Kenji Nakamura was born to be C’s director: C vs. Eden of the East

When I watched the first episode of C – Control, I immediately thought of Mononoke for no major reason other than Masakaki and Kusuri-iuri seemed similar, ambivalent beings at face value. Of course the viewer had deduced that the Medicine Seller was actually the controller of foreign spirits, but his cunning and ambivalence nevertheless evidenced itself in the course of the series, especially in the Nue arc. Although shades of kindness were seen in my favorite arc, Noppera-bou, it was more of a didactic role than a truly good role.

Mashu is cute.

I honestly did not know that the director of C was also the director of Mononoke and the Bakeneko arc of Ayakashi, but when I knew I was pretty sure I was going to be in for a long ride. I think he was apt as the choice for the director essentially because he’s proven time and again that he can subtly tell and execute detective series (in the non-traditional sense of the word) very well: the masterful Bakeneko (the arc that started it all) and the Mononoke series was excellent in its elocution of their graphic tales, and that was in no small part due to Kenji Nakamura and his legerdemain.

C is a series of both mystery and intrigue. As of the second episode most of the characters are still unknown and have unclear motivations, but the fights have been staged well and the story has been tightly-plotted that it’s been a delight to watch. One must be reminded, however, that the problem with these types of series is that a small chink in the execution really goes a long way in the explication of the ending: Eden of the East had that flaw of wavering during certain instances; the series ended, at least to me, consequently, with a whimper instead of a bang. A great detective story must have a sleek plot that is not prone to plot holes, because otherwise it will become lacking or will be inferior, as what I saw in Eden of the East.

I may sound like a broken record (and I am, for the most part), but that is one of the reasons why Tatami Galaxy has become enduring to many: with an Absalom, Absalom!-like stylishness and genius, it was able to take pieces of the puzzle, seemingly made those discordant with each other, and actually created beautiful art after the pieces fell into place at the end. It’s a rare characteristic found in only the best of anime, and that was among the reasons why it was no surprise to me that Tatami Galaxy was as revered as it is now. C has to maintain this sharp edge and this mystery to be praised as a great series. It’s a quarter there already.

3 Responses to “Kenji Nakamura was born to be C’s director: C vs. Eden of the East”

  1. Taka Says:

    I wrote a blurb about the 3rd episode of C over here: http://myswordisunbelievablydull.wordpress.com/2011/04/30/thoughts-on-c-fiscal-responsibility/

    And I found it interesting how our final paragraphs are somewhat similar. I elaborated a little more on how I think the show can maintain it’s edge but I basically said that having that special thing (in this case conflicting views about the value of money) is what will push this series to great heights. If it loses the moral conflict the show becomes like Yugi-Oh.

  2. Michael Says:

    Taka:

    Quite. Great post, by the way. Do tell me if you’d like to exchange links. 🙂

    If it loses this center, which is presumably moral, as you’ve said it will become just another fighting anime series, a little better plotted than Yu-gi-oh. It has to keep the internal conflict regarding the value of money and a sense of intrigue for it to have any chance of being great at the end.

    DARK MAGICIAN, COME OUT!

  3. Teele@aol.com Says:

    For data and home options please http://www.sold2.us.

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