Mononoke is a spin-off of the Bakeneko story arc of Ayakashi: Japanese Classic Horror. It follows the
Medicine Seller as he deals with various spirits or "Mononoke" in feudal Japan. Just like in the
Bakeneko story, he combats with a series of tools and his vast knowledge of the supernatural on his
side, but can only slay the Mononoke when he uncovers its form (Katachi), the truth behind its
appearance (Makoto) and the reason for its unusual behavior (Kotowari).
(Source: Wikipedia)
~~~__Bringing Art to Horror__~~~ ~~~img320(https://40.media.tumblr.com/46392ee11647fb6db0ba9746933c5af2/tumblr_o57iwbbl091vqic7go3_540.jpg)~~~ >"Horror, by nature, is a personal touch -- an intrusion into our comfort levels." When we think of Horror, we immediately think of it as scary. We fear the element of the unknown and the buildup towards it. But horror as a genre in anime is not scary. Anime can't be scary, but what it can be is creepy. There are many titles out there that choose to represent horror in the standard way that we view it, often becoming repetitive and cliché, but then there's this small grain of salt. The gold in the rubble. An attempt to portray Horror through art: Mononoke.
~~~img(https://i.imgur.com/3fXQ1pE.jpg)~~~ I have reviewed a lot of odd shows recently. From [_Paranoia Agent_](https://anilist.co/review/4440) to [ _Serial Experiments Lain_](https://anilist.co/review/4907), they each had their own… je ne sais quoi, their own unique flavor. Keeping with that trend is _Mononoke_, a sort of Horror Anthology reminiscent of _Tales From the Crypt_ or a Stephen King short stories collection. Though where those went for a more classic sort of horror, Mononoke aims more for a permeated dread. Working to bring horror from the actions of man, but basing it on traditional Japanese monsters. Like a sort of mix between Stephen King and [_Mushishi_](https://anilist.co/anime/457/MUSHISHI/). Little jump-scare horror, with more slow built environmental and naturalist horror. Hows that for a sentence you thought you would never read, eh? Made by [Toei](https://anilist.co/studio/18/Toei-Animation), directed by [Kenji Nakamura](https://anilist.co/staff/102217/Kenji-Nakamura) and spun-off from the final arc of[ _Ayakashi: Japanese Classic Horror_](https://anilist.co/anime/586/Ayakashi-Samurai-Horror-Tales/), I believe _Mononoke _succeeds at just that. So without further ado, let’s dive in. __Quick Warning__: There are spoilers past this line. For a better formatted version, feel free to head to my blog [__here__](http://starcrossedanime.com/mononoke-anime-review-75-100/). ~~~img(https://i.imgur.com/vR8UBF9.png)~~~ # __~~~Animation/Art~~~__ Starting off, as always with an animated series, we have to talk about _Mononoke’s_ art and animation. Of all the anime I have reviewed recently, _Mononoke_ without a doubt has my favorite style. Reminiscent of [_Gankutsuou_](https://anilist.co/anime/239/Gankutsuou-The-Count-of-Monte-Cristo/) in a way, _Mononoke_ seems to have a filter placed over the whole thing. Depicting the series as if it were on wrinkled paper. Giving every scene a sort of texture you rarely see in modern anime’s generally clean art. For me, I love this sort of thing, I love introduced imperfections. In some cases, like the recent [_Kimetsu no Yaiba_](https://anilist.co/review/5214), you introduce those imperfections via inconsistent or thicker line work. Mononoke adds the imperfections though with this filter, among many of things of course. Such as the Art Nouveau/Japanese woodblock print style of _Gankutsuou_. Or playing with color in a scene, changing the filter based on what is happening. Simply put, across the board _Mononoke_ has a very strong and distinct visual style. One that sets it apart from most anime and makes it instantly recognizable. You could take any shot from _Mononoke_, any scene, and it’s almost guaranteed someone identifies the series correctly, because of how memorable the style is. Of course this isn’t to say _Mononoke_ limits itself here either. As the series regularly shifts its art for different scenes. Doing its best to depict each one in a unique manner or style best suited for it. It’s not quite as large a shift as you may see in say, _Mob Psycho 100_ with the various mixed media. However often times it will shift to impressionist art, or remove a lot of detail for the sake of making a point. Once restricting an entire scene to just 2 colors. All for the sake of the scene. Sadly though, moving on to animation, _Mononoke_ doesn’t do as well. It doesn’t do badly of course, _Mononoke_ is not an action Shounen, it isn’t reliant on high fidelity animation. The series gets by with its limited style, relying on its art to see it through. And while it largely does, at the end of each arc and occasionally outside that, this lack of fidelity really hamstrings it. Such as the final sequences of the exorcisms, the bright colors and style can sometimes make it hard to follow or just sore on the eyes. And when neither of those are an issue, the animation itself just isn’t particularly impressive. This is a series that could have, and in some parts did, survive as a literal PowerPoint presentation. But by god, was it a PowerPoint presentation with _style_. ~~~img(https://i.imgur.com/wsErVjP.png)~~~ #~~~__Direction__~~~ Moving on, we come to what I believe is _Mononoke’s_ strongest aspect, that being its Direction. How the series actually uses its interesting art style and minimal animation. There are so many different techniques and unique styles used throughout the series, it’s almost easier to just focus in on a specific example I loved the most. That being in the 4th arc, Nue, where the primary focus becomes color. As director Kenji Nakamura adds and removes color throughout the arc to represent the feelings of the characters in it. Restoring them to color the more alive they feel, the stronger their emotions, etc etc. With only our lead, the enigmatic Medicine Seller, being fully and brightly colored throughout the entire arc. All of this left up to the viewer to interpret the details, while the core meaning instinctually gets across. This isn’t to say it’s perfect of course, in the last arc particularly I think _Mononoke_ goes overboard. Really slamming the surrealist images at you one after another. Like a freight-train of bright lights and sounds. In a way, it fits the scene, the resolution of the arc. However for me personally, it came off rather strong. Especially with how subtle and slow the rest of _Mononoke_ had been. This also happens during some of the arcs' finales. Where once again, while the imagery fits, it becomes a bit much and I found them difficult to enjoy at times. So to make a long story short, _Mononoke_ is brilliantly directed. However at times it comes off rather heavy-handed with it all, really trying to make sure you get what is happening rather than relying on the intelligence of its viewer. ~~~img(https://i.imgur.com/7zGIHTe.png)~~~ #~~~__Sound Design__~~~ Next up is the Sound Design of _Mononoke_, which includes the voice work and the OST throughout. The first two are rather easy to answer. For as far as VA work goes, there is really only one consistent character, that being the Medicine Seller. For the most part, [Takahiro Sakurai](https://anilist.co/staff/95079/Takahiro-Sakurai) does as fine a job as can be expected here, considering how deadpan the character is. Often taking every arc with quiet stoicism, accompanied by some dry wit, only really changing this during the arc finales. While none of it is particularly expressive, the performance is solid and consistent. This goes for most of the cast of Mononoke. None of them really stood out to me as particularly memorable. They worked for the scene, for the arc, they got across what needed to be presented. But none truly “wowed” me. The OST though is a different story, because I quite enjoyed _Mononoke’s_ soundtrack. It does more for the arcs and scenes throughout the series than the voice work ever could. With multiple tracks sticking out to me, etching themselves in my mind. For instance, [Samishige](https://www.youtube.com/watch?v=HettGAOkGag&list=PLX_4C51nCu7yM5Ou6ggQ9wC4jcGZhnL4P&index=5) always comes to mind when I think of _Mononoke_, the somber, sad, soft strings echoing through my headphones. Fading out only to be replaced with haunting vocals. Or [Oboroge’s](https://www.youtube.com/watch?v=2R45_6UQDII&list=PLX_4C51nCu7yM5Ou6ggQ9wC4jcGZhnL4P&index=1) similar, yet more oppressive strings building a feeling of dread. Both are similarly structured, as is the entirety of _Mononoke’s_ OST. Yet each takes this familiar base structure and modifies the pitch/tone every so slightly for a completely different effect. You need only look at the various Sami/Isama/Aya/Kuru -shige tracks for this. Each one a similar, yet varied drum beat evoking ever so slightly different feelings. [Yasuharu Takanashi](https://anilist.co/staff/100070/Yasuharu-Takanashi) did a great job. ~~~img(https://i.imgur.com/9sc5xFa.png)~~~ #~~~__Story/World__~~~ With production out of the way, I can finally get to the actual narrative structure of _Mononoke_. Ordinarily here I would split it into two sections, that being the overarching story, and the setting. However _Mononoke_ is unique, even for episodic series, in that there really isn’t any set setting. With each arc being self-contained, taking place in a different location and even time period. The only constant being of course that it is set in Japan, and our lead character the Medicine Seller is present. However what makes it interesting is that while the Medicine Seller is present in every arc, he is rarely even the focus. With that honor being given to the monster, the human problem, of the week. So instead I want to focus on how _Mononoke_ structures its arcs and whether or not it is successful with this structure. Each arc in _Mononoke_ follows the same basic structure. As our lead, the Medicine Seller, must find the Truth, Form and Regret behind each monster. In a way, this turns every arc into a sort of Mystery Horror, where we must learn about the monster in order to defeat it. Outside of the final arc though, the mystery is rarely ever the focus, more the vehicle _Mononoke_ uses to progress. Each arc seems to explore a different aspect of humanity and what it means to be human, through the lens of the associated monster. Most often though, _Mononoke_ likes to tackle the idea of perception, how we view the world and what changes as our perception does. Whether that be how we view ourselves and our surroundings, or how we give value to objects with no inherent value of their own, or for the wrong reasons. For me, I would say _Mononoke_ never had a bad arc. I enjoyed each of them in their own way, for different reasons, however some are more my style than others. In a way, it's similar to the _Monogatari_ series, in that each person will no doubt find their own favorite arc. Each one resonating and connecting with a person differently based on that person’s own life and personality. For example, in terms of theme, my favorite arc was the Noppera-bo, the 3rd arc. Where _Mononoke_ tells the story of a woman trapped in an abusive household, unable to leave because of social constraints and her own perception of the house. In this arc, the mononoke is almost irrelevant in a way because it is Ochou, the wife, who is the central focus and not the traditional ghost story. It’s a very unique take for a very unique series. ~~~img(https://i.imgur.com/vGD7kmc.png)~~~ #~~~__Themes/Horror__~~~ Finally, we get to what may be the most important part for a series like _Mononoke_: the themes present throughout, and how well it executes the horror elements. As far as themes go, a lot of this was discussed during the previous section. _Mononoke_ bases each of its arc on some simple thematic, human through line. Whether that be the fear of Parenthood, Guilt, Perception, Greed or Betrayal, _Mononoke_ doesn’t shy away from the darker tones present in humanity. Really driving home how terrible we as a species can be sometimes, through the use of the mononoke. But while each arc is pretty grim in its own right, there is always this sort of positive through line, mostly seen at the end. Where these demons are dealt with, where if we can confront and get past these, we can grow as people. Leading to a rather hopeful overarching tone throughout. As far as the horror goes, this is where our mileage may vary. As how I interpret and am affected by horror will no doubt be different from you. It’s very rare that _Mononoke_ goes for full blown shock horror, like we see in modern movies. It usually attempts a more creeping dread that builds throughout the arc. And when it does finally explode, it does so in a very surrealist fashion. Heads coming out of walls, giant cat paws, that sort of thing. While none of it was traditionally “scary” though, a number of the scenes left a lasting impression on me, which I think is much more impressive. Especially with the bright color palette the series brings to the table. Showing horror with, rather than in spite of, its beautiful colors. The first arc alone will tell you all you need to know about _Mononoke’s_ horror. ~~~img(https://i.imgur.com/f7pPkn1.png)~~~ #~~~__Conclusion__~~~ So how was _Mononoke_? To me, it is one of the most unique horror anthologies you will find out there. Both in terms of presentation and in terms of actual story structure. However, in terms of production, I think there is a fair bit more to be desired. As while the series has a unique style, _Mononoke_ is often limited by it. Often confusing the viewer, or throwing so much at once that when combined with the bright color palette, it becomes difficult to tell what is going on. The animation as well, while inventive in places, is often rather simple and it’s not something you will be wowed by. Unlike an action Shounen though, this doesn’t kill _Mononoke_, because of how interesting its stories and themes are. So, if you want to be disturbed, moved to dread and asked uncomfortable questions, you could do much worse _Mononoke_.
The wooden curtain opens with a sinister smile revealing the first scene: A wave of vibrant, whirling umbrellas cascade down the street; the rain continues to pour in assorted shapes, accompanied by the patter of hollow conversations latching on to the sounds of its perpetual fall. On top of the path rests a towering hotel embellished by color, wood, and ruse. Slowly, an enigmatic wanderer appears at the gate of the inn, with a wooden box strapped on his back requesting to stay there. He is identified as the medicine seller. Shortly after, a young pregnant woman, dressed in desperation, finds herself at the same inn; seeking shelter and protection. There is, however, something amiss in the rainbow-tinted inn, and right away, its secrets provoke the senses; they seem to be everywhere – in the walls, in the unseen guests, in the corridor. After a heated argument between the innkeeper and the girl, she finds herself in an isolated room, lathered in opulence but infested by shadows of all shades. Following this unsettling vision, the show starts to bare its true face. There is something indeed amiss here and the Medicine Seller’s true purpose is brought forth: he came to hunt the horrors that plague the inn, otherwise known as “Mononoke”. That is the basic premise of the 12-episode series titled Mononoke. The series is divided into five arcs, in which, the Medicine Seller (or Kusuriuri) attempts to seek, hunt, and exorcise these otherworldly spirits known as Mononoke. Essentially, Mononoke could be defined as a class of spirits, however, the ones Kusuriuri is concerned with are closest to humans, because they manifest from humans. These are corrupted entities that seem to bring sorrow, suffering, and destruction where they go and to who they haunt. Thus, this is a tale of the unknown, of mystery, of psychology and pathos, of ancient lore, and lastly, of horror that may disguise itself as a series of ghost stories, but only superficially. One of Mononoke’s greatest strengths is its ability to intertwine the aforesaid elements with subliminal insight that gives it its multi-dimensional form. Most supernatural stories will focus on the imminent horror factor, or inducing temporary fear simply by virtue. Mononoke does something completely different. Rather than focusing on the external fear synonymous with the spirit(s) and their curses, it looks inward, to the living, rather than the dead. This is meticulously explicated by Kusuriuri’s methodology. In order to exorcise any Mononoke, he needs to first recognize its Form (physical), Truth (circumstance), and Reason (motivation). Much of this is revealed through digressing into the psyche of the parties involved in each arc, where Kusuriuri exploits the inner turmoil of each respective character and how that turmoil projects itself on to the Mononoke in ways that are not just terrifying, but often times, heartbreaking and utterly human. Really, it’s the “human” element of the series that makes it so compelling which is mostly through the manner it incites and decrypts human nature and its capacity to wander in the dark. It’s carnivorous, yearning for fear and emotion; yet, it isn’t done through manipulation, shock value, or contrivance. Rather, Mononoke opts for psychological precision. The show doesn’t aim to deliver some insane amount of singular “character development” but rather uncover what lies in the dark, and thereby showing the ability for what is presented as good, innocent, virtuous to be equally bad, tainted, and sinful. Consequently, the show is heavily driven by its themes and self-contained plot rather than individual characters. The aforesaid will lead many to flock to the notion of “bad characterization” or not enough “character” “development”, but one needs to contextualize what a work is actually trying to do/achieve before arbitrarily applying a set of self-drawn commandments. Characters can be utilized in many different ways as can a story be told in multiple ways. The characters of Mononoke are outwardly static, including Kusuriuri but that does not mean they are superfluous. They are internalized or “developed”/personified in many ways, whether it be through human analytics brought forth by yours truly ~the Medicine Man~ or the interactions, actions, and reactions that are revealed as a product of surfacing truths and unearthing secrets. Mononoke functions as a collective exploration of the temporal realm through the supernatural and both are interlocked by these ordinary characters that are deeper than they may initially look. Essentially, the characters are immensely important, for it is through them and their stagnation that the show is able to conduct its psychological experimentation. Each character’s predicament is sealed by fate, but the stories aren’t about the end; they’re about how such an end could come about and the choices that led to it. By dissecting the unknown, Kusuriuri finds himself in the middle of intersecting realities that are as terrifying as they are tragic. What makes all the stories consistently effective is the finesse with which the show handles each character’s state, and the mononoke that transpires from them (whether they be a projection of corrupted desires, or a product of unrequited yearning, or a manifestation of unspoken crimes). Therefore, the “unknown” or “horror” isn’t really about the monsters or ghosts, but what creeps inside seemingly ordinary folk, and the will that could innately exist to ignite suffering. Through these various arcs, the characters in those arcs, and Kusuriuri himself, Mononoke presents accounts that are deeply disturbing and equally enlightening. Furthermore, this also reinforces the unacknowledged strength of episodic structures. Mononoke shows that the quality of the plot or other elements isn’t internally compromised if the work lacks a continuous/overarching plot or a constant cast developing linearly and consistently. Its anthological nature fares well for it and its intentions for it turns out to be far more vicious in its horror, tragic in its drama and stylized in its art that every piece of it comes together effortlessly. It fully embraces the power of the medium and extends its boundaries far beyond traditional story-telling into a work of innovation, wonder, mysticism, and art. And, elementally, nowhere else does this concentrated sublimity appear more than in Mononoke’s visual presentation. The best way to describe the art and animation of Mononoke is: idiosyncratic. It is so particular and unique that I’d be willing to wager it exists only to tell the stories that Mononoke did. Right off the bat, the art style may come off as incredibly gaudy, over-the-top, and immensely theatrical (Curtains open and close at whim supported by decisive gongs dictating the flow of various scenes; highly sensitized color palettes are constantly at the forefront, clashing in folly, but never jarring; costumes and getups are so lurid that they seem to have fallen right out of a stage set; faces are painted with perfect expression that each frame seems like a change of masks, rather than emotion). Yet all of this works beautifully. Mononoke reminds me of something running in an aged-Kabuki theater, at least aesthetically, which is actualized through the bizarre sets of color, costume, and personalities, the artistically-tuned performances, and the emphasis on extravagance. Mononoke’s visuals are a feat in and of themselves, but the real laudable aspect is how that art is integrated into the narrative. The reason I stress to call this work, a work of “art” (besides its literal merits) is because of its ability to use its elements to create something whole that transcends its own platform and deliver – with individuality, acuity, and sincerity – its subject and themes with clear prowess and understanding (of itself and its ambitions). Take its approach to horror for example. Even though the art-style is the last thing from traditional horror, given how theatrical it is, the way it infuses horror is with complete subtlety. To elaborate, each arc is extremely claustrophobic, as in, the framing or setting of the arcs always occur in a juxtaposed manner. Whether it be stuck in a room of a humongous hotel, or a ship on the open seas, or a prison cell, or a train car speeding through a tunnel, the unsettling feeling of being “boxed-in” never leaves. It produces this inescapable void from the get-go and maintains that in the background, but it’s by far one of the most prominent things it does to invoke and sustain fear and discomfort. Not only are we forced into the corners of depraved minds, but we are confined there, with an evil that has the capability to exist everywhere, and within everyone. Furthermore, its usage of color is one of the best I’ve seen. Works of horror will generally opt for a gloomy, desolate mood which favors subdued grays, blacks, with the exception of red for obvious reasons. Mononoke on the other hand probably utilizes every color on the spectrum but does so effectively. I would never have imagined that such a palette could ever tell stories so terrifying and do so with the power that they do. Combined with its psychological propensity, the visual direction of the series is one of the best I’ve had the pleasure of experiencing; both as a work of Horror, and as a work of Art (and for once, we don’t have to separate the two). Mononoke is a superb show, but it isn’t for everyone. It is unconventional in every sense of the word. It relies heavily on its own art, such as the barrage of interconnected, but flashing painting like images, or color-doused symbolism to tell its story. Not everything is spelled out here, and a lot of the stories feel like stories within stories since they do stem from various Japanese lore (such as about the concept of Mononoke itself, or what certain acts/paintings/symbols signify). Yet, it is accessible enough, universal enough, that it still communicates the stories of these people, spirits, and time wonderfully. Additionally, as much as I have praised the art, this style can be off-putting to many since often times it might prove to be distracting enough to deviate from the actual narrative. The cut-out style of many backgrounds is a good example of this. Lastly, people under the impression that this is a run-of-the-mill horror featuring gore porn or cool fights/deaths, let me be the first to convey that is not the case. The horror is more personalized through the tragedies of each situation, not through spirits killing randomly (as one would find in a Hollywood tale of biblical possession). Truly, there is no better way to watch Mononoke, than as if watching a play. Yet, good art has the ability to transfer fiction into reality, and acquaint its consumer with its own feelings and dilemmas. In effect then, the shadows that lurk on the stage also lurk off-stage. And as the wooden curtain closes with the last gong and a similar smile, and the once busy street full of spinning umbrellas is left barren, Mononoke will also leave you with shadows of your own; standing on what you thought was a stage.
With the amount of respect Japanese tradition asks for and is often depicted with, Nakamura’s ‘Mononoke’, a 2007 production following a medicine seller of feudal japan with the duty to lay rest the spirits that have clung onto the places of their inner trauma, certainly seems to follow the trend. The supposition of magical mysticism is one I find common with art inspired by mythology, and in correlation to ‘Mononoke’, it's mass of comparisons to ‘Mushishi’ seemed to confirm my presumption. Similar to Tarkovsky’s ‘Stalker’, there exists a fog of fantastical realism over a bleak world within these texts. Not set in a depressing wasteland, but a limbo where you can’t help but admire the strange beings of their worlds no matter their textual hazard. In this sense, ‘Mushishi’ and ‘Mononoke’ exist as a representation of the Japanese mythos, but what makes the latter stand out is their slight tonal differentiation. Although the culture of Japan certainly has a history of strict respect and conservatism, which is on display with its first encounter with a person of color (you can imagine), the eccentric yet almost horrific expression of the series defied my expectations, much in the same way the loud aesthetic may have struck a lot of the audience. Although sharing its tonal comparisons to works I’ve cited above, the powers of ‘Mononoke’ seem even more aware of your presence, making themselves clear as if mocking us through the cinematography that is almost looking upon you at points. Although this can come off as obnoxious at times, the light-hearted tone being a general inconsistency and an, if mild, issue with the series, it serves a good transition into the underlying themes of women's oppression of the time as well as contemporarily. These subjects aren’t incredibly well developed often, especially in comparison to ‘Jeanne Dielman…’ (not writing the full title lol) or ‘Persona’, or even a later case in the show itself that I’ll go into depth later, it did give the series a bit of depth that made the presentation feel less superficial. And that was about it for three-fourths of the series. Not to sound derogatory, but a majority of my experience was non-noteworthily enjoyable, and in this sense, the finale elevated the series’ impression and retrospective quality to a degree where I think the rest of this analysis will be about the 60 minute that ‘Baka Neko’ astoundingly takes place over. It is in many ways a symbol for the promises the series has made and has yet to truly deliver upon until now, a perfect capsule of what the series identity is to become. I almost felt like I was witnessing a classic, yet featured in a series that has been largely forgotten since the medium's prominence. From the structured yet uncanny cinematography being all the more frustratingly appealing to the spirit's connection to their haunted house and the characters present in it almost having culminating intimidation, only being heightened by their sinister history of thematic relevance to the series. Not only is its presentation surprising, but the sense of terror I feel for the ghouls, as well as the ones they are haunting, was astounding, to be honest. And even if the rest of the series lacked that cohesion, the ending doesn’t come off as a lone good point, but a cherry on top. Mononoke, although lacking at times, delivers upon an aggressive an uncanny vibe that is hard to find elsewhere __8/10__
~~~img1000(https://i0.wp.com/i.imgur.com/0aaf5B6.jpg?zoom=2)~~~ Deadly monsters, haunting spirits, and supernatural entities beyond humans to even describe with words are a few examples of what makes horror an appealing genre to many. There are great examples of works of horror that can be considered real masterpieces of their kind. However, it is undoubtedly one of the most accessible genres to not succeed in garnering pure terror within its framework, especially with anime. There are only a handful of noteworthy horror shows, and the rest only come up with predictable scares and horror tropes being used way too much. Unfortunately, Mononoke fits the latter, but only by a very slim margin. To expand on that last point, Mononoke is not what you would call a terrifying show to watch. It would be more accurate to describe it as “startling.” It doesn’t try to disturb you with its overly-bombastic imagery; instead, it wants you to seek out the subtle artistic prowess that it has to show before it starts to suck you into the horror by surprise. The execution of all of it feels very fitting and nicely spaced out so that they feel less tedious and uneventful to go through. Many horror anime think that if it throws in any ominous or thunderous music, blood-splattering gore or your usual horror cliche left and right, they can call their show a real horror show. In reality, they make it the opposite of their intention because you’re already used to it after the twentieth time it has happened halfway through. ~~~img1000(https://gonzonyan.files.wordpress.com/2014/05/kg4g4di.jpg)~~~ Mononoke proves that you don’t have to use any of those aspects in horror to define yourself as one. The one thing that almost everyone can agree with is that the natural source of horror is the “unknown.” The fact that you can’t see something yet feel a presence within your surroundings can be one of the most genuinely terrifying things to experience in real life or film. Elements of this nature were put into full effect when H.P. Lovecraft first based his stories around this concept. Mononoke does the same inflections of some of the stories Lovecraft put into his short stories and does them to brilliant effect. The only noticeable difference is that Mononoke shows supernatural entities, whereas Lovecraft never did. The apparent inclination shows that this is a separate story based on the character, “Medicine Man,” from Ayakashi – Samurai Horror Tales. Before I discuss how the show structures its plot in each arc, the one fundamental notion that makes Mononoke a truly unique experience is how much creative detail it gives to the setting of historical Japan. Along with House of Five Leaves, this is one of the closest that anime has gotten, in recent memory, genuinely capturing the pure essence and atmosphere of what Japan was like during its later modern period. Obviously, without the supernatural elements, the artwork on display feels like an ancient painting done by past painters from Japan that strengthens the atmosphere and its impact on the creativity put into the horror. The artwork and the little tidbits they put into the show, including various Japanese folklore that they tell us at the end, are very inspiring and fascinating to experience. ~~~img1000(https://gonzonyan.files.wordpress.com/2014/05/suvaatk.jpg)~~~ Onto the plot arcs themselves, unfortunately, they are not the very highest point in compelling storytelling. With about five different stories put into one show, only two of them stick in my mind as entirely memorable or thought-provoking. The one that can be considered excellent is the first one because of how it introduces us to Mononoke’s world and its concepts of the Mononoke and is an ideal introduction to the show. The second arc consists of a very gripping story about each’s goals of getting out of the mess they have been brought to, and each of them has this detailed back story that makes them not just this throwaway character that our main protagonist steals the show from. Unfortunately, the rest suffer through what I would call overused tropes from the previous two episodes. Of the three last arcs, two of them both involve a group of people that Kusuriuri, our main protagonist, tries to investigate concerning the disturbance of Mononoke. It is almost as if the writer could not think of a new kind of formula he could put into his stories. Hence, he decides to reuse similar tropes to his previous novels and put a completely different spin on that original idea. It doesn’t matter if the plot is entirely different from the previous one. It still follows the same formula and feels repetitive and almost predictable. I wouldn’t go so far as to say they are “terrible” to go by, not at all; it just feels mediocre compared to the previous ones. What makes the plot worthwhile to experience, for better or worse, is Kusuriuri, or the “Medicine Man,” as he’s typically called. Similar to how great Ginko is in Mushishi, Kusuriuri has this aura around him that makes him very attention-grabbing. The only difference is that you don’t know much about Kusuriuri’s personal life, but only what he does in his job. His intelligent, fast-moving mind makes him a competent protagonist to root for only by how calculated he lays out his plans in getting the Mononoke and helping the people that need his help the most. It is one of the rare instances where the lack of personal development of one character doesn’t hold back their quality and just from how much he views the world from his own eyes and gives us his take on the mysteries involved in the plot. The unknown archetype adds to his depth and characterization more than almost every character in Mononoke, who also have well-developed characterization. ~~~img1000(https://gonzonyan.files.wordpress.com/2014/05/x4tqfhi.jpg)~~~ Whether you want to call the animation, provided by the most lauded Toei Animation, “experimental” or “classic art,” it nevertheless feels very dynamic. Toei wants to stick to its roots when concentrating on its animation skills, and this is one of its best. The fluid motions of how the characters move, react and illuminate feel very human-like and provide a significant degree of hard work into each animation frame. What is even more fascinating is how the animators put a lot of creativity into the actual Mononoke, which is influenced by Japanese folklore. Even though you don’t see them for more than five seconds, those five seconds will be burnt into your memory for years to come. Mononoke is a different breed of horror that many anime have not attempted to replicate even in the past. There hasn’t been a horror film or show that never makes you scream out in terror, yet in your mind, you feel almost as if you had gone through a night terror that you don’t remember screaming, in sheer anguish and fear. While the show never really compiles an essential detail of a groundbreaking story, it indeed is a sight to behold in grasping what can be done with a gorgeous setting with beautiful sets of animation to go with it. Let it be said; that when it comes to creating great horror, there should never be boundaries that restrict what it wants to show in terms of pure terror. Otherwise, it would not be horror, one way or the other. Grade: A-
~~~Mononoke is both a collage of beauty and true art ,and a sinister story that showcases the selfishness of human nature and their desires. It primarily studies how they affect our society and the way it ends up, in an exaggerated but also psychological way, that is sure to keep you hooked when sticking with it. # Visuals Each episode feels like a canvas straight out of a painting, vibrant colors flash around the screen and never disappoint when it comes to the visual department. At first it takes an episode or two to really get a feel for the animation style, but once you do it really has a charm to it. The biggest flaw this style has to it is it's choppy nature, but once it smooth's itself out it really has a certain polish to it, that is hard to deny. This aspect of the series is its highest peak to me, while the story was an interesting factor the colors that splash and change around really keep you invested, like eye candy. The opening and ending sequence are full of color as well, which is a perfect combo with the series choppy but bright landscapes, that shows how ahead of the times it truly was, it's shine still feeling crisp after 16 years. # Story The series, while starting off fairly light slowly goes down a path of the human nature and how the true intents of people and their selfishness corrupts our society, in retrospect. Whether it was people not being able to admit the truth of their horrible actions, or simply doing terrible selfish things both of these human flaws show themselves when the Mononoke is revealed in the end. It's light horror elements add to this by showing a darker side of how the intents of others have been caused due to an unfortunate situation that may have occurred in the past. This series was a great time, but I think a large part of the story falls short due to the fact its format is usually just arcs that only go on for 3-4 episodes which doesn't really give much insight to any character besides the Medicine Seller, and even then his personality isn't reflected on too much throughout the story. A great example of this is the ending, which to me seemed like a few more episode could've concluded the series out in a stronger fashion. This doesn't set the series back, but more so keeps it from excelling greatness and becoming a masterpiece, but that's just my opinion. #Summary Overall Mononoke is a great time that's stunning visual style and captivating episode format that is filled with mysteries will sure to keep you there till the end, that I highly recommend for anyone looking for a series that is flowing with personality without overstaying its welcome. ~~~ Light 8# #
# ~~~Fantasmi nipponici e mondi fluttuanti ~~~ ~~~img220(https://s4.anilist.co/file/anilistcdn/media/anime/cover/large/bx2246-WHkSkgyuxfgD.jpg) ~~~ Un misterioso farmacista/speziale (a seconda della traduzione) nell'800 giapponese si insinua nelle vite di diversi malcapitati per sconfiggere degli spiriti che nascono da emozioni negative, in più storie distinte simili a fiabe nere, dalle tinte horror. Una storia nuova? Tutt'altro, è una sinossi simile a tante altre del kwaidan: questo genere di storie radicate nel folklore giapponese, soprattutto nella tradizione shintoista. Ma perché, ciononostante, __Mononoke__ segna una piccola rivoluzione? Una rivoluzione alla quale sembra ancora più difficile credere da queste premesse e pensando al fatto che quest'anime è uno spin-off di un altro e che la sua uscita è nei 2000, un momento nel quale un po' tutte le arti fanno fatica a cambiare. Gli antesignani sono tanti, solo per citare alcuni nomi oltre ai kwaidan: le stampe ukiyo-e (come la grande onda di Hokusai, per chi non se ne intenda), __Ayakashi__ di cui è spin-off, la trasposizione anime del Conte di Montecristo da cui trae un simile stile "materico", oppure altri prodotti che sembrano disegnati a mano come Belladonna of Sadness, vi sono però anche diversi momenti all'occidentale come una citazione al bacio di Klimt e ai dipinti di Picasso, entrambi gli stili quasi copiati in alcune immagini della serie. Per capire l'importanza di Mononoke, dobbiamo pensare alle dinamiche dell'animazione come medium: questa ha sempre avuto alcuni limiti creativi: tra i quali il non essere in grado di rendere l'idea della materia, con le sue venature e i suoi buchi che nella vita reale notiamo anche ad occhio nudo nelle cose e che ci danno la sensazione di trovarci di fronte a qualcosa di più concreto e complesso. Se l'anime del Conte di Montecristo aveva provato ad agire su questo aspetto stilistico, il risultato è più misto e meno radicale perché si è cercato di fondere le tinte uniche e il minimalismo tipici e un effetto simile in alcuni dettagli come i capelli, i vestiti e parte dei fondali. Come l'antesignano, Mononoke non vuole però restituire quella sensazione visiva e quasi tattile per dare realismo, in maniera simile alle stampe __ukiyo-e__ che si contrappongono alla perizia dei volumi rinascimentali, alla sua tridimensionalità perfetta e ai suoi colori naturali, piuttosto Mononoke gioca con le immagini e vuole creare un mondo a parte, con le sue regole e la sua fisica, più somigliante ad un ambiente di carta, legno e gesso che si modifica in base ai rivolgimenti psichici dei personaggi che rende la serie sempre piena di surreali sorprese visive e colpi di scena. Un mondo che quindi non fa di questi aspetti sensoriali un mero virtuosismo da gioia per gli occhi, ma un mezzo per comunicare una visione del mondo filtrata dal nuovo millennio, che rivisita la rifinitezze formali dell’ukiyo-e e delle altre opere citate per immettere un filtro da contemporanei che guardano al passato con un’idea di antichità, di evanescenza ed esotismo nostalgico, accentrandone ed esaltandone la spiritualità, l’eleganza eterea e la complessità attraverso una radicalità che è tutta moderna nelle sue tematiche a tratti psicanalitiche, nei tagli delle inquadrature che estremizzano gli scorci sghembi che vanno da quelle stampe a Degas fino al cinema horror più ardito, con le sue soggettive che a tratti imitano il punto di vista di chi è parte della scena. Dall’altro lato, l’originalità della serie è anche nello spirito che sottende l’intera operazione, perché sappiamo ormai come i giapponesi tengano più al proprio mercato che a quello occidentale e viceversa nelle produzioni americane, però non si può fare a meno di notare come la globalizzazione, aldilà dei possibili pregi, abbia piano piano creato un canone cosmopolita nella sua accezione deteriore di non voler scendere nel profondo di alcuna riflessione ideologica, politica, religiosa o etica, giacché le culture nazionali sono distinte in questi aspetti e per questo poco comunicabili e comprensibili tra di loro, talvolta addirittura in conflitto valoriale. Proprio per questo discorso di incomunicabilità internazionale e per la ricchezza della serie in sé, il sottoscritto non ha la pretesa di affermare di aver compreso tutti i simboli e gli spunti folkloristici trattati nell'opera, d'altra parte il gusto di riguardare le cose sta anche nell'afferrare di volta in volta dei concetti prima sconosciuti o dimenticati, in modo da rendere la visione ogni volta diversa e di simile intensità, penso però di averne afferrato lo spirito e la grandezza. In tale dinamica geografica, un'opera che attinge in maniera così radicale a tutto questo retaggio, spesso trascurato artisticamente dagli stessi giapponesi contemporanei, è un atto di conservazione che non si può propriamente intendere come tale in un medium che è partito da radici diverse e più moderne, per questo Mononoke risulta nel suo contesto paradossalmente innovativo nonostante l'estrema "giapponesità" e l’impianto visivo debitore di due secoli fa. Le influenze e l'impianto audiovisivo e profondamente autoriale, riconoscibile in ogni fotogramma rendono Mononoke capace di intrecciare tradizione, revisionismo intelligente e un’innovazione dirompente nei modi di concepire il medium, aldilà di ogni congiuntura temporale e spaziale. La modernità di questa serie è anche nel modo di intendere i fantasmi (qui chiamati per l’appunto mononoke) e la storia, non come delle mere presenze infestanti ma come dei riflessi di ciò che è irrisolto dell’inconscio, non a caso fa uso di simboli come l'incesto e l'uccisione del figlio, nonché il tema del doppio, tutti topos ancestrali che dopo la rivoluzione Freudiana sono ritornati in auge ed espressi con un'anarchia squisitamente surreale, come in questo caso. ~!il protagonista ha il ruolo di farmacista e, nell’episodio 9, questa scelta è eloquente nel suo piano che pone l'accento sull'oleandro come qualcosa in grado sia di uccidere che di curare. !~ Il farmacista, unica costante degli episodi, fa uso di una spada per uccidere gli spiriti ma, tramite questa, purificare gli individui dai sentimenti negativi di cui fantasmi erano un’emanazione. La sua figura è un misto tra un detective dell'occulto e uno psicanalista che raramente combatte o usa stratagemmi convenzionali per scoprire la verità, ma fa domande mirate e cerca sempre di arrivare al rimpianto, come requisito e fulcro essenziale per la chiusura del caso, questo insieme di caratteristiche rende questa figura astratta quanto affascinante, nel quale confluisce lo spirito dell'intera serie. Presi singolarmente, gli episodi per il formato semi-antologico (l’anime è diviso tra più blocchi narrativi da 2-3 episodi) non risultano di per sé più di tanto profondi nella narrazione delle dinamiche interiori o nella caratterizzazione dei personaggi e attingono spesso a topos già visti, poiché parte degli obiettivi e dei messaggi della serie è rielaborare la tradizione senza snaturarla, rispettare un impianto da fiaba nera kwaidan, richiamare alle varie figure mitologiche del foklore e alle sue storie, ma anche formare un insieme concettuale che giustifica quest’impianto, a favore di un’immagine laddove un po’ ogni personaggio rappresenta una parte delle dinamiche sociali giapponesi, con i loro valori e i loro interessi individuali, dando una maggiore concretezza e un maggior messaggio etico alla serie nel suo complesso. Nonostante questo minimalismo psicologico, capita spesso nel corso della serie di provare un profondo coinvolgimento emotivo nelle vicende dei personaggi, come ad esempio nei primi due blocchi, che per pathos e delicatezza sono in grado di far interessare realmente lo spettatore dei destini dei personaggi nonostante la brevità delle loro apparizioni, insegnando che Mononoke non ha bisogno di chissà quali archi narrativi complessi per parlare della vera essenza dell’individuo, come d’altra parte è prerogativa dei migliori miti e delle migliori fiabe . A dare efficacia e senso di libertà alle storie della serie, è anche la scelta di trattare questo genere in una maniera non necessariamente peculiare solo del Giappone, ma comunque afferente ad un cinismo e ad una malinconia che ricordano i miti antichi e le fiabe dell’Ottocento occidentale che oggi non conosciamo bene perché i film Disney ne hanno restituito un’immagine edulcorata, Mononoke mantiene quindi sia l’intento educativo (esteso in questo caso ad un più generale messaggio di consapevolezza di sé, espresso nella verità e nel rimpianto che non a caso distruggono le emozioni negative) che la profondità allergica ai facili manicheismi di oggi, aggiungendo un tocco di modernità nel suo impianto a tratti horror e quasi da giallo. In conclusione, Mononoke è un capolavoro che unisce una lunga storia di valori artistici, religiosi, sociali e chi ne ha più ne metta, ma con una semplicità che riesce a congiungere in maniera biunivoca testo e sotto-testo come in ogni mito o fiaba che si rispetti, ma con una sperimentazione formale e strutturale che forse per la prima volta in questo tipo di tentativi di omaggio animato alla tradizione giapponese riesce ad ampliare e riflettere con maggiore rigore e coerenza il contenuto, non limitandosi al provincialismo fine a sé stesso ma trascendendo i limiti autoimposti del medium per mostrare a quali livelli di sfrenatezza creativa può arrivare la serialità animata
~~~__Mononoke__~~~ __Part the 1st: An introduction.__ In the floating world some people may still sink below the surface. brought down by their demons, suffocating, limply falling into the abyss or fighting desperately to stay afloat, but especially in The Floating World people are less likely to fall then they are to be dragged down. With hedonism comes debauchery, with debauchery comes a victim and with a victim comes a victor. A mistake only becomes a problem if you don’t learn anything from it, but when a problem arises learning becomes increasingly difficult. If Edo truly was floating It wasn’t in a blissfully divine manner, there was no transcending to Rūpaloka let alone Arūpaloka, Edo was firmly floating just above the realm of benevolent hate-hungry spirits, and these demons otherwise known as Mononoke where far more accustomed to dealing with us than any angels are. Thankfully there is a Medicine Seller willing to reverse the roles for these temporary victor’s, a Medicine Seller willing to resolve any problem, a Medicine Seller willing to deal with any Mononoke and that Medicine Seller’s name is. ~~~__Kusuriuri__~~~ ~~~~!(wait a minute what do you mean that’s just medicine seller in Japanese, why the hell would you not give the main character a name)!~~~~ __Part the 2nd: An interpretation__ Mr Kusuriuri-san is a fascinating character. Ever stoic and implausibly unfazed. Weather they are unwavering in their mission to strip the world of every Mononoke and completely uncaring of the individuals they attach themselves to is up to interpretation. Seemingly omnipresent and possibly omnipotent, weather completely detached from are perceptions of reality, consciously choosing to simply remain in our state of existence as a guardian is up to interpretation. But enough of pondering vague/inferior interpretations what about my interpretation of Mr Kusuriuri-san. I believe Mr Kusuriuri-san is a former bodhisattva, but rather than merely having been on the path to Buddhahood, Kusuriuri has previously become a buddha and choses to dance between the two states. utilising his attainment of awakening to continue staying in are world as a gilded beacon and restricting himself of Nirvana, refusing to completely release oneself of suffering so they can continue relieving humanity and those stuck in the material world. Kusuriuri can’t conventionally be labelled much and whatever label’s I’ve thrown his way is merely out of perception. But Kusuriuri is undeniably a traveller. Venturing throughout the land of the rising sun repelling the darkness that looks to completely extinguish the light that can be found within. But in living this way Kusuriuri is constantly having to adapt to the universal truth that life is impermanent. Kusuriuri often travels with the bare minimum, the clothes they fashion, and the tools required to banish Mononoke. subsequently exposing oneself to those affected by Mononoke, Kusuriuri witness first hand those who hold dearest their “self” despite the plague that curses their soul showcasing just how blindly we can be changed. Yet Kusuriuri is an ever-ending contradiction and an ideal bodhisattva they are not. But I do believe enlightenment starts with the individual and if the soul is truly constantly changing and that if there is no eternal then the concepts of a Heaven, Nirvana and even Hell are as contradictory as the pipe Kusuriuri smokes. Meaning enlightenment ends with the same individual but a completely altered perspective. It isn’t weather Kusuriuri achieved Buddhahood, but how Kusuriuri decided to use this achieved state. Shining like the sun coated in a flame of purity, knowledge, enlightenment, and with his own 3 universal truths: Katachi, Makoto and Kotowari the evil that hides in the deepest depths and rises with the greatest desire is revealed and banished by a unconventionally handsome, undeniably stylish and exceedingly cool medicine seller who for some reason has elf ears which I hope doesn’t tie into Buddhist philosophy or really have any semblance of meaning or reason for being other than it looks cool. To be honest after everything I write this wave of existential dread crashes down upon my consciousness destroying the carefully constructed sandcastle that is this review. And in the aftermath an echo can be heard reverberating form where the wave hit repeating “Elf ears, elf ears, elf ears.” ~~~ __Beyond Interpretation__~~~ __Part the 3rd: An Artistry __ I’ve mentioned The Floating World numerous times throughout this review. But what I haven’t mentioned yet is 浮世絵(ukiyo-e) which translates to “pictures of the floating world.” Many people will know the more famous artist of this movement such as Hokusai, Hiroshige and Kyosai most people will also be able to identify some of their more iconic pieces and series such as, 36 views of Mt Fuji containing The Great Wave of Kanagawa, 100 famous views of Edo and A Beauty in Front of King Enma's Mirror, the problem is most people haven’t been fanatically confronted halfway through what they could have sworn was a Mononoke review but was actually a thinly vailed trap to go on a passion/mania filled diatribe about the movements history, well If your one of these people then your out of luck because… Under the new rule of the Tokugawa Shogonate Japan isolated itself from the rest of the world, a strict, exploitative and vicious class system was introduced and anyone practicing Christianity was mercilessly killed. The trade-off peace form brutal, unrelenting civil war. Alongside all those admittedly pretty significant negatives was some strong positives, financially Japan was an extremely healthy country which was agriculturally evolving thanks to also technologically evolving. The population was growing at a stable and maintainable rate helped by the fact not everyone was dying horrifically in battle. And education focused more on the individual being literate than removing people’s individuality and uniting them under a glorious and blood-soaked banner. Thanks to this art flourished, being that a greater amount of people were trained with the skills and had accesses to the tools to create art. Ukiyo-e was basically created form the same circumstances that birthed the Pop Art movement, in fact the parallels between the two are uncanny. Both were born form nations growing after an extended period of war and complete distress. Both being born form the newfound indulgencies of the lower to middle classes. Entertainment at a reasonable price made music and movies an accessible luxury, also the vile luxuries once concealed in the shadows of grimy back allies burst out into the main street and the mainstream. Both challenged the preconceptions of art by focusing on imagery of popular/mass culture rather than selling itself as a restrictive and oppressive medium for elitist with a close-minded view on what art can and should be. And both art forms evolved beyond their original means thanks to creative geniuses who dared to push the boundaries and in doing so created some of the most thought provoking and emotionally provoking pieces of art to bless humanity. Edo becomes New York Kabuki actors become Hollywood actresses Woodblock printing becomes screen printing Time may force us forward, but the past moves us forward. And just like how Pop Art wouldn’t exist without Ukiyo-e, neither would Mononoke. See that did all have a purpose. __The team behind Mononoke __ I truly believe in my humble opinion that if you don’t like Akira, you don’t like animation. Conceptually this statement applies to Mononoke except it’s rephrased too, if you don’t like Mononoke, you don’t like art. Once again, I must stress that’s just my humble opinion of which there are many and most of them are correct. Mononoke is a lovingly crafted idiosyncratic visual masterpiece. The show is worth watching just based of its outstanding visuals. Every fantastically crafted facet of Mononoke standouts to such an extent it’s impossible to visually appreciate everything it has to offer on just one watch. Much like how Akira takes countless rewatches to notice some seemingly insignificant yet extremely detailed piece of background animation. Mononoke too is perplexingly densely layered with mesmerizing patterns and creative flourishes that would seem insignificant, but because some incomprehensibly talented individual poured, they’re everything these microscopic details have more meaning than some series do in their entirety. I’m going to focus on 2 arches of Mononoke and try avoiding simply saying “iz good cause it da best.” I’m also going to spotlight a third arch which iz good cause it da best. But first I want to talk about some of those incomprehensibly talented individuals I mentioned earlier excluding one significant exception I’ll get too later. Takashi Kurahashi and Yumi Hosaka handle art design, I’ve knida already praised these two to high heaven in the previous section but why not some more. Mononoke is special because it manages to maintain a visual cohesiveness whilst constantly experimenting. And these two are the adhesive keeping that it together. Takashi Hashimoto is the animation director and character designer for Mononoke which is handy because it doesn’t mean someone has to be tortured by trying to animate his highly detailed and exceptionally unique character designs. The character’s personalities and designs go so perfectly hand in hand, just their look identifies what piece they play in the story. For instance, Kusuriuri’s design offers so much intrigue and mystery. As for side character’s Ochou of the Nopperabou arch Gives of the airs of a pristine trophy wife, but the dark circles around her equally dark and lifeless eyes revels something far more sinister about her predicament. Hashimoto clearly didn’t have an archetype to follow when designing the characters and that allows him to bring them to life and have the freedom to animate them as he pleases. One department that normally receives nothing but scorn and is often considered a plight upon the industry, is a department that allows Mononoke to excel visually more so than any other. This department’s efforts cannot go understated, I can’t believe I’m about to say this but thank God for the CG department. Know I’m only against CG in relation to laziness, but nothing about Mononoke is lazy and the CG on display is still ahead of it’s time, The only thing that artistically rivals not just Mononoke, but Toei, of all companies, CG works of the late/early 2000s is Trigger’s Promare. The CG patterns that bring the backgrounds too life, the rain and snow in the 1st and 4th arches are completely mesmerizing, in the ep9 the background extra’s being represented by manikins instead of some clunky looking people that are as lifeless as manikins. Credit is due towards CG director Nobuhiro Morita and CG producer Takeshi Himi but it’s Yukiya Imamura’s involvement that interest me the most. But one of these people’s work would have any meaning if Mononoke had a rubbish script, so thankfully it doesn’t. as primarily a horror series Mononoke is a deeply unnerving, yet emotionally gripping series. It knows how to build and mess with your expectations; it surrounds itself with so much mystery but will explain itself in a satisfactory manner which respects the viewers intelligence. As I mentioned earlier Mononoke values your view of the show so it often can leave things with many answers but it want’s you too piece it together. One script writer for this series whose involvement in any series is worth mentioning is Chaki J Konaka, and don’t let that J fool you it literally means nothing. Mr Konaka has worked on some great series Lain, Princess Tutu and Kino no Tabi. Although I would hesitate to call him a great writer. Chiaki J Konaka’s scripts are often thematically dense and put the focus on exploring the cool concepts rather than the structuring a comprehensible story or the character’s that are remotely interesting. He functions best with a great director such as Ryuutarou Nakamura speaking of great directors. Yasuharu Takanashi composed the music for the series and is a major reason why Mononoke can reach such emotional high’s as well as helping it achieve an eerie aura. Now we’re a bit more acquainted with the staff let’s get back to the Arch’s I mentioned I would talk about some hundred and a bit words ago. __Nopperabou__ The Nopperabou Arch focuses on the aforementioned trophy/housewife Ochou. However this trophy is very rusted, and the house they are confined to is more so their prison than home. We don’t learn this immediately, the first thing we actually learn about Ochou is that she has recently become a murderer. Having painted the walls of her prison with her husband and family Ochou is sitting pretty, awaiting execution when Kusuriuri confronts her. And as expected where Kusuriuri wonders a Mononoke lurches. I could write an “analysis” just detailing what happens in the episodes and making out as if “A-ha I figured it out” But if you want that read a Wiki article. Instead, I’m going to focus on Ochou’s emotional state and how the art of this arch directly correlates to such. The colour inside the house Ochou finds herself confined to is extremely flat. The matte backgrounds somehow manage to remain exciting and whilst being highly oppressive, a joy to look at form the perspective of a piece of background art but with the perspective Ochou’s story they become a bleak and depressing reminder of Ochou’s confinement. The beige walls are decorated with prints in the styling of Ukiyo-e typical of the era. On the walls a tree serving as a sanctuary for birds to come and go as they wish; an image of freedom cruelly surrounds Ochou. We also find a large Ukiyo-e print depicting quite brutally Ochou’s current predicament. But all this changes when Ochou snaps flat enclosed colours find themselves blood-splattered with vibrant blues, pinks, yellows and most importantly reds. A spectacular explosion of colour to accompany a fantastic explosion of emotions. Yet, this quick release of emotion only looks to find Ochou in another state of confinement, if Ochou want’s freedom then this event won’t be how she achieves it. The nature and flow of the colour in these crime scenes can’t compare to that of when Ochou is freed form Jail By a masked Mononoke. Ochou finally gets to wonder the world she’s been hidden form for so long. It’s during this scene that Ochou is at her happiest and during this scene there are no black borderlines confining the beautiful water colours that fill the serene sky as the sunset’s on Ochou’s past. The tree leaves are every colour they decide some stay attached other’s float form their branches looking as if CG confetti celebrating Ochou’s new-found freedom. In ep7 the brushstrokes give off such a liberal attitude and create a character rich and descriptive backgrounds, unfortunately it is at this point Kusuriuri must truly set Ochou free. From here on Ochou’s emotions sill play a factor in the art direction but they are at the mercy of Kusuriuri. And not wanting to spoil this or any arch I will stop here with The Nopperabou Arch and move onto the… *RECORD SCRATCH* Don't read unless you've finished this arch or don't care about spoilers. ~!still have one thing to mention though before moving on and that is I’ve come to believe that this arch can be seen as an allegory for The Edo Period and the downfall of the Shogunate. Ochou’s imprisonment being representative of Japan’s self-imposed seclusion.A s trong piece of evidence for this is Kusuriuri mentioning how Ochou “could have left at any time.” Ochou being a victim of her mother looking to raise through the class system and showcases how Ochou’s husband can view her with such little value. She’s just commoner’s daughter, he born to be samurai and she to be a peasant. Really Ochou should be thankful after all he’s raised her social ranking and given her a life she could have never achieved otherwise. Obviously, none of what I just stated is true. It wasn’t through lack of effort commoners weren’t able to ascend the social ranking but because the government kept them there. Ochou’s husband is not only abusing her but a corrupt system.!~ __Nue__ The Nue Arch or The Monochrome Arch. This arch manages to look equally as amazing as the other’s mostly using black, white and grey tones. Colour is reserved for items of significance in relation to the character’s such as a samurai’s sword, the woodpecker nose of man who goes around poking said nose in other’s business and a funny man’s funny hat. The only exception to this rule are beings that transcend the boundaries of are mortal plain, beings such as Mononoke’s and Medicine Sellers. This arch focuses on a game of Genjikou a scent-based game which is very complicate and very Japanese. With every inhale the character’s light up along with the world that surrounds them. These brief flashes of colour tell a story of themselves, and support are understanding of each of the three character’s this arch focuses on. But what is really impressive is how the scenery they fill never manages to lose itself, despite the lack of colour. the backgrounds are still full of life you don’t feel like you’re missing out on anything despite the fact something is obviously missing. It shows that Mononoke is more than flashy colours and fancy patterns. Nevertheless, they do help, because as I previously mentioned there is one arch in this series that is simply “good cause it da best.” And why is that, because flashy colours and fancy patterns. __Umi Bozu__ img220(https://starcrossedanime.com/wp-content/uploads/2019/09/Mononoke-5.2-e1567783547865.png) Watch img220(https://i0.wp.com/akimonogatari.es/wp-content/uploads/2019/12/giphy-1.gif?ssl=1) This img220(https://i0.wp.com/www.s1e1.com/wp-content/uploads/2018/09/08-1.jpg?ssl=1) Show img220(https://starcrossedanime.com/wp-content/uploads/2019/09/Mononoke-5.9.png) Please ~~~__Part the 4th: An artist__~~~ So yeah, apparently Mononoke is pretty good, But I haven’t yet mentioned the man who is the key to Mononoke’s pretty goodness, and that man is Kenji Nakamura. Nakamura made a seismic impact with his full directorial debut, but he isn’t just some one hit wonder so just like how Mononoke was his first success It’ll be my first review focusing on Mr Kenji Nakamura-San. Hopefully this was readable and worth your time if you’re welcome to return. And if you didn’t like it then damn you and your opinion that you’re entitled to.