stance on any of this beyond allowing the audience to see how things are; it’s clearly used as a means to demonstrate how stratified the world is. It does give us some perspective in that at least one of the girls now working as a spy was lucky enough to escape this kind of poverty (having been orphaned) and find a way to some kind of financial means (even if the work she and her compatriots are hired to do isn’t particularly savory). Anime has a tendency to “tell” rather than to “show,” so despite the fact that these visual interjections were pretty obvious, it’s nice to get a little bit of background on the world without an “as you know…” info-dump up front.
Ange keeps watch on their target from on high. Copyright 2017 (c) Actas/Studio 3Hz
In addition to its portrayal of the people populating its alternate-history milieu, the show’s background art is striking and detailed, providing a lovely backdrop for the well-executed action in this episode. There’s an incredible amount of care in the depiction of the lush plants in the Queen’s Mayfair gardens, as well as in the brownish grit and grime of the city streets below the all-encompassing fog. There’s just enough of a sepia-tone to give the whole thing a classic feel to go along with its old-timey vehicles and other less tangible period style. It’s definitely not a universal constant, but I find that, often, when different pieces of the whole are given a lot of attention and care separately, the final product tends to reflect that extra energy and planning in its overall quality. Obviously nothing is certain from one episode, but I was truly impressed by how this show made its visual impression.
I did a panel at an anime convention a year or two ago that was a discussion of moé tropes and how employing them in character creation isn’t necessarily a mark of laziness on the part of a creator, but instead can be a shortcut to get the audience up to speed quickly, with character detail and development to follow as required by the story. Some examples of this technique used well are Puella Magi Madoka Magica, or perhaps a slightly better comparison to this show, Sound of the Sky. In both of these shows, we’re fooled into thinking that the characters, being who they are and marked by their moé characteristics, will have a particular, predictable story arc. In both cases the characters have much more depth than might be obvious at first glance, and as details are added to their personas, we learn more about the world they inhabit. I think many of us are still wary when the cast of an anime looks like “a bunch of girls each with her unique one-note personality,” and that was my knee-jerk reaction to this show. Ange, who we spend some time with in this episode, feels like a typical “emotionless girl with a tragic past” that is meant to appeal to a certain type of fan, and there are a couple of other obvious character types within the group of characters we don’t know very well yet. But I get the impression that we’ll learn more about these characters as we go, and I’m interested to see that happen. And hey, if we don’t end up with richer portraits of our protagonists as we go, perhaps at the very least we might end up with something like Joker Game, which oozed style despite not sharing any pertinent details about the cast; I can dig a show about cool people doing cool things.
It’s not surprising to me that this show, which wasn’t really on my radar, seems much more promising than I would have thought; that’s something that happens every season. Though I might have some slight misgivings about the show’s ability to keep up the standard of this opening episode, I’m impressed enough by the type of story it told and the environment it portrayed that I think it’s definitely worth a second look.
Pros: Lots of visual style and a cool alternate history premise. Depicts class differences in a steampunk setting.
Cons: Difficult to tell if the somewhat-generic characters will develop as we go. The visuals may not be able to maintain quality going forward.
Streaming: HIDIVE
