#barakamon

When people liken Barakamon and Poco’s Udon World to Usagi Drop

Although it is my first attempt to anything other than Kuroko No Basket, but I hope this rant is reached out to the people who have found this particular anime as inspiring as I have.

Disclaimer: the animes I mentioned below, I don’t hate or despise them. So please don’t come defending that I am bashing them: because I am not. I used them to point out the difference between them and Barakamon

We all know these type of story: a genius male protagonist hits a slump, meets a quirky girl and then comes back to his field fully charged with his creative genius. Most of the time the hero is romantically involved with the heroine, and when the story is nearing resolution either the heroine is conveniently killed off or bonded forever with the hero. Barakamon follows the same bildungsroman pattern. But Barakamon is not like many anime belonging to the same type of story like Nodame Cantabile or Your Lie in April: because it reinvents the heroine from a quirky love interest to a real, living breathing human child: Naru Kotoishi.

Naru’s character have always perplexed me. She is a haywire child, nightmare to babysit for any person who is born and brought up in urban propriety, untamed, unfeminine, liberating. She represents the entire untamed naturality of the Gotou island, she is incorruptible hope. While everyone in the island appeared to be laid back and languid, she is the only one who is eccentric and unpredictable. When Handa arrives in the island, he is presented with the the two-faced persona: the out languidity of the island and the turbulent nature of the place that is seasoned dealing with nature’s unpredictability, in the tiny girl’s form.

So how does Naru fall into Handa’s narrative aside from literally barging into his new abode? Naru is actually everything Handa wished he had as a child: unbridled freedom, lack of controlling parents, playful and capricious. Handa was incubated into a controlled environment and molded into the fundamentalist calligrapher. Naru literally appears in a blue t-shirt and shorts with a length of rope coiled at her waist. That’s a wonderful allusion to “Wonder Woman” that was about to enter Handa Sei’s life. At the later episode, when Handa’s mother opposes how the countryside has “corrupted” his son’s refined character, we can also understand how Naru’s influence was a sort of Feminist invasion in the rigid, conservative setup of Calligraphy world. Handa’ s mother who is a good calligrapher isn’t a professional like her husband or son, thus it further proves the point that the field is male heavy space.

 At the first episode, when his fundamentalist style was challenged, he lashed out and was forced to retreat. And who he finds facing him face to face? It’s Naru. At first she makes him uncomfortable, anxious and irritated but soon Handa comes to term with the child. Naru in her essence is the other side of artistry that is impulsive, bold and uncontrolled, something which is outside Handa’s comfort zone. In several episodes, Naru is seen spilling ink, tripping on the bottles and smearing ink in clear spaces, like on the hull of the boat where Handa was asked to write by Miwa’s father. This is a great allusion of Art being an uncontrolled living breathing organism which isn’t just there to please others with aesthetics; it stirs the souls and transforms. The sudden change in Handa’s style, from “well behaved penmanship” to “fuzzy experimental brush strokes” are great example of Naru’s influence over him. His words became simpler: “star”, “feather”, “utmost” “sea bream” and his style became totally eccentric. The last of “Barakamon” ‘s soundtrack is called “People learn from People” I think it actually alludes to Naru in the sense because she is the one who makes Handa face the limits of his art by challenging him physically and mentally.

So how Naru is different from the Manic pixie dream girls of the other similar animes? Both Megumi Noda of Nodame Cantabile and Kaori from Your Lies In April felt like the male fantasy of the slumped, socially awkward hero. Megumi who is outwardly perverted and downright lewd in many places is the caricature of Shinichi Chiaki’s rather prudish behaviour; as a reconciliation both  end up as couples. Kaori in “Your Lie in April” is the textbook definition of “Manic Pixie Dream Girl” who is only there to motivate Kosuke Arima and disappear to the Death. Both of the women were musically prodigious and “muse-like” that brings the protagonist out of their roadblock. Both Megumi and Kaori play classical music which are not strictly dictated in the notations, and though it strikes Chiaki and Kosuke, they accept it as their path to sublimate. Naru is neither a prodigy in any artful sense, nor she is a sexual creature (or was seen with any romantic sense by the protagonist). Like any “Manic pixie dream girl” she makes the protagonist break out of his awkward shell through her eccentricity, but she does it with a perilous edge. Handa had to combat with all of his willpower to stand up to her antics in order to grow and mature. In this self-reliance boot-camp, all his previous identities, in the form of magazine articles, interviews and books gets torn out. The torn pages are then flown away as paper aeroplanes by Naru, as a symbolic gesture of “unlearning” in order to “learn” again.

 The Muse figures in the other two animes are the comforting image of perfection which heroes of both Nodame Cantabile andYour Lie in April are trying to reach. Shinichi’s hurried and capricious playing of Mozart’s piano duet “Allegro Con Spirito” and Kosuke’s “Twinkle Twinkle 12 variations” are the attempts to touch the perfection of their respective muses. In both anime, Mozart plays a significant role in both animes in symbolizing the “perfect”, the “liberating” and the “sparkling”, something the hero must attain in the course of time. The theme of “reaching” in those animes are so apparent that “is my art/music reaching him/her?” is a quote which appears in almost every episode. Handa on the other hand never tries to “reach” Naru, who is the muse figure. In his struggle to find his “true self” she rather becomes the light of clarity through which he attempts breaks from his fundamentalist shell. In the end, Handa doesn’t become the paramount he had imagined he would; he gets rejected by the highly conformist industry which pushed him back because he was “too fundamental”: that sort of an anti-climatic ending to the Muse and Poet sort of narrative, and that’s where Naru’s significance lie. In art, there is nothing which is “perfect”, actually perfect is the enemy of good. In the end of Barakamon season 1, it is the “Good” that wins: Handa’s satisfaction with the calligraphy of the Doners’ names on wooden plank.

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wow that’s a lot, now tags (although I have no evidence that they like Barakamon)

:@sidd-hit-my-butt-ham@yanderebakugo@kurokonbscenarios@kurokonobasket@kurokonoboisket@art-zites@idinaxye@sp-chernobyl@strawbe3ryshortcake@reservethemoon@rilnen@a-shy-potato@thirsthourdemon@animebxxch@edagawasatoru@akawaiishi-blog@reinyrei@chloe-noir@theswahn@ahobaka-trash@jeilliane@trashtoria @scarlettedwardsposts@quirkydarling@ghostieswaifu@levihan-freaks@hope-im-spirited-away@yves0809@marshiro1101 @bubziles @heartfullofknb@kit-kat57@akichan-th