“Some shows are simply meant to be in the animé format.”

Whether or not you agree with the production values of recent film adaptations like Full Metal Alchemist is one thing, but it can be said that certain tonal qualities are best conveyed through animation alone. Director Akiyuki Shinbo is perhaps a good example of how best to convey emotional head spaces through the use of a wide gamut of animation spectacles. In ef: a tale of memories, for example, the use of light and shadow helps convey the duality of perceptions (i.e. there are always two sides to a story), and the means by which stories have varied interpretations depending on the characters telling them. Arakawa Under the Bridge juxtaposes its nonsensical comedy with questions of metaphysical unease  by utilizing various types of animation styles aligned with the supposed seriousness of a given sketch. This same style of “serious humor” juxtaposed with inconsequential gags is even seen in Sayonara Zetsubô Sensei. And when he isn’t dealing with humorous themes, his varied use of space, facial close ups, and camera swings help to elevate dramatic sequences, as is seen in the more serious moments of the Bakemonogatari Series; even thematically focused shows like Puella Magi Madoka Magica are elevated to a level of seriousness that perhaps is not initially expected based on the appearances of its characters alone.

In fact, there are a lot of shows under the director’s belt that show a distinct style of animation and direction, perhaps not unlike an auteur. Indeed, there is a certain deliberateness to the director’s selection of themes to portray, which for many reasons makes it feel appropriate that Akiyuki Shinbo should pick up a series as nuanced as March comes in like a Lion. And in no small way is such a happenstance more meaningful than in the realm of animation. I will say this once, and probably several times more — but March comes in like a Lion was simply meant to be graced by such a skillful director in the animated format. It seems that whatever advantages there are to be gained through animation — be it in the visualization of mental concepts that simply cannot be fathomed through live-action cinematography alone — all of it was consolidated and brought to life through the artistic methods of Akiyuki Shinbo. And no less are the words “Some shows are simply meant to be in the animé format” any less true in the first episode of this remarkable show.  Continue reading →