Rewatching Code Geass R2 set my mind working on something that has been gnawing at me for a while, and it's only recently that the semblance of an answer began to take form. The part in question takes place towards the end of the season and is when the Emperor's plan is revealed to Lelouch concerning the Mental Elevator, C's world and the Sword of Akasha: that of unifying the world into a single, super consciousness. Depending upon the anime one has watched this will likely be a familiar concept and one that has underpinned many influential and subversive series.
everybody ends up all warm and fuzzy and with a greater understanding of Mayan philosophy
The most obvious proponent of this concept is of course Evangelion which constructed elaborate systems based upon Jungian psychology, theology and science and implying that the next evolution of humanity isn't as discrete individuals but as an amalgam. Without delving too deeply into the labyrinthine plot of the series and movies, End of Evangelion demonstrates this with everyone melting into a fluid, whereas the final episodes of the series give a fractured glimpse at the emotional montage Shinji suffers during this. Released in 1995-96, this was mostly the result of Hideaki Anno who it is anecdotally said spiralled into neuroses around the half-way point of the series which is coincidentally when it shed all pretences of being a fluffy children's show and went full bore for dark and symbolic.
By some bizarre fluke I have managed to squeeze through the second round of the AniBlog tournament with a win despite my expectations otherwise. Much respect to hontou ni for a close-run tussle, there were times when there were less then five votes between us which made for some frantic checking. I am up against Ogiue Maniax in the next round which is a daunting prospect but I wish him all the best for the next round, hopefully it will be a interesting match up. Musing on the tournament though has brought to the fore a lot of ideas that stem from it - primarily why participants are voting and commenting like they are.
Many people who watch anime, one can imagine, do only that - whether that's on TV (either American, Japanese, European, Malaysian or any other location) or anything they find to download or stream, it's probably fair to say that the majority don't interact or otherwise think about anime beyond that. Apart from them however there is a gumbo of different ways of passing information around about anime whether that's forums, instant messaging, Twitter, blogs, IRC, conventions, podcasts, conversations, university clubs or myriad other possibilities. The problem those mediums and the nature of fan communities suffer from though is that they naturally foster insularity. It is, as a fan, very easy to become entirely engrossed in a select few avenues of communication to the knowing or indirect exclusion of others. But being aware of those other groups and paying them respect is something I feel a lot of anime fans don't do and the AniBlog tournament has, among many other things, exposed.
The proliferation of maid shows is a peculiar phenomenon that seems to have sprung up in anime in the past few years. The watershed perhaps being Mahoromatic in 2001 (itself adapted from a 1998 manga) and then picking up speed with He Is My Master in 2005 and exploding recently with a bevy of series such as Hand Maid May, Mai-Otome and Ladies vs. Butlers as well as ancillary shows such as Hayate the Combat Butler and Black Butler. The premise invites branching out into the aristocratic area with series like Princess Lover as well as the host-club dynamic with Ouran Highschool Host Club and this season's Kaichou wa Maid-sama!. The fascination with maids always bugged me, especially the recent maid café situation; coincidentally, reading up on the hikkikomori syndrome lead to a theory.
You'd be forgiven for recalling Aerosmith's "Dude Looks Like a Lady" in the opening credits of the voluminously titled Uragiri wa Boku no Namae wo Shitteiru; not for the song's namesake but because were it not for the obvious breasts, the lady would certainly resemble a gentleman. This is not surprising with an art style that revels in the androgynous, emblematic of a genre commonly characterised by male homosexual romances. Nothing in the opening episodes attempts to dispel this association, in many ways it revels in it with the liberal use of tropes that are keen to imply rather than extol. Despite the genre trappings however, the opening episodes are a muted but disappointing introduction to a series which while not widely accessible, plays to its strengths despite the ultimately derivative result of doing so.
women who are attentive, graceful and the only bright lights in a world populated by frowns and stoic metrosexual manliness
Yuki is an orphan, found abandoned in a hedge with only his name affixed to him, growing up feeling that he was unwanted by his parents. It doesn't help that he has the ability to see people's pasts and emotions with only a touch, making him increasingly isolated despite his looks earning him scores of adoring fans. Yuki's life is shaken up when his supposed half-brother makes an appearance and his ability to read other's emotions spins into overdrive, manifesting the unfortunate ability to shatter all glass around him. The sibling, Takashiro, seems to be involved was mysterious silver-eyed man, Zess, who saves Yuki when a classmate takes a deadly interest in him. Yuki's ability may yet come to have some greater significance and his life shows no indication of settling back down.
A concept such as a brother's romantic entanglement with his two, admittedly non-blood related, sisters does not seem like one suited to crippling mediocrity - but Kiss×Sis, by some monumental feat, manages exactly that. The odd family arrangement mirrors that of the series which spans multiple media including an OVA released with the ongoing manga. This saturation of different versions is utter overkill for a bland story and weak characters but compounded here in the TV offering by minimal naughtiness and a wholly uninspiring production of stilted animation and insipid music. The positives are rare but include how peculiarly inventive the narrative is in placing the sisters in situations ripe for corrupting their brother, as well as portraying the two perverse, red-haired seductresses' intentions as naive and almost pure. Those pluses however are eclipsed by the multitude of negatives which only reinforce the fact that this was a stillborn idea before it was ever committed to paper or animation.
makes light of situation which is socially and morally bankrupt in order to legitimise a deviant fetish
Keita is his father's son, unfortunately for him his sisters are his stepmother's daughters and while a blended family isn't abnormal, his sisters' vocal affection for him is. They are intent on helping him get into their high school which involves some rather unique methods of tutoring, however both Ako and Riko vie for Keita's affections which spills out into a continual struggle for supremacy. This usually ends up with Keita in the middle attempting to unsuccessfully mediate or otherwise remove himself from the squabble. Although at first disparaging of their romantic feelings, he begins to feel something for them as well, and being all under the same roof it may not be long before something extra curricular happens.
