[color="DeepSkyBlue"]The Girl Who Leapt Through Time[/color]I have previously and largely exposed my love for TGWLTT and I'm sure I'll have more chances to do so in this tournament in the upcoming rounds, so I'll take this chance to try to elaborate a bit on my apparent animosity against OHSHC (hopefully, this time I will manage to do so without being insulting to its fans.)
First, allow me to reiterate that I don't believe that OHSHC is a bad series. It is certainly entertaining, at some points extremely funny, and yeah, eventually heartwarming. If someone asked me for a good, clean comedy series, Ouran would most likely be in the top 5 series that would jump to mind to suggest. So why all the bile I have displayed throughout the past 3 rounds? Simply put because while I believe Ouran is a good series, it has nothing to do among titles that are competing for the title of the "best" of the latter quarter of this medium's life. Why not? Allow me to elaborate.
Ouran is largely derivative, which is a fact that's not readily apparent for newer fans of anime as it derives from titles and themes that were popular in anime in the first half of the nineties -back when an important number of our members were barely learning to speak. If you took some old VHS tapes of
Ranma 1/2 and
Clamp Campus Detectives, threw them into a paper shredder and then duct-taped together the little fragments of magnetic tape, spooled it into a cassette and played it, the result would be something very similar to OHSHC, making only a few concessions: Ranma 1/2, like Ouran is a romantic comedy (plus silly martial acts, but lets pretend that most of those parts got stuck into the shredder and the few left were assigned to Honey) that occurred at a school and presented the main character with an array of love options, each of them an archetype of a personality trait or a comedic cliche. The main character -by the way- for certain reasons has to pose as a member of the opposite sex from time to time, meaning that he also gains suitors of his own gender for his great chagrin. Also, there were lots of fanservice. Clamp Campus Detectives, on the other hand, is about a group of perfect, pretty, rich kids who spend their time catering to the needs of the female students at their school. Most of the things that I saw in OHSHC I already had seen in those series. What I loved about Ouran, I had loved better in those series; what irritated me from those series was magnified tenfold in Ouran.
Now you'll say that most anime nowadays is derivative to a certain extent and that's true. People who know me, know that I appreciate originality above most other features in my entertainment, precisely because I
know how hard is to come with something new and different, or that a least looks like that. That's not to say that utterly derivative stuff cannot be great: Tengen Toppa Gurren Lagann is mostly a pastiche of several other great series and it's completely amazing... but that's because it pulls the robbery of ideas with panache and style and clever writing.
Ouran is indeed a bit more self-aware and self-mocking than both Ranma and CCD, but not enough to set it apart from its muses. Like those series, it is also, largely predictable, ("
Oh, a strong-headed but poor female gets hilariously immersed in a world of vapidly selfish rich boys! Surely it won't end in the boys learning humility and compassion lessons from her while falling in love with her, because that would be too surprising for my poor heart!") formulaic and a bit too self-indulgent: The vapid boys, time after time refused to develop their character or negated what little growth should have occurred because they needed to stay vapid and selfish for most of the series to be able to pull the running gags just once more, while only changing a bit the setting (Beach? check. Jungle? check. etc.) In the end, the boys had to rushedly do some growth to acknowledge the intention of the series, and then it ended while concluding almost nothing at all.
Moreover, while trying very hard to sell the idea of a strong, intelligent woman as a lead, Ouran accidentally ends pushing the opposite agenda: Haruhi is but the exception that confirms the norm in a world filled with weak, shallow, easily impressionable and manipulable women and the men that by exhibiting an artificial courtesy, are unwittingly looking down on them. Similarly noxious ideas (such as Haruhi only being able to be perceived as beautiful and feminine by "cleaning up" and dressing and acting in certain ways, etc.) are continuously pushed, likely without bad intention but with a profound lack of insight.
That takes me to my last point which was the one I most extensively touched last time so I'll just briefly glance it now: for such a flawed (if not truly bad) title to achieve such popularity, I'm tempted to point my finger towards the fanservice. The story is not very compelling, the themes are recycled, the characters are vapid and obnoxious 80% of the time, the production values are nothing to call home about... but it is full of emotional candy allowing the viewers to live the fantasy of either being the object of affection of gentlemanly pretty rich boys while being the one to iron their small personality defects, or of living in a world where girls are just waiting to be wooed by being presented with a flower along a pompous flourish and a trite pick-up line. It also succeeds (it needs to be said) in cheekily lampooning that very premise from time to time to keep more critical spectators along... However, in the end it proved to be more earnest homage than cheeky parody if that "ending" is anything to go by.
In short, I believe it's a decent, entertaining and funny title, but vastly overrated and definitely not worthy of being among the 16 top titles of the medium in the latest 11 years. This is especially true when you take in account the caliber of narrative, emotive and self-introspective quality of several other series that didn't make the cut (for my detractors: I really don't believe that Code Geass should have advanced
). The fact that Ouran advanced in the place of a series like Haibane Renmei is something that I'm still trying to wrap my mind around.
I sincerely apologize if you love Ouran and have great personal reasons to do so. I'm ready to admit that I simply didn't truly "get it" and I assure you that my dismissal is a purely personal rant that I inflicted on you because I needed it out of my chest and never intended to imply dismissal towards you along it. If you feel like sharing your reasons, it will probably allow me to understand the worth that you see in it.
@Goldie: You know, I like your metaphor. After what I initially expected from Ouran, it ended giving me a surprise cinna-bun with my coffe. My main problem with it is that it has trumped titles that offered us a full gourmet banquet and actually delivered it.
[color="DarkOrange"]Tokyo Godfathers[/color] I've already said too much in this post, so I'll try to be brief here: Summer Wars is a gorgeous production, filled to the brim with great ideas, delving in beautiful and important themes, but which climax is terribly flawed from a storytelling point of view by abusing confusingly presented mechanics and convenient plot devices. Like Ouran, it's a title that by making one very strong and positive female character, accidentally reduced all the others to comparably contemptible caricatures of expected roles.
Tokyo Godfathers, on the other hand, is -in my opinion- a flawless and incredibly touching commentary on the meaning of family and on the fact that below external appearances that normally allow us to self-righteously judge others, people are people -capable of loving and suffering and sacrifice. No other piece of fiction had driven more clearly the point of the importance of not judging others since I read Charles Dicken's The Chimes several years ago.