Sorrow-Kun on the advantage of dialogue that is “about” something

Sorrow-kun comments on Powerful Dialogue Sells the Show: Bakemonogatari 03 (Mayoi Snail 1) and Macross Frontier 03 (On Your Marks)

I think the advantage of using dialogue which is, as you put it, “about” something is that it’s a lot more creative than just mere exposition. It begs the audience to look for subtext and context, to engage with what the characters are talking about, and, more importantly, what they’re saying (subtle difference, people can “say” things without actually talking, and any good visual medium, from film to animation, will capture that).

Speaking about “nuance”, which is relevant to Bakemonogatari, I think it’s important to discern the difference between “believable” and “realistic” in the case of Senjougahara. She’s not realistic at all in the same sense as characters from Honey and Clover are. She’s an entirely fictional construct, but she’s thoroughly entertaining and sympathetic because of it. They’ve spent time building her up as a capricious character with a knack for elaborate speech, which is why when she says what she says, it’s believable, even though it’s unique and (arguably) out of left field. Bakemonogatari as an anime, overall, is unstructured (most Shinbo anime are), but because of that, it has a huge amount of freedom to go wherever it pleases. It’s probably the most delicious anime I can remember since Kannagi.


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