Hige vs. Otaku

It says a lot about a show that seemingly makes a murder the centrepiece of an episode only to concentrate on the social consequences rather than the actual deed. We witness a man being chased at the very beginning; Tarou and Miyako find (in their own particular ways) his floating corpse in the dam and the whole village gather around the crime scene, creating a sort of nexus for the events to progress from. Not once are we given information on why/how/who and not once did I feel cheated for the want of information. Ghost Hound truly is a practise in quietly brilliant writing and direction. Serial Experiments Who?

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I initially wrote this as one post that covered all three episodes but Ghost Hound is proving impossible to analyse with any brevity, so I’ve split it up into one episode per post. This is the final part, episode ten. (more…)

I initially wrote this as one post that covered all three episodes but Ghost Hound is proving impossible to analyse with any brevity, so I’ve split it up into one episode per post. This is part two, episode ten. (more…)

I initially wrote this as one post that covered all three episodes but Ghost Hound is proving impossible to analyse with any brevity, so I’ve split it up into one episode per post. This is part one, episode eight.

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I suppose this wouldn’t be a Shirow Masamune affiliated anime if there weren’t some kind of horrendous female objectification. And I suppose complaining about the tried-and-true stereotype of saucy scientist woman with scandalous cleavage is a wasted endeavour. Nonetheless, nae points for Ghost Hound for succumbing to such a stupid trope. If you want a bit more tit action in your anime, Production I.G., either be blatantly outrageous about it (re: GitS SAC & 2nd GIG) or employ more subtly. Ghost Hound, bar some weirdly submissive positioning of its stoic female characters (with one being dead and the other a bit queer and flighty), has never even implied it cared about fanservice. Enter Dr. Jugs and, ta da, fanboys appeased. /facepalms

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I’d like to know how Shirow was involved with Ghost Hound. It has all the existential weirdness of his usual output (sans wanky technophilia, thank god), but then that can be more aptly attributed to the strong Serial Experiments Lain presence in its production team. Is it merely an adaptation of his 1987 work or was he more proactively involved? Hopefully his mark will become more apparent as the show goes on, as I like Shirow when his ideas are filtered through other (better) storytellers. Production I.G. have proven more than capable at making all his good characteristics shine while side-lining the tiresome indulgences. . . ignoring the second Ghost in the Shell film, obviously.

Needless to say, this is a Lain kind of show. Right down to the frumpy character design (no body shapes to speak of, and lots of baggy jumpers). Though, in Ghost Hound’s defence, it doesn’t immediately alienate in the same uncomfortable way Lain did. The presentation, animation and music, have the same eery, sinister quality to them, but Ghost Hound has a generally warmer vibe to it. But then, equally in Lain’s defence, that show wanted to alienate the viewer and make you innately aware of the fabricated reality its events took place in (but that doesn’t necessarily mean I enjoyed the experience). Still, Ghost Hound doesn’t look to be out to make the same point and I think the problems Lain caused for some people won’t be as apparent with Ghost Hound.

Production I.G. have done themselves justice with the clean, attractive visuals (as well as the beautifully integrated CG, of course). I was concerned about the character design from seeing promo images prior to watching, but having now seen them in motion my minor worries are abated in I.G.’s effortless way. They don’t look to be making the same ‘look at our massive willies’ point as they may’ve been with the two GitS: SAC series , but the quality of Ghost Hound’s visuals is self-evident and this is the kind of consistency all TV anime should aspire to. Subtly gorgeous. 

Character and storywise, lots is brimming under the surface with the tragic death of Tarou’s sister and the traumatic circumstances surrounding it being centre to all the underlying tension and mystery. Ghost Hound makes no effort to explain itself with this first episode and the atmosphere it fosters is absolutely fantastic. The characters themselves offer little justification either, with Tarou being the typical inoffensive protagonist; Matoko and Masayuki possessing various extremes of front, and everyone else exuding masses of reticence and suspicion. Personally, I love this kind of approach. It may well be my icy Britishness rearing its aloof, withdrawn head, but I’m more inclined to say it’s my admiration of purposeful withholding of information and the intellectual stimulus it provides. Specifically, the scene where Tarou is eating with his mother and father, and makes the mistake of mentioning his dead sister’s intention of inheriting his father’s sake business, was fantastically tense and suggestive. One of the few commendable elements of Lain was its ability to insinuate so much with minimal dialogue and inspired direction, and Ryutaru Nakamaru employs similar expertise with Ghost Hound to great effect.

Ghost Hound, then, provides all the solace I was hoping for. This season, in brutal retrospect, is completely piss-poor with its offerings, and Ghost Hound’s high-riding quality makes this all the more apparent. I’ll still keep up with the few I’ve decided to monitor for potential awesome, but Ghost Hound will likely be the key anime stimulation for the next few months. I should probably watch Moyashimon, too, huh.