Families in fiction can feel like something universal. Loving your parents, and caring for your children, can strike us as things essential to our humanity; faulting them, likewise, can be monstrous.
But when we look across cultures, there is no single idea of ‘family’ that unites the world; household relationships are as much a product of our culture and society as the stories we tell about such structures. The families we see in anime are often readily understandable as though they were from the West, but there are details that become exposed when we tackle these stories with sensitivity to the way Japan thinks about its own families and social codes. Continue reading Omote, Ura and On: ERASED, Hanasaku Iroha and the Mother-Daughter Conflict
If you’ve been following discussions over the quality of Boku Dake ga Inai Machi, or ‘ERASED’ for Western viewers, you’ll have surely come across the issue of whether or not it deserves the ‘mystery’ genre tag MAL and a number of other anime sites give it.
The camp that says it must be a mystery tends to just note that it has ‘a mystery’ and therefore must be of that genre – that genre being, more specifically, the ‘whodunnit’ genre where we expect to follow a detective as he slowly unravels a crime. The camp that disagrees tends to argue that the killer was supposed to be obvious, that Satoru ignores his expected role as a detective ad goes on a different path, and that’s what contributes to it being a drama-slash-thriller. But neither of these positions fully grasp what ERASED was setting out to do with its story. That being said, it didn’t do that particularly well either.
Continue reading Why Genre Matters for ERASED: ‘Playing Detective’