After a long absence, it is time for me to officially step away from writing here (just me, not the site’s other writers). As a parting post, I would like to share my thoughts on anime that stand the test of time. Even older titles that were created with a Japanese audience in mind can still be relevant today. I was reminded of this recently when the real world seemed to imitate one of my favorite movies, Mamoru Oshii’s Patlabor 2.
I always insisted I was a trumpet.
Well, this is weird. This is the first time I’ve sat down to write something for a really long time, too long for a blog that inexplicably still has some readers. For that, I thank you. Whenever I hear from one of you, it truly boosts my spirits.
Over the years of writing for this place, I’ve tried to make sure that the writing is future proof. Even still, whenever someone links an old post, especially one that’s been collecting dust over the years, I’ll flinch in embarrassment. I mean, god, there are posts from 2006! That young me and my opinions! Because I’m so much wiser now, right?!
A strong signal that a series is great is that you can easily summarize the concept and get someone to watch it based on that short description. Ben-To is just that kind of show. All you need to know is that it’s about fights for discount bento boxes. If you don’t get excited about fights for discount bento, I don’t want to be friends with you.
On the blu-ray packaging, Funimation trumpets the Eureka Seven television series as “The Greatest Love Story Ever Animated.” Where that series is centered around love, the movie re-imagination, Eureka Seven: Good Night, Sleep Tight, Young Lovers, is all about death. In particular, it is about the fear of death. Even the crew of the Gekko, an alternate universe version of the TV show crew, spends much of the film running from death using any means possible. Renton and Eureka are the only characters who aren’t defined by their fear of death and instead, focus on love.
(In my attempt to procrastinate a Haikyuu!! post I’ve been meaning to write for months, I present to you an excerpt from a final paper I wrote for one of my literary theory classes last year. Yeah, I’m that girl who always finds a way to connect her assignments to anime. No shame.)
In the anime and manga world, there have been countless debates on whether, No.6, a series by Atsuko Asano, is considered to be BL. BL, or boys love, is a genre of stories that depict romantic and sexual relationships between men. But although No.6’s main characters are both male, and they engage in acts that may be considered homosexual, Asano adamantly refuses the BL label. In her attempt to pull the series away from the charged label BL, Asano opens up the possibility of seeing it as queer. No.6 is a queer text because of its rejection of paranoid reading and exploration of nonsexual romance between men.
Ghost in the Shell: Arise marks Production IG’s attempt to reboot the classic franchise. With multiple successful superhero and anime reboots out in the wild, it’s only a matter of time before others (certainly Dragonball) get remade. Movie and television producers reboot well loved shows to appeal to modern audiences. The story, the characters, and the special effects all get updated to how the show would have looked if it was made for the first time today. With Ghost in the Shell, a show already set in the future and one that has aged well visually, this standard formula wasn’t really necessary.