The Animanachronism

Memes must sometimes be reinforced.

Let’s get this out of the way first: Demonbane is not, by any stretch of the imagination, good. It’s a visual novel franchise adaption, and it tries to squeeze a great deal of information into a mere twelve episodes: the first episode feels like it’s playing at double-speed, the OP/rapid-fire clipshow is only one minute long and events frequently occur during the credits. Despite all this cramming, lots of extra plot, helpful explanation and some whole characters are cut to create an unfortunate ‘All There In The Manual‘ situation. I didn’t understand the conclusion (which was written especially for the anime in the first place) without the aid of Wikipedia.

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I’ve used this before, but the internet needs more reverse trap Hamlet.

I have an unsubstantiated theory that any boys who encounter Hamlet during their adolescence will become slightly obsessed with the play. It is very easy to read Hamlet as a misanthropic, withdrawn and rather ‘emo’ teenager, and - though this would seem very alien to the original audience, who lacked the concept - it’s no surprise that 21st century teenagers identify with him.

You can probably detect the voice of personal experience here, though I no longer identify with Hamlet in quite that way. For a start, although his age is much-disputed, there is textual evidence for a rather older Hamlet. And withdrawn teenagers are, for the most part, boring. But the obsession itself is harder to escape; to this day, productions of the play have me reaching for my wallet with the same irrational fervour that others use for figurines. (’Ooh, look! A 1:8 Ophelia, “distracted, playing on a lute, and her hair down, singing“!’)

And so it is that we come to Self Made Hero’s ‘Manga Shakespeare’ version of Hamlet. It’s a strange (though hardly the strangest) concept. Curiosity drove me to buy it. But is it manga? Is it Hamlet? And what’s it actually like?

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Mahou Shoujo Lyrical Nanoha A’s features a group of magical antagonists whose combat terminology is in German, although this is by no means the only foreign language used in the series (Bardiche and Raging Heart are noted for their English, while ‘Asura’ is a Sanskrit term and so forth). Quite what the status and connotations of the German language are in Japan I’ve no idea (though I’d like to find out) so I can’t guess what the intention of the staff behind Nanoha’s German is.

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Eagle-eyed viewers of Code Geass R2’s first episode may have spotted that Lelouch is reading Dante’s Divina Commedia while Rollo gives him a lift. (As a child, I never loved anyone enough to give them my last Rolo.)

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The White Devil eschews aimbots in favour of guts and friendship.

After finishing Nanoha A’s a few nights ago, I suppose I should put my thinking cap on again and examine my second dose of beamspam maho shojo goodness, attempting to produce something that bolts neatly onto the end of my previous remarks like an intellectual Dendrobium Orchis or the late application of glasses to a previously un-bespectacled girl. (Since this entry wanders a little, I felt ‘addenda’ was more appropriate than ‘addendum’.) Once again, I think I’ll write about Fate and once again I’ll use the excellent eleventh episode. (Spoilers follow the break.)

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This entry is dedicated to the memory of Sir Arthur C. Clarke.

Judging by the few episodes I’ve seen (how’s this for rushing to conclusions?) Legend of the Galactic Heroes is epic in scope and subject - and title: in its English rendering, ‘Legend’, ‘Galactic’ and ‘Heroes’ all convey the scale of the show. This isn’t the debased ‘epic’ bandied around on imageboards. This is the real deal. It may be the first time I’ve encountered an anime which has seemed truly Virgilian - I’d say Homeric, but I think in its awareness of war’s victims, its solemn stateliness and its focus on empire(s) the Legend is much closer to the Aeneid than the Iliad.

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[Apparently Geasstards such as myself aren't being pretentious enough about Tengen Toppa Gurren-Lagann. Rather than produce a direct rebuttal, I thought I'd write 1700 words about TTGL, splashing a few of Dore's illustrations for Paradise Lost around as I did so, making a sly joke about Haman Karn and icing the cake by linking a few other suitably pretentious articles.

I totally haven't had this in my drafts for a month, waiting for an opportunity to use it. The Animanachronism is hardly that devious, nor is he able to see into the future.]

Anyhow . . .

The rebel is a seductive figure who crops up all over the place in popular (and unpopular) culture. Inasmuch as there is a coherent thread to Western thought, Milton is to blame for this. As someone steeped (too deeply) in the Western literary tradition, my instant response to Tengen Toppa Gurren Lagann was to apply a rebellion stencil. Quite how well that works is another question, which will be considered below.

Spoilers ahead. Or rather, since this is Tengen Toppa Gurren Lagann we’re talking about, GIGASPOILERS ahead.

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How Culture makes one popular

[This is part of a series of entries considering GAR. The first one sets out what's happening.]

I had already felt GAR before I encountered the concept. After all, ‘unconquerable courage, the sheer will to accomplish the impossible, the willingness to sacrifice all for victory, and the ability to openly mourn the loss of something worth dying for’ have existed in storytelling generally long before anime. Indeed, for all that it’s compared to virtus, GAR’s history stretches back long before the Romans themselves. So indulge me - or ignore me - as I look back to an older meaning of ‘epic’. (more…)