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The fact that I can't watch the next episode until I write about the current episode incites me to get off my ass and write my post before things get any more backed up.
I've seen this ep three times now, and it's grown on me each time. The episode brings some welcome humor to the proceedings. The last few episodes seemed a little lacking in one of the things that most distinguishes Yuasa - his humor - and this episode makes up for that very nicely. It was hilarious the first time, and on the third watching I still laugh at the parts that made me laugh out loud the first time. This is definitely the funniest episode since the first episode, and the one where Yuasa's brand of humour comes out the best since the first. Yuasa co-wrote the script, which explains why. At the same time the episode weaves in a nice, touching story, and a fantastic action scene involving none other than the monkey - whom I've been dying to see in action again - so it was a really fun and enjoyable ep to watch. That's what I came away with from this episode - how nice this series is. In other words, how good it makes you feel just watching it. The show has heart. Despite the gruesome premise and occasional shocking image, it never feels morbid or repellant. There have been well produced series that I've enjoyed in the past, but beyond the technical aspect, there haven't been many series that I've simply enjoyed immersing myself in the way I do this one. And each episode is so different from the previous. There haven't been two episodes that are alike, either in terms of narrative style or animation style. This actually took me a little while getting used to, and I found myself wishing they tried a more linear tack, but now that I'm starting to get used to it, the approach is growing on me, and I can see how it's effective for telling this story.
Unusually, the animation director of this episode was a Korean whom I've seen in several of the episodes so far, Choi Eunyoung, with backup from Ito. He's clearly been one of the main folks behind the animation of the series along with a few other people I've seen regularly in the same eps but otherwise never heard of - Akira Honma, Mariko Aikawa, Masahiko Ouchi, etc. I suppose he must have come from Dr Movie originally. The animation was if anything even more sharp stylistically than some of the other episodes, with very daring and rough drawings full of wonderfully characterful ruffles and ridges. It was nice work and very pleasant to look at. He clearly understands Yuasa's approach, and does a great job of interpreting that approach through the lens of his own style. I'd be curious to know what parts he did in the previous episodes. The beginning of the action scene had a nice feeling to the moment, with some daring perspectives and leaping around. I liked the use of the "ghost" effect when Toshihiko was dodging the acorns.
For some reason watching this episode also reminded me of something I'd been wondering about since the beginning of the series - the meaning of the kemono. The way it is tied to sexual arousal seems to suggest some kind of a metaphor for human desire, though I'm not exactly sure how to interpret it. In this episode Yuka speaks about a doctor who performs free operations to cure the "persecuted" shokujinki. That single word puts a very different spin on things, suggesting that we may have been deliberately fooled into instinctively taking the wrong side in the presented power play of society at large versus the shokujinki in order to remind us how easy it is for us to unwittingly do the same thing in real life - how everything is relative. Certainties can be arbitrary and conditioned. Truth depends on your perspective and your willingness to empathise and try to understand.
Something I forgot to mention about the last episode was that "subway" scene. I didn't realize until afterwards that there really are places like that in Japan, where you can go and stand in a room designed to look like a subway and fondle a woman like some kind of a subway pervert if you get off on that sort of thing but would prefer to avoid the occupational hazards of the real thing. Great idea to use that to add some topical spice to the material. I remember a few spots of Paranoia Agent offering a glimpse into similar facets of the "fuuzoku" subculture of Japan, which seems to get more and more bizarre every year. Last ep I also noticed someone credited as "Mizuhata-san", which was amusing. Presumably we're talking about Kenji Mizuhata, whose name I see often enough, though I don't know anything about his style.