Initially daily but now sporadic blog about anime and world animation with a specific focus on the artists behind the work. Written by Ben Ettinger.
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Archives for: April 2012, 13

Friday, April 13, 2012

11:38:00 pm , 1119 words, 3801 views     Categories: Animation, TV

Kids on the Slope

This is one of the more impressive seasons in a while. In addition to two or three other interesting shows, Shinichiro Watanabe returns with his first show since Samurai Champloo in this adaptation of a shoujo manga about high school kids playing jazz.

I'm not a particular fan of either Shinichiro Watanabe or shoujo anime, so I approached the show without any expectations, but I found it to be a good first episode by any measure, and it immediately made me want to follow these characters. The directing is identifiable as Shinichiro Watanabe, but it's far less demonstrative than his previous work. It's really just a nice, low-key high-school drama with a bit more psychological edge and without too many anime cliches. And with lots of awesome jazz music.

The directing did a good job of capturing the feelings of the newly transferred protagonist. Often I find that these shoujo school stories are overly laden with silliness or manic directing, but I liked how the directing here played it fairly straight, and yet managed not to be boring. I like that they don't try to make it too comical.

I didn't much care for Shinichiro Watanabe's outing in Genius Party, but that was admittedly perhaps because of the context. This episode feels like a continuation of that style, and I found it enjoyable on its own terms in this episode.

The characters are designed by Yuki Nobuteru, an animator with a fluid and sumptuous style, although he was not in charge of the animation of the episode itself. Erstwhile Kaname Pro and Madhouse animator Cindy H. Yamauchi was the sakkan here, and in her hands the drawings were very nice throughout without feeling excessively 'shoujo'.

The characters in the opening, animated singlehandedly by the always impressive Kazuto Nakazawa, looked far more 'shoujo' than the drawings of the first episode. The bizarrely elongated faces that characterize shoujo manga today (which were faithfully recreated recently in the anime adaptation of House of Five Leaves) can be discomfiting unless you are used to them, and Yamauchi's drawings strike a professional neutral balance between the original and a more accessible look. It appears Kazuto Nakazawa drew the opening in a way that was closer to the look of the characters in the original manga rather than in the way they're drawn in the anime. I liked the slightly more realistic way the father's features were drawn. In comparison, the other characters had the flat facial contours of anime characters.

The Noitamina block seems to alternate between more oddball outings aimed at audiences more into outre material like Thermae Romae and Mononoke, and outings aimed more specifically at young women. Kids on the Slope is a fine example of the latter category. What's nice about Noitamina's shoujo anime is that even the more lady-oriented shows like this are still quite watchable even if you do not fall into the lady category. They do a good job of taking the sensitive character examination of shoujo manga while softening some of the genre's more generic and less appealing aspects.

This being a show about jazz, the obvious question is how are they going to animate the music scenes? In Beck they rotoscoped actual musicians and used CG characters for the live music scenes, and it was pretty ugly. Here, the close-up shot of the hands playing the piano seemed to be CG, but the drum solo here was fairly lavishly animated with actual drawings, although it was probably rotoscoped, so perhaps they're going for a mix of the two. The added layer of actual drawings in the drum solo made the rotoscoping easier to swallow. It was a beautiful scene, actually, thanks to the powerful animation. Ideally it would have been nice if they could have drawn the scenes without rotoscoping, but perhaps they didn't have time or they couldn't gamble on being able to get animators up to the task of doing a good job of it in each episode. At least here the animation was really faithful to the actual sounds we are hearing.

There aren't many music anime where the musical performances have been traditionally animated without rotoscoping. Gauche the Cellist is the most obvious example - perhaps that's part of the reason why the film took 7 years to complete. Yoshifumi Kondo's scene in Whisper of the Heart is one of the few other such scenes I can think of, although I can't recall how closely the animation matched the music.

Besides the obvious reason for this, namely that TV anime schedules preclude being able to animate such laborious material (which by definition requires constant movement), there's probably the added factor that most animators don't like animating material that is so low-key and subtle. Basically, it's a lot of work for nothing. Far more rewarding is a wild action scene that catches the audience's eye. Or better yet, a static shot of a character (since animation is paid by the shot). But there is something to be said for nuanced and subtle animation. Jin-Roh wouldn't be such a great film without its mind-numbingly subtle realistic character animation. Not many animators are skilled enough to animate well in that style, either.

It's a shame that a show like this is shunted off into a late-night slot, even though ironically it's probably only Noitamina that would have produced this show. I can understand if it was a bizarro erotic anime like Lupin III: Fujiko, but this show seems so wholesome and sincere and harmless. It's the kind of quality storytelling anime for teens that the industry should be making an effort to get kids to watch.

The big news about this show is that it's the first production of a brand-spanking-new studio called MAPPA formed recently by Masao Maruyama. It's difficult to believe that Masao Maruyama left Madhouse, but it seems quite true. It's hard to imagine Madhouse without its guiding spirit. What will become of the once great studio? More importantly, I'm very much looking forward to seeing what Maruyama will be doing at his new studio in the days to come. I can't help but be reminded of the recent exodus from Gainax and founding of Trigger. We have two new studios founded by some of the best talent in the industry for the purpose of producing the kind of daring programming that they were not able to produce at their once bold and brash but now somewhat stultified alma maters. Two such studios appearing at once (there's also the less-talked-about Ascension) is great news. I hope this show is successful enough for them that they can go on to producing more ambitious and daring projects of the kind that made Madhouse so unique.