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Warptoon

Starting _Shouwa Genroku Rakugo Shinjuu_ had me slightly wary. Many things about it reminded me of a show called _Kids on the Slope_, which I hold in high regard. _Kids_ was the perfect mix of setting, art direction, and music to keep me coming back for more, even if the undertones of its source material worried me as the show neared it’s finale. While the two shows do have some similarities ( the artists struggle, polar opposite protagonists that support each other, brotherly dynamic of a emotional unavailable person contrasted with an outgoing counterpart), Shouwa Genroku Rakugo Shinjuu is able to showcase why these 13 episodes are treat for everyone. The shows first season centers itself around the 8th generation Yakumo, a master of the Japanese art called Rakugo. Yakumo and others who practice in the art, relay on spoken word storytelling to captive audiences in theaters. The first episode introduces us to Yakumo, his first apprentice Yotaro, and a aggressive woman named Konatsu who quickly reveals that the 8th Yakumo killed her father, Sukeroku. This revelation lays the foundation for Yakumo to retell his life’s history , along with his relationship to Sukeroku and Konatsu, throughout the remaining episodes. The story spares no detail as the audience is taken to Yakumo the 8th and Sukeroku (Bon and Shin, and later Kikuhiko and Hatsutaro respectfully) first meeting as children outside their new teachers house, the 7th Yakumo Yurakutei. From there the show takes us through the two boys lives as they trained, become men, live as roommates while trying to make a living, and eventually part ways when their lives take different paths. The resolution to all this reminiscing is ultimately used to unveil the struggle these men took, and the impact that their respective legacies have had on the present decade of the shows first episode. Thematically, the show is fairly consistent with its depiction of its two star Rakugo performers. Shin/Hatsutaro/Sukeroku is the brash, informal, and careless half of the relationship. The art form comes naturally to him, as he quickly assumes the role of favored pupil. In spite of his lack of practice and love of drinking, he quickly becomes a crowd favorite and he professes to Kikuharo his love of the audience as his main motivation in continuing to perform. Meanwhile, Bon/Kikuharo/Yakumo the 8th is depicted as a timid and fragile person filled with self doubt after failing to be a dancer and witnessing his competition in Sukeroku overshadowing him. Kikuharo unknowingly becomes consumed by Raguko, practicing alone whenever the chance allowed him, all the while doubting whether or not he should continue. It isn’t until the two apprentices perform a play together that Kikuharo finds his love of Rakugo, and is able to channel that into a unique story telling style that earns him fame. This is the point in the story that impacts the present day events the most. Kikuharo had been seeing the former mistress of his master Miyokichi, while the two did have some appearance of love towards one another the relationship ends poorly. To add to this, Sukeroku was expelled and forbidden from performing Rakugo after insulting the 7th Yakumo. In a rush of revenge,depression, and fear of loneliness Miyokichi and Sukeroku run off and have a child together named Konatsu. The rest of the show, is the resolution to the friendship these men have and should be watched without any prior knowledge of what will transpire. With that said, I am going to talk about these three in a bit more depth as they are encapsulated in the main theme of the story. Miyokichi, Kikuharo and Sukeroku are all emotionally damaged and narssistic individuals whose early childhood struggles pressure them well into adulthood. Kikuharo as a child was practicing to be a dancer before he arrived at the 7th Yakumo’s house. But was set back by an injured leg and a gender issue of men performing geisha dances, which led him to be ridiculed by others and himself at an incredibly young age. Sukeroku was an orphan who forced his way into being an apprentice after his first master past away. He feels shame for not being chosen as an apprentice, and that Kikuharo is always favored over himself. Lastly, Miyokichi was living with an undisclosed trauma as a child, which leads her to romance men who won’t love her back. This serves as her reasoning for comitting love affair after affair once Kikuharo leaves her, and her revenge romance with Sukeroku has undesired results. If there is a one word commonality between these three, it has to be abandonment. All three are unknowingly afraid of being abandon, after feeling that despair as children. Kikuharo was abandon by those he loves, dancing, and his Rakugo community. Sukeroku felt that he was abandoned by his master, the audience and his wife. While Miyokichi actively plots against being abandoned from the moment she feels she has lost Kikuharo. Even the 7th Yakumo felt he was being abandoned when his father had began training a talented apprentice. So much so that the 7th Yakumo used his family name to supersede the apprentice for the Yakumo title. This may seem as a damnation of the shows focus, but ultimately it works beautifully. The slow progression allows the audience to witness the work, or lack thereof, each character subjects themselves too. The Apollonian and Dionysian dynamic is evident, but the show plays with that theme enough to make you second guess just how the series will resolve relationship between the two men. While with all of this in mind, I hope that people we’ll watch the show. Even though the it may seem that I did not enjoy these characters and their progression, I find myself increasingly second guessing my own interpretation due to how layered the characters are. I just hope that when watching you give the show your full attention, as each episode will provide more information (verbally and visually) to help with the emotional impact of the shows finale. __Quick Things of Interest__ The shows choice and use of music i s outstanding. Using certain instrumentation and styles for the show doing the pre-WWII and then a different set for the post war was a nice subtle to establish a change of the country. The direction of the scenes involving characters performance of Rakugo, is also an achievement. Each character looked, sounded and behaved differently once they started. But these differences were also slight. When you watch, observe the eyes, lighting and positioning of the performer in relation to the camera. Studio Deen did a superb job of making something as simple as a retelling of a story, and filling it with tension with the framing of those scenes. The show does a great job of keeping the male to male relationship platonic, but becomes a bit obvious with its manga roots in episode 11 and 12. It is a bit jarring after so many episodes, for the shift in tone to change so suddenly.

CodeBlazeFate

*Despite both the title, and the first episode spoiling the show in heavy detail, there is so much here to unwind, that I cannot bear not giving you the classic SPOILER warning. Please, watch the show if you haven't; I implore you to do so. For those who have (or those who don't care about spoilers), let's move on* Art is a powerful thing. It has the ability to captivate an audience, entrance them in a new idea they never thought of, enamor them into a sight that marvels them. There are so many types of art: paintings, drawings, stories, videos, games, and even music. All of these things can enamor us now, but back before even the late 20th century, we didn't have videos or games (aside from maybe betting games and sports). Nowadays, not only do we have all of these things, but we can literally combine all of these. Animation is the ultimate tool for doing so, with the only thing surpassing it being interactive visual novels that can actually be played in the sense of more than just a story we control: like say, a fighting game with a visual novel story (like Blazblue). Nonetheless, we're getting horrendously off track. Earlier, I mentioned stories. There are so many kinds of stories to tell, especially in anime... You can tell an epically expansive and complex narrative like Legend of the Galactic Heroes. You can tell a charismatic, absurd, and dramatic thrill ride with twists and turns around every corner, like Code Geass. You can tell an exciting and inspirational story to get our blood pumping, like Gurren Lagann. You can create a work that heavily celebrates a franchise, like Carnival Phantasm. You can tell a grippingly dark and tragic tale to remind the audience that not all good stories have to have happy endings, like Fate/Zero and its second season. You can tell a charming and lovable story mixing many ideas you'd never have seen working, like Macross. You can even tell a down to Earth, realistic story that celebrates a concept we love, like Shirobako. Or, you can be like today's anime, Showa Genroku Rakugo Shinjuu, and tell a charming, gripping, down to Earth, and realistic story that celebrates the concept of art -a concept we love- that happens to be a dramatic and sort-of inspirational thrill-ride that has a complex narrative (well, more so than many of us think). It's the best of all worlds, really. Episode 1 shows us a reformed criminal (Yotarou, his new stage name) inspired by Rakugo so much that he tries to find the master who showed it to him, with hopes that maybe said master will take him in. We follow his escapades of being introduced into the world of Rakugo at its truest, while being fed crucial information about the residents (namely, a girl named Konatsu, who hates the old man) and their lives so that Yotarou doesn't accidentally strike a horrible nerve. His former boss shows up and tries to encourage him to take up crime again, but to no avail, especially after seeing Yotarou's performance, After almost being expelled (well, more like he was expelled and reinstated), the master tells him and Konatsu about his past which led to where we are today, in a realistic and down to Earth story that unfolds as he narrates. Hell, we get to spend the rest of the series joining the fun. The old man, who is now the 8th generation Yakumo, was originally known as Bon (so, for the duration of the review, I will address him as such). After a fateful meeting with Shinn (soon to be known as Sukeroku, and I will call him as such for now), they get taken up by the 7th generation Yakumo during boyhood, and we follow the dramatic and eventually tragic tale of these two men and their journey through their Rakugo careers. Bon had to say goodbye to a girl he was dating, and Sukeroku started drinking. Their careers have shown them to have notably different styles, and while Sukeroku has his perfected, Bon still doesn't know how to take advantage of his. Soon, Sukeroku and 7th Yakumo are forced to leave for the army; World War II has started. He, his master's house attendant, Matsuda, and the master's wife, are forced to wait patiently, without much hope. Soon, he meets a beautiful (and I mean BEAUTIFUL) girl named Miyokichi, and it seems like things are going smoothly again. Then, the two men arrive back, and now both Bon's and Sukeroku's careers can truly take off. Inspired by how much of a "tightwad" Bon is, Sukeroku's latest Rakugo piece is a story about a tightwad's dream. There is soon tension not only between the two boys, or even between them (especially Sukeroku) and the Rakugo Association, but between Bon and Miyokichi. The middle of the series is about how all of these tensions truly spiral out of control, causing Sukeroku to be expelled after being denied the rank of Shin'uchi, Bon to break up with Miyokichi, and the two boys to make one last promise and then split up on unhappy final terms (part of those terms being Sukeroku and Miyokichi leaving together); it's a dramatic turn for everyone's lives. Soon, after the 7th Generation Yakumo has a heart attack, he reveals an underlying reason why he would never pass down the Yakumo name to Sukeroku: he was the second generation of the Sukeroku who was his rival back in his youth. Dying with that one regret, Bon is forced to take up the name Yakumo. His friend, Matsuda, soon loses his wife, and Bon goes to find Sukeroku, only to discover that Sukeroku has a child named Konatsu (Are those signals flaring yet?). He soon reunites with Sukeroku only to discover that he has lost his drive for Rakugo thanks to his wife Miyokichi, who has recently ditched him and their child, probably out of resentment for their love of Rakugo and Sukeroku's refusal to move on to a new career. After some time, they prepare one big Rakugo performance (which happens to be rather inspirational to Sukeroku despite him being the one to perform it) despite Rakugo heavily declining in popularity after the war. Hell, news of this got Miyokichi to show up, now that Yakumo has cone back. In a truly tragic and impeccably told scene, Sukeroku and Miyokichi hang off a cliff after some heartfelt words by all of them spiral into their emotional climaxes, with Bon trying desperately to save them. Knowing that Bon will only die with them if he tries to save them, he falls with his wife, resulting in Shinjuu, meaning lovers' double suicide. Now, Konatsu is all alone, thinking that Bon is responsible for all of this...and he kind of is; he knows it to be true. After all, he let Miyokichi's parasitic desire for love spiral out of control when he chose his career over her, and he couldn't stop his friend from leaving with her, and he sure as hell wasn't capable of saving them after everything. Still, it's not all his fault, especially since it was Miyokichi that caused all of this to happen, especially with what happened to her and Sukeroku in the end. Bon was the one that caused her to really go haywire, but she basically took care of the rest, resulting in this tragedy. We head back to the present, or rather, a few years after we last know the present. Yotarou has become a shin'uchi, Bon continues his life as the 8th Yakumo, Konatsu is now a single soon-to-be mother (with Yotarou volunteering to become the husband to take care of the child), and we are treated to Bon visiting Sukeroku's grave, in which the ghost appears in front of him, as if to tell him something. Yotarou goes to him and requests to take up the name of Sukeroku, and now he and we get what that ghost scene meant. Thus, the story ends for now, with Yotarou closing us out and teasing us about an eventual season 2. The story is impressively written, without any leaps in logic or holes, and with one impressive prequel narrative. On its own, it would be a 9 for being great but not reaching extraordinary high. Then, we take the Rakugo stories into account. With one exception, every single Rakugo performance that is played from beginning to end has some meaning to the character that performs them, and most of them have pretty heavy meanings. When Yakumo played the story of the bumbling crook, that really represents him (in which his former boss points out to Bon). When Bon plays the story about Shinjuu, it ends up happening to his friend (Sukeroku) and his former lover (Miyokichi), which he is deeply affected by. When Sukeroku plays the one about the fisherman and the girl, it probably is due to him constantly talking about girls (along with booze) and bringing them over in the earlier parts of the series. Finally, I'm not sure what the Shinigami one means to Bon (who performs it several times), but season 2 looks like it's gonna reveal that to us, especially after this season hyped it up. When we see any of these 3 major Rakugo performers get to play their work from beginning to end, it always has some meaning in their lives, whether they be then or in the future, making things a lot more complex than many of us may have realized. They are surprisingly funny, making this art-form much more charming and charismatic than we anticipated before seeing those performances. There is an impressively strong cast of characters in this amazing show, some of whom are almost as realistic as the characters in Macross Plus, which sports easily the most realistic anime characters of all time. Side characters like Matsuda and Yuurakutei are still great additions to the main few with their hinted-at personal lives and fun personalities, and Konatsu has quite a lot of understandable personal baggage given what happened to her parents, that you can understand why she can be a total emotional ass. Yotarou is a funny yet truly dimwitted decoy protagonist (who'll get his time to shine in season 2) who acts very similar to Sukeroku. Well, with these guys out of the way, onto the tragic trio this season of Rakugo centers around. Yakumo is rather stingy and cold, conflicted about his feelings towards Miyokichi and his career, who loses everyone he cared about (except Matsuda). He is the centerpiece of this tragedy, and at least some of the unfortunate things that unfold were due to either his mistakes or his inability to calm an impossibly bad situation. Despite being pretty cold and assholish -often to great comedic effect- his struggles are definitely real: trying to find your own true form of expressing your passion and trying to balance your career with your social life and relationships. He, while passionate about it, mainly does it for ends meat (convenient given that he overall loves this medium). When the tragedy hits in episode 12, it hits him especially hard and we can easily sympathize with him for what he failed to prevent. Thus, he lives on for a career that he has long since lost the true drive for. Sukeroku is a man-child; he is a free-spirited, irresponsible, slob-like, drunken, and actually arrogant individual who only truly cares about his passion for Rakugo and how he entertains the people with it, Bon, and eventually Miyokichi and their child, Konatsu. He often gets drunk and talks about girls. He complains at the demand for him to be responsible, more than I do. His success in Rakugo makes him too cocky and ambitious, with the latter causing chagrin amongst the higher-ups, and the latter proving to be his downfall in episode 9. Still, his mindset is what I agree with personally: art should be for the people; art should be there to enrich the people's day and enthrall them, making them appreciate and enjoy your work. Sucks that he has to die without being reconciled with the Rakugo Association, for his Rakugo was entertaining as hell. Miyokichi is quite a broken character. Forced into prostitution just to make ends meet after her family died, she has been burned by relationships with men so many times that she somehow grew dependent on a proper and loving relationship with a man, to a parasitic degree. This lovely lady had to struggle with the fact that Bon grew more detached with her, and after he cut the relationship off, she not only started hanging with his best friend (because that is clearly a good idea in real life) but grew to love him out of desperation. Her resentment for Rakugo broke her new family apart and is the crux of why she and Sukeroku died. Shame, really. I'd love to have seen everyone's story in even further detail. If you're at all familiar with Studio DEEN's track record over the past 11 years, you know how dicey their art quality is and how hit-or-miss their adaptations can be, especially concerning their work on Fate/Stay Night and Unlimited Blade Works. While they also worked on Konosuba during the season this show came out, this show looks so much better on account of overall polish, character designs, and attention to detail. The little things like those bells with tags on them, really add this amazing touch to the world, and the character designs are pretty good if you ask me. There were very few slip-ups here, too. The phrase "visual poetry" is a term that is not meant to be thrown around lightly. However, this show deserves it. Masterful directing from the dialogue to the way scenes are structured. The scene in episode 9 where Miyokichi tells Bon that she'll see him in hell, is portrayed so majestically, that you can't help but marvel. The OP is visual poetry at its finest. While almost nothing moves, the sheer symbolism and craft put into it make it a feast to look at, not only for its unique and culturally traditional look, but for how much meaning is packed into almost every shot. This is further emphasized when they revoke it for episodes 11 and 12 but put it back for episode 13 now that you know literally everything the OP actually showed you due to what you just witnessed. Studio DEEN deserves to be commended for their work on this series. While not many of the songs in the background OST truly stick out or me to the point where I actively try to hunt them down with exception of the glorious track "Sukeroku" (though I centrally did try), the blaring and jazzy tunes set the stage perfectly, and every piece is used to excellent effect, like the two major scenes in episodes 9 and 12 that I referred to multiple times. As for the OP, Usurai Shinjuu, by Megumi Hayashibara, is quite the catchy and jazzy tune as well, making me snap at every beat while gawking at what the visuals of the OP display. The ED, "Kawa, Taredoki", by Kana Shibue, is actually without any lyrics, and is a relaxing song that's a perfect way to calm us down after many of these episodes force us to endure these highly dramatic scenes. Sure, It's not highly memorable, but it gets the job done well enough. Art is an expression. Stories are expressions. This show is all about an expressive form of entertainment. When an entertainment and story-driven fictional medium like anime truly takes off, there will always be those who try to evaluate individual installments to the medium, and those people, including myself, are called critics. Critics have a very mixed reputation and are sometimes looked as stingy buzzkills who relentlessly shut down these entertainment pieces. However, while we often do take part in that, we find it especially fun to cherish stories that manage to mesmerize us so much into an impressive new world and plot. This show cherishes the art of Rakugo, and shows us many perspectives on how an artist (of any kind) approaches his or her art, and, along with the great story and impressive way it's told, this is something us critics love to see. We can get more passionate about these stories more so than most people do, so seeing works like this, really refreshes us. In fact, that's the perfect word to describe this show: refreshing. Can you name a single other anime that showcases the art of Rakugo? Can you name many anime where the characters often wear robes? Can you name a drama that is told like visual poetry? No one can, at least in this point in time. Not every work of art is original or done with the people or the art in mind. Some art is made for the cash, and those works are often what us critics bash (like Mahouka, The Asterisk War, and so...so many others). The medium is chock full of this stuff. Hell, all entertainment mediums have failed ambitious projects and projects that were made with cash in mind rather than quality or ambition. That's what makes works like this so refreshing to us. Well, that's enough rambling for now.

0215MADman

In August 2019, I took that month's AWC challenge. This show was my choice for the tenth requirement, which was to watch a show that another participant in the challenge had dropped. This is a show that I've wanted to watch for a while because of its high praise, and since [Kashimi ](https://anilist.co/user/Kashimi)dropped it, I decided to take the opportunity and watch the first season. I do not blame Kashimi for dropping this show. Depending on what you expect, you too will probably drop it. The name "Showa Genroku Rakugo Shinju" is a mouthful but this is one of the VERY few instances where I can't think of a way to possibly shorten this title. The official English title is "Descending Stories: Showa Genroku Rakugo Shinju", and while I respect the effort to try to make a shorter title, calling this "Descending Stories" doesn't really make sense compared to its Japanese title. All four words in Showa Genroku Rakugo Shinju are important for the show. The whole series takes place during the Showa era of Japan (kind of a broad statement since that's over 60 years). Genroku is the type of culture born at the turn of the 16th century that flourished in art and is represented by how the rakugo is presented. Speaking of which, Rakugo is the most important word in the title and the most used because that is what this show is about. Rakugo is a type of Japanese theater where a guy goes on stage, sits on a towel and tells a story. The series is about rakugo performers and the drama that goes on in their lives. And then there's Shinju, which means "Double Suicide" (or a lovers suicide). I'm going to leave that alone for obvious reasons. Going into the series, I knew it would be about a type of Japanese theater and thought it would be about the people working in theater. That's not wrong, however, as the AniList description alludes to, only the first episode takes place in the "present day" (and by present day I mean the 1970s). The rest of this season flashes back to the 1940s and never goes back to the present until the last episode of the season. Don't get attached to the bottom two characters on the poster, the guy on the right is absent after episode one and the girl on the left is also absent after episode one until near the end when she is introduced as a child. The entire season is dedicated to showing how the character of Yakumo got to where he is at episode one. Does it sound like I'm taking my sweet time to talk about this series? Well, that's fitting since Showa Genroku Rakugo Shinju is a very slow paced series that takes as much time as it wants to develop the characters in the way it sees fit. I admire this show for feeling exactly like the Japanese movies that were being made during the time period this series takes place. I've seen about 10 Japanese films that were made Pre-1970 and for better or worse it feels just like them. If you're a fan of Mikio Naruse or Yasujiro Ozu, then I can not recommend this series harder. If the idea of watching a series about people sitting on mats and telling entire stories sounds boring to you, then I do *not* recommend you watch this series at all. If you're still interested even knowing that, then watch episode one. It's double-length at 48 minutes but it's definitely a good introduction to the series. I would not change a single thing about this show's structure. I've been talking a lot about what I want from adult animation this month, and Showa Genroku Rakugo Shinju is a separate beast in this situation. I would categorize it as "adult animation" (content-wise it's a PG-13 but good luck finding anyone under 18 that isn't bored by this show unless they're REALLY big into Japanese culture of the Showa era), but for me, this belongs in the category of "Japanese animation". Every single aspect, **ALL of them**, are rooted so deeply in Japanese culture that you can't imagine this show working in any other language without changing it so much to the point that it's unrecognizable. Watching a theoretical English dub of this series would be like watching an Ozu film dubbed, it just wouldn't feel right. If you're not here for the Japanese culture then you are going to get bored very quickly. Recommending this show is a bizarre task because I feel like the people that would enjoy this show the most are not the people who are going to read this. And if they don't watch it because they're the type of people that can't see past the fact that they're watching a drawing, then they'll watch the live-action version that was released last year. I've seen storytelling like rakugo before, but I've never seen storytelling like Showa Genroku Rakugo Shinju before in animation.

Fleur

Under the dimly-lit canvas of a rustic theater, surrounded by the sounds of slowly-plucked shamisen, waits an audience for a performance of great tradition. Gradually, a man wrapped in an dignified air approaches the center of the stage, sits elegantly on his knees, takes a slight bow to welcome his gazers, and proceeds. Thus begins a performance commonly known as Rakugo or the Japanese art of oral story-telling. Rakugo involves the storyteller to orate a comical account designated between two or more characters, generally playing all roles, distinguished only by slight nuances in behavior, tone, and gestures. Rakugo has been a classical trait of Japanese art and culture since the Genroku period (of the Edo era) but has dwindled in popularity and appreciation in more contemporary times. Though, grief can be spared because with this winter’s wind came a show that revitalized this once-felt obscure art-form and turned it into the driving point of undoubtedly the season’s best show, Shouwa Genroku Rakugo Shinjuu – a charming character-driven series with tightly-knit interactions and exploration, a marvelous setting, and a bond between subject and its characters that’s entirely commendable. Set some time after WWII - during the rapidly changing social landscape of Japan - the series follows a freshly-released prisoner who desires to learn the ways of Rakugo and gets taken under the wing of a national master named Yuurakutei Yakumo. The story changes focus from the present tale of the apprentice to a narrative of the past, concerning the master and his deceased friend Sukeroku, along with the slowly-withering art of Rakugo. Now while the premise may seem a little daunting and even a bit boring; nothing is farther from the truth. Of course, the series is an entirely character-focused, unhurried drama, so this does imply a lack of flashy fights, gratuitous panty-shots, and overpowered heroes championing the world, but in its stead what it does offer is a compelling, evocative experience that really has a handle on its ambitions. The setting, subject matter, and characters are integrated so atomically well that the entire ride is just consistently smooth. The pacing is well-balanced due to everything being finely focused and progressed with a clear direction that it leaves no room for wasted effort or filler messes. The combination of these elements along with the tact and grace with which they are implemented, makes this show a worthy title. First, there’s the setting. The show creates its foundation through a comparative/contrasting lens; a great structural move that tells the story, through story-telling – literally. It is absolutely marvelous to see just how well it is able to integrate its backdrop/setting into its forefront, just like a good theatrical performance would; giving it the feel of a truly refined work with each frame adding something to its overall quality. The setting is heightened by the show’s ability to capture the atmosphere and sentiments of Japanese society at the time, especially in relation to both the character situations and their Rakugo. Even though very subtly depicted, the show bases its portrayal of Rakugo from the perspective of slow decay. After the wave of post-war reality hits, it causes a serious sense of disenfranchisement between the culture and people. This allows western senses and modernism to penetrate with a force much greater than it did in the past which augments the gradual but steady disintegration of various cultural arts; Rakugo being one of them. This backdrop plays to almost every nuance crafted whether it is the evolution of characters merely depicted by their change in attire (from traditional Japanese yukatas to fashionable western suits) or the erosion of public attendance in Rakugo houses relative to other more western venues. These subtleties may go unnoticed individually, but are definitely materialized when evaluated holistically and especially when examining characterization. In addition to the impeccable setting, comes the strongest point of the series: characters. The character dynamics, exploration, and evolution are sublime. The entire series revolves around self-actualization in a way, through one’s art, and everything else revolving around it. The two protagonists, the now-master-Yakumo-then-Bon-chan or “Kiku” and his boisterous friend Sukeroku are a delight to watch, as they tumble through various struggles and events, trying to perfect their Rakugo while trying to find their reasons for doing so. Both characters are perfect complements of each other and really play off one another to add dimension to overall characterization, and each other. The artist’s journey and the character’s journey intertwine like a destined love affair, growing together through both pain and pleasure. This is why characterization in this show can be looked at on two-fold: from the art, and the individual dynamics. The former really lays the foundation because it not only introduces the world of rakugo in context, but integrates in a manner which complements the “act”. The performances are not just intricate illustrations of the art form, but also essential in tracing the metamorphosis of the characters involved, specifically Kiku. Therefore, the way Rakugo is treated isn’t necessarily just a detached device, but embedded in the heart and motivations of the characters, while also delivering with full force and depth the nature of Japanese story-telling, and the skill that it requires. Then, there’s the stellar dynamics between the characters themselves. Even though Kiku is the star of the stage, almost every other character feels multi-dimensional, with their flaws, motivations, and importance properly conveyed and explored, individually, and in relation to the bigger picture. Almost every “struggle” is important and is referenced in some form of development, whether it is for Kiku or the others, giving these characters a sense of realness, complexity, and palpability that isn’t easy to accomplish. For example, alongside the two main characters is another side character named Miyokichi (Yurie) –a geisha initially carrying the romantic tide of the series - who acts as sort of the fodder for the emotional evolution of both characters, while also adorning her own individuality as an important element of the show. Her role on paper is solely of a foil but she (and others) end up becoming actualized entities of their own; proving how well done the palette of characters are. The strength of the characters produces a resounding effect for the overall series that helps give it a strong sense of focus, result, and even thematic resonance. The sheer admiration and dedication that is reflected from the characters exudes the essence of “living for the dream”. Sacrifice, brotherhood, kinship, relationships, family, and most importantly, love, is so wonderfully crafted through the fibers of Rakugo and those in this story that weave it, ultimately into a beautiful tapestry. And love here doesn’t necessarily denote romance, but the kind of love that drives one’s passions forwards and gives meaning to lives. It is a love that transcends beyond description and can only be felt through creation, art, or in this case, Rakugo. And this work does an excellent job embodying and expressing that love. To bring the series its final touches of splendor is the animation and sound. The animation flows smoothly, with soft, bright colors that play to the vibrant tone of the show. Backgrounds are very nicely done as they bring out the juxtapositioned nature of the setting. The old but stifling feel of fading tradition is contrasted with lively modernized elements that consistently coalesce and enhance the narrative. Furthermore, the music is oddly fitting as it combines instances of jazz or blues against the classic tunes of Japanese strings and compositions. Surprisingly, never once does any of this clash inappropriately, rather works in tandem to heighten the atmosphere, mood, and give full depth to the setting that contains it all. Really, there is no detractor in this show that innately brings it value down. Of course, this series won’t appeal to everyone as it is very focused on the internal dynamics of its characters and the external passions that define them. Many of the episodes have 10-12 minutes of just Rakugo performances which could be burdensome to few, but as mentioned before, the performances are essential for they aren’t just superfluous additions but character-defining points. Lastly, since it isn’t a complete adaptation, there are loose ends to be had, and deliberately, but none of those take away from the narrative that is actually presented. Essentially, this story is worth telling, and even more so, worth listening to. Now, art forms come and go, evolve and dissolve, and keep humanity breathing with their own life force. Shouwa Genroku Rakugo Shinjuu shows the intricacies of that process through the lives of two men who through their art, change themselves and each other. They are a reminder of the eternality of art (even if the world changes) and those who create it (regardless of history that burns and rises). So even when the shamisen stops playing, and the dimly-lit theatre stands alone, we can still hear the stories of Sukeroku and Kiku, and Shouwa Genroku Rakugo Shinjuu is proud to do us that favor.

FruitNinjaDragon

___Shouwa Genroku Rakugo Shinjuu___ is very highly rated by almost everyone who’s watched it, so I can’t really call it underrated, but it’s certainly extremely underwatched. When _Shouwa Genroku Rakugo Shinjuu_ originally came out, it got swept under the radar by hugely popular shows like _Konosuba_ and _Erased_. It starts a bit slow, taking time to develop characters in a way that makes their growth meaningful, and doesn’t truly show its greatest strengths until our third main character shows up around episode four. That, paired with its unique way of storytelling and focus on a niche part of Japanese culture, may make it feel like something too weird to watch, which is super unfortunate. It’s one of my favorite shows of all time, and one of the shows I’d place near the top of my list for any friends interested in trying out anime (although that goes for anyone searching for recommendations, regardless of how many shows they’ve seen). Although unusual for the modern anime scene, a lack of conventional anime tropes and clichés allow _Shouwa Genroku Rakugo Shinjuu_’s story to soar, free from a desire to appeal to fans and sell merchandise – it’s a show that exists to tell a beautiful story with perfectly flawed characters, and it certainly does. “Rakugo” is a Japanese storytelling art, essentially the art of creating a “one man show” and acting out an entire story by oneself. The stories are generally Japanese folk tales, so there might be punchlines and themes that don’t translate the best culturally or linguistically (many attempts at subtitling puns fall woefully flat) but everyone enjoys _Shouwa Genroku Rakugo Shinjuu_’s rakugo to varying extents. Rakugo is one of the greatest strengths of the show, tying characters and plot points together and holding a huge amount of emotion and significance, but it’s also one of its greatest pitfalls early on. Take season one, episode one, for example – not only is it a double episode (and essentially a prologue for season one at that), it’s a double episode with a large amount of time dedicated to rakugo. Without the emotional weight rakugo earns later in the series, anyone who isn’t the biggest fan of the art may be easily bored (and I’ll admit, the rakugo displayed in the first episode is some of my least favorite in the series). However, that doesn’t change the fact that the rakugo is phenomenal overall. I can’t fathom the amount of skill it took for the voice actors to convey it so perfectly; it’s as if they’re masters of rakugo themselves (in fact, some of them actually are). Besides that, Studio DEEN does a fantastic job playing with imagery and dynamic camera angles to keep later performances visually engaging and captivating. As the show progresses, you realize that rakugo isn’t the primary focus of the show at all – it’s the complex, realistic, and flawed characters and their relationships. Rakugo begins to symbolize the lives of the characters that make the show grow ever more enthralling. No matter whether you originally watched _Shouwa Genroku Rakugo Shinjuu_ for the superb rakugo or not, the main draw makes a clear shift to the pure storytelling in the show. The depth of the characters is steeped in spoilers, however, so I can’t quite attempt to convince you on that. >“All the good, all the bad… your rakugo has given me every emotion imaginable.” It’s honestly difficult to describe _Shouwa Genroku Rakugo Shinjuu_ in a way that truly does it justice. The OST, the animation, the meticulous detail – everything about the show culminates into a masterpiece of writing that keeps me hooked every time I rewatch it. Watching hours of video essays and reading hundreds of reviews and reddit threads only cemented my adoration for the show’s narrative, convincing me to rewatch it multiple times in an attempt to gain the full picture. The subtleties in storytelling and incredibly human characters never fail to astound me, and the amount of analysis done on the show proves how deep the character relationships are. They’re perfectly imperfect and multifaceted to the point of allowing a breadth of interpretations of their motivations, and season two does a fantastic job building upon the characters from season one. _Shouwa Genroku Rakugo Shinjuu_ is one of the most rewarding anime I’ve ever watched, with an unparalleled storytelling journey and wonderfully cathartic ending. It’s a genuine story of the past and the present with hope for the future. Every time I rewatch _SGRS_, it feels like I’m watching a film packed with detail that I can’t look away from. I cannot stress how much I believe that every person who watches the series to its conclusion, with full attention, will walk away from it positively. No other anime has made me want to rerate every single show I’ve ever watched. It’s the first thing I’d show to anyone who said anime is just for kids, and remains one of the most profound and moving experiences I’ve ever had watching one. From the start, the title tells you some key parts of the narrative: it roughly translates into “Flourishing mid-Shouwa period rakugo lover’s suicide” representing the setting, the device binding the characters together, and the end of season one. It doesn’t tell you about the character drama, realistic flaws, and mature themes in the show, but I hope I was able to convince you at least a little bit on that front in this review. __\* \* \*__ _Shouwa Genroku Rakugo Shinjuu_ delivers an unmatched, layered narrative experience that few other anime I’ve watched have even come close to reaching. It might not be your thing if you need waifus and action, but if you’re looking for a fantastic story and can dedicate yourself to watching it all the way through, I couldn’t imagine recommending anything else.

PlatinuMan

The life of the theater. An actor playing a role for a demanding audience. A presentation told to not only the musicians’ tune but also the environment of the theater. A story is unfolded, characters appear and then disappear, and in what can seem like a few minutes, the act is over. A final bow and then dismissal. In a year where so many titles were known for their action or supernatural qualities, it’s hard to believe a title like Rakugo became so beloved. The show’s concept is extremely simple – for “Act 1” (or Season 1), we spend a majority of the time learning about the pasts of two men, Kikuhiko and Hatsutaro, entering the world of rakugo. Rakugo could be seen as a minimal sort of theater – a lone storyteller sits on stage and, using only a paper fan and small cloth, tells a long story that is often comical or sentimental. With such a lack of props or other actors to assist the storyteller, the strength of the performer is tested. How can he differentiate between multiple people? How can he represent an object with just his props? Most important, can he entrance the audience within the story? In a way, it could be seen as the ultimate monologue for an actor or, for a looser comparison, equivalent to the silent films of old, where an actor had to master the art of body language to convey emotion. With such a niche and down-to-earth premise, it wouldn’t be surprising to have the anime left to the wayside by more broadly appealing and flashy looking shows. It is, however, this very core that Shouwa Genroku Rakugo Shinju (SGRS) sticks to that makes it as lovable as it is memorable. The stories of our leads serve as an excellent introduction to the world of rakugo. Set in the 1930’s, where it is seen as one of Japan’s main entertainment sources, we observe Kiku and Hatsu’s rise through the world of rakugo under the instruction of their master Yakumo. Like many shows with dual protagonists, the boys have a contrast that distinguishes them from one another. Kiku’s personality is more formal and introverted and is much more reflective of the current desires and status of the rakugo association. Hatsu, on the other hand, is far more brash and extroverted, seeing the storytelling in a more vibrant way than most are used to. These contrasts extend into their preferred style of rakugo. Kiku’s sly and cunning approach to storytelling make him excel in the more seductive story type, whereas Hatsu’s range and animated approach make him a star at comedic pieces. Despite all their differences, a bond is formed between them that’s deeper than even they realize. As they rise through the ranks of rakugo, both Kiku and Hatsu learn more about each other than they initially thought. This level of humanity is much appreciated and serves as a way to add more depth to each of the leads. This is also quite crucial when in the mix of the supporting characters, such as Yakumo and geisha Miyokichi. Though the setting is simple, the emotions are quite complex as characters try to find their place in this art and make or break connections with one another due to their beliefs. It’s easy to claim that SGRS is trying for melodrama, but the show’s slow sensual nature helps mature rising overdramatics. Arguably the most important aspect of the show is in its namesake: the rakugo. When not focused on the lives of the co-leads, the anime allows them to show their progress as developing shin’uchi. We are treated to them acting out these stories, from the perspective of both the audience and the storyteller. This latter part is crucial to seeing the storytellers as people and not just as people reciting old tales. The camera can pan to the storyteller’s neck covered in beads of sweat or adjusting their position on stage, a subtle way of recognizing the humanity of the performer. What’s more, the focus on these stories allow the anime to show its sincerity towards its source material. It feels like creator Haruko Kumota earnestly wishes to show his love for the art by letting the characters present these stories. Of course, longer stories cannot be told due to time constraints, but some shorter stories are presented in full to the audience. Tales such as Toki Soba and Shiba Beach are as interesting as the performers make it out to be and seeing what kind of story is found in each episode was just as intriguing as the continuing plot. But even when not focused on the drama or the rakugo, there is another haunting truth underlying the whole show: the passing of time. As I said previously, the show’s premise is sort of niche. Not many people are involved or know rakugo, much less seek it out of interest. This fact becomes more apparent in the show: as the years go by and major events such as World War 2 transpire, new forms of entertainment and technology become available. What once was prevalent is now becoming outdated or turned away for said new entertainment. A clash of ideals also interferes this art, as talk of what truly is rakugo, or if it could be changed, surfaces. Even if delved in deeper, and even if there is some grand plan to “save” the art, would it even work? As the generations pass by and the characters get older, there may come a time when rakugo will disappear. Despite this, the characters still remain hopeful and persevere in a craft that still has meaning to them. Like any performance, all it takes is one performer and one person to watch. If there’s any setback against the show, it may very well do with the format or editing of the anime. The beginning episode is twice the length of a normal episode and establishes the characters that will be featured in the present. However, a majority of the anime takes place in the past, meaning the “teaser” doesn’t come to fruition until the 13th episode. Some of the drama, as well meaning as it is, can also be a bit tone deaf. There are times when a character will spark drama with an incendiary line only for no further action to proceed it. In the first episode, for instance, Konatsu accuses Kiku of the death of her father. Tension is felt, but the next scene is quickly shown with no further investigation of the claim. It makes sense not to “give the plot away”, but then again, why show this in the first episode? The introductory episode, while good for setting up the events of the present, is not the focus of the first act and thus feels like awkward foreshadowing for a flashback, if that makes sense. This sparked drama also hints at a show that could potentially be much darker than what is shown, but currently the events are more of everyday realism than a scandalous form of slice-of-life. I do appreciate the more approachable tone but I’d rather the show eschew from its sinister undertones and focus more on its captivating strengths in rakugo. Speaking of captivating, a plus must be given to the show’s use of sound. The soundtrack of the show fits well with a historical drama, whether serving as an introductory theme to the rakugo performers (using the plucks of the shamisen and beat of a large taiko) or building tension with a rapid tempo increase in acoustic guitar and trumpet. Special attention should be given to the show’s opening “Usurahi Shinjuu”, a seductive bit of jazz pop that splashes dramatics with quiet drawn vocals and descending flute lines (perhaps a nod to the anime’s “descending stories”), and the ending “Kawa, Taredoki”, an instrumental trumpet-led jazz piece that somberly closes each episode like the touching ending to a rakugo story. Overall, I give SGRS a 7/10. Though not as resonant as I wanted it to be, the first season of Rakugo is still an entertaining and meaningful look into the lives of those passionate about the storytelling art. Those that are involved in the dramatic arts, or those looking for a historical tale with more realistic characters, should definitely give this one a watch. Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review. Thanks for reading and have a blessed day!

NatsumeRei

_Love is mysterious. It connects us, tear us apart, makes things special to us, it makes us hate. It's twisted, corrupted and scarring, but at the same time, contradictorily, it's genuine, honest and salvation. Perhaps the beauty of love lies in that aspect of a contradiction. Shouwa Genroku Rakugo Shinjuu is about love. How love connects, disconnects, saves and harm. This anime is a deeply moving human drama, rich with its impactful main characters fleshed out through brilliant storytelling._ Shouwa Genroku Rakugo Shinjuu is an anime adaptation of the josei manga by the same title from Haruko Kumota, mostly known for her yaoi manga. That would explain the minor BL elements present in the series. Animated by Studio Deen, the series has two seasons and a combined 25 episodes. The animation is pretty good, and the soundtrack helps elevate the atmosphere very well. - __The Pilot Episode - The Key That Opens The Locked Door__ The first season consists of 13 episodes, focusing on Yuurakutei Yakumo (Kikuhiko, Bon), a master rakugo performer, his past, rise to fame and relations. The show begins (there are two versions of the pilot episode. there is a 48-minute episode and an 82-minute director's cut.) as an ex-yakuza Kyoji is released from prison. Incredibly moved by a performance by Yakumo at the prison, he meets with the rakugo master and requests to take him as an apprentice. Yakumo, who is known for not taking an apprentice, surprisingly accepts his request and takes him home. Yakumo gives him the name Yotaro (fool) and introduces him to Konatsu, the daughter of late rakugo performer Yuurakutei Sukeroku, Yakumo's former friend. During a show, Yotaro imitates Sukeroku's style and is exhausted and snores during the following performance by Yakumo. Furious with this Yakumo expells Yotaro, but later agrees to take him back under three conditions. With Konatsu accusing Yakumo of the death of Sukeroku, Yakumo makes the both of them sit down and starts telling the many stories of his past. The rest of the episodes follow Yakumo's past. From the day he became an apprentice to 7th Generation Yakumo, till when he took in Konatsu. The pilot episode plays an important role in this show as we see many changes occurring to Yakumo. He takes in an ex-criminal for an apprentice. He is willing to open up. Perhaps he was looking for something or someone, which could help him lay off the weight dragging him. And that was Yotaro, who reminded him of Sukeroku, the one he loves as his brother, the one he hates for leaving him behind. The key to his closed heart. - __9.5/10? What's so good about it?__ The genius of Shouwa Genroku Rakugo Shinjuu lies in the layered characters and their intricate relations. The complex feelings these characters have for each other and the conflicts born from those are beautifully explored. The main triangle consisting of Kikuhiko, Sukeroku and Miyokichi is the main driving force of the season. Through Kikuhiuko's perspective, we are taken on a journey through his success and struggles. The friendship formed between Kikuhiko, a shy introverted kid, abandoned and forced into rakugo, and Hatsutaro (Sukeroku), an outgoing, energetic kid, dedicated to becoming the next generation Yakumo, is beautifully portrayed with time. And with Miyokichi entering the show later to provide the romance element and complete the trio, the show dives a level deep. The rakugo stories, used as a narrative tool to represent the characters, is nothing less than impressive. The rakugo performance is stunning to watch as the camera goes macro so that we can truly feel the tension and see the expressions and the body language of the storytellers, which also contributes to their character depth. The voice acting deserves a round of applause as their work brings out these characters to life, especially for their rakugo performances, which was able to keep me hooked. The jokes present in these rakugo stories might leave us blank as Japanese humour is known for being limited to the native people. Towards the end of the season, the show starts playing with our heart. Somewhere along the line, the characters stop being characters. They become someone in our own life, someone special to us. The show also explores post-war Japan going through a socio-economical change, the technological advancements dominating many other entertainment sources, art forms that don't keep up with time dying out and much more. The show dwells deep into human nature, the grey shades leaning towards black and the grey shades leaning towards white is equally portrayed. The show ends with the past revealed and taking a short time skip from the pilot episode, providing hope and pain. Not many shows leave such an impact on me with just a single season. So it goes without saying that this show is special to me, and I'm sure that it is also the case with thousands of other viewers. - __Long Story Short__ Shouwa Genroku Rakugo Shinjuu is an outstanding anime, elegant with its splendid characters and stellar storytelling. A profound human drama, so good that it deserves multiple watches, a masterpiece. _____

asiago

__Understanding Miyo__ I wrote this right after finishing and thought I'd share now, this is my first review so please go easy on me lol. I hope it makes sense, this is basically just me rambling. Remember !! this is just my interpretation of Miyo's character and nothing is technially "right" or "wrong." ALSO MAJOR SPOILERS (I know this came out a while ago, I'm pretty late on the prime-review time train but there are probably still a bunch who hasn't seen it) DISCLAIMER: I'm aware that geisha's are entertainers and not prostitutes, but if I remember correctly, Miyo says somewhere about having sexual relations with some of her clients, she has a pretty creepy relationship with master yakumo, and she never looked happy going to her job or anything but please !! correct me if I'm wrong or didn't say something right :)) Anyways.. ENJOY !! (I probably put too much exposition, sorry) All of the characters in rakugo have an incredible amount of depth and do things realistic to their stories and personalities, which I think is especially interesting in the case of Miyokichi. Though I hated her at the end because she basically caused Sukeroku's death, her actions were maybe not justified, but they were understandable. She had probably not been treated to well and was often mistreated as a geisha (as we can see through her relationship with the 7th gen master yakumo.. creepy), so she sought love and commitment in kiku. She had been wrapped up in what felt like a fairy tale because he treated her like a real person (probably stemming from his childhood of being around geisha's and being raised in a house of only women). When she reunites with him at the end, she says that she can only act like herself when she's with him, however when she is first with Sukeroku after she and Kiku broke up, he comments on how different she is with Kiku than with him and she says that Kiku prefers a much more classy girl, implying that she's not acting like her real self when she's with Kiku. She seems more at home with Sukeroku than with Kiku, even though she says the opposite.she puts on an act so that Kiku would like her, and convinces herself that it's real. I think this is because Kiku saved her from her life always being discarded, so she idolizes him and sees him as her savior and subconsciously changes herself so he would like her. However, she can only truly be herself with Sukeroku, but when she moves to the countryside with him and the fairy tale vanishes and she realizes that a real relationship that's not built on lies has to take work and that Sukeroku isn't the savior she was trying to replace Kiku with, she becomes depressed and starts to yearn for Kiku again, thinking that she had wanted him the whole time and had just gotten bored of Sukeroku, so she leaves him and their daughter. When Kiku shows up and performs with Sukeroku and she sees how happy Sukeroku is when he does rakugo, she asks Kiku to commit a lovers suicide because she realizes how much Sukeroku loves rakugo and she thinks that he will just abandon her for performing just as Kiku did. She then seeks Kiku again, her savior, and wants to die while still being in the lie that she has told herself, even though she knows it;s not true because she doesn't want to be hurt again. However, she finally realizes the full truth and that Kiku is just temporary happiness and she truly loves Sukeroku. When he shows up in the hotel room and pledges to quit rakugo and straighten up for her and Komatsu, she is conflicted because her apparent savior, Kiku, never offered her this, so she's confused that there's someone who would be willing to save her and love her other than kKku. Kiku himself also realizes this when he hears Sukeroku shout her real name, because their had never shared their real names with each other, representing how they maintain their lies to each other by only being false names to each other. When they're hanging from the balcony, Sukeroku says that she can't go to hell alone, showing that he recognizes they both have committed sins and they realized the truth too late, but Sukeroku is still willing to die with her, fulfilling his promise to be with her properly, even at the end. Thanks a bunch for reading !! I'd love to hear your thoughts if you got this far lol

Horipple

A spoiler-filled, thematical analysis of Showa Genroku Raguko Shinju, prior to watching the second season. I cannot begin talking about this show without first talking about the __Shinigami__. The Shinigami is something that many of us, myself included, have come to think of as a cornerstone of Japanese myth, it’s a spirit of death and we all make this association and compare it to a Grim Reaper of sorts, it’s in the name after all. Historically however, the Shinigami has not always been here. It’s first appearance goes back to the works of the Edo period, and not in rakugo, but bunraku, or puppet theater. It is here that the Shinigami begins to gain an association with death by being an entity which drives lovers to a double-suicide; __shinju__. img800(https://imgur.com/PbMCUY3.png) The importance of the Shinigami, both as the god and the rakugo play, is hidden in plain sight, it took me more than a day after I had already finished the anime for me to realize how essential it is to the story of Showa Genroku Rakugo Shinju. Yakumo’s performance for the prisoners is what convinced Yotaro to become a rakugoka, but more than that it acts as a parallel to Yotaro’s early journey as an apprentice. img800(https://imgur.com/wehyywU.png) When Yakumo accepts to taking him as an apprentice, Yotaro is granted a boon, just as the character in the rakugo play is granted the ability to see Shinigami and cure people of their illness. But just like this character which unknowingly traded his life for 1000 gold coins in the story, Yotaro neglects to care for the lifeline he’s been granted and is expelled by Yakumo. There is however, still one more chance to be had. The Shinigami, or Yakumo in this case, is willing to take Yotaro back as an apprentice if he can promise three things: 1. Find your own rakugo; 2. Open up a path to rakugo’s survival; and 3. Don’t die before I do. img800(https://imgur.com/i7qNyG3.png) This pact acts as Yotaro’s one and only chance at life, without this he will be nothing, no home, no family, no friends, no future. In that sense it mirrors the deal that the Shinigami offers the man in the story, _“you may live but only if you can keep the candle from going out”_. At this point it’s becoming increasingly clear how the Shinigami as a performance becomes an encapsulation of the main character’s lives but also of the overarching story. img800(https://imgur.com/DfyBGvV.png) It is ironic, but also incredibly fitting how Yakumo manages to become an embodiment of the Shinigami. His life began surrounded by geisha, a profession which trains women in the arts of song and dance but is also inextricably linked with prostitution as we later see with Miyokichi. After being shunned from the geisha house he was born in, Yakumo is set on the path of rakugo and death. img800(https://imgur.com/zWn9JAh.png) He becomes the god of death in all that he does, death becomes a part of everything which surrounds him. The death of his master, the death of Sukeroku and Miyokichi just like those of honor-bound lovers in the suicide stories from the Edo period, the death of rakugo. __He has become death.__ And he embraces it as a young rakugoka, believing it to be the vehicle to his ideal state; __loneliness__. img800(https://imgur.com/58coRtK.png) Sukeroku and Miyokichi are polar opposites to Yakumo. They each represent opposing symbolic values: comedy and tragedy, love and disinterest, life and death respectively, in many things, not only rakugo. Not all is bad in death however, we can see towards the end of the series, and the end of Yakumo’s story, that the symbol of death is turned on its head. __Death is the culmination of life.__ It is the end point for all human experiences. As such, death plays an equal part in all of them, ___"All the good, all the bad. . . Your rakugo has given me every emotion imaginable"___. It is the Shinigami’s pact which Yakumo offers that allows Yotaro to live, and he, together with Konatsu become the foil to the loneliness which plagued Yakumo after being abandoned by his partner and his love interest all those years ago. img800(https://imgur.com/CwgloVg.png) Unlike the “yotaro” in the play, our protagonist will succeed in his last chance at life. In that sense, Yotaro might be the one to defeat death, not in a literal way, but by surpassing his master and taking on the name of Sukeroku. It is only fitting that the season is brought to an end with Yotaro performing the same rakugo play which Konatsu’s father performed when he was apprenticed, _“Nozarashi”_. This is another story which mixes the conflicting themes of life and death, made even more obvious previously by Yakumo’s gloomy performance of it contrasted with Sukeroku’s jovial singing. It is during this cheerful song, which Konatsu treasures, that she reveals her pregnancy. img800(https://imgur.com/cbJNrs0.png) If before I said that Sukeroku and Miyokichi symbolize life, and Yakumo symbolizes death, then Yotaro will be the rebirth of rakugo. ___“Ajaraka mokuren kyuraisu tegeretsuno . . . Pa!”___

Shellshock

The First Episode (Director's Cut) is Spoiled. And Some Light Spoilers for the purpose of this review. Rakugo is a series about an ex-Yakuza that tries to become a famous Rakugo's student (I'mma call this guy MMC2). So MMC Tries super hard to become MMC2's apprentice. And surprisingly he's like "Fo shizzle. Get in the limo my man". And now he has an apprentice. He meets his adopted daughter (?) and basically its these 3 living in this house practicing Rakugo. Well that's I presumed what it was going to be but that changed very fast when the daughter screams in agony that MMC2 killed her father and she wants revenge. Because an alive parent is an alien concept to the Japanese. With this revelation they now do a flashback revealing the past for the entire fucking season. Season 1 is basically an extended flashback. You don't get back to the MMC and FMC till like the end of the last episode. Which results in 2 problems. First of all we did not need to know that the father died. Though I quite liked the start the idea to give a flashback instead kinda just threw off all the momentum and had to start from scratch again. Though the series was able to pick up momentum again I don't understand why we had to suddenly shift to watching a prequel. There were also times where there was a flashback inside another flashback.... Non-Chronological story telling feels utterly unnecessary because you reveal these character deaths or these twists that would've been amazing instead you show it to us first and then you give us the character development needed to actually be invested in these characters. When they finally revealed why she blamed MMC2 for her father's death and causes around it. I could not help but laugh. It's a very dramatic moment that is bogged down by the utter ridiculousness of the situation. With that being said... This is a good series. One that I would wholeheartedly recommend. The Characters are enjoyable to watch. There is comedy that doesn't feel like its shoved in at the most inopportune times possible. And we actually get to see the entire shows of Rakugo. I'm not exactly sure what is the difference between a Rakugo or a play is. It seems pretty much the same thing except there are less set pieces. The Entertainment is much more on a smaller scale and can be performed with just 1 person. The focus is on the sound and Facial reactions to the story. Like I said before the Flashback is the main arc which explains the story of the MMC2, the father of the FMC and the Girl trapped in between. The MMC2 and the father of the FMC (Let's call him MMC3) are actually rivals, because this is a Shonen anime now, apprenticing under the same Rakugo Teacher. As the story more and more unravels we see more of there relationship together, how they view their own lives and how they treat the people around them. I think there relationship is definitely the highlight of most of the series. It feels like 2 brothers rather than 2 friends. So very good job on the author for showcasing that. The Girl in between character (FMC2)... was quite poor. Her role was literally to get in between the 2 characters. She didn't have her own goals, she didn't really do anything. Even in one scene she admits she likes assholes (the Personality not the body part). Which MMC2 very much was. As the story progresses you can sort of guess more and more easily as where as this going but like I mentioned before when the Climax hits, its just very underwhelming. It feels stupid rather than anti-climatic. Its no unimpressive just ridiculous. Overall I did enjoy the series. The main theme of the show was engaging and didn't feel like an after thought. I felt like the director was actually a fan of Rakugo rather than someone who just animated it for money. The characters relationships were good and the romance was lackluster but also acceptable. I guess the main story that was progressing was something I didn't like Partially because we weren't watching the story progress, we were watching a prequel. In the end we do go back to actual main character but that part of the story is reserved for Season 2. Which I'm pretty excited to watch. 7/10 - Worth watching at least once. Even if it isn't some profound masterpiece.

Pursueth

What happens when you create a story about storytellers? Rakugo is a dying art form in the face of modern entertainment. This is a story about how it struggles through the ages. Most of the series takes place in the past as a backstory. In a drama that plays out like a novel, you watch the absolute worst and best come out of the characters. You cheer for them, you reject them, but ultimately there's a feeling of bitterness and despair that always follows them around, despite never being a "dark" show. Yota, Konatsu, Bon/Kikuhiko (later known as Yakumo), Hatsutaro (later known as Sukeroku), Miyokichi all of these are different people, maybe even living in different times. Yet they all have one constant in their lives, Rakugo. It's either passion, hate, or bitterness, but they are connected by it. They find meaning because of it, some have died because of it, some have been hurt by it, and others have found homes and families because of it. Kikuhiko and Hatsutaro have the sweetest friendship. Their rivalry feels natural and palpable. A classic "hard work" vs "talented and lazy" where the show strikes the perfect balance in showcasing the limits on relying on just one of these traits for success. As the series progresses, they meet Miyokichi, a geisha and a former prostitute, who quickly becomes Kiku's love interest, but later on is dumped by Kiku because he wants to solely focus on his art. After being left behind so many times in the past, she was obviously devastated and heartbroken. She finds solace in Sukeroku's arms, who was facing his own rejection with his master, and has a child with him named Konatsu. img1000(https://i.imgur.com/WfNuqY0.png) >"People can't understand everything about each other. And yet people still live together. The love of sharing trivial, meaningless things with others is human nature. I suppose that's why humans can't stand to be alone." Miyokichi finds herself fed up with Sukeroku because of his rakugo, probably because it reminded her of Bon, and leaves him and the child. When Bon sets out to find Sukeroku. Eventually Miyokichi comes back to meet Bon, clearly still in love, and tries to commit a lovers' suicide. Fortunately, Sukeroku manages to stop her in time. An emotional confession follows and Miyokichi begins to resent herself. As these characters reach their emotional climaxes, the wooden balcony collapses and Sukeroku, in a desperate attempt to save her, falls with her while Bon holds onto Sukeroku's hand. Sukeroku, in an attempt to prevent Bon from falling with them, releases Bon's hand and falls with his wife. Effectively leading to a lover's suicide. It's an emotional scene and quite perfect. While many consider Miyokichi to be the sole person in the wrong, that's anything but the truth. All three of them and their selfishness contributed to the culmination of this tragedy. img1000(https://i.imgur.com/KNn06DF.png) >"I was so determined to live alone, and yet... Why must a person's nature be so foolish?" The production is also charming. The opening, aside from being an absolute bop, is filled with foreshadowing both in visuals and lyrics. The animation is poetic; the colours are sublime and the atmosphere immaculate. img1000(https://i.imgur.com/TBxj4qJ.png) >“All the good, all the bad… your rakugo has given me every emotion imaginable.” The main thing, and I keep coming back to this, is how great rakugo is used to tell the story here. Foreshadowing in episode 12 for example or how the same story changes when it is narrated by a different storyteller. Every time someone comes up on stage I can't help but feel captivated. >"An entertainer is only worth something if they're seen. What do you have to hide?" It's a tremendous and beautiful series. Deceptively simple, rich and layered. A phenomenal story that unfolds with the utmost delicacy. Showa Genroku Rakugo Shinju is a riveting tale of a dying art form. With visual poetry to match and a memorable score that feels earnest. It starts with one of the strongest pilots in anime, slows down in the middle as it navigates the lives of Yakumo and Sukeroku (both of them tend to change their names throughout the series) then picks right back up with so much emotion and warmth you don't know whether you should cry your heart out or smile ear to ear. It's funny just how much I ended up admiring this even though I had zero knowledge about the existence of Rakugo. The more I watched, the more I fell in love with it. Just like Ping Pong the animation or even Haikyuu where you don't necessarily need to understand the sport to fall in love with it, Showa Genroku offers a similar experience where a completely unfamiliar concept is made familiar and intimate. The only difference is that instead of the thrill or rivalry of a sport on display, there's instead this lingering feeling of losing something beloved. Something that has a rich history and is dying out because of the lack of accessibility. Something that the everyday person doesn't find interest in anymore. Something that can be easily replaced. The imminent "death" of an art form. There's a lot more ideas to explore, an uncertain future to watch and maybe a blossoming romance? I do like Yota and Konatsu's pairing. I hope they actually become a thing. Let's see how the next season fares in comparison. img1000(https://i.imgur.com/bmvLmCz.png) NO IT'S NOT

notPara

Traditional culture will continue to be sustainable if there is a younger generation who wants to follow or practice this culture even though the world continues to turn and Japan is a country that continues to maintain its traditional culture and continues to share it with the world community through various media, whether from films, music, comics, drama or anime. The inherent traditional cultural image of Japan is its performing arts, unique Japanese performing arts play a role in influencing the world's performing arts and one of them is rakugo. In its literal meaning Rakugo is "the word that fell". Rakugo is a verbal performance art and is a real example of a one man show. The storyteller will only sit on a pillow and must be skilled at bringing the story to life with all the limitations that exist, whether by moving his body slightly or speaking with different intonations to stimulate the audience's imagination. The performing art of rakugo is the main theme of a manga and anime entitled Shouwa Genroku Rakugo Shinjuu. After anime fans were treated by Chihayafuru which released 6 years prior to Shouwa Genroku Rakugo Shinjuu and has a theme about typical Japanese culture, namely karuta in a josei story, Shouwa Genroku Rakugo Shinjuu is ready to continue its popularity by taking traditional culture and the same theme. In its first season, Shouwa Genroku Rakugo Shinjuu tells the story of two potential successors to the rakugo master, namely Kikuhiko and Sukeroku. They both come from different backgrounds and personalities, where Kikuhiko comes from a geisha family who was forced to learn rakugo because geisha is not an art for men and Sukeroku is cheerful and intends to become a famous rakugo speaker in Japan. They live in the house of a rakugo master named Yakumo and pursue their dream of becoming a skilled speaker. Shouwa Genroku Rakugo Shinjuu is set in the early Shouwa era to the post-second world war era where Japan began to experience a more intense modern touch after it was introduced in the Meiji restoration era. This anime clearly depicts the situation that occurred in Japan by using the medium of rakugo as a bridge that connects traditional and modern touches in Japan. Even though Shouwa Genroku Rakugo Shinjuu takes a fairly old school theme, the narrative of the story told is closely related to life in today's entertainment industry where the speakers or performers must continue to give their best to the audience even though their real lives are not as good as what they tell. The story presented is executed well and is able to provoke the audience to feel the life struggles of the two main characters who are constantly looking for performances in order to survive while accompanied by conflict, intrigue and love triangles which are continuously presented in this anime. The two main characters, namely Kikuhiko and Sukeroku, are like Yin and Yang where they have very different traits from each other but complement each other. Kikuhiko has a calmer and more reserved nature while Sukeroku is more carefree and cheerful. Supporting characters also play an important role in story development because well they are the supporting characters. In each episode, Shouwa Genroku Rakugo Shinjuu always provides space for the main characters and supporting characters in building the story so that the character development in this anime matures because they support each other. The essence of rakugo which is the main focus is also interesting to listen to. This anime shows an art that is in danger of becoming extinct because young audiences are no longer interested in rakugo. This point is also an important point in boosting the quality of the narrative because the audience is not only given drama between characters but also gives an idea of how to maintain something that already looks "old" while thinking hard about growing the younger generation's interest in rakugo. Shouwa Genroku Rakugo Shinjuu also succeeded in introducing what rakugo is through the various approaches they take, whether directly through performances from Kikuhiko and Sukeroku or indirectly such as choosing costumes to perform, accompanying music to enter the stage or how someone is chosen to be the next master through approval. from the Rakugo Speakers Association. The aesthetics of the Shouwa Genroku Rakugo Shinjuu period are maintained throughout the music department, the music that appears is mostly jazz nuanced with big band accompaniment and traditional music that is thick with shamisen sounds and mysterious oriental tones. The music that emerged became a marker of Japan's transition to something more modern, where jazz music was known as the first non-Japanese music to gain the hearts of Japanese society thanks to influences from western countries. Shouwa Genroku Rakugo Shinjuu processes the story the same as a rakugo speaker, sometimes he has to know when to entertain the audience and when to make the audience moved by the story being told. Taking a quote that appears in one of the episodes, Shouwa Genroku Rakugo Shinjuu seems to interact with the audience through a neatly structured drama so that the audience seems to be taking part in their story. It's also able to convey the essence of rakugo with a very good story so that while enjoying the uniqueness of rakugo the audience is also immersed in the stories of the tellers. It gives its audience a new view that the world of entertainment is not as sweet as imagined, but behind it all there is one noble intention to survive in the harsh world of entertainment, namely entertaining people and Shouwa Genroku Rakugo Shinjuu has entertained the audience very well in its first season.

AnaBananas

- INTRODUÇÃO À OBRA A história se inicia com Yotarou um ex-membro da yakuza que acabou de sair da prisão, com o objetivo de nunca mais retornar ao crime, e sim aspirando subir ao palco de Rakugo, que é uma forma tradicional japonesa de contar histórias humorísticas. Enquanto estava cumprindo sua pena, sempre ouvia através do rádio as atuações do grande ator de Rakugo, Yakumo Yuurakutei, foi o que lhe despertou esse desejo. Ao sair da prisão ele decide conhecer o homem que lhe deu um propósito de vida. Yotarou vai ao encontro de Yakumo e faz um apelo, para receber suas orientações, que por fim, o aceita como aprendiz. - CATARSE A história tem sua linha temporal contada no passado e presente, apresentando um mundo artístico de uma modalidade que eu não conhecia, apesar de ser aficionada por peças teatrais e musicais, conhecer o Rakugo foi uma grata descoberta. O Rakugo é a arte de colocar corpo e emoção em transmitir sentimentos e divertir os telespectadores, fazendo suas risadas e palmas preencherem o ambiente. Carregada de sentimentalismo, não somente na atuação, mas mostrando os ideais e conflitos internos dos personagens em sua vida cotidiana, o anseio pelo sucesso, e o desejo de manter essa cultura tão rica viva, consequentemente acompanhado pelo medo do fracasso. Uma dupla de protagonistas com personalidades tão distintas, mas em comum o amor pela arte. Enquanto um vive pelo absurdismo, o outro se afoga em melancolia pela busca de um propósito. - CONTEXTO SÓCIO-HISTÓRICO Rakugo é um entretenimento japonês baseado em monólogos humorísticos, cujas origens surgiram em meados do século XVII, e era realizado em teatros chamados de Yose. O humorista, que geralmente é do gênero masculino, embora hoje em dia podemos encontrar muitas mulheres nesta profissão, leva o título de Rakugoka, às vezes chamado também de Hanashika. Se apresenta vestido de quimono, sentado sobre uma almofada chamada zabuton sobre o tatami ou palco, que é chamado de Koza, e como acessórios uma toalha de mão, chamada de Tenugui, e um leque tradicional japonês, chamado de Sensu. A toalha é usada para representar objetos como livros, carteira, entre outros. Já o leque, quando fechado, pode ser usado para representar outros objetos como hashi, espada, cigarro ou caneta. As histórias contadas envolvem diálogos entre dois ou mais personagens, o que marca a alternância das falas é apenas a mudança do tom de voz do ator, ou de um leve movimento com a cabeça. O uso de expressões faciais e corporais, gestos e mímica são essenciais para capturar a imaginação do público, o objetivo é divertir o público, mas também podem emocionar as pessoas. - ONDE ASSISTIR HOJE EM DIA Em Tóquio, existem alguns Yoses famosos com apresentações Rakugo, como o Rakugo Jyouseki que possui apresentações durante o ano todo, em Osaka, outro Yose famoso é o Tenma Tenjin Hanjo-tei. Não são todas as pessoas que conseguem captar a essência do Rakugo. Estrangeiros e até mesmo japoneses mais jovens podem sentir dificuldade para entender as histórias, devido ao vocabulário antigo que muitos Rakugokas usam. - A IMPORTÂNCIA DE MANTER UMA CULTURA VIVA Manter uma cultura viva está intrinsecamente ligada à preservação da identidade, história e diversidade humana. A Cultura é um reflexo da identidade de um povo, suas tradições e valores, manter uma cultura viva é de suma importância para que um indivíduo se reconheça como parte de uma comunidade, proporcionando o senso de pertencimento. Culturas preservam a história de gerações passadas através de suas práticas, rituais, histórias orais, artes, música, entre outras formas. Em Shouwa Genroku Rakugo Shinjuu, acompanhamos como o título de Rakugoka é passado através das gerações. - ARTE E PROPÓSITO >“O teatro é o primeiro soro que o homem inventou para se proteger da doença da angústia.” - Jean Louis Barrault, ator, mímico e diretor teatral francês (1910 - 1994). Arte e o propósito existencial estão entrelaçados, porque a criação artística muitas vezes surge da necessidade humana de comunicar os sentimentos mais profundos sobre a vida. Então, a arte surge como uma forma de expressão pessoal e introspecção, por isso vários tipos de arte, sejam pinturas, esculturas, música, literatura ou outras formas, são locais de vulnerabilidade, sempre vai haver um fragmento do mais íntimo e profundo sentimento do artista. A arte não só reflete nossa busca por um propósito existencial, mas também nos ajuda na construção de um pensamento crítico, permitindo reinterpretar e questionar o mundo ao nosso redor. Esses aspectos são muito claros na obra, tanto a respeito da moralidade, do amor, da morte e o valor da vida.

Shouwa Genroku Rakugo Shinjuu

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