Love it or hate it, here’s one thing Clannad undeniably excels at: character animation. If you observe the visuals closely, much of the characterisation is expressed through body language and subtle visual cues. Even when the anime goes for low-brow, physical humour, the characters’ entire bodies remain quite expressive and dynamic. This is in contrast to the rather “stiff” delivery in most anime comedies.
If you don’t believe me, just observe Nagisa’s drunken scene and Chitoge’s one in Nisekoi. It boils down to the same joke, but there’s a world of difference in the delivery. It’s not so much that Clannad is more skillfully animated (although this is definitely true), but rather the storyboards themselves were conceived with quite different intents in mind; each shot in Clannad draws attention to the movements of all the characters inside and outside the frame, leading to a natural escalation of the situation, whereas Nisekoi’s scene is full of choppy transitions from one key frame into another.
Clannad’s visual strengths were particularly noticeable in the After Story portion of the tale, especially as far as Ushio’s characterisation was concerned. It would have been so easy for her character to become Generic Moeblob #85934, especially given that her role in the overall narrative is mostly one of symbolic importance. Yet Ushio never failed to have presence whenever she was onscreen, and much of this comes down to the way her body movements were animated. It was clear that the key animators put extra care into making her move like a real child.
Over this past year, Nisekoi has slowly but steadily been sliding into irrelevance. A second season aired earlier this year to absolutely zero fanfare. The manga has also consistently been ranking low in the WSJ magazine surveys. What’s more, the story is finally starting to wrap up, so there may come a time when there are no more Nisekoi shipping wars.
It will be a sad day for humanity. But nevertheless, life will go on.
Yes, this is yet another Nisekoi post. I’m pretty sure my readers know exactly how I feel about Nisekoi, but for some reason, they keep asking me questions on my Ask.fm about it. In this post, I will answer all your Nisekoi-related questions and solve all your life’s problems.
This post is dedicated to Marow, the Nisekoi guru.
After the complete fuckup that was Nisekoi chapter 162, the creator Naoshi Komi has publicly admitted that Nisekoi sucks.
I’m joking, of course. While I haven’t actually watched enough anime this year to string together a top 10 anime list, I did enjoy the stuff I got around to watching. I also feel that this was a productive year for me as an anime fan and for the aniblogsphere in general.
Time for the highlights!
I don’t know about you guys, but I normally find chuuni characters kind of obnoxious. You know the ones. They just go on and on with their delusions in a way that the anime generally tries to make seem quirky but ends up making you wonder if they need psychological help.
My discomfort with the chuunibyou archetype stems not from any particular dislike of juvenile fantasies (I mean, hell, aren’t we all chuunis on the inside?) but from anime’s general obsession with glorifying some pretty gross antisocial behaviour. To date, I still haven’t seen an anime that has dealt with chuunibyou in a way that has fully satisfied me. Chuunibyou Demo Koi ga Shitai! managed to successfully walk the tightrope between empathising with chuunibyou and romanticising it, but it lost all of its balance in its disastrous second season. Aura by Romeo Tanaka attempted to portray chuunibyou in a more serious, dramatic light, but its themes were unambitious: at its core it was simply a “nerds being bullied” story.
So admittedly, my hurdle for a “good chuuni character” is not very high. Inou Battle is far from perfect, but it did manage to pleasantly surprise me in quite a few ways. It’s just a little bit more sensitive, a little bit more intelligent, a little bit more polished than the norm. I also feel like it manages to approach chuunibyou from a number of different angles and that it takes full advantage of its seemingly generic setup.
EDIT: So this post ended up on the front page of Reddit! I just want to clarify that I am not arguing that all art is purely subjective.
It’s only by acknowledging the social dimension of how we interpret anime that we can learn to detach ourselves from it. The quest for a “fair” reading isn’t about pretending you have no biases – it’s about understanding those biases and how they play into how you look at things.
Hope that makes sense!
There’s just something about Nisekoi which bugs me. In an odd way, I find it almost touching. Or perhaps, to put it more accurately, I think the premise has the potential to be more touching than what you’d assume at first glance.
I’ve grown up watching anime. Even if I haven’t seen as many titles as some of the more hardcore fans (I’ve completed over 500 titles, and of them around 340 are full-length TV series), I’ve still spent more time watching, thinking and writing about anime than I care to admit.
But you know what? None of this makes me a better fan than the person who only watches Naruto or Bleach. And in a lot of ways, I kind of envy those who can dedicate themselves to a small number of anime. Lately, I feel as if I’ve been losing perspective on what it is about anime that drew me to it in the first place.
In other words: I miss being a casual.