DESCRIPTION

CAST

ANIME Horrorayakashi: Japanese Classic Horror
MANGA DramaMononoke
MANGA FantasyMononoke: Zashiki Warashi
MANGA FantasyMononoke: Umibouzu
MOVIE FantasyMononoke: Karakasa

REVIEWS

• 

  Harunobu

  70/100
  Bringing Art to Horror

  __Bringing Art to Horror__

  "Horror, by nature, is a personal touch -- an intrusion into our comfort levels."

  When we think of Horror, we immediately think of it as scary. We fear the element of the unknown and the buildup towards it. But horror as a genre in anime is not scary. Anime can't be scary, but what it can be is creepy. There are many titles out there that choose to represent horror in the standard way that we view it, often becoming repetitive and cliché, but then there's this small grain of salt. The gold in the rubble. An attempt to portray Horror through art: Mononoke.

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  Story:
  The general story is that of an enigmatic wanderer who goes by the profession of an Apothecary or Medicine Seller. He wanders off to different locations and even time periods, looking for Mononoke or in other words, hostile spirits. Mononoke are a type of Ayakashi that roam the human world due to the grudge, hatred and regret that they hold. The medicine seller does not only go looking for Mononoke but also exorcises them. The only way he can do that is by knowing the Form, Truth and Reason of the Mononoke. The only way he can get that information, however, is by learning about the Mononoke's past.

  Mononoke is a spin-off of the final arc (Bake Neko Arc) in Ayakashi: Japanese Classic Horror. It is perhaps because of the last arc's appeal, that a spin-off was created. For those who are confused about Mononoke and Ayakashi, only the last arc of Ayakashi is connected to Mononoke. This means that there are three options.

  • Watch all the episodes of Ayakashi and Mononoke.
  • Watch the Bake Neko Arc of Ayakashi and then watch Mononoke.
  • Watch Mononoke only because each arc has a different story with no relation to each other.

  Anyway…I must say that the execution and approach taken towards the subjects was well done. If there was one thing that I really liked about the stories, it was the aspect of individualism. Each arc is individual in a way that each of them has a unique approach towards the subject matter. With no overarching storyline, Mononoke focuses not on the Medicine Seller, but the Mononoke shown in each arc, hence the title of the show, Mononoke. Each arc offers an individual approach yet manages to retain the same formula and that is mainly due to its narrative restraint. The narrative restraint being the fact that the form, truth, and regret are needed. Without those three things, the Medicine Seller cannot exorcise a Mononoke. Without that narrative restraint, there would be no tying element for the individualism that each arc offers. There are five arcs in total, covering a wide arrange of dark and emotional themes. At the end of it all, I definitely believe that it deserves more episodes.

  

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  Art and Animation:
  Albeit it may not be everyone's cup of tea, Mononoke is definitely unorthodox and takes a dynamic approach towards not only representing its story but also its world. The bump-like textures of paper and the art style makes each scene appear like a painting. Not only that, but they also make use of several cinematic methods. From flip books, fast transitioning, 3D objects, and still/silent scenes (I once thought I accidentally paused the show), Mononoke definitely made a big risk. They also utilize the aesthetics and color palettes to their max potential, creating the individual approach that each arc has. One example is the Nue Arc. It starts off with gray and pale colors, but later turns into an explosion of colors based on the feelings of the characters. Another example is the final arc in which the train station is represented with darker palettes to show how monotone the industrialized world is. The show goes full on with imagery and does not restrain itself even during disturbing moments. The only complaint I have with the visuals are the character designs. Some character designs look ugly and repetitive, but it doesn't become a major issue because the anime doesn't last very long.

  

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  Sound and Music:
  Various personalities in Mononoke are well shown through not only the visuals, but the voice acting and dialogue as well. The seiyuus did well especially Takahiro Sakurai, the voice actor for the Medicine Seller. The sound and the visuals also support each other well whenever one of them is limited. The sound in particular plays a key role in creating that tense atmosphere which we have grown accustomed to in the Horror genre.

  

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  Characters:
  Various characters that appear in the series do have a background story good enough for what is needed. The Mononoke themselves also have stories. The protagonist, however, doesn't. Despite being a recurring character, we are left not knowing exactly who the Medicine Seller is. He doesn't speak his name and neither does he show any real emotion. The show does take advantage of its narrative restraint because the only way to find the form, truth, and reason is by fleshing out the details of each supporting character that is necessary to the story.

  
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• 

  Lenlo

  75/100
  An anthology horror series unique among anime.

  

  I have reviewed a lot of odd shows recently. From Paranoia Agent to Serial Experiments Lain, they each had their own… je ne sais quoi, their own unique flavor. Keeping with that trend is Mononoke, a sort of Horror Anthology reminiscent of Tales From the Crypt or a Stephen King short stories collection. Though where those went for a more classic sort of horror, Mononoke aims more for a permeated dread. Working to bring horror from the actions of man, but basing it on traditional Japanese monsters. Like a sort of mix between Stephen King and Mushishi. Little jump-scare horror, with more slow built environmental and naturalist horror. Hows that for a sentence you thought you would never read, eh? Made by Toei, directed by Kenji Nakamura and spun-off from the final arc of Ayakashi: Japanese Classic Horror, I believe _Mononoke _succeeds at just that.

  So without further ado, let’s dive in.

  Quick Warning: There are spoilers past this line. For a better formatted version, feel free to head to my blog here.

  

  Animation/Art

  Starting off, as always with an animated series, we have to talk about Mononoke’s art and animation. Of all the anime I have reviewed recently, Mononoke without a doubt has my favorite style. Reminiscent of Gankutsuou in a way, Mononoke seems to have a filter placed over the whole thing. Depicting the series as if it were on wrinkled paper. Giving every scene a sort of texture you rarely see in modern anime’s generally clean art. For me, I love this sort of thing, I love introduced imperfections. In some cases, like the recent Kimetsu no Yaiba, you introduce those imperfections via inconsistent or thicker line work. Mononoke adds the imperfections though with this filter, among many of things of course. Such as the Art Nouveau/Japanese woodblock print style of Gankutsuou. Or playing with color in a scene, changing the filter based on what is happening.

  Simply put, across the board Mononoke has a very strong and distinct visual style. One that sets it apart from most anime and makes it instantly recognizable. You could take any shot from Mononoke, any scene, and it’s almost guaranteed someone identifies the series correctly, because of how memorable the style is. Of course this isn’t to say Mononoke limits itself here either. As the series regularly shifts its art for different scenes. Doing its best to depict each one in a unique manner or style best suited for it. It’s not quite as large a shift as you may see in say, Mob Psycho 100 with the various mixed media. However often times it will shift to impressionist art, or remove a lot of detail for the sake of making a point. Once restricting an entire scene to just 2 colors. All for the sake of the scene.

  Sadly though, moving on to animation, Mononoke doesn’t do as well. It doesn’t do badly of course, Mononoke is not an action Shounen, it isn’t reliant on high fidelity animation. The series gets by with its limited style, relying on its art to see it through. And while it largely does, at the end of each arc and occasionally outside that, this lack of fidelity really hamstrings it. Such as the final sequences of the exorcisms, the bright colors and style can sometimes make it hard to follow or just sore on the eyes. And when neither of those are an issue, the animation itself just isn’t particularly impressive. This is a series that could have, and in some parts did, survive as a literal PowerPoint presentation. But by god, was it a PowerPoint presentation with style.

  

  Direction

  Moving on, we come to what I believe is Mononoke’s strongest aspect, that being its Direction. How the series actually uses its interesting art style and minimal animation. There are so many different techniques and unique styles used throughout the series, it’s almost easier to just focus in on a specific example I loved the most. That being in the 4th arc, Nue, where the primary focus becomes color. As director Kenji Nakamura adds and removes color throughout the arc to represent the feelings of the characters in it. Restoring them to color the more alive they feel, the stronger their emotions, etc etc. With only our lead, the enigmatic Medicine Seller, being fully and brightly colored throughout the entire arc. All of this left up to the viewer to interpret the details, while the core meaning instinctually gets across.

  This isn’t to say it’s perfect of course, in the last arc particularly I think Mononoke goes overboard. Really slamming the surrealist images at you one after another. Like a freight-train of bright lights and sounds. In a way, it fits the scene, the resolution of the arc. However for me personally, it came off rather strong. Especially with how subtle and slow the rest of Mononoke had been. This also happens during some of the arcs' finales. Where once again, while the imagery fits, it becomes a bit much and I found them difficult to enjoy at times. So to make a long story short, Mononoke is brilliantly directed. However at times it comes off rather heavy-handed with it all, really trying to make sure you get what is happening rather than relying on the intelligence of its viewer.

  

  Sound Design

  Next up is the Sound Design of Mononoke, which includes the voice work and the OST throughout. The first two are rather easy to answer. For as far as VA work goes, there is really only one consistent character, that being the Medicine Seller. For the most part, Takahiro Sakurai does as fine a job as can be expected here, considering how deadpan the character is. Often taking every arc with quiet stoicism, accompanied by some dry wit, only really changing this during the arc finales. While none of it is particularly expressive, the performance is solid and consistent. This goes for most of the cast of Mononoke. None of them really stood out to me as particularly memorable. They worked for the scene, for the arc, they got across what needed to be presented. But none truly “wowed” me.

  The OST though is a different story, because I quite enjoyed Mononoke’s soundtrack. It does more for the arcs and scenes throughout the series than the voice work ever could. With multiple tracks sticking out to me, etching themselves in my mind. For instance, Samishige always comes to mind when I think of Mononoke, the somber, sad, soft strings echoing through my headphones. Fading out only to be replaced with haunting vocals. Or Oboroge’s similar, yet more oppressive strings building a feeling of dread. Both are similarly structured, as is the entirety of Mononoke’s OST. Yet each takes this familiar base structure and modifies the pitch/tone every so slightly for a completely different effect. You need only look at the various Sami/Isama/Aya/Kuru -shige tracks for this. Each one a similar, yet varied drum beat evoking ever so slightly different feelings. Yasuharu Takanashi did a great job.

  

  Story/World

  With production out of the way, I can finally get to the actual narrative structure of Mononoke. Ordinarily here I would split it into two sections, that being the overarching story, and the setting. However Mononoke is unique, even for episodic series, in that there really isn’t any set setting. With each arc being self-contained, taking place in a different location and even time period. The only constant being of course that it is set in Japan, and our lead character the Medicine Seller is present. However what makes it interesting is that while the Medicine Seller is present in every arc, he is rarely even the focus. With that honor being given to the monster, the human problem, of the week. So instead I want to focus on how Mononoke structures its arcs and whether or not it is successful with this structure.

  Each arc in Mononoke follows the same basic structure. As our lead, the Medicine Seller, must find the Truth, Form and Regret behind each monster. In a way, this turns every arc into a sort of Mystery Horror, where we must learn about the monster in order to defeat it. Outside of the final arc though, the mystery is rarely ever the focus, more the vehicle Mononoke uses to progress. Each arc seems to explore a different aspect of humanity and what it means to be human, through the lens of the associated monster. Most often though, Mononoke likes to tackle the idea of perception, how we view the world and what changes as our perception does. Whether that be how we view ourselves and our surroundings, or how we give value to objects with no inherent value of their own, or for the wrong reasons.

  For me, I would say Mononoke never had a bad arc. I enjoyed each of them in their own way, for different reasons, however some are more my style than others. In a way, it's similar to the Monogatari series, in that each person will no doubt find their own favorite arc. Each one resonating and connecting with a person differently based on that person’s own life and personality. For example, in terms of theme, my favorite arc was the Noppera-bo, the 3rd arc. Where Mononoke tells the story of a woman trapped in an abusive household, unable to leave because of social constraints and her own perception of the house. In this arc, the mononoke is almost irrelevant in a way because it is Ochou, the wife, who is the central focus and not the traditional ghost story. It’s a very unique take for a very unique series.

  

  Themes/Horror

  Finally, we get to what may be the most important part for a series like Mononoke: the themes present throughout, and how well it executes the horror elements. As far as themes go, a lot of this was discussed during the previous section. Mononoke bases each of its arc on some simple thematic, human through line. Whether that be the fear of Parenthood, Guilt, Perception, Greed or Betrayal, Mononoke doesn’t shy away from the darker tones present in humanity. Really driving home how terrible we as a species can be sometimes, through the use of the mononoke. But while each arc is pretty grim in its own right, there is always this sort of positive through line, mostly seen at the end. Where these demons are dealt with, where if we can confront and get past these, we can grow as people. Leading to a rather hopeful overarching tone throughout.

  As far as the horror goes, this is where our mileage may vary. As how I interpret and am affected by horror will no doubt be different from you. It’s very rare that Mononoke goes for full blown shock horror, like we see in modern movies. It usually attempts a more creeping dread that builds throughout the arc. And when it does finally explode, it does so in a very surrealist fashion. Heads coming out of walls, giant cat paws, that sort of thing. While none of it was traditionally “scary” though, a number of the scenes left a lasting impression on me, which I think is much more impressive. Especially with the bright color palette the series brings to the table. Showing horror with, rather than in spite of, its beautiful colors. The first arc alone will tell you all you need to know about Mononoke’s horror.

  

  Conclusion

  So how was Mononoke? To me, it is one of the most unique horror anthologies you will find out there. Both in terms of presentation and in terms of actual story structure. However, in terms of production, I think there is a fair bit more to be desired. As while the series has a unique style, Mononoke is often limited by it. Often confusing the viewer, or throwing so much at once that when combined with the bright color palette, it becomes difficult to tell what is going on. The animation as well, while inventive in places, is often rather simple and it’s not something you will be wowed by. Unlike an action Shounen though, this doesn’t kill Mononoke, because of how interesting its stories and themes are. So, if you want to be disturbed, moved to dread and asked uncomfortable questions, you could do much worse Mononoke.

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• 

  Fleur

  90/100
  Mononoke will also leave you with shadows of your own; standing on what you thought was a stage.

  The wooden curtain opens with a sinister smile revealing the first scene:

  A wave of vibrant, whirling umbrellas cascade down the street; the rain continues to pour in assorted shapes, accompanied by the patter of hollow conversations latching on to the sounds of its perpetual fall. On top of the path rests a towering hotel embellished by color, wood, and ruse. Slowly, an enigmatic wanderer appears at the gate of the inn, with a wooden box strapped on his back requesting to stay there. He is identified as the medicine seller. Shortly after, a young pregnant woman, dressed in desperation, finds herself at the same inn; seeking shelter and protection.

  There is, however, something amiss in the rainbow-tinted inn, and right away, its secrets provoke the senses; they seem to be everywhere – in the walls, in the unseen guests, in the corridor. After a heated argument between the innkeeper and the girl, she finds herself in an isolated room, lathered in opulence but infested by shadows of all shades. Following this unsettling vision, the show starts to bare its true face. There is something indeed amiss here and the Medicine Seller’s true purpose is brought forth: he came to hunt the horrors that plague the inn, otherwise known as “Mononoke”.

  That is the basic premise of the 12-episode series titled Mononoke. The series is divided into five arcs, in which, the Medicine Seller (or Kusuriuri) attempts to seek, hunt, and exorcise these otherworldly spirits known as Mononoke. Essentially, Mononoke could be defined as a class of spirits, however, the ones Kusuriuri is concerned with are closest to humans, because they manifest from humans. These are corrupted entities that seem to bring sorrow, suffering, and destruction where they go and to who they haunt. Thus, this is a tale of the unknown, of mystery, of psychology and pathos, of ancient lore, and lastly, of horror that may disguise itself as a series of ghost stories, but only superficially.

  One of Mononoke’s greatest strengths is its ability to intertwine the aforesaid elements with subliminal insight that gives it its multi-dimensional form. Most supernatural stories will focus on the imminent horror factor, or inducing temporary fear simply by virtue. Mononoke does something completely different. Rather than focusing on the external fear synonymous with the spirit(s) and their curses, it looks inward, to the living, rather than the dead. This is meticulously explicated by Kusuriuri’s methodology. In order to exorcise any Mononoke, he needs to first recognize its Form (physical), Truth (circumstance), and Reason (motivation). Much of this is revealed through digressing into the psyche of the parties involved in each arc, where Kusuriuri exploits the inner turmoil of each respective character and how that turmoil projects itself on to the Mononoke in ways that are not just terrifying, but often times, heartbreaking and utterly human.

  Really, it’s the “human” element of the series that makes it so compelling which is mostly through the manner it incites and decrypts human nature and its capacity to wander in the dark. It’s carnivorous, yearning for fear and emotion; yet, it isn’t done through manipulation, shock value, or contrivance. Rather, Mononoke opts for psychological precision. The show doesn’t aim to deliver some insane amount of singular “character development” but rather uncover what lies in the dark, and thereby showing the ability for what is presented as good, innocent, virtuous to be equally bad, tainted, and sinful. Consequently, the show is heavily driven by its themes and self-contained plot rather than individual characters.

  The aforesaid will lead many to flock to the notion of “bad characterization” or not enough “character” “development”, but one needs to contextualize what a work is actually trying to do/achieve before arbitrarily applying a set of self-drawn commandments. Characters can be utilized in many different ways as can a story be told in multiple ways. The characters of Mononoke are outwardly static, including Kusuriuri but that does not mean they are superfluous. They are internalized or “developed”/personified in many ways, whether it be through human analytics brought forth by yours truly ~the Medicine Man~ or the interactions, actions, and reactions that are revealed as a product of surfacing truths and unearthing secrets. Mononoke functions as a collective exploration of the temporal realm through the supernatural and both are interlocked by these ordinary characters that are deeper than they may initially look. Essentially, the characters are immensely important, for it is through them and their stagnation that the show is able to conduct its psychological experimentation.

  Each character’s predicament is sealed by fate, but the stories aren’t about the end; they’re about how such an end could come about and the choices that led to it. By dissecting the unknown, Kusuriuri finds himself in the middle of intersecting realities that are as terrifying as they are tragic. What makes all the stories consistently effective is the finesse with which the show handles each character’s state, and the mononoke that transpires from them (whether they be a projection of corrupted desires, or a product of unrequited yearning, or a manifestation of unspoken crimes). Therefore, the “unknown” or “horror” isn’t really about the monsters or ghosts, but what creeps inside seemingly ordinary folk, and the will that could innately exist to ignite suffering. Through these various arcs, the characters in those arcs, and Kusuriuri himself, Mononoke presents accounts that are deeply disturbing and equally enlightening.

  Furthermore, this also reinforces the unacknowledged strength of episodic structures. Mononoke shows that the quality of the plot or other elements isn’t internally compromised if the work lacks a continuous/overarching plot or a constant cast developing linearly and consistently. Its anthological nature fares well for it and its intentions for it turns out to be far more vicious in its horror, tragic in its drama and stylized in its art that every piece of it comes together effortlessly. It fully embraces the power of the medium and extends its boundaries far beyond traditional story-telling into a work of innovation, wonder, mysticism, and art.

  And, elementally, nowhere else does this concentrated sublimity appear more than in Mononoke’s visual presentation. The best way to describe the art and animation of Mononoke is: idiosyncratic. It is so particular and unique that I’d be willing to wager it exists only to tell the stories that Mononoke did.

  Right off the bat, the art style may come off as incredibly gaudy, over-the-top, and immensely theatrical (Curtains open and close at whim supported by decisive gongs dictating the flow of various scenes; highly sensitized color palettes are constantly at the forefront, clashing in folly, but never jarring; costumes and getups are so lurid that they seem to have fallen right out of a stage set; faces are painted with perfect expression that each frame seems like a change of masks, rather than emotion). Yet all of this works beautifully. Mononoke reminds me of something running in an aged-Kabuki theater, at least aesthetically, which is actualized through the bizarre sets of color, costume, and personalities, the artistically-tuned performances, and the emphasis on extravagance.

  Mononoke’s visuals are a feat in and of themselves, but the real laudable aspect is how that art is integrated into the narrative. The reason I stress to call this work, a work of “art” (besides its literal merits) is because of its ability to use its elements to create something whole that transcends its own platform and deliver – with individuality, acuity, and sincerity – its subject and themes with clear prowess and understanding (of itself and its ambitions). Take its approach to horror for example. Even though the art-style is the last thing from traditional horror, given how theatrical it is, the way it infuses horror is with complete subtlety.

  To elaborate, each arc is extremely claustrophobic, as in, the framing or setting of the arcs always occur in a juxtaposed manner. Whether it be stuck in a room of a humongous hotel, or a ship on the open seas, or a prison cell, or a train car speeding through a tunnel, the unsettling feeling of being “boxed-in” never leaves. It produces this inescapable void from the get-go and maintains that in the background, but it’s by far one of the most prominent things it does to invoke and sustain fear and discomfort. Not only are we forced into the corners of depraved minds, but we are confined there, with an evil that has the capability to exist everywhere, and within everyone. Furthermore, its usage of color is one of the best I’ve seen. Works of horror will generally opt for a gloomy, desolate mood which favors subdued grays, blacks, with the exception of red for obvious reasons. Mononoke on the other hand probably utilizes every color on the spectrum but does so effectively. I would never have imagined that such a palette could ever tell stories so terrifying and do so with the power that they do. Combined with its psychological propensity, the visual direction of the series is one of the best I’ve had the pleasure of experiencing; both as a work of Horror, and as a work of Art (and for once, we don’t have to separate the two).

  Mononoke is a superb show, but it isn’t for everyone. It is unconventional in every sense of the word. It relies heavily on its own art, such as the barrage of interconnected, but flashing painting like images, or color-doused symbolism to tell its story. Not everything is spelled out here, and a lot of the stories feel like stories within stories since they do stem from various Japanese lore (such as about the concept of Mononoke itself, or what certain acts/paintings/symbols signify). Yet, it is accessible enough, universal enough, that it still communicates the stories of these people, spirits, and time wonderfully. Additionally, as much as I have praised the art, this style can be off-putting to many since often times it might prove to be distracting enough to deviate from the actual narrative. The cut-out style of many backgrounds is a good example of this. Lastly, people under the impression that this is a run-of-the-mill horror featuring gore porn or cool fights/deaths, let me be the first to convey that is not the case. The horror is more personalized through the tragedies of each situation, not through spirits killing randomly (as one would find in a Hollywood tale of biblical possession).

  Truly, there is no better way to watch Mononoke, than as if watching a play. Yet, good art has the ability to transfer fiction into reality, and acquaint its consumer with its own feelings and dilemmas. In effect then, the shadows that lurk on the stage also lurk off-stage. And as the wooden curtain closes with the last gong and a similar smile, and the once busy street full of spinning umbrellas is left barren, Mononoke will also leave you with shadows of your own; standing on what you thought was a stage.

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