Do I have the discipline to <schedule my posts ahead of time>? I’ve no idea! It should be an interesting experiment though… — me, in April
Well, I have the answer now: no, I do not have the discipline! For a little while, I tried, but nothing really sparked. From the moment that I stepped off the treadmill, I just stopped thinking about anime altogether. I guess I just needed the rest. Anyway, my little Spring hiatus gave me a chance to think about how I’m approaching anime and this blog.
The Promised Neverland was great. At some point during its run, I started watching new episodes as soon as they were out. Every episode seemed to end on a massive cliffhanger, teasing me to the point of screaming (in frustration, but I know where your mind’s going!) I can only speak for myself and it’s hard to know how fans of the manga felt, but as an anime-only viewer, I can’t complain at all: by the end, I was compulsively watching The Promised Neverland.
Boogiepop and Others is many things, but an anime for casual viewers it is not. Unless you’re willing to give it your full attention, it will leave you behind. One measly episode a week is not nearly enough to keep track of such a complicated web of things: to be honest, I’ve spent the last week watching it and even then I was still feeling lost by it all. This is just the nature of Boogiepop: it sets out to confuse, only to unravel from there, but like a particularly tough knot, there is satisfaction to be found in untying it all.
What a treat episode 11 was.
At this point, I have to say I think this anime is as good an adaptation as fans of The Promised Neverland could have hoped for. It’s the best kind of escapism: I lost myself watching this episode, it flew by so fast, and I can hardly stomach that there’s now only one more left.
I could end up watching a lot of anime come April.
Watching Dororo has helped me realise that Kazuhiro Furuhashi is one of my favourite anime directors. He is the man responsible for directing the breathtaking Rurouni Kenshin: Trust & Betrayal (Rurouni Kenshin: Tsuioku-hen) which is a marked departure from Kenshin’s much lighter TV series and tonally has much more in common with Dororo. In short, both anime are grim as heck.
The Great Passage (Fune wo Amu) is about creating a dictionary. The people involved invest decades of their lives into its singular craft, which is no small feat. The series begins as Mitsuya Majime joins the dictionary’s editorial team. He’s a weird guy, introverted, but fascinated by words. Switched from a different job that he was struggling with, it’s like something has finally clicked for him. This is the job he was born to do, but every now and then, he has nightmares about being lost at sea. The water rises about his legs as a flood of words threatens to sweep him away.
When Dororo begins, Hyakkimaru’s at his strongest. Without nerves, he cannot feel pain, and without pain, what is there for him to fear? He can jump higher and fall harder than any man because there are no bones in his legs to break.
In many shonen anime, characters like Naruto and Izuku begin at the other end of the scale. Weak and untrained, their stories are about developing strength, yet Hyakkimaru’s is about developing weakness. Isn’t that weird? For each demon he kills, another part of his body is returned, but with that there is a price to pay.
Run with the Wind is at a point now where every episode explodes with such a cathartic resonance. The boys are a mere qualifier away from the Hakone Ekiden and to get even this far, they’ve all had to work so hard: some more than others.