Saturday, October 15, 2016

Keijo!!!!!!!!: Or, The Little Butt That Could

Keijo!!!!!!!!'s protagonist (Nozomi Kaminashi) attacking with her butt.[1]
             I really liked the first episode of Keijo!!!!!!!! I can say with complete confidence that I have never watched any episode of any series (Japanese or otherwise) before that left me thinking “I cannot wait until next week when that older woman beats up those young girls with her ass!” My unironic enjoyment of this show might come as something of a surprise, though, if you know anything about either Keijo!!!!!!!! or the sort of content I usually post here (specifically the “political” content of much of that content). For those who might not be familiar with one or the other, here’s a quick run-down: 1) The title of the show “Keijo” refers to a supposed sport where female players try to knock one another off a floating platform into the water using only their breasts or buttocks; 2) I once wrote and posted a 14-page essay on Mad Max: Fury Road and feminism, and my most popular post so far has been one on Mr. Robot and the concept of women in refrigerators. Given that Keijo!!!!!!!! so openly objectifies women and is clearly intended to be about 90% fanservice (read: total wank-bait), one’s assumption might reasonably be that this post is going to be a criticism in the strictest sense of the term. However, that isn’t my goal here.

            Although I saw certain voices online speculating that this show would rile the ole so-called “SJWs” up something fierce, as someone with an abiding interest in social politics and in examining social issues in media, I don’t see any good reason to write about Keijo!!!!!!!! like that. To be blunt: Keijo!!!!!!!! is what it is. There’s nothing insidious about it to be called out. It wears its dedication to T&A on its sleeve, and that’s all there is to it. It’s hard to get angry at a show so open about its interests. The far more annoying offenders, in my opinion, are the anime series that pretend to be about something else but then spend a lot of their time slyly trying to cater to horny fans. Knights of Sidonia is a lot more irritating to me in this regard since it’s principally a drama that nonetheless gets completely sidetracked in its second season with “erotic” will-they-won’t-they-ness that ultimately means nothing since anyone familiar with the genre knows that they absolutely will not even as the show continues to go all in on the male lead—a bland stand-in for the ostensible straight, male viewer—literally having sexual tension with every woman he meets so that people can experience erotic drama featuring the “waifu” of their choice. If there was any chance at all of the protag actually having sex, this would bother me less, but the show seems determined to avoid it so that no fans are disappointed that their stand-in isn’t getting busy with their lady of choice. By continually dangling sex in front of viewers with no intention of ever actually engaging with it or its consequences, the show essentially exists to keep viewers in a horny limbo. It’s the most exploitative, cheap carrot-on-a-stick treatment of romantic drama, with such an obvious hook that the fact that it continues to also pretend to be a serious space drama is downright insulting. The poorly-executed subterfuge is annoying and worth discussing since the series claims one thing while doing another.

            Keijo!!!!!!!! by comparison is frank about its intentions. It’s all wank-bait all the time and doesn’t give a crap. There’s no viewer stand-in either, and, ironically, the show passes the Bechdel-Wallace test, with a large female cast that absolutely focus on things other than men. Furthermore, the fanservice in Keijo!!!!!!! is hardly worse than that of other anime series. As much as it may angle to focus extra hard on butts and boobs, the actual imagery—at least in the first episode—isn’t much hornier than what you would find elsewhere. The act of beating opponents into submission with boobs or butts is as unerotic as possible, and the ludicrous breast jiggle is so over-done that it’s more humorous than hot. My impression of the series thus far, despite all the jokes I’ve seen in comments sections where viewers shout about how much “fapping” they’re doing, is that the only sort of person who could find this genuinely arousing is someone turned on by the mere presence of breasts and butts—in which case they probably get as much out of a trip to the dentist or grocery store as they do out of this ostensibly fanservice-focused show.

            I specified the first episode above because I do feel that the second chapter goes to considerably greater lengths to show off the characters’ bodies with carefully-chosen camera angles, but the context for much of these shots is still more ludicrous than erotic. In fact, one of the things that I love about Keijo!!!!!!!! is that it is low-key hilarious. The premise of the “sport” of Keijo is so completely stupid—and impossible given that butts and boobs are not unfeeling bits of the body and couldn’t be slammed together like this in first place—and the execution of the characters’ various butt- or boob-based attacks is so over-the-top that the show is probably one of the funniest things I have seen in a while; however, Keijo!!!!!!!! is less laugh-out-loud funny than it is low-key funny and genuinely engaging. There is nothing tongue-in-cheek about the show, and this approach to its ridiculousness is a big part of its appeal (comedic and otherwise). I could easily imagine a version of this series that was constantly winking at the viewer and acknowledging its attempted sexiness and wacky premise—and I could also easily imagine the approach becoming tiresome quickly. Instead, Keijo!!!!!!!! takes itself completely seriously. It still has comedic moments, but it treats the sporting event at its core with complete seriousness. The girls’ ambitions to become the best Keijo players are dramatically treated as well. The “races” they participate in are played straight and are animated in a more traditional style: significantly less exaggerated or over-the-top visually than something like Kill la Kill (though the action occurring has more in common with that other series than it does with a true sports or action anime). The result is that Keijo!!!!!!!! is both funny to watch but also genuinely engaging since the drama is real, with no winking required. I would compare it to something like JoJo’s Bizarre Adventure, another series known for its core of consistent weirdness.[2] One of my favorite blogs is one that posts panels from the JoJo manga without other context in order to show off the ridiculous stuff that becomes even more ridiculous in a vacuum.[3] You can do something similar with Keijo!!!!!!!!.

            Here’s an example from the first episode: One of the characters in the show has a move where she can be standing flat-footed in front of an opponent and then pivot and hit them in the jaw so quickly with her butt that they A) can’t see the attack coming and B) are immediately rendered unconscious. This is physically impossible of course, and it’s also very silly; however, Keijo!!!!!!!! treats this move and the main character’s assessment of it and attempted defense against it with action anime drama. There’s no sword involved, but techniques like this one (or the MC’s “Butt Cannon,” another character’s great butt that makes her opponent think they’re looking at a pair of boobs instead, or a “Butt Guillotine”) are as dramatically presented and animated as anything out of, say, Bleach. The fights are over-hyped and over-dramatized like any other anime. Self-awareness is absent; therefore, the show manages to be funnier and genuinely engaging. The premise also readily lends itself well to the usual action anime escalation of powers. I don’t know what Keijo!!!!!!!!’s version of the old anime “This isn’t even my final form!” is, but I can’t wait to see it.  

Sayaka Miyata using her butt to confuse an opponent.[1]
            With regard to specific episodes, I would say that the first is significantly stronger than the second. I wanted to see at least two before writing some kind of review to see if the quality would drop, and it definitely does. Keijo!!!!!!!!’s first episode is exceptionally well-executed. The first episode of any series always has a lot of ground to cover—The premise has to be established, the foundation of a world built, characters introduced, and some kind of potential or promise demonstrated. A premiere has to juggle more than any later episode because it has to introduce so much and still be satisfying to watch. It needs to be forward-thinking without sacrificing the experience of the Now. Keijo!!!!!!!! is great in every regard because it pulls all this off with aplomb. The sport is introduced before the opening credits along with our main character and her dreams of going pro. These introductions are accompanied by some action—a little taste of the weirdness to come as one Keijo player flies butt-first into another. The setting is also suggested here (some near-future in a world not unlike our own). From there, the protag enters a Keijo academy as we meet more characters before flashing back to an extended action sequence in which we meet more characters and start to see some more of the ridiculous butt and breast attacks. We then return to the present to meet more characters before the episode ends with the promise of a showdown between our core group of girls in training and an older teacher. In roughly twenty minutes, the premiere of Keijo!!!!!!!! includes two action sequences (one much longer than the other), introduces its initial group of major players as well as its premise and world, has time for a more intimate conversation between the MC and her close friend, and then ends with the promise of more crazy action right out of the gate next time. None of this feels rushed either. It’s well-paced and well-animated. Even outside its role as the point of origin for a whole series, “Setouchi Keijo Training School!!!!" is a remarkable bit of television, and I would argue that if you’re on the fence about the series that watching this one episode should give you everything you need to make a decision.

            On the other hand, "The Hip Toss Brings Us Together!!!!" isn’t nearly as well-executed. For one thing, the animation of the single, brief fight sequence isn’t as good. Granted, I do understand why. I’d rather Keijo!!!!!!!! save some money now to pump into bigger, more important action-heavy moments down the road. At the same time, the brevity of what we get here in terms of combat is pretty disappointing. To add insult to injury, the actual practice “race”—the one teased at the end of the first episode—doesn’t occur until near the end of this second chapter. The rest of the episode is a flashback to training that happened before the bout occurs; however, since the episode doesn’t offer any indication of this, I was initially very confused, thinking at one point that I had actually missed something somewhere despite the fact that this was clearly labeled as episode two. Denying viewers the fight until the end with no clear signposting of where the training that dominates the episode fits into the timeline is a bad move narratively. It denies the viewer what they were promised and is also just confusing to watch. The bulk of the episode is about teamwork and bonds the core group of girls and is completely fine. We get to see the girls lift weights with their butts and walk on their butts to train, and it’s all appropriately silly. Episode two is still funny, but its narrative problems throw things off a bit. The capper on the comparative disappointment of the installment comes when the long-awaited “race” at the end just ends. The MC uses a new butt move and her instructor remarks on it as we cut suddenly to the protagonist in a weird, new swimsuit which the other members of the core group briefly comment on before the episode abruptly ends. The timing on the cuts between these last two scenes is awful. There’s no clear sense of transition between them, and then the episode goes to the credits without hinting anything about the function of the new suit or offering anything like a tease to keep viewers watching next week. It’s functional but very bland compared to the first installment, and my continued interest has more to do with the aforementioned promise of crazy escalation down the line set up in episode one than it does with anything that happened this week. Overall, it’s a clear step backward, with more explicit fanservice and less to counterbalance it.

            Despite the disappointment of the second episode, I have high hopes for Keijo!!!!!!!! Again, I say this as someone who doesn’t find the premise or its execution erotic, but I spent a lot of time thinking about the first episode after I watched it. The inherently silly drama of anime treated seriously and coupled with the inherent nonsense of the show’s premise really appeals to me in ways that more overtly comedic series—like One Punch Man, for instance—have not. I’m currently watching the new Berserk anime, which I also like a lot, but the perfect storm of Keijo!!!!!!!!’s first episode occupied my thoughts like the other shows I’ve watched this season have not. I was legitimately, unironically excited to see what happened next, and that’s the biggest endorsement of Keijo!!!!!!!! that I can offer. I encountered the show through the most roundabout method possible, though. I know I’ve seen panels from the “scanlated” manga posted on Twitter before with no sense of what series they belonged to. I also saw someone more recently use a gif of the series’ action in a joke about how much better this butt-fighting series is than Berserk (given the latter show’s overuse of janky-looking CGI). I still didn’t know what it was. Practically the next day, I saw another panel from the manga on someone’s timeline and then immediately Googled “ass fighting manga,” which led me to Keijo!!!!!!!! It feels serendipitous in a way, so I’ll be keeping an eye on this one to see if it reaches the heights that I anticipate for it.  

Notes:

[1] Both images used in this post come from The Reviewer’s Corner’s wonderfully-titled “Keijo!!!!!!!! Ep 1 Review: Nothing BUTT Sports Here.” Their review provides a detailed summary of the plot of the first episode and also includes the thoughts of someone with experience with the Keijo!!!!!!!! manga if you’re curious: https://josefcd904.wordpress.com/2016/10/13/keijo-ep-1-review-nothing-butt-sports-here/

[2] I would also compare Keijo!!!!!!!! to professional wrestling. I think enjoying either requires an unironic investment on the part of the viewer. Wrestling is ludicrous (and fake), but it treats its ludicrousness seriously. Watching professional wrestling without being able to suspend disbelief seems like a recipe for frustration—You would keep watching and waiting for someone to wink, but no one does. Both Keijo!!!!!!!! and pro wrestling know that they’re looney; however, they double-down on it rather than trying to play it off for the cynical, ironic humor one might expect. There’s an earnestness—even purity—to this approach that makes them engaging to watch… because they are engaging; they’re just also low-key batshit insane.


[3] This is the blog in question: http://outofcontextjojo.tumblr.com/   

Wednesday, September 7, 2016

My Beef With “The Cleveland Show”

The Simpsons
          There are actually several problems I have with the now long-cancelled The Cleveland Show—the ungainly third child in the Seth MacFarlane stable of animated adult cartoons that all share one universe (confirmed by that episode where they all got hit by the same hurricane). There are some obvious issues I could point to—that this is a show about black characters created by three white dudes, or that like all MacFarlane Brand Programming The Cleveland Show has major issues with trans people but, somehow, to an even greater degree than Family Guy or American Dad!, which only manage to be all “ewww gross trans people” every so often instead of what seems like every other episode in the case of this show. I feel like those particular issues are pretty glaring, though, and my actual, real, deepest-seated problem with The Cleveland Show does not have anything to do with social justice.

            My beef with The Cleveland Show is that it squandered its potential.

            John McWhorter once described The Cleveland Show as “basically Family Guy in blackface,” and I think that is a pretty apt assessment of the creativity on display there.[1] This is not to say that I think The Cleveland Show has no redeeming qualities. It still manages to be the sort of bad funny/not-all-that-funny that I will watch consistently whenever I have nothing better to do and it is already on television. Low effort for the occasional laugh. The series does unabashedly follow the Seth MacFarlane Formula For Comedic Success (Maybe), however, with talking animals, a precocious child character, and oddly catchy musical numbers.[2] In fact, so closely following this mold is how The Cleveland Show fails to make good on its initial promise.

            When Cleveland leaves Quahog for California to pursue his dream job as a minor league baseball scout he gets sidetracked in his hometown of Stoolbend, Virginia when he runs into an old love, Donna Tubbs, who has two rambunctious children, a deadbeat ex-husband, and finds that she has strong feelings for Cleveland as he, over the course of the pilot, helps out with the kids and generally proves himself to be a nice sort of fellow. Donna and Cleveland fall in love and get married… and then the show really begins and what we actually end up with is the same family dynamic as Family Guy and American Dad!—namely a husband-wife duo who give us the same old “women do X but men do Y!” bits that we have seen trotted out over and over again in sitcoms. The pilot suggests that Cleveland is a handy father (good with kids and whatnot), but then we still get the same stories down the road where he plays the part of a goofy, incapable, irresponsible man-child. Donna is the love of his life, but then we get the same old man-is-tired-of-his-nagging-wife plots where, say, Cleveland fakes being deaf to avoid having to listen to Donna talk. This is a comedy, so nobody was expecting an idyll, but this shameless re-hashing of the same dynamic and jokes suggests that the writers had no idea how to deal with a husband-wife pairing other than to shoehorn in the same tired tropes for both the man and his spouse. We talk a lot about damaging tropes for women in pop culture, but one for men that I know I am thoroughly sick of is that of the negligent, goofy father who does not understand his kids (at best) or completely, accidentally, humorously(!) neglects them (at worst). In fact, the general atmosphere of “idiot, clueless man” that permeates a lot of shows or ads that also pull the old “women do X…” etc. trick bothers me.

            If the character of Cleveland was only this trope, that would be one thing, but the show also faithfully copies and pastes the same all-over-the-place characterization used in the fathers in the other two series. Just like Stan and Peter, Cleveland’s personality and character vary wildly from episode to episode. Sometimes he is the loving husband and capable father, and sometimes he is an utter child or irrationally, ridiculously dismissive of his wife, children, and responsibilities. Donna fares little better. She shares many similarities with Lois and Francine: All of them are cast as pleased domestics at points who occasionally try to jumpstart other careers with the grudging support of their husbands. They are all good in a fight and have some kind of sordid past that is casually alluded to for… humor. Look, the juxtaposition of housewife with “good in a fight” works. It is funny—just not when you reproduce the exact same thing three times over and call it a day.

            Donna, Cleveland, Peter, Lois, Stan, and Francine are not characters: They are comedy vehicles. I once read a very good A.V. Club article (that I can, unfortunately, not find at the moment) that examines the difference between King of the Hill and American Dad! in very similar terms. To paraphrase heavily: Where the characters of King of the Hill are just that (characters who are consistently drawn and have jokes built around their personalities) American Dad! offers no consistent characterization. Stan can be an idiot man-child, a caring father, a loving husband, or a complete misogynist as the joke dictates. This approach is not necessarily “wrong,” but I would argue that it makes the difference between a show with true cultural staying power that can summon genuine pathos for its major players (like, say, King of the Hill) and a show that is ultimately throwaway, forgettable. Like The Cleveland Show. Like using a pop culture reference in place of an actual joke. Shows like Community and Bob’s Burgers establish characters first and then build the jokes around the ways certain characters act and react. But, to be fair to The Cleveland Show for a moment, this was never MacFarlane’s MO. It is not like it had any real chance of not being what it was, but the fact that there was a chance—however slim—at the start to shake things up with a new location, new characters, and new relationships irks me. It speaks to the industrial quality of reality TV series and “reboots” that are cranked out to reproduce safe, old thrills—The implicit assumption is that the world of television is a world of trough feeding and that the viewing public will eat the same thing again and again without caring. Again, repetition is the bread and butter of the MacFarlane Trio, three very dumb series undoubtedly made by smart people.[3]

            How to end this discussion? Perhaps with proof that MacFarlane and company can do better. Here is one really great character moment (of all things) that I suspect may have been accidental:

            In the Family Guy episode “Thanksgiving,” Joe’s son Kevin surprises everyone by showing up alive when he was presumed dead while serving a tour of duty in Iraq. The characters eventually discover that Kevin, who initially claims to have been in a coma, actually went A.W.O.L. To defend Kevin’s actions, Brian, the liberal mouthpiece of the series, turns to Ida—a trans character. Idea’s transition story is the focus of an earlier episode of the show that has become notorious for its protracted, disgusting depiction of a straight man’s reaction to discovering he has had sex with a trans woman.[4] In “Thanksgiving,” however, Brian turns to Ida to support Kevin because first, as Brian explicitly states, Ida also served in the armed forces and should be able to commiserate with Kevin’s negative experience, and second, implicitly, the appeal singles Ida out because by virtue of being a trans person she ought to be more permissive in general, right? Wrong. Ida refuses to support Kevin’s going A.W.O.L. and instead reminds him that he owed his loyalty to the people serving with him.

            What I like about this moment in particular is how it breaks the mold for MacFarlane-verse characterization. Rather than use the appeal to Ida to set up some kind of joke about perceived stereotypes of transwomen, the episode instead allows a character to answer in something like a genuine voice. Ida’s pride in her military background is also completely unrelated to her trans status. It is rare to see a trans character anywhere characterized like this (in a way not somehow related to transition). It feels utterly alien watching this one scene and recalling it after the fact that the episode does not go for some easy jab by using the moment to remind viewers for the umpteenth time that Ida is trans (and that that is disgusting to the show). The way that this brief exchange subtly characterizes Ida and rebukes Brian’s assumptions is better than Family Guy deserves or even usually manages.[5] It is not a humorous moment at all, so as a standard for fixing what was wrong with The Cleveland Show it really does not apply. I suppose all I can really say about it is that, generally, The Cleveland Show was a chance to change the game even slightly or at least up the ante. The characters could have been more clearly drawn to try for a more King of the Hill-esque approach to humor instead of using both cut-aways and non sequiturs again. Cleveland could have had a different family life with Donna—Comedic troubles could arise but their genuine affection for one another could still be evident, rather than being so changeable and seemingly distant to the characters mere episodes after they were married. That the show could do no more than to leap from love to dissatisfaction so quickly demonstrates its lack of faith in its own ability to make audiences laugh without resorting to the same old shtick. And that is The Cleveland Show’s greatest sin: a lack of imagination and an apparent unwillingness to try to be anything other than “Family Guy in blackface.”
      
Notes:

[1] McWhorter, John. “Just a Cartoon, But Still: Is Family Guy in Blackface Funny?” The New Republic, New Republic, 2016. Accessed 7 Sept. 2016.


[3] Of the three, American Dad! is easily my favorite. It starts out rough in seasons one and two but really finds its footing in three. Although it also borrows the same dynamics from Family Guy, it somehow manages to make them work. The most recent season that aired only on TBS felt weaker, but there are some great comedy moments in the mix. Furthermore, Roger is a brilliant character—one who perfectly embodies the spirit of the MacFarlane-verse since he is ever changing (through costume) and can meet whatever comedic or narrative demands a particular episode may have. Certain episodes of American Dad!, especially “Lost in Space,” actually manage to summon the same mixture of humor and genuine feeling that you could consistently find in the likes of Futurama.

[4] The guy is, of course, Brian. He vomits for a long time. The vomit is really the only thing that moves as Stewie looks on and Brian keeps vomiting. The vomit creeps across the floor. It goes on so long. It is… humor.

[5] I do not think anyone in Family Guy has really grown as a character over time, though I guess Brian has become less well-liked by other characters. On the other hand, I will admit that American Dad! and The Cleveland Show do attempt some small developments. Stan becomes somewhat less intolerant of gay people, and Cleveland becomes somewhat less intolerant of Hispanic people.