I don’t really have to say much about that episode, do I?
There’s nothing too complicated about it. That episode of Kimetsu no Yaiba was highly problematical to me for obvious reasons. I almost never find this show funny – which is only a problem when it tries to be, and it tried non-stop this week. And Zenitsu, well – that horse is long-dead and beaten down to subatomic particles. I never had a chance, but I take a certain pride that I managed to get all the way through it without skipping anything.
Positives? Well, it looked good. Yoshiwara Pleasure Quarter in Tokyo was still at full boil in the Taisho period, with several thousand mostly syphilitic prostitutes working legally in the area Tokugawa Ieyasu originally set aside in the early 17th Century. Just to be clear, these are not geisha – and geisha are not prostitutes (they’re entertainers). These are sex workers, most having been sold into what was effectively sexual slavery by men (often their fathers or brothers – or even husbands). Accounts of its “glory” days paint Yoshiwara as a pretty glamorous looking place, but for the bulk of its residents it was anything but.
Kimetsu no Yaiba certainly glosses over the grittiness of the place, and makes light of the situation with a comedy-driven episode, but it’s not guilty of glamorizing at the very least. The plight of these oiran is spelled out pretty clearly in nonchalant fashion. If I have any hope for this arc despite its first episode it’s because this is a setting with some potential, and that includes the fish out of water element with the choir boy and the two idiots (only Screech even knew what “pleasure district” meant) being dumped in the middle of this den of iniquity by Uzui,
As for the rest of it, well – woof. Uzui himself is a lot to take, and the spectacle of these three being passed of as girls it utterly absurd on the face of it (especially since they don’t even seem to be going to any effort). Boaris is relatively tame by his standards – once again we can thank Uzui, this time for telling Boaris to keep his trap shut – but Screech is in full screech mode. The equation with Kimetsu no Yaiba never really changes for me – if it avoids the stuff that drives me crazy, it can work. If not, you get what we got this week. I don’t know what the rest of Yuukaku-hen is going to be like on that front, but it’s the only factor that really matters in the end.
BluBlu
December 14, 2021 at 11:05 pmColor me surprised as I was convince hat it would be the dropping episode. Actually, that brings me to the question that I wanted to ask last week, but considering how the section was already crowded enough…
You wrote “There’s a certain level below which the elements of Kimetsu no Yaiba that drive me nuts don’t cancel out the ones I like.” But, actually, I am really wondering: what are these things that you like? And no offense or trap here. It’s just that I am always curious about what people who clearly states their discomfort or headscratching about it, may like in it. Because since you came back to it, the only thing that I read positively is Muzan and good visuals and maybe…Tanjiro? (at least from what I got in the 1st season reviews). And I am really surprised if that could trump the highly concentrated and repeated things that you don’t like. So, I am sure that I am missing something. (again, no traps here or acting like something is dued).
Actually, this is also because I would have never imagined that you would have dropped (and stated that you don’t like) “Jujutsu Kaisen” while coming back and staying (for the moment) with Kimetsu. (BTW, I am not here to defend JJK either as me too couldn’t care less about that manga, and no offense here to those who like it. And actually, i can clearly get why those downplaying Kimetsu “plot” would prefer JJK).
Guardian Enzo
December 14, 2021 at 11:28 pmI couldn’t tell you why I like Kimetsu more than JJK, honestly – even I’m not really sure. There is a certain uncomplicated authenticity to it that JJK lacks, and if you ask me what I like, I suppose that’s part of it. It’s very direct, you don’t have to look for hidden agendas or dodge clever tricks. The basic premise is interesting enough, even if the execution in writing terms is spotty. And obviously the visuals are pretty good.
Would I still be watching if this weren’t the biggest 3-year blockbuster animanga has ever produced? I don’t know, truthfully. My fascination with this phenomenon and trying to untangle it is certainly part of the reason I’m still here.