Devilman Crybaby wasn’t my favorite show. In fact, about a year after its release, I was surprised to find that I gave it a 6/10 on MyAnimeList.net. I must have been somewhat underwhelmed upon finishing it. After all, I wouldn’t call it a show with an incredibly satisfying ending. But it was an ending appropriate of the source material it was adapting.
Go Nagai’s Devilman taps into the darkest reaches of the human condition and juxtaposes it with the horrors of demonic monstrosities. The story tells of the end of days; the brutal end to an imperfect race consumed by sin, depravity, and hatred. Masaaki Yuasa’s vision of the story modernized the doom and gloom, creating a unique series with far more of an international appeal than many anime.
It had issues, to be sure. The abundance of Engrish lessened the impact of big narrative moments and certain characterizations paled in comparison to previous adaptations. The animation – while lively – could be laughable at times, teamed with some inconsistent artwork that I could take or leave. Despite all that though, I think I was too harsh on this series. I came to that conclusion when I reflected on one scene which has stuck with me to this day.
One of the earliest scenes in Liz and the Blue Bird depicted the protagonist, Mizore, waiting for someone at the school gate. One girl comes through the school gate, but Mizore is met with disappointment as it is not who she is waiting for. And then, the music swells from a scarce pluck of the string to a delightful melody, as the tapping of one girl’s steps is heard along the pavement.
But it’s not just any girl. It’s THE girl. Like a wind coming from the distance, Mizore and the audience know that someone important is coming before they even see her face. It’s as if hearing the quickening heartbeat of a shy young girl faced with her crush, translated into song.
Yuri on Ice, Directed by Sayo Yamamoto and created by Mitsurou Kubo, is the latest project from Studio MAPPA, who’s previous projects include Cowboy Bebop director Shinichiro Watanabe’s Kids on the Slope, the beautiful Rage of Bahamut: Genesis, and the very bizarre Punchline. Yuri on Ice has also the been the subject of much debate over the implied relationship between the two main characters, with some heralding the show as a masterpiece for that element in it of itself. But can this thoughtful experiment in characterization stand on its own, or does it fall flat as a paradigm of pandering?