I hit rock bottom in March of 2016. I was forced to withdraw from my dream school because my depression had made it impossible for me to succeed academically. I can remember telling myself that I’d manage to fix everything, but those were delusions. I was “averting my eyes” from the truth. I was so lonely. As my life started spiraling downwards, I never once considered asking for help.
I kept telling myself that I had the power to fix my situation all on my own, but every time I tried to focus on fixing things, I ended up just going to bed. I was spending so much time escaping into anime, especially shows like Clannad in which I could live my ideal wholesome trad fantasy.
I had reached the point where I figured that I don’t deserve the company of other people, but I still strived for companionship, always sabotaging my efforts as a way of sparing the person to whom I was trying to reach out the burden of having to deal with someone as rotten as me. Nobody had to suffer besides me when I spent time with anime. When my entire world finally came crashing down on me, I blamed myself for being lazy, piling on even more self-hatred than I had already accumulated.
It was not too lit fam. Anyway, part of me is still ashamed of the fact that I had to take a medical withdrawal from Notre Dame. I know I shouldn’t be ashamed and that I had long lost control of my life by no fault of my own, but I still haven’t internalized that.
When I returned home, I spent like three months almost entirely in my basement, curled up on the couch listening to music or watching anime (It was during that period of time that I first watched Monogatari 20 times in a row). A few days after I got home, I rolled over on the couch in the basement and heard some noise. It was my little sister playing with her barbies, which she hadn’t done in a long time. I chatted with her. I’d been crushed with shame whenever speaking to anybody since getting home, but for some reason, I felt totally comfortable chatting with my little sister then. She was in eighth grade at the time. This became a regular occurrence, and she’d always tell me she loved me when she was done and went back upstairs. My little sister became my best friend and helped save me when I hit absolute rock bottom. One of the most compelling scenes in Sword Art Online is in the first episode of the Fairy Dance arc, after Kirito has met Sugou *gag* and learned that Asuna is going to be married off. Kirito is absolutely devastated. His wife is going to be married off without her consent to a creep that she hates and Kirito can’t do anything about. And yes fuck this conflict it fucking sucks. Maybe it’d be okay if he wasn’t so rapey and the objective wasn’t so blatantly for Kirito to protect Asuna’s “purity,” but oh well. Its a testament to how great a character Suguha is that this is my favorite SAO arc despite all of that. Anyway, with a creeper stealing his online wife, Kirito has totally sunken into a pit of despair. This is rock bottom for Kirito.
That evening, Suguha enters Kirito’s room after he fails to respond to her when she tells him the bath is ready. She enters his room because she cares about her br- see, there I go, that’s way more specific than I need to be, I’m just stating the obvious. Anyways… Suguha’s perspective shapes this scene in Kirito’s room, which Sword Art Online utilizes as a representation of his now devastated internal world.
She finds her brother sitting alone on his bed in his room. The room is illuminated only by the moonlight streaming through the huge window in the corner of the room behind the bed and is freezing because it’s the middle of January and he hasn’t turned on the heater. In the first three shots of Kirito after Suguha enters the room, his eyes are hidden by shadows. Suguha turns on the heater and asks what’s going on. Kirito tells her that he just wants to be left alone, which is, of course, the last thing you should say when you want to be left alone. Perhaps Kirito was subconsciously trying to reach out to Suguha in that moment.
The concern in Suguha’s voice grows stronger in response to that most obvious of red flags and we see a look in Kirito’s eyes more harrowing than anything we were privy to during his experiences in Sword Art Online. Our (new) heroine immediately swoops down on him, taking his hands in hers, and asks him what’s wrong and if he’s alright, to which Kirito initially responds that “its nothing.”
Suguha’s demonstration of her love for her brother brings warmth to the room (she turned on the heater) and to Kirito (grasping his hands). That warmth, that love, allows Kirito to open up to her. We get to see the extremely rare “vulnerable Kirito,” a side of him we’ve only seen him show Asuna. He apologizes to Suguha, expressing his despair, saying, “I’m so hopeless and weak,” then expressing his regret that Suguha has to see him in such a compromised state, something he had sworn not to allow happen. Kirito gives an extremely vague explanation of his situation, breaking down into tears in the process.
Suguha throws her arms around him, allowing him to cry into her, uh, bosom, and tells him to hang in there and not give up on being with the one he loves. She instills hope in Kirito.
The next morning (after waking up in same bed as her), Kirito reflects on and affirms Suguha’s words of comfort and encouragement. And then he conveniently gets a message that leads him to the answer to all of his problems BUT THAT’S NOT IMPORTANT.
Just as Suguha brought love and warmth to Kirito when he needed it most and encouraged him to keep fighting, so too did my little sister comfort me when I needed it most. And since then, like Suguha, my little sister has always been my biggest cheerleader, encouraging me not to give up in my struggles to overcome myself. Oh, and now I’m finally going back to Notre Dame, I’ve finally finished clawing my way back up from rock bottom, and I was only able to do it because I had my little sister cheering for me all along the journey.
I’m gonna be writing more about Suguha, since this isn’t as much about her character as it is about the projections of my own experiences onto this one scene in particular.
It’s no secret that Kyoto Animation’s adaptation of the Clannad visual novel is generally considered one of the most heartwarming anime ever made. It tugs at heartstrings in a variety of ways, like through its portrayals of the beauty of a family persevering through turmoil, of childhood trauma and the struggle to process it and of the miracle of life. The romance at its heart is often praised as being one of the best in anime, with Tomoya and Nagisa appearing in countless lists of top ten anime couples. The core theme of Clannad is that family is paramount. Clannad believes that families must always stick together no matter what. Clannad has a lot to say about what it means to become an adult, the value of blue-collar work, the difficulties of parenthood and many other things. Clannad also has a bit to say about queer sexuality.
The issue of LGBTQ+ rights in Japan has become more prominent in recent years. Fear of queer sexuality is common in Japan, as it is in the United States. Naturally, this increased presence in political discourse has caused the most reactionary voices in Japanese politics to cry out in outrage. Mio Sugita, a parliament member belonging to the conservative Liberal Democratic Party, wields one of these voices. She recently appeared on television and recounted being asked whether LGBTQ+ problems have a place in Japanese education, saying that she thought it was “definitely unnecessary.” When told that the suicide rate among homosexual children is six times higher than among children in general, she laughed and articulated her belief that teachers in Japanese schools have more pressing concerns. Despite knowing that she is on the far right, has fringe views and has been condemned by politicians on both sides, watching this clip still sent a chill down my spine.
In my opinion, whenever a big fuss is made over one reactionary openly expressing their hate, the number of people that share that view is always more than the media backlash would suggest. What I’m saying is that Japan, like the United States, has a great deal of progress to make in LGBTQ+ civil rights and acceptance of queer sexuality. My impression of the clip of Mio Sugita on television is that her attitude towards LGBTQ+ people is one of dismissal. Dismissive attitudes are focal point in the system by which hatred is reinforced and passed between generations in Japan.
And now, a little bit about me.
Once upon a time, a kid called me gay and I curbstomped him. I curbstomped the shit out of him. I stained that rocky gravel path red with his blood. I had just gotten off the bus coming back from church. As I stood above his body, smeared with blood and curled up in order to protect himself from any further curbstomping, I said, “that’s what you get when you mess with John Clark, boy… *loud manly aggressive grunt. *” I had been watching a lot of Looney Toons that summer before going off to camp, so I suppose I had been a little inspired by Foghorn Leghorn. It was so damn satisfying to watch him cry. I later learned that he had to get 12 stitches above his right eye. I had never been so proud of myself. I was sending a message to my peers that shared my cabin at that sleep-away camp: Don’t call John Clark gay unless you want your brains bashed in.
Outside of fighting a few times with my little sister, who I thought was out to get me, I had never demonstrated any violent behavior. This incident, during the summer before I started middle school, was only the second. In both cases, I became violent in response to gay-related name calling and got away with it because I lied and said the other kid had hit me first. The adults in charge never believed the other kids’ stories. They couldn’t fathom the thought of me violently attacking one of my peers. None of my behavior up until that point had suggested that such a thing would even be possible.
In my first year of middle school, a classmate tormented me with gay-related name calling, and one afternoon in late May, I punched him in the face on the bus home. It was so satisfying to watch him cry, though that was cut a bit short, because I had to get off the bus at the next stop. To be fair, I told him, “hey Kevin, I’m gonna punch you in the face if you call me gay one more time.” I was already set on punching him in the face, so when my stop was coming up and he hadn’t called me gay again, I just punched him in the face anyway. Right in the eye. It was the kind of punch that makes your fist hurt. I thought it was worth it though. It was particularly fascinating to watch the bruise swell up in real time. I remember laughing in amusement. I felt like I was on top of the world.
When his parents called the school, I pulled the same bullshit but ended up having to serve a detention anyway. With those incidents, I learned that I’m the kind of person that bottles shit in and then snaps, seemingly without warning. These memories were my first experiences with the concept of queer sexuality. The idea had filled me with so much fear and anxiety that I felt I had to fight for my life. I don’t look back fondly on these memories. It was petty and pathetic. It was also traumatic for me to witness myself cause such violence. Though I suppressed these feelings at the time, I became constantly aware and afraid of the potential I had for hurting other people. That stuck with me through high school. I ended up placing into the highest track for seventh grade, and there was a lot less name-calling from there on out.
As an adolescent male, there was no graver punishment than being branded as gay. That’s what it feels like when name-calling comes from bullies, or people you perceive to be superior to you, it feels like a punishment. The only thing that could bring me to challenge that authority was my intense fear that people would think I really was gay. Due to traumatic experiences I had when I was in second grade, experiences I’ll perhaps dive into another time, I came to associate bullies with authority. It wasn’t a healthy perception to have, but it’s pretty insightful when used as a lens to explore gay-related name-calling and bullying of LGBT+ students in Japan, where teachers sometimes join in on the bullying.
Why did I snap in each of those incidents? What was so gravely offensive about being called gay that would lead me to become so violent? Why is gay such a potent slur? It often has little to nothing to do with sexuality, but at the same time, it has everything to do with sexuality. In 2007, when I was in sixth grade, I was playing with Bionicles while all the other kids were out playing sports or playing video games like Call of Duty and Grand Theft Auto. The only video games I played were Pokémon, Lego Star Wars and Lego Indiana Jones. Naturally, I never had anything to contribute when guys would stroll into class in the morning, raving about their heroism and exploits on the battlefield. I was too busy thinking about Bionicle’s expansive and complex lore. In addition, I have ADHD, so I’ve always been very impulsive. That combined with anxiety, tied to those traumatic experiences I mentioned, made me socially incompetent compared to most of my classmates. If life was a masculinity competition, I was losing, and that’s why I was labeled as gay. It had nothing to do with my sexuality. Well, maybe I was also particularly sensitive to it because there was a period of a couple weeks that year when I seriously questioned my sexuality. Anyways, being branded as gay has more to do with failing to conform to gender roles than it does with actually being gay. They called me gay because I wasn’t manly enough.
Thoughts along the lines of, “there’s nothing wrong with being gay” never occurred to me, and if somebody said such a thing to me, I don’t think it would have made me feel any better. John Clark knew that being gay was a bad thing. That misinformation didn’t come from my home; it came from my peers. I entered middle school and the regime of masculinity sorted all males my age between ‘gay’ and ‘not gay.’ The kids that conformed to gender roles naturally were on top. The kids that were designated gay could only remove that label by conforming to the behavior of the kids designated as ‘not gay.’
Adolescent males also throw around ‘gay’ while messing around with their friends. The difference is in the delivery. When it’s from a friend and in a lighthearted manner, it doesn’t feel like bullying. It’s not being used to dismiss that person’s very existence. That doesn’t mean it isn’t harmful. Even I engaged in playful gay-related name calling with my friends, though I quit relatively early. One day, in February of my first year of middle school, my friend and I were messing around in the auditorium before play practice and calling each other gay. The only other people there were the director and the set manager, an incredibly muscular high school sophomore named Steve. To me, he was the pinnacle of masculinity. He was a very easily irritated person, and I was always afraid that he would bully me. He also wore pajamas almost exclusively, which I thought was awesome. The director, Andy, excused himself to go to the bathroom. When he left, Steve walked over, grabbed my friend and I each by the collar, and told us that he never wanted to hear us call each other or anybody else gay in a demeaning way ever again. He told us that Andy was openly gay and asked us how we thought it must feel for him to hear us throwing around homosexuality as an insult. He said it was like we were stepping all over Andy. My friend was scared shitless in the moment, but he didn’t really adjust his behavior after that, except for when he was around Steve. I never called anybody gay again… I think. That moment stuck with me, and I often thought about it even after the name-calling had ended in seventh grade.
I had never questioned the idea that homosexuality is wrong and weird back then. It wouldn’t have mattered to me, what mattered to me then was the fact that those that branded me as gay thought it was wrong and weird. The possibility that there could be people that thought otherwise never occurred to me. All of my negative feelings toward homosexuality were rooted in my resentment for being labeled gay and being dismissed and put down for it. The wakeup from Steve call is something that I’ll always be grateful for because it laid the foundation for me to eventually realize that there’s nothing inherently wrong or bad about being gay. I’d never thought about how there were real people who were really gay and it was the first time that somebody other than my parents said that it was wrong to call to weaponize homosexuality as a tool for putting other people down. It was my first experience that challenged all the misinformation regarding homosexuality that was washing over me each and every day in class. On top of that, it came from the guy that I thought was the pinnacle of masculinity. I think it helped prevent me from getting totally lost in the hatred and fear that my experiences with gay related name-calling carried with them.
In the summer before I went into seventh grade, I really got into Avatar. There’s an episode of Avatar in which Katara describes Aang as being, “more in touch with his feminine side than most guys.” I was immediately able to identify with that sentiment, and even through college, I often used it to describe myself when it would be relevant to conversation. Even more influential than that was watching Zuko grow and change over the course of the series. Zuko started out as the villain, chasing his father’s approval. As the series progressed, Zuko grew softer and warmer as he struggled with which side he was going to take. Zuko, at the end of the series, was much less concerned with masculinity than he was at the beginning. That growth stuck with me so much that the one thing I most associate with growing up is growing out of the obsession with masculinity that grips most adolescent boys. Breaking that obsession with masculinity is, in my opinion, the key to combatting homophobia.
The strongest fuel for homophobia is lack of information. That’s the key to how homophobia gets passed between generations, and the only way to ameliorate that is through education. Most people don’t understand queer sexuality. I think this is far more common than people not wanting to understand queer sexuality, though there are many people that feel that way. To them, queer sexuality is a source of fear, something to be driven away. However, it is precisely because people don’t understand queer sexuality that they fear it. Those folks that fear queer sexuality don’t want others to understand it either and spread misinformation, even through education. The lack of any positive or accurate information means that the misinformation is likely to spread, take root and remain unchallenged. The kids grow up knowing only that misinformation, and, unless they research on their own, they never will understand queer sexuality, so it will remain for them something to be feared. And why would kids research queer sexuality if they believe they’ve learned, formally or informally, everything they need to know about it?
Not all folks that don’t understand queer sexuality are overwhelmed by fear and the hatred that it sows but that doesn’t mean those people will see the value of understanding queer sexuality. Activism and visibility for LGBTQ+ folks are the only cures to this system. The truth needs to overwrite the misinformation. The lesson, which I think can be drawn from the anecdotes I’ve shared, is that a few positive experiences with something could potentially drown out the darkness cast by countless past negative experiences with that thing. Those experiences changed me for the better. They saved me from potentially living the rest of my life in fear of queer sexuality. The best way to prompt people to question the misinformation they were fed and seek the truth, is advocacy for understanding. As time progresses, it will hopefully become impossible for the LGBTQ+ community to be ignored. I would say the United States has seen this come to fruition to an extent over the past 15 years, at least in urban areas. The internet is a vital source of information and means for maximizing visibility as well. This is precisely why LGBTQ+ issues have been discussed more openly in recent years.
Everything I’ve written so far has come research and reflections prompted by my most recent watch of Clannad. Clannad indulges itself in four ‘jokes’ that treat queer sexuality as a punchline in its first season. The first time I watched Clannad, when I wasn’t thinking critically, just mindlessly consuming, I laughed out loud to all four of these jokes. With each rewatch of Clannad, I’ve become more and more perturbed by these ‘jokes.’ I’m going to use the research and anecdotes I’ve provided to contextualize Clannad’s jokes that target queer sexuality and explore the implications of each of them.
Clannad’s first major gay joke is in the second episode. Tomoya is speaking with Ryou Fujibayashi, the class representative, who has a crush on him. Her sister Kyou, who also has a crush on Tomoya, mowed him down with her bike on her way to school that day. Tomoya starts to complain to Ryou, but Kyou, who’s in another class, comes in, cuts Tomoya off as he’s saying “bike” and pulls him out into the hallway. She tells him that it’s forbidden to ride a bike to school and she doesn’t want anybody to know because she doesn’t want to get in trouble. Tomoya walks back to his seat and, as if to continue what he had been saying before getting hauled off, he stands up and announces, “Kyou Fujibayashi is bi.” That’s the joke. Confusion and shock follows, and Kyou drags Tomoya back into the hallway.
This is the most simple of Tomoya’s gay jokes. Unlike the others, it’s not meticulously crafted, because it happened in the moment. In reaction to Okazaki’s announcement, many students wonder aloud what “bi” means. The confusion here is actually reflective of the lack of specific information about queer sexuality in Japanese schools. One of the students in the class reacts by saying, “you mean like male and female,” to which another student responds, “she does seem very masculine.” This absurd piece of misinformation, which might sound right to somebody that doesn’t understand queer sexuality, is never refuted by the show. It’s left uncorrected. Clannad actively participates in spreading misinformation about queer sexuality.
Clannad is also making light of the very serious issue of LGBTQ+ students being outed against their will. In Japan, in recent years, increased prominence of LGBTQ+ issues and representation on the internet and in media has caused more Japanese youth to begin to question their identity. Kids explore the more remote corners of the internet or stumble upon manga like Girlfriends, or anime like Flip Flappers, Love Live and Gatchaman Crowds. They meet other folks or see characters with whom they identify, characters that are endearing yet don’t fit into the artificial boxes of male and female, into which society tries to stuff anyone and everyone. In the stories they read, they find shared experiences, similar in nature to the way I found reflections of myself in Aang and Zuko. With this trend, more and more LGBTQ+ Japanese students are approaching teachers and coming out to them for various reasons. Examples of these sorts of exchanges include a young transgender woman requesting to wear the uniform assigned to girls, or to change in the girls’ locker room, or to sleep with the girls on the class trip.
Unfortunately, most teachers in Japan have no training in helping LGBTQ+ students and have only cursory knowledge regarding LGBTQ+ issues and experiences. Much of this knowledge is likely informed by harmful stereotypes. Even formal education in LGBTQ+ related issues is problematic, because in Japan, being transgender is still considered a mental illness. As a result, most Japanese teachers are unequipped to assist their LGBTQ+ students. This lack LGBTQ+-related training for educators causes a variety of problems, the most prominent of which are the cases in which a teacher outs an LGBTQ+ student to their classmates and/or their parents against their wishes. This isn’t always malicious. It is the natural result of a lack of education and a proliferation of misinformation. What is malicious is Mio Sugita’s assertion that educating students in LGBTQ+ matters is a waste of time. Luckily, the system is changing. More people in the Japanese government are pushing for LGBTQ+ rights and the education ministry sent a notice last year to all teachers that outing their students can cause depression and suicide.
In the United States there is an infamous example of a student being outed by his peers. Tyler Clementi, a freshman at Rutgers University, took his own life after his roommate secretly livestreamed an intimate evening between Clementi and another male student via iChat. Dealing with the suicide of a classmate or somebody else at your school can be a traumatic experience. It happened a few times when I was in high school and at Notre Dame. The entire campus is shaken, even those that don’t know the deceased student. Though it doesn’t seem as though Kyou is actually bisexual, Tomoya’s cruel joke makes light of the act of outing somebody against their will, and all the baggage attached to the subject.
The second gay joke is much more calculated by Tomoya and is only possible because the writers crafted it. It wouldn’t have gone nearly as far if it only depended upon the natural outcome of Tomoya’s setup. Tomoya and Sunohara are helping Nagisa recruit members for the drama club, so Tomoya directs Sunohara to tell Ryou to come to the roof of the school because there is somebody waiting there that wants to confess their love. This is particularly cruel on Tomoya’s part because Ryou has a crush on Tomoya. Since Ryou knows that Sunohara is Tomoya’s “best friend,” she was likely led to believe that the one waiting on the roof to confess their feelings was Tomoya. If nothing else, she at least got her hopes up.
When Ryou reaches the roof, she’s shocked to learn that the one who wants to talk to her is a girl, Nagisa. Naturally, the charade would end shortly after Nagisa began speaking to Ryou, but the writers overreach and deliberately make Nagisa’s lines vague and misleading. The joke becomes artificial. After a lot of misleading build up, Nagisa asks Ryou to join the drama club, at which point Kyou comes out onto the roof, having been eavesdropping.
This scene mocks a very delicate type of situation, one in which somebody comes out of the closet to the person they are confessing without knowing how that person will react. The writers even have Nagisa say, “I’ve been troubled by it, but I decided to be brave,” mocking the immense courage required for LGBTQ+ students to come out and confess to somebody who likely won’t even be attracted to them.
When Ryou says that she didn’t expect it to be a girl, Sunohara chimes in saying, “Sex doesn’t matter, the important thing is the heart.” This is a good sentiment, but coming from Sunohara and in the context of the joke, it comes across as mocking homosexuality. Sunohara’s characterization, especially at this point in the story, is such that nothing he says is meant to be taken seriously. He exists to suck so that Tomoya can look good in comparison. He is presented as a character that ought to be dismissed and this extends everything he does and says. Clannad’s attitude toward Sunohara’s declaration is just as dismissive as Mio Sugita was in her interview.
The third joke, which seems to target transgender and genderqueer people, is probably the most intricate and calculated of Tomoya’s LGBTQ+ focused jokes. For this joke, Tomoya once again takes advantage of Ryou’s submissiveness and her feelings for him to craft his hateful prank. When Fuuko zones out in the hallway, Tomoya tells Ryou say to Fuuko, “I’m Okazaki, I’ve become a girl,” when she comes to. Tomoya further instructs to her say, “it comes off sometimes” if Fuuko asks what happened and, “for the time being” in response to any other inquiry from Fuuko.
After hearing from Ryou that “it comes off sometimes,” Fuuko asks whether “it” might come and attach itself to her. This is yet another artificial joke. Fuuko’s questions and responses were designed by the writers to have maximum comedic effect without any regard for how realistic it would be for anybody to say such things. I admit, the idea of a little cartoon penis running around in red sneakers and randomly attaching and detaching itself from various individuals is a bit humorous, but the fact that the writers thought it reasonable to believe that the audience would buy into this is yet another testament to the void of information and pervasive misinformation about queer sexuality in Japanese schools.
Fuuko’s immediate concern that the wild penis in red sneakers might pose a threat to her, her gender and her sexuality is a testament to the disposition uninformed Japanese students have toward queer sexuality. All of these jokes treat queer sexuality as something alien, and this joke also portrays it as a source of fear from Fuuko’s point of view.
The final joke targeting queer sexuality focuses on Sunohara. Many Clannad fans, including myself, have theorized that Sunohara might be gay and Kyo-Ani’s adaptation seems to put some effort into portraying Sunohara in a manner which does not rule out this possibility. If Sunohara is gay, then this joke would be the only one in Clannad which directly targets a queer character.
After the end of Kotomi’s arc, Tomoya and the various women he has assembled in his harem all decide to join the drama club, giving Nagisa the number of members she needs to officially reestablish the club. The last thing they need is a club advisor. In the time in which the drama club had been dissolved, the former drama club adviser became the adviser to the choir club. The choir club was formed by Rie Nishina as a means for her to continue pursuing her passion for music after sustaining permanent injuries to her hand in a tragic accident which made it impossible for her to play the violin. Sunohara devises a dumbass plan to show the members of the choir club that they shouldn’t let handicaps hold them back, hoping to somehow convince them to surrender their adviser, the one true good boy, Koumura-sensei. This was something they did not need to be shown at all and was incredibly insensitive on the part of Sunohara because it just reminded Nishina of the fact that she can never play violin the way she used to because of the injury to her hand. Sunohara’s plan was to demonstrate their ability to overcome handicaps by having the drama club play the basketball team three on three. Tomoya had been on the basketball team and was forced to quit due to permanent damage to his shoulder, a consequence of domestic violence. Tomoya wants to avoid basketball, so he turns down Sunohara. Sunohara persists, constantly chasing after Tomoya and trying to convince him to get on board with his incomprehensibly idiotic plan.
With Sunohara on his heels, Tomoya, at the end of the school day, grabs Nagisa and runs away. When Nagisa asks him what Sunohara is chasing him for, Tomoya tells her that Sunohara actually likes him. I’d like to note that, if that is true, which is a point of fervent debate, it would be another example of this show making light of the issue of LGBTQ+ students being outed against their will.
The subject of the joke is Sunohara, but the purpose of it is to freak out Nagisa. Nagisa’s reaction is the substance of the comedy this joke is creating. Nagisa’s response to this is framed for maximum comedic effect. Nagisa’s immediate reaction feels a lot more like horror than shock. She becomes frantic and restless. In his explanation, Tomoya leans fully into the show’s portrayal of Sunohara as being totally pathetic, saying, “Lately I haven’t paid much attention to him and it’s made him so lonely that he’s carrying on like that.” Nagisa tells Tomoya that he should consider Sunohara’s feelings seriously. That’s a wonderful thing for Nagisa to say, but unfortunately, the writers made that part of her reaction because it is supposed to be funny. The worst part of Tomoya’s relationship with Nagisa is the dismissive attitude he sometimes has towards her when she becomes assertive. Nagisa herself doesn’t seem too confident in what she is saying.
When Sunohara catches up and reaches for Tomoya’s sleeve, Nagisa grabs his arm and tells him to stop. She then lies and says that Tomoya is her boyfriend, hoping that she can “protect” him from Sunohara.
When Sunohara’s sister later overhears Nagisa mentioning it, Nagisa clarifies that Tomoya and Sunohara aren’t lovers and that Sunohara is just “forcing himself” on Tomoya. Nagisa adds that she thinks that “love comes in different forms for different people.” This is a wonderful sentiment. Unfortunately, it is undermined by the fact that this is all a part of one big joke. When Nagisa asks Tomoya to say something to comfort Sunohara’s sister, he directly undermines and dismisses any sincerity of Nagisa’s words by saying, “this is too much fun, I’m just gonna sit back and watch.”
For Nagisa, Tomoya’s deception recontextualizes Sunohara’s behavior as harassment, reinforcing various stereotypes in Japan regarding gay men. In my opinion, the second most prominent way in which homophobia manifests in straight cisgender men is in the fear of gay men pursuing them, and I think this “joke” plays upon the fear that many straight men have of receiving unwanted sexual advances from gay men. In addition, Sunohara’s thorough characterization as a connoisseur of sexual harassment and depravity matches harmful stereotypes associated with gay men. Ultimately, the drama club does follow through with Sunohara’s plan, and it works. Sunohara’s suggestion of this plan seems to be intended to be a redeeming moment for Sunohara, an opportunity for him to not be the literal worst. Tomoya turns Sunohara into the bad guy by telling Nagisa that he is gay.
So, what does it all mean? Well, if you are going to opt to adopt the dismissive attitude of the people that allow homophobia to fester, you’ll tell me that it means nothing because they’re just jokes. If you’re not in the mood to take the attitude of oppressors, you’ll realize that, either intentionally or unintentionally, Clannad essentially contains anti-LGBTQ+ propaganda. At first, that might seem like a radical jump, but there are four of these jokes in the first season of Clannad. Two of them span across two scenes and one even carries over from one episode to another. Three of them are very intricately crafted. All of them treat queer sexuality as a punchline and between them, they cover quite a variety of different manifestations of queer sexuality. The worst moment in all of these jokes is after Sunohara runs away during the fourth joke. Tomoya and Nagisa are both blushing and Tomoya tells Nagisa that it made him happy when she said he was her boyfriend. This moment establishes Clannad as a story where heterosexuality reigns supreme by putting down queerness. Clannad is not wholesome. The warmth and fuzziness of Clannad disguises a disturbing preoccupation with demonizing and dismissing queer sexuality.
Here, to cleanse your soul after having to read so much about my past and about Clannad. That was some fucked up shit.
For subtitles, I’ve seen a few different versions of fansub, but here I’m using Sentai’s subtitles for reference.
If you’re interested in all the technical stuff regarding LGBTQ+ students in Japan, or even if you aren’t, I suggest you read this report by Human Rights Watch. This is where I pulled my information from.
So this is my first post since, like, July, right? To make a long story short, I’ve had quite a bit of trouble in my personal life over the past few years, yadda yadda yadda, I’m not in school right now and am in the middle of psychiatric testing to see if I have some sort of cognitive issue (other than ADHD, which, boy, do I have). Over the past year, I’ve come to realize that I have trouble stringing my thoughts together. Think about it this way: you’re walking along the shore leaving footprints in the sand and every few steps, a wave comes and erases your footsteps. That’s what my thinking has been like lately. In addition, I have crippling self doubt that has kept me from posting this up until now, despite the fact that I’ve been working on it since the first episode of Violet Evergarden aired. I want to get these thoughts out there regardless and contribute to the discussion, so I’m like, whatever, now, here you go Anitwitter. I won’t make any progress improving if I don’t do anything, right? Okay, on to the good (bad) stuff.
Also, check out Zeria’s video that does exactly what I set out to do here, except better.
Violet Evergarden is good. Yeah yeah yeah, the animation is splendid and it’s like one of the most beautiful anime productions ever, or something like that, yeah, everybody knows that and nobody is denying it. I think that what we’ve seen of Violet Evergarden so far is exceptionally well written. Yo, it ain’t hyped enough. This is so much better than Clannad.
Kyoto Animation produces good anime almost exclusively, but very few of them really gave me the impression that they were ‘smart,’ at least not as a whole. This isn’t a knock against Kyo-Ani at all, and it’s not to say that their shows are dumb, the stories they adapt simply rely more upon emotional intelligence and empathy. That’s the way it ought to be for those stories. A Silent Voice was very smart, I think, especially with the way it depicted Ishida shutting others out of his world. This is what I mean when I say its ‘smart,’ it finds a simple, creative and compelling way of visually representing the psychological state of Ishida.
I suppose that, for me, a ‘smart’ show is one that presents its characters, conceits or themes in such a compelling manner that I find myself reflecting upon it frequently.
Being smart alone doesn’t necessarily make a show good, in fact, being ‘smart’ isn’t even necessary for a show to be good. Even though my favorite show of this season so far is A Place Further than the Universe, I think Violet Evergarden is probably the ‘smartest,’ primarily because Violet Evergarden is heavily informed by psychology. Kyo-Ani manages to make important psychological concepts and their manifestation in Violet’s experiences accessible and even relatable to the audience. Casual viewers that don’t recognize the ways in which psychology informs the foundation of Violet’s character can still understand Violet’s story because of Kyo-Ani’s presentation.
Violet’s emotionless demeanor is the most obvious symptom of Violet’s problems. Violet’s story is one of a former child soldier that was trained into a doll now carrying out her final orders to live and be free. Violet takes pride in her identity as a weapon. She has been conditioned not to consider herself human and, for the most part, nobody else in the military besides (maybe) Gilbert seems to have treated her like a human. Violet needs to become human, to embrace her identity as a human, rather than as a weapon, in order to be free and truly live.
Though she has survived the war and has been discharged from military service, at the beginning of the series, I would not say that Violet is free. Violet’s continued commitment to military conduct is not simply out of force of habit. Violet is completely dependent upon orders. She can’t function without them. The first episode demonstrates this during the meal scenes. Violet does not touch her food until Hodgins vocalizes permission for her to eat. Hodgins has been out of the military for just as long and it takes him a while to realize that Violet’s mentality is still totally entrenched in the war. Violet’s dependence upon the structure that the military provided, demonstrated by the way she treats every job like a military operation and her approach to customer service, is just the most tangible evidence that Violet is not yet living free from the influence of the military, which robbed her of her childhood and groomed her into an ideal child soldier, an emotionless killing machine. I’ll note here that it seems as though Violet was taken as a prisoner of war, so it seems she had already been refined into a weapon by another military by the time she met Gilbert.
Why would Violet cling to such a state of mind, especially one so contrary to Gilbert’s order to be free? Well, I’d say that mindset probably safeguarded Violet from the potential horror of sitting alone with her thoughts and reflecting upon her experiences. Prompted by her encounter with Gilbert’s brother, that shoe finally dropped in episode seven, while Violet sat alone on the train.
Although Violet may be expressionless, her behavior reveals some of the specific ways in which her characterization is informed by psychology. The most obvious of these is her oral fixation, something which really stood out in the first episode. I’ll spare you the psychobabble and give you the sparknotes, or rather, the senpainotes version of what this means. Basically, Violet didn’t really get all the care and attention she needed as a child (infant, technically, but I don’t want to limit that arbitrarily), so she’s “making up for it” now by occupying her mouth with things like her dog plushie, putting on her gloves, and, most importantly, with the broach Gilbert gave her. All of this is reinforced by scenes where we see Violet curled up in the fetal position, another symptom of regression. Violet is trying to make up for the deficit of care and love she received as a child with love from Gilbert, something that makes sense given her background as an orphan and child soldier. Unfortunately, Gilbert ain’t coming back.
Violet is in denial with regards to Gilbert’s death. Accepting that death will only become more painful for her as she comes to understand what love is as an auto-memory doll. Violet is clearly repressing memories of her experiences during her time in the military. She remembered Hodgins from the night before her final battle, but in one of Hodgins’s flashbacks, it’s shown that he had seen her before then, fighting and killing in what I can only describe as an Atrocity Exhibition. Childhood trauma is almost always the subject of repressed memories. Being a child soldier, it’s difficult to imagine that Violet’s memories of that experience could be anything but traumatic. What is likely most traumatic about this, as episode seven has suggested, is that Violet was forced to kill. The military molded her into a moe murder machine, but it seems that, rather than directing her rage towards the militaries that wielded her as a weapon, Violet’s realization that she is indeed on fire will only cause her to hate herself.
If there are any aspects of Violet Evergarden that go underappreciated, let me know in the comments, I’m curious to hear what others have to say.
Monogatari holds a very special place in my heart. When I started watching Bakemonogatari, I was having a tough time. It was the last time I watched anime as a means of escaping the world, which, for me, seemed to hold nothing but failure. Monogatari was the first anime that made me really think about what I was watching and the first that I treated the same way I would treat literature. It wasn’t a decision I made on my own, Monogatari forced me to see myself in its characters. It wasn’t straightforward assertions of ideals, which can be found in many anime, which was able to break through my shell of denial, it was Monogatari’s subtlety and incredible characters.
One thing my mother often said to me around that time, when I had effectively become a college dropout, was that there is no difference between depression and cancer. My natural response, which I did not vocalize was, “yeah, except, y’know, everything.” Of course, I could comprehend the argument my mother was making. Even though people can’t see depression and don’t really take it as seriously, the way it can interrupt your life is similar.
That’s why I had to withdraw from my studies at the University of Notre Dame. Despite my mother’s encouragement, I couldn’t not consider myself a failure, y’know? Of course, how could you expect me not to blame myself at a time when I was mired in self-hatred? My mother never told me that my situation was not my own fault. I’m glad she didn’t let me play the victim.
No matter what she said, she wasn’t going to fully convince me of her comparison between depression and cancer. Nobody purposely behaves in a way that makes them more susceptible to cancer.
Nobody finds comfort in resigning themselves to a fate determined by cancer. Nobody with cancer is content to wallow in their own pain.
Nobody with cancer would hesitate to jump at the opportunity to have their cancer cured, if one presented itself.
Bradford Cox reflects on depression and other forms of sadness and self-hatred in the Deerhunter song, Revival. He plainly states that, “it doesn’t make much sense.” Well, ain’t that the truth? I can testify that doesn’t make much sense, having firsthand experience. I also imagine that it doesn’t make much sense to those watching their friends or family struggle with it. In fact, I know that it doesn’t make much sense to them because they’ve told me. Unless you tell people, they have no way of knowing what you’re dealing with, or that you’re dealing with anything at all. If you don’t let anybody close, the only people that will notice are those that have been there before and those that are still there.
Even those people, however, will never be able to understand. They’ll never truly be able to put themselves in your shoes, but that doesn’t mean they can’t care. Bakemonogatari’s first arc, Hitagi Crab, captures this experience perfectly in the scene of Senjougahara’s exorcism.
I’ll start with the central visual metaphor in this scene, the most concrete example of layered storytelling that I can prove without a doubt. Senjougahara’s exorcism illustrates not only the firsthand experience of struggling with your problems, it also illustrates the experience of watching others struggle with their problems. During the ritual, when Oshino is counting and questioning Senjougahara, the implied perspective shifts subtly from Araragi to Senjougahara.
Once Senjougahara has spoken about her emotional baggage and laid it all out, she is told to open her eyes and is asked what she sees. Both she and the camera are able to see the weight crab, beautifully depicted by Shaft.
Senjougahara answers, and Oshino says that he can’t see anything, and, when asked, Araragi says likewise.
Confused, Senjougahara says, “but it’s clearly visible… to me.” There’s the first layer. Our personal problems are ours alone. Even if somebody has been through a similar experience, nobody has shared in your specific struggles other than yourself. Depression and other problems of this nature, which everybody has to deal with as they grow up, are undetectable. They lie in the mind and manifest no physical evidence of their existence, at least not through natural means. They aren’t such concrete ailments as cancer, but they are no less real. The second layer is the demonstration of that point. The crab tackles Senjougahara, sending her flying across the room and pinning her against the wall. When this happens, the camera has been returned to Araragi’s perspective, and he calls out to Senjougahara upon seeing her launched across the room by a force that remains invisible to him.
Although Senjougahara’s problems can’t clearly be perceived by Araragi and Oshino, the effects that it have on her can be. With depression, one of the most outwardly obvious effects is loss of interest. When I was plunging into depression, the first thing people noticed was how much less enthusiastic I had become, how much more I was sleeping, how frequently I had started skipping classes. Even if your friends and others that surround you can’t perceive your problems in their own right, they can certainly perceive the toll that your struggle with them has taken on you. That is enough evidence for those that truly care for you to express their concern and reach out.
And, as with Senjougahara, the only way to truly deal with your problems, is to acknowledge and accept them, instead of repressing them.
Senjougahara’s exorcism is presented as a full blown religious ritual. It requires ritual cleansing of each of the participants and appropriate attire, which, for Oshino, is his white priestly garb, the only time we see it. Araragi is able to wear his typical school uniform, which is a black version of the typical ones modeled off the military that are used in schools across Japan. Senjougahara, however, having been asked to wear something demure, wears a beautiful white dress. It’s not too over the top, but I think it’s enough to evoke the image at which I am hinting.
Although it probably doesn’t leave much of an impression on the first watch, coming back to Monogatari and seeing Oshino in anything but a flowered shirt is pretty shocking, especially considering that Araragi’s typical description of him is “an old guy in a Hawaiian shirt.” Oshino certainly is a very laid back character, not lazy, as Araragi sometimes describes him, but he definitely gives very few fucks. The question you should be asking yourselves now should be, “what sort of occasion would get a guy like that to get dolled up?”
I’m trying to give readers the pieces they need so that they can put together themselves the imagery which I saw, and which I believe Nisio Isin and the staff at Shaft intended.
Yeah, the show frames Senjougahara’s exorcism as a wedding, and Araragi is the groom. This shouldn’t feel farfetched at all, considering Senjougahara confesses to him just three episodes later, but there’s a lot more to it than just foreshadowing.
One way in which Senjougahara deals with her problems, the weight of which she gave to the crab, is by isolating herself from the rest of the world and attempting to drive away anybody that might try to approach her. Marriage is a lifelong bond between two willing parties. While Senjougahara and Araragi seem to share a lifelong bond, at least at the current point in the series, the more important implication of this wedding is that Senjougahara will start to let other people into her heart, starting with Araragi.
That’s how she will begin to make it better. Shortly after her exorcism, Senjougahara approaches her father, who would later tell Araragi that she had been distant up until that point. In the third arc, she opens herself back up to Kanbaru, her friend from middle school, even though it must be difficult to involve herself with somebody who’s feelings for her she does not reciprocate. Later, off-screen, she meets the fire sisters.
She becomes Hanekawa’s confidant in Nekomonogatari Shiro. In the shot above, the same dawn lighting is shining into the cram school on the morning after the night Senjougahara spends wandering town in search of Hanekawa. Not only does Senjougahara open herself to a less-than-open Hanekawa, she even embraces and accepts her flaws, manifested as Black Hanekawa. She trusted Hanekawa enough that, even though she was certain that her home would burn down based on the fires at Hanekawa’s home and at the cram school, she still slept in her apartment that night. She trusted that Hanekawa would be able to accept the parts of herself that Senjougahara herself had accepted when she embraced Black Hanekawa. Of course, there are some parts of us that we alone can embrace, and for Hanekawa, that was Kako.
In Koimonogatari, we learn that Senjougahara and her father spend New Year’s with the Araragi household. She even had the strength to entrust her fate to the man that she believed ruined her family. Starting with Araragi, Senjougahara opened herself up to the rest of the world.
The story of recovery, be it from depression or some sort of other internal struggle, is never one with a clear ending. You never reach a completion point, you only ever have those times when you look back and realize how much progress you’ve made. It is a constant effort, but it is certainly worthwhile.
In elaborating on the implications of framing the exorcism scene as a wedding, it seems I have gotten ahead of myself. Most of the evidence for that framing is visual. If you were to read a transcript of this scene alone, you obviously would not be able to come to that conclusion. However, there is a conclusion that you might reach from only reading the characters’ dialogue that could be just as insightful. Oshino’s questioning of Senjougahara reads like a session of therapy. Oshino accepts Senjougahara’s response that she’d “rather not answer” to one of his early questions, but when she hesitates to answer the question regarding her most painful memory, her hesitation is what indicates to Oshino that he’s found the source of her problems.
Just talking about it, acknowledging that it’s a problem enables Senjougahara to see the crab, upon which she has left the burden of all her problems. Of course, mustering enough willpower to even “just talk” about your problems is no easy feat. When Oshino first told Senjougahara that she alone could save herself, Senjougahara told him that there were five conmen who had told her the same thing before him. Really, Senjougahara? Five? Yeah, we know Kaiki is a conman, God bless him, but that would mean not only that four other conmen happened to target her after that, but also that she and her father fell for the same trick four more times. What do I think?
I think that the other four were well meaning specialists, and that the problem was that Senjougahara had not yet reached a disposition where she was able to face her problems when she met with them. This time was different. This time somebody reached out to her, and seemed to care more about her wellbeing than she herself did. Senjougahara saved herself, but Araragi helped make it possible by reaching out to her.
I don’t really have a pretty way to tie this whole thing up. I hope that you’ve learned a new way of looking at Monogatari. I love this show for so many reasons, chief among them being the characters, who are as broken as we are. Monogatari is a series about dealing with your problems, and so, one of the inevitable messages is that everybody has their own problems. They might not be the same problems that you face, but, regardless, you are not alone.
I know Monogatari only works for me the way it does because I’m open to it and because I’ve taken the time to rewatch it more times than I’d like to share. If nothing else, these first two episodes, the Hitagi Crab arc, are certainly worth revisiting. It’s the most endearing introduction to a series I’ve seen in any anime. I love this show and I hope at least a little bit of what I’ve written makes sense.
Socrates: So, Kawahara-sama, I watched the anime adaptation of your legendary light novel series, Sword Art Online, and I must say, it was quite the fascinating experience.
Kawahara: Subbed or dubbed?
Socrates: Subbed, of course, Kawahara-sama. I might not be a master of high art like you, but I’m certainly no pleb. As I said, I was fascinated by the story you crafted, but, since I know nothing, especially with regards to literature and the art of crafting fiction, there are quite a few questions I have for you, regarding a variety of different aspects of this story which you crafted. Would you mind answering a few of them?
Kawahara: Of course not, buddy! And I’m glad you loved my story, I take a lot of pride in it.
Socrates: Really? I see… Well, before I get to those questions regarding Sword Art Online, Kawahara-sama, I have a question about you. I believe you’re familiar with the maxim, “give a woman a fish she eats for a day, teach a woman to fish, she eats for a lifetime.” Tell me, do you agree with that?
Kawahara: Absolutely, though I think I’ve heard it phrased, er, a bit differently. But yeah I totally believe that… Haha, I often like to say, “give a man a light novel, he eats for a day, teach a man to write a light novel (and it’s not very hard, trust me), he eats for a lifetime in his parents’ basement.” In fact, I made a point of making this idea a theme early on in Sword Art Online. In the first episode, our great hero, Kirito, teaches Klein (who is actually my favorite character, to be honest) how to play the game. Initially I was using it as an excuse to take care of some exhibition, but then I was like, let’s be all literary and shit and make this a theme! I’m sure you remember the scene, which was adapted in the second episode of the anime, where that one asshole interrupts the council held before they took on the first boss. He says that the Beta testers have to pay for allowing 2000 players to die because they went on ahead and left the noobs to fend for themselves. Then Egil comes in and reminds him about the strategy guide compiled by the Beta testers using all the information they had learned in the trial period. Everybody in SAO was given an opportunity to learn how to fish. There are other examples too, y’know, I actually really put my heart into this bit
Socrates: Truly brilliant, Kawahara-sama. I suppose that’s what you consider a theme, but I’ll have more questions about those later.
Kawahara: Woah woah woah, now that was definitely a bit sarcastic
Socrates: My whole point with bringing up the teaching-to-fish analogy is that it seemed to me, surely the lowest common denominator of your audience, that Kirito often distributed free fish. He has to fight Heathcliff to get Asuna vacation time. Isn’t she the vice commander? Wouldn’t it have better for her to learn to assert the authority that should accompany her position? Or does this guild take vacation time that seriously? It seemed out of character that she wouldn’t just be assertive on the basis of her position. Maybe my mind was just too feeble to accurately gauge your characterization of her up until that point.
Kawahara: Yeah yeah yeah, I’ve heard that a million times before, it was a way to get Kirito and Heathcliff to duel.
Socrates: Of course, what a fascinating way to push your story forward. I mean, I have more questions for you regarding that later. What about the dear loli? Even though Kirito warned her about the dangers, that didn’t keep her from getting tentacle groped on two separate occasions, or is it just that these poor women find themselves in these dilemmas regardless of the decisions they make?
Kawahara: Yeah, no, the situations these women find themselves in aren’t brought about by themselves, but, like, let me argue my case a bit, will you? It’s not just relegated to technical skills, the way the teaching-to-fish theme is applied in Sword Art Online. Kirito and Asuna’s relationship (y’know, the greatest love story ever told), is built upon the ways, you could say, that they taught each other to fish, right? Okay, so in the murder mystery vignette, it starts out with Asuna nagging Kirito…
Socrates: (As women are accustomed to do)
Kawahara: … because Kirito is slacking off while the rest of the front liners are working hard, but Kirito points out that it’s Aincrad’s nicest weather setting, so it’d be a waste to stay inside playing video games. Kirito teaches her to make the most out of her time in Aincrad. Asuna’s berserk focus on escaping was stressing her out so much that she was reaching her breaking point
Socrates: Was it? I hadn’t noticed, of course, as I mentioned, I am but merely the lowest common denominator of your audience. Technically speaking, with regards to screen time, there was only one scene with her between the end of the second episode and the scene you’re describing.
Kawahara: …Anyway, Kirito teaches Asuna to stop and smell the roses, and Asuna teaches Kirito that investing yourself in a relationship is worth the risk, right? I mean, he was never one to be social, but when he first tried it, well, it didn’t go that well, did it?
Socrates: I kind of thought Kirito kind of figured that out on his own, since he decided not to push her away, right?
Kawahara: Well, yeah, but I figured Kirito was willing to take the risk with Asuna because he knew she was strong…
Socrates: …Not as strong as Kirito…
Kawahara: Ha, of course not, but strong enough for him not to push against the kind of momentum their relationship was gaining after the murder mystery.
Socrates: So it’s better to invest yourself in relationships with people that are strong?
Kawahara: Well, I mean, at least in a death game, right? Just look at The Hunger Games! That being said, as cold as it sounds, I can’t say it’s the kind of principle I disagree with. Doesn’t it make more sense to ally yourself with somebody strong, strategically or romantically? Survival of the fittest, right?
Socrates: I mean, Kirito looked pretty emaciated at the end of the Aincrad arc, but I’ll give that to you.
Kawahara: Leafa recognized Kirito’s power and was quick to ally with him, despite him being “one of them (a race that exists only in the game)”
Socrates: What about Shinon?
Kawahara: Ah, good point, Kirito was able to seduce her by playing innocent and pretending to be a woman, but I think she helped him out ‘cause she saw a bit of herself in him.
Socrates: Anyway, back to the fish thing, I’m glad to hear you value that maxim, and your comment about how you so skillfully incorporated it into Sword Art Online actually transitions perfectly into my next question. Would you rather read a story about a character who is given a fish or a story about a character who learns or has learned how to fish? Which premise do you think would make for a more compelling story, Kawahara-sama?
Kawahara: Hmm, well, of course, as I’m sure you’ve already assumed, I would much rather read a story about a character that knows how to fish. I guess you could say that, for me, the key to making a great character is to make them a great fisherman, like Kirito is!
Socrates: I see; a great character must be a great fisherman. So then would learning to fish be what you consider character development, Kawahara-sama?
Kawahara: Character development? Ummm… yeah, well, I guess that fits pretty well with the whole metaphor, especially considering the examples I gave before regarding Kirito and Asuna… Wait, but it’s not like I can limit it to that, I mean, anything is possible in a story, right? The teaching-to-fish method is just one that I used quite a bit.
Socrates: As expected of your literary brilliance, Kawahara-sama, but I have a strong aversion to such open-ended answers as that one, y’know, they cause me to hurt myself in my confusion. There’s another anime light novel adaptation that I’ve watched and enjoyed, called Bakemonogatari. I think it might be able to give us some direction as we explore the idea of character development. Are you familiar with it?
Kawahara: Oh yeah, the Monogatari series is like my favorite harem anime… Lol, just kidding. Yeah, that’s one of my favorite anime, and definitely my favorite light novel series. I remember reading the first Monogatari novels as soon as they came out. I don’t know how Nisio Isin manages to write stories like those, where the characters feel so special and real. He’s actually quite a bit younger than me.
Socrates: I agree! Let me try to apply that show, at least its first five story arcs, to the fishing metaphor. Would you agree that in Monogatari, characters dealing with personal problems is the fishing?
Kawahara: Uhh, yeah, actually, well, not really in the case of the snail but I don’t know… Well, of course, I mean, that’s what Monogatari is all about, ain’t it? I guess since all of the apparitions are really just representations of whatever emotional baggage each character is dealing with, yeah, being able to deal with them would be like knowing how to fish. Actually, now that I’m thinking about it, Oshino’s mantra, “only you can save yourself, but I’ll lend you a hand” isn’t too different from the teaching-to-fish analogy we’ve been discussing. In Monogatari’s case it takes quite a bit of mental fortitude and humility for each character to actually go fishing. Nisio Isin really is fantastic, especially at writing great characters. Go on.
Socrates: So you’d say that character development in the Monogatari series is, like it is in Sword Art Online, when the characters “learn how to fish?”
Kawahara: Yeah, I’d say so, I think. Wait, no, but that… That’s way too specific, I mean, I’m not even sure that applies to Sword Art Online, to be honest, but we can run with that for the time being.
Socrates: Now, it may have very well gone right over my head, but how does that fit with Shinon’s character arc?
Kawahara: Lol, actually, now that you mention it, I’m reminded of the ending credits sequence from the Gun Gale Online arc.
Socrates: Oh yeah, I loved that, it was always my favorite part of the episode, and not just because it meant it was over.
Kawahara: Ouch. Anyway, that ED basically illustrates how Shinon taught herself to fish in that arc, right? Still, I don’t feel comfortable settling with that specific definition. I mean, this whole dialogue has gotten much messier than it was ever supposed to be.
Socrates: I agree, I was surprised with how poorly thought through my inquiries have been, it’s turned into more of an interview than a dialogue, really. Maybe we’ll do better in part two.
Kawahara: If there ever is a part two, I mean, does this writer ever not leave things half finished?
Socrates: Lol, good point. Anyway, back to the central question: what constitutes good character development? It may seem like a dumb question, but somebody asked the author to explain it the other day. What definition would apply to all the examples we’ve discussed from Monogatari and Sword Art Online?
Kawahara: I mean, character development, in my experience primarily as a consumer of stories, can be defined as a character changing over the course of a story or portion of a story while still being recognizable as the character they were established as in the beginning, but, I don’t know man, I’m just a light novel author. In my opinion, the characters and their development are the most fundamental substance of a story, especially in this genre, which is dominated by coming of age stories. Character development in light novels and in much of anime can really be understood as just growing up, y’know? Light Novels are written for angsty teens to read and escape reality while also affirming their way of viewing the world from which they seek to escape, so it’s not like there are many light novels that illustrate what it means to grow up… But what do I know, I was just minding my own business having fun writing light novels and shit, *sigh*. To the reader, I suppose I’ll see you in part 2, if it ever comes, I hope you were at least mildly entertained by this clusterfuck.
The Hikari-focused apparent fanservice reminded me a lot of Nick Creamer’s commentary on the Araragi/Nadeko “playdate” scene from his article on Nisemonogatari and the nature of fanservice. In that scene, the camera isn’t leering at Nadeko so much as Nadeko is doing her best to pose for the camera. Nadeko is in control of the camera in her attempts to seduce Araragi. Based on the first episode of Seiren, it seems as though Hikari is making an effort to pose for the camera as well, especially in the scene where she approaches the study group. I think she’s using her sexuality as a means for intimidating MC-kun.