Shameful Otaku Secret!

This 12 Moments of Anime 2009, it is Char

That’s the name of the 14th episode of Planetes and it means what it says in more than one way, some of which will spoil you if you haven’t seen this marvelous show, so don’t read on if that’s the case.

The first half of Planetes is basically a slice of life of orbital garbage collectors, set in a marvelously intricate sci-fi near future. There’s workplace drama, issues of ambition and social status, and even some office romance. It’s actually the culmination of that workplace fraternizing that provides the turning point. Hachimaki’s forced to reexamine his priorities in light of his relationship with Tanabe and his opportunity to make it to Jupiter. Not only that, the tone of the show starts changing dramatically from that point.

Really, the sad truth is that it never got any better for Tanabe and Hachimaki than their first kiss. It was all downhill from there.

Ghostlightning became briefly obsessed with the concept of what happens after the climactic hookup, and who can blame him — anime so often gives us a “chase is better than the catch” feeling by focusing 13-50 (or more) episodes on getting to the culmination of a schoolkid’s crush and showing us nothing of what happens after. Of course, that implies that everything is idyllic and wonderful, and that there’s no possible drama in two people who admit that they’re in love with one another. How incredibly unlike real life that is.

In the end, Hachimaki righted his wrongs and realized that his dreams could coexist with the more mundane aspects of his life (as long as they were willing to wait seven years…), and he tied it up in a really romantic and cute kinda way. But in the context of both the series and anime as a whole, episode 14’s “turning point” was a hard moment to top.

Ah, “slice of life.” A loose categorization sometimes used in entertainment writing but rarely thought of as a genre outside anime. There in cartoon-land it lives a contentious existence being confused with other genres, added to other genres, and insisting that we’d like everything a little more if we thought of all our anime as “slice of life” with tendencies toward [comedy, mecha, earthquakes, tentacles].

The issue with cutting a small day-in-the-life “slice” from the fictional existences of characters is that there is nothing else inherent to the genre that makes it potentially interesting to watch. If someone sliced your life, chances are the audience would slice their wrists from boredom (sex scenes notwithstanding).

But that’s not to say “slice of life” has to be boring. It’s just that you have to rely on “life” itself to be interesting rather than contrived external circumstances.

What if your life was an exciting one? What if you were… I dunno, say, an astronaut? That might help. What if said life involved great danger, wonderful science, and scads of Engrish passed back and forth across crackly radios? Sounds, maybe… too exciting for a slice of life. Then ratchet it back down: you’re a garbage collector, and it’s all in a day’s work.

The first half of Goro Taniguchi’s (Code Geass, S-CRY-Ed) wonderful Planetes plays very much as slice of life, and I’m not saying that because I find that it does nothing else particularly well. In fact, it’s got exciting close shaves, satisfying romance, more than a few laughs, and sci-fi with a capital Science. But none feel out of place in the lives of the characters. When picking up space garbage — as Ai, Hachimaki, Fee, and the gang do — you might have to ram a satellite while in a fit of nicotine withdrawal. You might see people die. You might learn something new about your friends. And you might fall in love. That’s life.

What I’m talking about really only applies to the first half of the series, because I can’t keep calling an anime “slice of life” when it develops an over-arching plot structure with big character development, goals and traditional narrative conflict. Heaviness sets in somewhere around episode 17 or 18, but until that point Taniguchi (along with original mangaka Makoto Yukimura) has already cut a tasty slice that he uses to make us more personally invested in the later events.

And why does it work, even with spacemen?

We all live, uh… lives. Each boring day, each hour spent at a desk at work, each tiny little drama that doesn’t alter the fate of the world is a slice in our lives. And it’s pretty neat to see people in this near-future that’s neither dystopian nor utopian, just our potential future, going through those same slices. There’s no war, supernatural experience, or other crazy thing to make life stop or change drastically. Just regular people holding down a job and doing their best (it is Japanese after all). Thanks to some incredibly well-written/well-acted characters and a tendency to never portray anything as overly fantastic or glamorous, we can find the common points between their slices and ours.

Did I go anywhere with this? Short version, I really dig Planetes a lot. I’m not done though, so please no spoilers for me. I’m sure I’ll do another post when it’s over.

A couple months without a night or weekend off, then a week of some insane (probably non-swine) flu, a new TV season is here and nary a word. Blah, blah, work, vomit, excuses. What’s next? For me, Fall 2009 is like a ghost town in a western movie, sequel and spinoff tumbleweeds slowly rolling across my field of vision as some Morricone ripoff tunes play and bloggers get all bent out of shape about underage lesbianism that’ll never pay off. The logic to a flagging anime industry is sound: instead of producing a 50-episode series, produce a few 12-or-24-episode series, continue the ones that do well as “sequels.” That’s fine, but if you didn’t catch it the first time around, there’s not a lot of value in finding out what Haruka’s dirty little secret is (she cosplays as Shana? That’s more shameful than my own supposed secret…).

Darker Than Black

However, there is Darker than Black, and my illness conveniently laid me up in bed to finish the original series. Have to say, it was, uh, “better than it should be.” Light chuckle here because, putting the ridiculousness of that statement aside, it was just about as good as it should be. Tensai Okamura and Bones created something that is, in a way, very typically Bones — think RahXephon,  Eureka Seven and its red-headed stepsister Xam’d — in the way that the story was put together. The method: Create a compelling but mysterious world, and don’t reveal too much about its nature until near the climax. In some ways, it’s a cheap way of keeping the viewer hooked, but I can’t say I don’t prefer it to A Certain Expositional Infodump that a large amount of anime is guilty of to some degree.

It’s not typically Bones in that its characters are distant, sort of unknowable. The warmth you can feel in Xamdou’s most aloof character Nakiami, for example, is far stronger than what I got from DtB’s Hei or even the human Misaki. I suppose part of it comes from the fact that Contractors aren’t supposed to feel emotion (though Hei’s case is a little more complicated). This makes them distant from anyone, so the viewer should be no different. All in all, I liked the story, I liked the action, I liked almost all of the characters, and the “cool” factor was in place. I’m skeptical of the new season, with its lack of Yoko Kanno, but I enjoyed the first enough to make this a no-brainer.

Cowboy Bebop

Speaking of Yoko Kanno and Fonz Factor, I also spent some time re-watching Cowboy Bebop. It’s been a lot of years since I saw it, and my subsequent re-education in anime allowed me to view it with new eyes — which is what second and third viewings are all about. It hasn’t diminished in my eyes; if anything I have even more respect, plus I watched it in Japanese for the first time and was delighted to hear Coach Emperor Wakamoto as Vicious. I’m not going to go on about Cowboy Bebop too much, you could fill a library with what’s already been said. It did get me thinking about something Zaitcev mused a while back about Honey & Clover: “What is particularly ‘anime’ about this anime?” In the case of H&C, I disagree, there’s plenty there to keep it in the realm, but with Bebop, I’m less certain.

For one, romantic drama is kept to a minimum. A mixed-gender spaceship in most anime, at the least, would create some sexual tension or maybe a Naked Misunderstanding or two. But for the crew of the Bebop, romance is a thing that happened in the past. Each of the three majors gets a “past coming back to haunt them” episode chronicling their turbulent experience with the opposite sex, most notably Spike. The present is a time for work — dangerous work with no room for such distractions. There’s only one “baka” from Faye that really carries the typical meaning, and it’s very late in the series.

Secondly… everything else. Really. Why break that out into bullets? Cowboy Bebop skips over almost everything. Teenage characters: One, briefly. Something to protect: Sorry, not really, unless you count cash. Tsunderes, seifukus, people crying a lot, techno-babble, mecha, evocation of moe, forget them all.

What it does have, of course, is an obsession with music and an amazing soundtrack to match. Both the anime and its Kanno music seem overflowing with ideas and hooks, a feeling that’s rare in something as polished and tightly executed as this. But that’s another tired subject when it comes to Bebop. If the series has a significant fault, it’s that we’re asked to take the story’s word on a great deal of things that happened in the past, rather than made to feel their significance. And that can lessen the impact of the otherwise astounding end.

At any rate, if for some bizarre reason you’ve never seen it, you’re missing out on one great example of what happens when some talented people get together and treat anime as a medium rather than a genre.

Planetes

I’ve watched 4 episodes of Goro Taniguchi’s space-junk saga so far, and the jury’s still out, but it’s an interesting take on near-ish future Sci-Fi. I wouldn’t exactly call it “hard” SF but the notion of space garbage getting in the way of progress is a realistic-sounding one anyway, and a lot of attention is given to the technological details and the mechanics of zero-G. A future where astronauts are skilled but un-amazing laborers and the whole of space is mired in bureaucracy, politics, and nepotism is a depressing future, but of course our idealistic naïve lead shoujo is here to brighten the picture.

Oddly, I see parallels to a more recent series, Production IG’s Library War: Cute, short-haired underachiever joins an exotic but ultimately unglamorous job that isn’t quite what she thought it would be, is beset by a tsun-tsun coworker, and tries to foist her wide-eyed idealism onto the world. I’m sure the comparison will pretty much end there, but it’s the kind of story that’s not hard to get behind, even if Ai can be a little shrill at time.

That about covers my recent viewing, aside from Utena and the various things I occasionally watch but will never finish, like Harlock and Legend of the Galactic Large Amount of Episodes. You should expect to see more on that soon as well. As of Fall ‘09 week 2, do you agree with my “alternative” choices or is there anything this season I’m missing?