This Isn't Funny

(Note: The following deals with sensitive subject matter about a portion of the show at hand. Read at your own risk.)

I know The Melancholy of Haruhi Suzumiya hasn’t exactly been relevant for years. I also know it’s weird to be discussing it now. To that end, blame my train of thought. Besides, what I’m about to discuss bothers me still. I’ve also wanted to update my thoughts on this for some time.

The Melancholy of Haruhi Suzumiya is a series that ran from 2006-2009 in Japan. Set in high school, it follows Kyon and his various escapades with a girl named Haruhi Suzumiya. Haruhi has all the hallmarks of a weird person: she spends most of her time daydreaming, she undresses in class, she has energetic outbursts constantly and she’s fascinated with the supernatural. When Kyon’s roped into her desire to start a club called The SOS Brigade, he realizes he might be in over his head with Haruhi. Especially since her behaviour crosses several boundaries.

This sounds like a cynical synopsis, but nothing I’ve said so far is false. Besides, it had a big fanbase for years, even inspiring a dance. It was also one of Kyoto Animation’s first success stories, and they’d make many more before an arson incident consumed their headquarters. Essentially, The Melancholy of Haruhi Suzumiya was everywhere for a while, even showing up at anime conventions. The 2000’s were an interesting time, basically.

I have nothing personal against Kyoto Animation. They’re not my cup of tea, but they built their reputation on consistent output. Plus, they were one of the few studios to employ a significant number of women in prominent roles, treating them with respect and paying them decently in an industry where that isn’t the norm. Kyoto Animation were trailblazers, so anything I’m about to say isn’t an indictment. We clear here?

I’ve never been big on this show. Even before I reconciled my personal trauma, the show’s stance on assault and infantilization of teenage girls never sat well. Unfortunately, saying that aloud for years warranted backlash. Even people who should’ve known better dismissed my concerns, claiming it “missed the point”. But did it? And is calling out the show’s humour that big a deal?

Perhaps the litmus test for my problems happens early on in the show’s run. There’s a scene where Haruhi decides that The SOS Brigade needs a state-of-the-art computer. She drags Kyon, and an insecure student named Mikuru Asahina, to the computer club to acquire one of theirs. When they refuse, Haruhi stages a faux-assault of Mikuru by grabbing their president’s hand, forcing it on Mikuru’s breasts and snapping photos to use as extortion. She then threatens the remainder of the club to keep their mouths shut, stating she’ll spread a rumour about them gang-raping Mikuru if they don’t comply.

On its own, this’d be disturbing. And in any other scenario, it’d be a horror story. But The Melancholy of Haruhi Suzumiya plays this up for laughs, and Haruhi faces no accountability for her behaviour. Why? Why subject the show’s audience to this? What’s this trying to prove?

I know some people defend this as a commentary on how teenaged boys are taught to be passive. I don’t buy that. Firstly, what’s the source for that? And secondly, even if it’s true, why is this scene considered humorous? If Japanese men are “docile”, then wouldn’t this be framed as disturbing?

There’s also the implication that Mikuru’s purpose is to be humiliated and babied, as opposed to someone with wants and needs outside of Haruhi. This is made obvious not only in her speech, but also in how she’s animated. Despite being older than Haruhi, Mikuru’s framed as a child in every sense, and she’s treated like one by everyone else. Not to mention that Haruhi trots her around like her own doll, dressing her in revealing clothing constantly. It’d be upsetting if it weren’t depressing.

In a video on sexual assault from a while back, Jonathan McIntosh states that framing sexual assault from a female’s perspective doesn’t automatically invalidate the trauma it creates. Essentially, a woman assaulting a man, or even a woman assaulting another woman, isn’t automatically funny. After all, not all women are good people, and they can be violent too. So taking a male issue and flipping the gender roles doesn’t mean it’s not horrid.

I have several issues with McIntosh as an essayist, but he’s right. Haruhi assaulting and infantilizing Mikuru is still a problem. If anything, it’s more upsetting because Haruhi’s playing into a male fantasy. That no one calls her out for it, even other girls, is also a problem because it too plays into the male fantasy. It’s additionally ridiculous that Haruhi would get away what she does, even ignoring the power dynamics at play here.

Another defence used is that of “Japan being Japan”. “This is how Japanese people are!” Not only does that romanticize Japan, it’s incredibly racist. Japan might have different social norms than the West, but it’s still a society. And human societies have various issues, sexism being one of them. Besides, how do you know no one in Japan has spoken up about sexual assault? Do you have statistics?

The problem with the “Japan being Japan” claim is that Japanese people aren’t monolithic. And they do, in fact, listen to people outside their borders. This isn’t only true financially, but also artistically. It’s how one famous artist can get into trouble for Antisemitism, while another can get into trouble for calling people “too woke”. Saying that Japanese people are oblivious is insensitive at best and a lie at worst. It also doesn’t give them enough credit.

This extends to Kyoto Animation and The Melancholy of Haruhi Suzumiya. Kyoto Animation may be comprised largely of women, but so what? Ever heard of internalized misogyny? It exists. Especially in a country like Japan, where gender parity’s a big issue.

I know I’m digging up old wounds, but this isn’t the hill worth dying on. You’re entitled to like The Melancholy of Haruhi Suzumiya. I enjoy many pieces of media that are insensitive, and I’m not shy about that! But part of maturity involves recognizing the flaws and issues in what you’re watching. It also means knowing when to call them out. And it especially means learning to take criticism in stride.

In the end, I think it’s worth acknowledging that The Melancholy of Haruhi Suzumiya glorifies assault and infantilizes young girls. Is it weird to drag a 19 year-old series into the mud now? Possibly. But does that mean it’s not worth criticizing? No! Because if we can’t critique art fairly, then how can we grow as artists? How can we improve?

Something to think about.

Understanding Pixar "Sequalitis"

If there’s any Western animation studio I can be accused of “shilling” for, it’s Pixar. I grew up with their movies, and I’ve enjoyed most of their output. Even now, new Pixar movies feel like an event, even if their teasers aren’t so great. It sucks that the studio has largely been on sequel autopilot since 2011, with original films few and far-between. It also sucks that the reactions to Pixar’s sequels have been divisive. Especially since they’ve been toxic.

There’ve been several videos discussing this, most-notably from a YouTuber named “Cartoonshi シ”, but I think my own take is warranted. Because while I agree that Pixar sequels haven’t been that bad, I’d go further. I think they’ve been largely excellent, showcasing world-building in ways only a sequel can. That’s what I want to zone-in on. So let’s do that.

Let’s get the main reason for division out of the way: expectation. Save Toy Story 2, Pixar sequels are never released within a few years of the original. Even the ones for Cars took at least 5 years, and those are considered Pixar’s worst. Generally-speaking, Pixar sequels debut many years later, leading to plenty of hype. In some cases, as with Incredibles 2, it’s overhype.

It's a problem. Sure, Pixar not rushing out sequels means they can take their time perfecting them. However, this also means that fans have too much time to be excited, which is dangerous when not checked by reality. When hype isn’t checked by pragmatism, it’s no wonder there’s disappointment. That’s unavoidable.

That said, I think it clouds people’s judgement. Sure, the movie was disappointing, but was it bad? Not necessarily. You merely have to adjust your expectations. It’s not like I haven’t been let down by movies that weren’t still good. I’m a fan of The Dark Knight Rises!

Because this is the internet, where hyperbole rules, people’s disappointment becomes extreme. It’s not enough that the movie’s disappointing, it has to be bad. It’s not enough that it’s bad, it has to be awful. And it’s not enough that it’s awful, it has to be horrendous! It sounds ridiculous, yes, but is that really far off?

This is especially true of Pixar films. Unfortunately, it also leads to nonsensical and nasty critiques that don’t hold weight: Bonnie gave up on Woody in Toy Story 4, leading him to “abandon his friends”? Never mind that it’s unrealistic for a 5 year-old girl to keep a promise to a stranger, the movie’s “bad”! The same goes for Finding Dory focusing on Dory finding her parents, even though it’s building on a throwaway line from Finding Nemo. And let’s not forget Incredibles 2 retreading plot beats from the first movie, despite having new ones surrounding Helen and Jack-Jack!

The tendency to over-exaggerate how bad the Pixar sequels are is worrying, and harmful, for public discourse. I’m not a blind defender of them, either. I wasn’t big on the sequels to Cars, and I think Monsters, University’s overrated. But I know they’re not the worst movies ever made. Gorgeous animation aside, they have strengths that make them worth watching at least once!

Such is the peril of being balanced online. I get being disappointed by a sequel. I also get being spoiled by time, something not exclusive to Pixar. But acknowledging that these movies are good despite their flaws makes me susceptible to hate and targeted harassment. It’s not helpful, and I wish it’d stop, even if I know it won’t. I can dream, though…

It's not worth the vitriol because these are movies, not political events. I’ve seen my share of really awful movies over my lifetime, some of which I’ve discussed in great detail. But while I loathe them, enough to feel intensely-negative reactions, I’ve learned that dedicating energy to hating them isn’t worth my time. And I’ve learned that through bad experiences and encounters.

So why can’t people do that with Pixar? My guess is that toxicity sells more than levelheadedness. But I also think there’s an element of “in-group, out-group” going on. Like how bigots marginalize people for followers and social credit, so to do in-group, out-group people. It’s easy to categorize people that way!

Nevertheless, it’s also reductive. You don’t have to like these movies. I’m not a fan of many popular movies too. But labelling Pixar sequel fans helps no one. Especially since they’re not that bad, they’re simply disappointments. That’s the key.

I think this was missing from Cartoonshi シ’s analysis. I get that not everything can be covered, especially in 20+ minutes. But that doesn’t mean it isn’t worth talking about. Not when this kind of extreme backlash does a lot of harm. We need to be better than that.

Essentially, the toxic backlash toward Pixar sequels has to stop. You don’t have to like them. You don’t even have to think they’re good movies! But that’s no excuse to be jerks. Because they have good aspects, and it’s not the end of the world if someone likes them. I like them, even if I recognize that they pale to their predecessors.

Except for Toy Story 4. That movie’s fantastic.