Utawarerumono: Itsuwari no Kamen
Alternate Title(s):
Utawarerumono: The False Faces
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Alternate Title(s):
Utawarerumono: The False Faces
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REVIEW: The Eccentric Family (2013)
by Dustin Kramer
As I sit here and try to think about what Masayuki Yoshihara’s The Eccentric Family “has to say,” I find myself profoundly inept at finding a fitting focal point for this introduction. It would be a disservice to say the 13-episode adaptation of Morimi Tomihiko’s novel is purely about the importance of family, because it feels even bigger than that. To claim that its central themes examine the meaning of life itself is a concept so large and overdone that it implies pretension, something that this story truly has none of. But to denounce both of these examinations is equally dishonest, because this animated drama has plenty to say in each arena — and much more.
The show begins with the voice of our protagonist, Yasaburou Shimogamo, narrating over images of himself running through the streets of Kyoto, Japan’s former capitol and a city known for its historic relevance. He enlightens the audience about the balance that is maintained by the city’s three intelligent species: tanuki, Japanese raccoon dogs mythologized in folklore as having the ability to transform; tengu, humanoid creatures with black wings and the power to fly; and humans, the only species seemingly unaware of the fantastic creatures with which they coexist. Yasaburou is a tanuki that seeks only the most joyous experiences in life, but he makes clear that he isn’t interested in being a “mere tanuki.” He “admires tengu from afar and loves imitating humans,” hinting at a thematic thread of cultural tolerance that runs through this piece.
The events of the narrative revolve around the death of Yasaburou’s father, Souichirou. Years prior, the tanuki patriarch had been killed and used as the main ingredient for a traditional dish called “hot pot” that the human fraternity known as the Friday Fellows indulge in at every New Year’s celebration. This sets the stage for every dramatic turn that we encounter throughout this journey, but keep in mind that each of the Shimogamo family members have already undergone major character changes in light of Souichirou’s untimely demise by the time the series begins. The mother of the four brothers attempts to step in to a more masculine role by literally dressing up as a prince. Yasaburou’s answer to his mother’s transformation is to become a feminine presence within the family via cross-dressing. The oldest of Yasaburou’s brothers, Yaichirou, has spent the time since his father’s death attempting to emulate the leadership and nobility that Souichirou exuded. Yajirou, the second oldest of the Shimagamo siblings, has lived life transformed into a frog and dwells at the bottom of a well, giving advice to any and all who drop a small donation into his dank abode. When it is revealed that he was out drinking with his father on the night of his death, his retreat into doleful solitude is finally understood. The youngest of the bunch, Yashirou, has regressed into childishness where his brothers have sought some refuge in early maturity. He is still quite young, but perhaps too young to be hiding in the shadow of his family’s elders — as he does.
In their tanuki forms, the Shimogamo boys bear markings that resemble the four suits in a French deck of playing cards. The two elders, Yaichirou and Yajirou, are the spade and club respectively. The black color of these suits is representative of a darkness within these characters that their siblings don’t carry. Like a spade, Yaichirou is sharp and offensive. Yajirou’s club brings to mind the image of a clover — the diminutive plant’s natural color and shape reflecting his chosen amphibian form. Yasaburou and Yashirou, on the other hand, bear the red suits — a color that symbolizes warmth and zeal, something their older brothers have lost. Yashirou is the heart, and he certainly has the most of it. Yasaburou’s diamond is the only shape with four sides. This represents the centrality and connective nature of his character in relation to his brothers. Those who share a suit color exist as pairs. Yashirou seeks protection and solace in Yasaburou over anyone else (except perhaps their mother), and Yaichirou’s strong empathetic reaction to the revelation that the guilt-stricken Yajirou may have been the last one to see their father alive suggests a much stronger bond between the characters — despite rarely communicating with one another — than the audience had been privy to up to that point.
The first half of the show occurs in a series of brief arcs detailing the relationships between the Shimogamo tanuki clan and their relatives (the Ebisugawas), an aging tengu professor named Akadama, and the largely clueless Friday Fellows. Akadama requests that Yasaburou summon Benten, a human woman to whom Akadama had previously taught the tengu’s signature skill of flight. Her uncommon power serves to blur the line between these hierarchical groups, strengthening the theme of cultural acceptance. Yasaburou agrees to deliver Akadama’s letter, but he does so with trepidation. You see, Benten is member of the Friday Fellows, the mysterious organization that cooked and ate the young tanuki’s father years prior. It becomes clear that both Yasaburou and Akadama have feelings for the human woman. But once the rivalry between the Shimogamos and the the Ebisugawas is established, the show builds in the final half toward an election to determine who will lead the Kyoto tanuki community as the “Nise-emon,” a role that Souichirou was filling when he died. Yaichirou vies for the position against his uncle, Souun.
The Eccentric Family is a gorgeous piece of entertainment art and yet another bright spot in studio P.A. Works’ ever-growing portfolio of visually impressive projects. The backgrounds are so painstakingly detailed and given these touches of realism that many other animation studios would disregard as unnecessary minutia. They seem to be painted on an interesting, textured surface not unlike a watercolor block. The characters themselves are heavily stylized and casted with straight, clean lines and solid blocks of color. This gives the entire presentation a very distinct visual flavor while serving another more practical goal — when the story calls for action, budget can be easily moved around to ensure that money goes where it needs to. More static scenes of dialogue can be trimmed without the animation quality appearing to have been affected. This works out well for the series, as a moment where a visible decrease in aesthetics was rare in my viewing experience.
As I mentioned before, cultural tolerance is one of the shows themes, and I find that it was handled quite deftly. Despite tensions between the humans, tengu, and tanuki, they all make efforts to coexists peacefully. The fact that members of three different species — Yasaburou, Akadama, and one of the Friday Fellows — all fall in love with the human woman Benten speaks to the possibility of a world without borders. As an extension of this, the show seems to make some apologies for Japan’s own slow, quiet transitions into progressiveness. The non-human societies in the series are certainly aware that the Friday Fellow’s practice of eating tanuki is wrong, but everyone accepts it as a fact of life until tradition is challenged and things change. With this, the creators ask that the world be patient with the island nation as it learns to compassionately approach longstanding, sinful ideals. The country really can’t claim a large number of loud social movements that pepper other comparatively younger countries’ histories. Instead, when it’s time to think a new way about something, social change just tends to happen — sometimes from the top down, with the government passing new civil rights legislation before it even becomes a major issue among activists. A cursory glance at the Wikipedia pages for “Social Movements in America” and “Social Movements in Japan” is an eye-opening reminder that the Land of the Rising Sun just tends to “go with the flow,” which happens to be a piece of advice that Akadama gives Yaichiro in the final episode.
The tengu Akadama is also a particularly interesting central figure. He is old, and his fear of becoming obsolete is well-drawn and poignant. Symbolically, he is Japan’s aging population itself. More than 20 percent of Japan’s population are over the age of 65, and this large chunk is retiring from the workforce to lean on socialized support from an ever-shrinking working-age populace. An ostentatious demonstration from Akadama in the last episode is an announcement that he is still alive and still matters, something that many of whom he represents would love to have the voice to say.
Unfortunately, not everything about The Eccentric Family deserves praise. This anime is a fantasy set in the real world, but real world implications of murder are never fully addressed. The show never paints Benten as a villain, despite her passiveness to the killing and eating of tanuki and her active participation in the death of Souichirou in particular. She’s enigmatic but woefully incomplete and highlights an uncommon thematic void for the series. Additionally, although Yasaburou was engaged to his cousin, Kaisei (Yajirou was also in love with her), the show never addresses the topic of incest. The ancient practice of marrying relatives for political purposes is not foreign to the West, but in a show where themes of tradition-breaking are so prevalent, the absence of examination or commentary here is notable. As an aside, the relationship is never sexualized in any way, so it would be inaccurate to call it fan service — it’s definitely not that kind of show.
The last few episodes resolve the arcs of major and minor characters alike and prove to be one of the most satisfying endings of an anime series in recent memory. The variety of sociopolitical ideas the show tackles and the overwhelming rate of success at these attempts is laudable. If The Eccentric Family had only one thing to say, well, it wouldn’t be the thematically rich piece that it is. But if I had to try and nail down the “one thing” that the series is about, I think it wants to say something like this: Don’t over-prepare for things that may not come. Take life one day at a time, enjoy it to the best of your ability, deal with shit when it comes your way, and never forget what’s important to you, no matter what it is.
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Alternate Titles: The One Being Sung
Original Japanese Release Date: 2006
Episode Length/Run-time: 26 Episodes
Summary:
Eruruu finds an injured man in the forest near her village. She brings him back and her grandmother, the local healer, nurses him back to health. He has no memories of his past and is given the name Hakuoro. He is kind spirited and helps those in need and saves the village from a wrathful deity. Upon which he is appointed the village leader and despite his peaceful wishes fate has a different plan for him.
Review:
If this anime was 13 episodes and they just cut it off halfway through it likely would’ve gotten a much better score.
In many ways this anime is basically a harem, but since the majority of the characters admire (I think) more than love Hakuoro it makes the harem more bearable. The only (obvious) character who is in love with him is Eruruu and honestly their relationship is quite cute.
The anime has a fantasy flare, somewhere between olden Europe and Japan. There are catgirls, wing girls, twins, wolf type girls, something for everyone. The story is simple but nicely executed in a way that is enjoyable for most viewers. It covers the basics: humor, action, romance, light-hearted fluff. But it doesn’t go too far into any one of those.
The problem comes in the form of the last 6 episodes. Halfway through you’re kind of wondering where the series is going, and just when you think you’ve figured it out… BAM! You’re slapped upside the face, dunked in water, and hung up to dry and just when you think you’ve figured out what they’re doing, they decide to blindfold you, drag you behind a car, drop you somewhere, naked, and end the series. That’s the ending to Utawarerumono and that’s the main thing that brings it down.
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Alternate Titles: When the Seagulls Cry
Original Japanese Release Date: July 1st, 2009
Episode Length/Run-time: 26 Episodes
Summary:
On the island of Rokkenjima, the head of the wealthy Ushiromiya family, Kinzo Ushiromiya, has called his eight family members to the island in order to discuss how the family assets will be divided up once Kinzo dies. For you see, he is very sick. The island is also inhabitated by numerous servants and a doctor as well. As soon as everybody arrives, a typhoon hits and they are all trapped on the island. To make things worse, people are being murdered.
Review:
This anime makes no sense what so ever. You will be confused to no end while you watch this anime so just be prepared. The bad plot presentation isn’t helped by fac that the show sets a very high bar for itself by having largely the same title as Higurashi. This is a bad move. There are positive aspects to the show but mostly its just confusing and frustrating.
The show ends up being about proving the existence of witches. This is done throw a chess match like battle of wits between Battler and Beatrice. Beatrice will recall something that occurred during the course of the show and explain that it simply couldn’t be done without magic and then Battler will retort that it could have been done this and that way. Of course, in this anime, being that it has connections to Higurashi both in title and in director, its very violent and so many of the scenes that we get to relive are of people being slaughtered like cattle.
The animation is good and I really did like the characters but unfortunately they all die within like the first 2 or 3 episodes. That’s one of the problems, the characters don’t get the needed backstory to make you really interested in their fate or safety. In this way, they’re mostly pawns that are used to just create debating points for Battler and Beatrice.
In the end, I’m not really sure if Battler ever proved the existence of witches. I was so puzzled by what was occuring for most of this anime that I really didn’t find myself enjoying it. I did enjoy the insane violence for the most part but what wasn’t enough to make this show live up to the standards set by its title and director.
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