#idk I just think it needs more consistent throughlines. there’s So Much All The Time going on rn

[blueish-bird]

new jjk chapter is… uh…

[baconpal]

talkin bout fuckig manga

hey it’s me, haven’t had internet for over a week and i’ve been sick and uni and blah blah blah time for a rant about manga

this time its about  "Soredemo Machi wa Mawatteiru", tl;dr, good manga read it idk

lots of bullshit below the cut

Before anything I say gets too confusing or I go off on an insane tangent, just know my recommendation is that you read "Soredemo Machi wa Mawatteiru". It's not very easy to find online since it has an official English release (which my recommendation extends far enough to suggest I might pick up in the future, just to have it, but I am very stingy), but there's an alright torrent of all the volumes on your local anime torrenting website, and is at the very least worth the trouble of reading as such. There is also an anime that gets better as it goes, but the manga is my primary recommendation. Beyond this point I'm not gonna give much regard to what I write, so get ready for anything, read the manga and see if you agree with me, or don't and see if I care:

BOUT THE ANIME: The SoreMachi anime is one of those rare comedy anime you find where the animation and overall production is just really extra the entire time. Hopefully you know what I mean because I won't really be able to explain it any other way, it's simply one of those shows where the jokes are decent and it's a fun time for the most part. Unfortunately, the anime makes a couple of critical missteps that kept me from getting far into it when I first tried watching it about a year ago, and in retrospect seem even less reasonable.

Starting with the good, as an adaptation it does a good job with most chapters it covers, it properly sources where each chapter comes from incase you intend to read the manga and skip around to catch up, and the anime adapts some sections to have additional jokes that fit very naturally in to the story. It also covers up some of those problems only manga can have like having a concert segment without any actual music involved, until they invent mp3-paper it's just something we'll have to live with. Translation work was pretty good (I watched the [WhyNot] release for those who care), which is extra important for something as difficult to translate as jokes from another language. The set of episodes they chose to end on was very good, and was expanded to be a lot more impactful in the anime. If it wasn't for the last episode being as strong as it was I may have given up on finding the manga when I saw it wasn't super easy to read online.

As for what the anime fails in, some episodes feature some really blatant over-acting that doesn't really help make characters believable, and there's this obnoxious gag that continues the whole where through where most scenes have a few seconds long line from what is essentially a forced mascot character, which usually mean nothing and only serve to harm the pacing of many episodes (there isn't even any sort of equivalent bit in the manga so I really don't know why they did it, most of the anime original jokes are pretty good so I just really don't get it). The biggest issue the anime faces is that the source material is about 140 chapters, while the anime is only able to cover 24 chapters. This comes with a LOT of problems, the first being what I'd call the "required reading". SoreMachi is not a 1-note simple comedy where you can skip to any chapter and be completely okay; There are many small but meaningful subplots lying beneath, and characters have a fair bit of development throughout. What this means for the anime is that the first 3-4 episodes are just the first few chapters of the manga, which are a bit rough and not as good as the majority of the work, which is true of a lot of comics (god fuck I promise there will be more than a first chapter of my comic I promise it'll get better fuck). In terms of the anime by itself, I'd say episode 1 is decent, 2 is middling, and by 3/4 their still taking a while to introduce members of the cast, and I didn't immediately want to finish it. I put the show down for a long time until my internet started dying and I wanted to watch something fun. Slapping it back on at episode 5 I immediately had a great time and watched the rest of the show pretty soon after. While I understand the reasoning behind doing this, the anime does not pay off this structure, as beyond the first few episodes, the chapters start being presented out of release order and out of chronological order, kind of destroying any consistent throughline. This decision in and of itself isn't the worst, since the comic isn't always chronological, and the volume ordering is a bit different from the release ordering, but the inconsistency makes the first few episodes feel lessened without reason. The other large failure that comes with only animating about 1/7th of the entire work is that many themes and concepts that are core to the manga are not represented in the anime well at all. One of the biggest is the rare but unnerving supernatural chapters, of which only one is animated, and not a particularly good one. In order to talk about these themes I'll have to transition into talking about the manga itself, since they aren't part of the anime.

DA MANGA: So one last recommendation that you read the manga, the whole damn thing. Cus we're gettin into themes and character moments that take a long time to pay off, and obviously is all part of my interpretations, so if that stuff means anything to you don't let me ruin it for ya.

The title of the manga is, in essence, the entire manga's "punchline" in that every chapter could meaningfully end with simply the text "And yet the town still turns..." (My translation of the title, fuck "And yet, the town revolves" or "But the town moves"); by this I mean most chapters end in an anti-climax where a mystery is left unsolved, or a mystery is solved and undercut by the realization that life simply keeps on going without much change. This is used to essentially force your eyes open to all possibilities when reading, as the main character spends her time acting like a detective, and these mysteries end up as either misunderstandings, secrets, riddles, and sometimes something out of the ordinary happens that makes you unable to pin anything down firmly. Similarly, these endings aren't always read-and-forget scenarios. Several chapters come back in the form of a continued joke, a continued mystery, or contribute to some greater purpose later. Readers are properly rewarded for keeping everything they can in mind, while also tormenting such people with loose ends.

I enjoy Hotori as a protagonist due to her character being defined not in flaws and strengths, but in mindedness. Hotori seems like a simple "haha she's dumb" character to start, but consistently throughout she proves that her strengths are in memory, observation, and deduction, while lacking in some more common sense and abilities. Her brain works in strange ways that some people may or may not understand, such as her need to think through even the most trivial fictional scenarios, which I relate to deeply.

The art and paneling throughout are wonderful. Ishiguro Masakazu is one of those artists who draws very simple characters, but knows how to use details and depth to breath so much life into the artwork. He also clearly uses the occasional supernatural happenings as an excuse to draw what he loved, as all sorts of artistic depictions of the supernatural come out that simply look satisfying. These parts obviously meant a lot to him since he's been working on a primarily mystery-action manga that has a lot more of that stuff in it. (Also, as hindsight is 20/20, if you've read any of his new work you'll notice that the main character of it is eerily similar to a character who shows up very late in SoreMachi that the author obviously fell in love with, cus she just keeps coming back and even ends up with a really unsettling end to her character arc despite only being introduced as a component in a harmless mystery. Feel free to call me out for the same shit 30 years from now when I'll probably do the same shit)

I'd like to get into some of the major themes of this work, as a lot of them hit very close to my mind (which I guess is true of any theme you recognize for yourself, you wouldn't really "get it" if it didn't mean something to you...).

The simplest theme, again, comes from the title. The main character, Hotori, expresses a desire that the town she lives in continues going on, unchanged forever. This is obviously a fear of change, which ya know, same, but also an exploration of what it means to fear change. Hotori actively tries to keep businesses from closing down, keep friends from leaving, and keep relationships from changing, while simultaneously making all sorts of new relationships and solving mysteries. Hotori even comes to realize that simply learning the truth about something changes the world through your own perspective, and that such changes can't be undone. In spite of this, Hotori mostly gets her wish, any time she fears that a large change will impact the town, its resolved about the same as any other issue. Whether its a message that even time can't keep you from your loved ones and that change isn't worth fearing, or a concession that large changes to the setting would be a bad idea in terms of humor, I can't really decide. This theme reaches it's conclusion in what is one in a series of "ending" kinda chapters at the end of the series. Hotori is faced with a supernatural ethical situation, save her town from destruction at the cost of her existence, or live through the disaster, knowing her town and the people in it will forever be changed. While the actual result is that nobody disappears and nothing is lost, and the event may have simply been a strange dream, Hotori confidently decides that sparing the people in her town from a life altering event is worth giving up her memories with them. A kind of bold spit-in-the-face to the idea that change is okay, where we find that Hotori didn't fear change for herself, but rather for the people around her.

There's another major idea in this manga, which takes a very long time to pay off, and completes its arc at the very very very actual end of the series, the idea of "leading someone to be something". A character that rides that line between main and side character, Shizuka, is a writer of detective novels, who feels the best person to judge her works would be a version of herself without the bias of being the author. She tries to achieve this by leading Hotori to be interested in detective works (including her own) and generally be just like her, starting from a young age. The end result is a young girl dead set on being a detective herself (or at least another novelist), while Shizuka keeps her identity as an author secret. She then uses Hotori as a scapegoat for herself, attempting to see how she would solve various mysteries and use that as inspiration, and this is depicted as though Shizuka were some sort of villain, which she may feel like she is. The end result of it all, though, is that Hotori was likely already a detective-minded person, and that even if Shizuka pushed her down that path, it was Hotori's decision to continue down it, and the very end of the manga is a scene revealing that Hotori figured out Shizuka's secret at some point, and even still respected Shizuka and aspired to reach her, and the two accept each other for who they are. I enjoy this ending a lot, since as an artist I've worried that some of my love or aspirations for and from other artists came with an ulterior motive of wanting a better community for art to exist in, but people are people and will make their own decisions, and some day everyone may be able to become equals in a truly meaningful sense, where everyone is inspired by and guiding each other together.

So that probably didn't mean shit to nobody and I didn't even really talk about anything in the comic like most of the main characters or any of the shit goin on but ya know fuck you go read it, and thanks for reading this.

[edelweiss123]

It still baffles me...

...that the writers of a kid's show who were willing to blatantly address various heavy topics on-screen such as revenge, war, torture, racism, famine, sexism, ableism, child abuse, abandonment, and fucking GENOCIDE, with gravity and aplomb...

...still somehow thought that "literal 12-year-old doesn't end up with his first crush" would be a deal-breaker.  Like...?

Okay.  First, a disclaimer.  I am a die-hard Zutara shipper. I'm also really fond of MaiLee and Taang, independent of that, and really don't care for Maiko, but that's topic for a different post.  None of the points I’m going to go over have anything to do with those pairings.

But EVEN IF I didn't feel that there were far better canon characters for Katara and Aang to end up with respectively...

Kataang, as it is written in canon, is sad and weird and uncomfortable to me, and here's why:

The Dynamic

Maybe if the characters had been, say, 16 and 18 when they first met, this wouldn't be a problem.  But Aang is 12 and Katara's 14.  And their maturity gap is far larger than a mere two years.

Aang, despite being well traveled and the burden of Avatarhood on his shoulders, is also a very *young* 12.  Remember, up until the iceberg, he's lived a pretty idyllic, mostly responsibilty free life.  He's only known he was the Avatar for like, a month, tops, before that.  Sure, the other monk children don't play with him after this reveal, but it's well established he has friends all over the globe; he's a prodigy, yes, with all the pressure that can bring, but it doesn't appear he was pushed to master air so fast?  He just very much enjoys airbending.  And Gyatso is a loving guardian.

Which is why he runs away at the first sign of something difficult in his life--the possibility of losing Gyatso.

Compare this to Katara, who was born in a hostile landscape amongst a struggling people.  She is, as far as she knows, the last of her kind, with no teacher to guide her.  She suffers a traumatic loss young, and it is *explicitly stated in the show* that she stepped up to fill her mother's shoes at what, 7? 8? While her family grieved.  Her father leaves, possibly to never return, when she is 11.  She is laden with responsibility beyond her years.  Her time and energy are not for her to spend on herself--she has too much to do.  *She is not a child*

So of *course* she starts mothering this wide-eyed cheerful boy, who got taken away by the same people who murdered her mother within a day of meeting him.  He's the Avatar but he's also an innocent kid in need of protection and care.

Now, does that mean she never acts immature?  No--she *is* still a teenager, and prone to occasional bouts of typical teenager dumbassery. (see: waterbending scroll).  But she does most of the chores and nags the others about their misbehavior and tries to console them when when they're down. She literally poses as Aang's mother at a PTA meeting.  For fucks sake, at the end of Season 2, when she's holding a dead Aang sprawled in her arms and looking pleadingly at the sky, there is NO WAY you can convince me all those art students storyboarding that scene WEREN'T making an intentional reference to *La Pieta*--You know, that super famous statue where Mary is cradling her dead Savior son (before he gets resurrected) and that is widely considered one of the most poignant examples of MOTHERLY LOVE AND GRIEF in the whole WORLD.

And I don't know about you... but it's really, really creepy to me for a *romantic* relationship to result from something with that much mother/son energy deliberately coded into the show.

The Lack Of Development

At what point does Katara reciprocate the crush? It's very well established that Aang has a crush, of course.  But we've got 61 episodes and basically no definitive evidence that Katara feels anything for Aang beyond platonic affection.  There's the time a fortune teller says she'll marry a powerful bender and she's like, 'huh' (let's ignore the fact that Aang at the time is like the only powerful bender she really knows).  There's the time she (almost?) kisses Aang in a cave because, you know, she thinks they might stay lost forever and starve to death if she doesn't (romantic!)  

The other two times Aang kisses her--she's just kind of shocked after the first one, and gets mad after the second one because she *had just expressed a desire to not do so seconds before*  And the fourth kiss is in the literal last 30 seconds of the show, with no dialogue, no lead-up, just a fade to black "welp this is happening, aaaand, SCENE."  It very, very much has the feeling of "hero gets the prize/girl" instead of "two people who have been mutually longing for each other come together", and that's really, really gross to me.  It does such a disservice to both their characters, but Katara's especially.  It feels like she had no agency in this result, that they got together because Aang wanted it so much, but it matters so little what she wanted that we don’t even need to bother showing her wanting it.

The Stunting/Regression of Character Growth

What does Aang sacrifice? The answer?  Nothing.  'Now, wait a minute', I can hear you say, 'he lost his entire people and culture!  How can you say he's lost nothing!'  I didn't say he's never suffered *loss*.  But having something taken away from you and giving something up for another's sake are two entirely different things.  Aang, in the end, gets everything he wanted--the girl he wanted, his pacifist morals intact and unchallenged, his culture eventually restored.  Hell, he even somehow gets the Avatar State, despite never explaining how he manages it when it was EXPLICITLY STATED he couldn't do so without letting go of certain attachments.  Wow, guess it turns out he never needed to sort out all of his emotional trauma to acheive inner peace and enlightenment after all--just needed a good acupressure session to get those chakras flowin'! One quick magic whack to the back!

I don't think 'the hero is always right' is a good message.  The theme of 'just because you want something doesn't necessarily mean it's what's good for you, or others' is a pretty recurring theme throughout the rest of the show, and having the universe warp itself to accomodate the beliefs of the protagonist  (lookin' at you, deus-ex-machina turtle) so he is always right, no matter what, means that he never has to reevaluate his beliefs, never really has to *grow* as a character.  

Kya, Ursa, Yue, Iroh, Hakoda, Katara, Sokka, Zuko--hell, even Toph, who makes the decision to let Appa get taken so she can save her friends...

Over and over it's shown that Love is Sacrifice, and I think Aang should have been shown making some personal sacrifices for the sake of the world, instead of showing that the power of clinging to his absolutist morals is enough to solve all his problems.

I understand why the writers, despite showing many characters die off-screen, hesitated to show Aang killing someone, even someone unredeemably evil, because there would be no way to do it OFF screen, and it IS still a kid's show.  (On that note:  couldn’t they have just somehow...idk, trapped Ozai in the Spirit World or something?  Have him literally sent to not-hell?)  

BUT, that doesn't mean they couldn't have shown Aang doing something that made him realize that, as the Avatar, even if a necessary action went against his personal beliefs or wasn't what he wanted, his needs are superceded by the needs of the world he claims to love.  He ignores this in S2 and nearly pays the ultimate price... but it's never properly addressed again. And thus, because that never happens, I honestly don't consider 13-yr-old Aang all that much more mature than 12-yr-old Aang, and I think that's a waste of potential.  

And as for character regression...

Katara? Master Waterbender and war-hero?  Who grabbed onto the first opportunity to explore the world beyond her tiny home, who fought for every scrap of skill and recognition she had--against a world determined to see her as lesser because of her race, her gender, her age?  Who never backed down from what she thought was right, even when her own family and friends didn't support her?  You're telling me that, according to canon, *that same Katara* was perfectly content to retreat to the South Pole and do nothing of note for the next 70 years except for being a good little housewife and healer?  Get the fuck out of here with that misogynistic horseshit.

IN CONCLUSION

I could go on.  I could talk about the unequal division of emotional labor between the two--with Katara constantly having to be mindful of not upsetting Aang too much lest he fly away and/or have an Avatar State tantrum.  With Katara constantly reassuring Aang, but Aang, for instance, offering unsolicited advice about revenge instead of trying to understand what she needed, or kissing her without asking--twice!--and expecting them to be together without him ever even asking if that's what she wanted.  I could talk about Katara not taking Aang to task for things he does wrong and Aang not being willing to see that Katara isn't perfect--how he puts her on a pedastal and Katara is afraid to leave it and break his illusions by being her real self.

But ultimately, what it boils down to, it that the most unrealistic thing about AtLA was not the magic, or the spirits, or the hybrid animals.

No, the most unbelievable thing about this show is that the ending was ruined just because more than creating a consistent thematic and emotional throughline, a couple of white dudes wanted to vicariously live out all of their "hot-for-babysitter" childhood fantasies.

And that's all I have to say about that.