Postby TheSubtleDoctor » Fri Dec 02, 2011 8:31 am
Kaiba
I love Masaki Yuasa's work.
Well, what I've seen of it, which is two short TV series. Still, both of these works (Kaiba and the more recent Tatami Galaxy) made such a huge impression on me that I believe Yuasa, who is not even fifty years old yet, will carry the torch of great anime directors sometime in the post-Miyazaki/Oshii future. He cut his teeth working on the animation for some of Japan's most beloved, long-running animated series such as Doremon, Crayon Shin-Chan and Chibi Maruko-Chan. In 1999 he directed the pilot of Vampire Kids, but his first big job was scriptwriting for Cat Soup. Directing the film Mind Game in 2004 likely gave him the platform to go on and direct some TV series.
But, let's talk about Kaiba.
For me, the first things that come to mind when thinking about Kaiba are "aesthetic" and "unsettling." Apart from the large eyes of some of the main cast, the characters look very un-anime, if you follow me. This was a feature present in the designs of Tatami Galaxy, but I find it even more pronounced in Kaiba. This is not a bad thing. Kaiba's character designs are extremely memorable and pleasant to behold. They all kind of look like children in a way, though most of them are not. A few of the side characters in particular are just so strange and unconventionally constructed that you can't help but remember them. The backgrounds seem like something out of either a children's American cartoon or some sort of storybook. Juxtapose all of this with the serious nature of the material covered in the story, and the whole package can be a bit jarring...in a good way. A way that makes you think.
As far as the "unsettling" bit goes, that feeling is a function of the world-building and the story itself (also, the story against the aesthetic backdrop, as mentioned above). I won't go into detailing the initial plot summary or setting up the world, as that's easily available to anyone. I will just say that in the world of Kaiba, memories are a commodity stored on physical media.
The way that Kaiba plays it, however, makes what is stored on the physical media seem like more than merely memories. Kaiba treats it as if it were memory plus something else, that something else being perhaps the self or the soul. Memory chips are treated reverently, more like persons than like film reels. Is this because they are actually chips with souls on them or is this because of the potential inherent in the chips to "create" a specific person by joining memory and body? I tend to think the former, but that is neither here nor there.
The point is that Kaiba uses its first half to pose questions like these. The protagonist travels the galaxy, encountering various situations that bring up philosophical questions concerning the nature of mind, mind-body dualism, person-hood, etc. It is these scenarios and the way they often played out that disturbed me. Again, though, I think it is a good sort of disturbing. Kaiba is the best kind of science fiction in that, through fantastical stories, it asks questions of vital social importance. I happen to think that the definition of person-hood as well as the hypothetical situation of how we would treat our bodies or minds (given both our present social consciousness as well as the actuality of Kaiba-esque technology) are extremely important questions about Western society.
While Kaiba's first half is an episodic, world-building, food-for-thought exercise, the second half of the show is a serialized tale of political intrigue, coming to grips with personal demons, the apocalypse and much more. The pace increases and the series becomes more dramatic. I personally liked the ending, but there are many who don't care for it. It's controversial in that it isn't big on exposition and is very open to interpretation.
Kaiba: for thoughtful anime fans desiring something off the beaten path.