Comments on: re: ghostlightning (in other words, notes on Dobashi)

By: ShyShy

ShyShy — Wed, 17 Jun 2009 18:28:31 +0000

Wow this is very intersting indeed X3
I never heard of this anime til now since I already read this blog and it sounds really awesome XD
It sounds really awesome with your explanations about some characters and their prblems. ^w^ I look forward to finding photos and watching videos of this anime.

Bai!

By: Smankh

Smankh — Tue, 09 Jun 2009 15:21:38 +0000

Fuck, I wanted to write a post saying exactly that. But again, congratulations for highlighting so well the structure of the show.

By: ghostlightning

ghostlightning — Tue, 09 Jun 2009 05:15:09 +0000

tj han commented something sensible and relevant here [->]

The gist is that I may have misrepresented Terai and most of the males in the cast as omega males implying lowest social order and/or lowest ability (or weakest personality), while they are for the most part average in the aforementioned areas. They’re probably more omocron than omega.

This should alter my thesis significantly.

By: lelangir

lelangir — Tue, 09 Jun 2009 04:21:18 +0000

@bluemist: seemingly mundane things are often, in actuality, quite complex.

By: Omonomono » The Terai-Dobashi Reversal, Or the Ayumi Axiom

Omonomono » The Terai-Dobashi Reversal, Or the Ayumi Axiom — Tue, 09 Jun 2009 04:08:52 +0000

[...] to hell with that. I’m going to recommend it to people anyways, because there’s still something masterful in this relatively straightforward story. Posted by omo in Hatsukoi Limited, Modern Visual Culture [...]

By: lelangir

lelangir — Tue, 09 Jun 2009 03:45:44 +0000

@gl: yeah, this model I described doesn’t at all count for character development, so I’m glad you brought that into the larger picture.

By: ghostlightning

ghostlightning — Tue, 09 Jun 2009 03:24:49 +0000

Pretty heady exploration of the narrative structure. I myself haven’t really looked into it. When I mentioned structure I probably should have mentioned category or genre, though both terms aren’t satisfying.

Terai (omega-kun) is interesting in that there is growth in power levels within his omega tier. It is interesting also that Dobashi isn’t merely a passive source (inspiration); she has an active hand in the transformation. It is notable also that Terai becomes a source of inspiration due to his effort.

“I too must give it my all.” when Dobashi goes for the kissu while Terai is merely attempting to hold her hand (a clear marking of the borders of omega level).

The notable thing is that Terai can only go that far. He’s the object — a Holly Golightly to Dobashi’s Prof. Higgins. This may upset the narrative structure of HL as you’ve described it.

By: bluemist

bluemist — Tue, 09 Jun 2009 02:52:57 +0000

I love how you turn (in my view) a relatively simple one-dimensional-character-based first love anime show into a complex study on character archetypes and narrative points of view and whatnot. I’m completely lost even if I read your post twice. Makes me wonder if we’re watching the same show. I am merely enjoying the run while you guys (omo, gl included) analyze like crazy!

By: omo

omo — Tue, 09 Jun 2009 02:46:51 +0000

Good job with the narrator bit. I think it’s a bit of a device to set up how the relationships tilt and bring tension since all the feelings and emotion are piled up on one side of the see-saw, so to speak. When the other side responds that brings the release or climax or coitus or whatever.

What makes Dobashi interesting is that she doesn’t sit in the full-blown silent girl archetype. Well, ignoring the fact that I don’t know for sure what you mean by said archetype, the more-action, less-word thing just means that she can’t be the one piling up characterization in a short period since that’d require a lot of action in a short period. So we have Terai fill in the blank, set up the flow and mood, and highlight the unpredictable way of thinking (or very predictable?) behind Dobashi. She is definitely the one who’s pulling the strings in the relationship and that’s how she communicates.