Shosetsuka ni Narou! (Let’s Become a Novelist) is Japan’s oldest and most popular webfiction site, and continues to be a place where publishers find their next hot new novelist. Many light novels, including Rising of the Shield Hero, That Time I Was Reincarnated as a Slime, Kobosuba, RE:Zero, Overlord and a huge list of other titles all started on Narou.
Narou isn’t shy with their genre tag numbers, so it was fairly easy to find out what people were writing on the site.
Of all the sites I’ve looked it, Narou has perhaps the most balanced and honest selection. By that I mean I can look at those categories and numbers and see the tastes of many ages, sexes, backgrounds, and interests all being combined there, not just a bunch of teen and college age writers.
Narou is still dominated by the big two of Fantasy and Romance, which would be Fantasy 27% and Romance 29% if you combine the sub-genres together, but it does have a bunch of other categories like Poetry, Essays and Pure Literature, which are rare on most webfiction sites.
One thing that does strike me about Narou was that what we would call Science Fiction is broken up into Science Fantasy (2%) and Space (>1%) which shows that harder science fiction doesn’t seem to fly on Narou. I have a theory that youth are intimidated by science fiction, and so they don’t really feel comfortable writing it. Fantasy is so much easier, and requires less research or chances of getting things wrong.
Real World Love
Alternate World Love
Post Apocalyptic (panic)
Game Playthroughs (replay)
I should note that I have removed the category of Unclassified stories from the list for clarity, which were 253,774 of the stories listed on the site.
Japanese comics, or manga, are written as episodic serials- which means they’re broken down into a series of semi-self contained chapters where each episode represents a piece of a larger story but is also a smaller story on its own. This style developed because they were publishing stories in weekly magazines and never knew if the reader had read the previous chapters or not, so they tried to make each chapter as accessible as possible by making it a mini-story. This isn’t much different from how American episodic television is written as well.
Where the Japanese approach differs from the typical American approach is that instead of a typical 3-act structure (Setup>Action>Conclusion) the Japanese prefer a style they refer to as the Ki-Sho-Ten-Ketsu, which is based on rising tension and excitement, and when mapped out looks a little like this…
Each cycle of the story represents a dip into suspense (Will they do it? How?) and a return to possible success, with each cycle increasing in length and intensity. This differs in length from a typical three-act story which is Setup (25%)>Action(50%)>Conclusion(25%), by being roughly Cycle One (25%), Cycle Two (30%), and Cycle Three (45%). In other words, instead of being organized as a beginning, middle, and end, the story is better thought of as being in three waves of increasing power and duration.
The peaks of the waves represents the moments of greatest hope and excitement turning into worry, while the bottom of the troughs represents the moments of greatest worry turning into hope. Using this sine-wave style pattern, the audience’s emotions are taken on a roller-coaster ride, and Japanese comic creators use it to play the audience’s emotions like an instrument alternating between fast and slow, soft and hard, and joy and despair.
Which is the key point- the Three Cycle Plot is built around the audience’s emotions and carrying them on an emotional journey. Things that happen are happening because they will affect the audience, and the characters and situations are a vehicle for making the audience feel. It’s all about creating a building a rhythm of suspense and excitement which alternate to bring out the best in each other.
Here’s how to use the Three Cycles to write a story…
Cycle One: Introduction and Problem (25%)
the following things as quickly as possible:
The main characters, including their motivations, reasons the audience should sympathize with them, and any long-term goals they have (if any).
The setting and other necessary details and pieces of information the reader needs to understand the story from start to finish.
The short term goal they have for this story.
An obstacle to that short-term goal which makes it appear challenging but still do-able. This obstacle should be connected to the major obstacle they’ll be facing in this story, but is not the main one.
A potential solution to that challenging obstacle.
Cycle Two: Double Trouble (30%)
Another greater obstacle appears, building on the smaller one. This can be something actually going wrong, or just the appearance of a greater threat. The important part is it creates another significant question in the audience’s minds (“How can they overcome this?”) and ups the suspense.
Usually the main opponent/challenge of the story will be revealed here, and their appearance may be the greater obstacle.
Despite the challenge of the greater obstacle, the main character will still attempt to solve it and make some headway.
Cycle Three: Disaster and Conclusion (45%)
Just as the greater obstacle looks to be solved, things take a deep turn for the worse and everything looks lost. The situation should feel hopeless for the audience, or at least they should doubt that the main character can solve their problem, just for a moment.
The main character must now do something they don’t want to do in order (or have been avoiding doing) to have even a chance at victory, and so they call on all their resources to take one last try at achieving their goal.
They win through their own efforts, and claim their prize.
The character is shown benefiting from their efforts in some way that makes the audience feel satisfied.
If the story is a continuing one, a new challenge is introduced to be solved in the next story.
Example Story: Baker’s Dozen, Episode 3
Cycle 1: Introduction and Problem
Dolly Madison is the best teen baker you ever saw, but she runs completely on instinct and recipes just confuse her. Thus, no baking school will accept her because she fails the written component of all the entrance tests. Seeing her potential, a master baker named Chef Kim has taken pity on her, and is giving her one chance to win a possible apprenticeship. As the story starts early one morning, she sneaks out because her parents don’t approve of her dream, and then heads to Kim’s Bakery, where she will face her big test.
Arriving at Kim’s Bakery, she finds he’s set up three stations, complete with equipment and ingredients. At each station is a sealed letter, and he tells her that in order to pass the test, she must complete the instructions in each letter before noon when the bakery opens. She can do them in any order, but she must complete each task to his satisfaction or she fails and he won’t give her another chance.
Saying a prayer, she picks a station randomly and reads the first letter- it turns out to be for two dozen chocolate chip cookies. The recipe is there, but she’s made them in the past, and is pretty sure she remembers how to do it on her own. She gets everything put together and gets the cookies in the oven- it’s now 8:30am, and she’s got a few hours.
Cycle 2: Double Trouble
She opens the second letter to find it requires her to make two chocolate layer cakes- something she’s never made before. Again, the recipe is there, and at first she tries to use it but gets really confused and makes a big mess. But then after taking out the cookies, she recalls that she’s seen people make these on her favorite cooking shows and after panicking reconstructs the steps in her head. She manages to get the ingredients together and gets them baking- the clock says 10:15am now.
Cycle 3: Disaster and Conclusion
Rushing over to the third station, she finds it’s for two loaves of banana bread- something she again has never made before. As she’s puzzling over how to do it, she smells something burning and discovers that the cakes are burnt! Can’t serve these! She now has an hour and a half to remake the cakes, and she still hasn’t started the banana bread!
After Chef Kim makes it clear there will be no more time, Dolly leaps into action and gets the cakes remade and in the oven. Then, she stares at the recipe, trying to figure it out and decides to just do one step at a time- breaking the process down. She has no time for this, but she’s got to go through it slowly in order to produce something. Working her way through, she manages to get the banana bread in the oven in time to get the cakes out. But the cakes are too hot to ice in time, and so she improvises a special topping that won’t melt on the hot cake. Then, with seconds to go, she pulls out the banana bread and gets them on the cooling racks.
Chef Kim tastes her cookies and finds them a little hard and salty, so he’s not impressed. He’s impressed by her cake however, and her ability to think up a topping at the last second to recover. Then they get to the banana loaf, which he questions will be done under such tight conditions. And, when he checks it, he finds it’s underdone and still uncooked in the middle.
Dolly cries, because she’s failed the test.
However, Chef Kim then informs her that she did pass the test- the test to see if she could follow a recipe under pressure. That was the real test, and in the end she did it, earning her place as his apprentice. Then he informs her it’s time to start serving, so she needs to clean up and get to the front of the bakery to serve customers. Baking is only half the job, and this was only half the test! Get to it!
Examples of Three Cycle Plot Patterns
some of the many possible ways you can use the three-cycle pattern to plan out
the plot of a story, using some common situations. Each of these is only one
way among many to do it.
The Hero Cycle
C1: A heroic character is introduced and faces a small challenge which lets the show off what they can do. This challenge leads to them facing a larger threat.
C2: The hero faces off against the real threat, and learns that they’re much tougher than they thought. By putting their skills to the test, they manage to hold their own against this dangerous opponent and make things even.
C3: The opponent reveals that they’ve been holding back and unleashes their full force against the hero, driving them into a corner. At their darkest hour, the hero manages to find a solution to their problems and rally against their opponent, defeating them.
Bad Situation Cycle
C1: The hero meets a villain who is clearly a tough customer. But it seems like they might be able to take them.
C2: The hero realizes this situation is worse than expected and pulls put their best move, which seems to do the trick.
C3: The villain turns out to be immune to their best move, and…
The hero must improvise/find a new way to defeat the enemy and then wins.
The hero gets pummeled into the ground and loses, leaving it as a cliffhanger for the next chapter.
The hero is rescued by a third party.
The hero must develop a new special strength.
Some combination of the above.
Young Master Cycle
C1: The hero finds a jerk being a jerk and puts them in their place. The young master sends thugs at the hero, who they defeat.
C2: The young master’s old master (father/master) comes looking for the hero who has bullied their son/student, and the old master is tougher than the hero. The hero is in serious danger, and at first they almost find a way to avoid conflict, but…
C3: The young master eggs the old master on, or something else incites the old master’s anger, and they attack the hero. The hero is in mortal danger and…
Must use every trick they have to get out of this one.
Finds a new unexpected strength.
Is saved by an unexpected ally.
Defeats the old master, but now has their entire clan hunting the hero down to try and restore the family’s honor.
The Comedy Cycle
C1: There’s a misunderstanding between two
characters, but maybe they can work it out.
C2: Nope! Thanks to a twist, things get twice as
bad, and there’s going to be real consequences. But there is still a chance…
C3: The chance for understanding falls apart and
the only solution is now the hero coming clean (if it was caused by their own
unwillingness to do what needed to be done) or a display of their special
strength. The misunderstanding is cleared up and their relationship is healed,
usually becoming stronger for the experience.
The Murder Cycle
C1: Someone has been killed and a detective uses their skills to find their first clues that lead them to a suspect.
C2: The detective finds the mystery is even harder to solve when their first suspect is also killed by the murderer, or the first suspect has a solid alibi. They’re left back at square one.
C3: The detective finds a new direction that leads them into a confrontation where they face several suspects and explain how the crime was done. Then they point out the murderer, who confesses under the weight of evidence.
Note: The moment things turn around in the Murder Cycle is when the detective has an “ah-ha!” moment that lets them piece the whole thing together and solve the crime.
The Romance Cycle:
C1: The lead is romantically interested in another character but their first attempt at getting closer with the other person fails.
C2: The lead gets another try at getting closer with the love interest, often due to circumstances, but this attempt not only fails but makes the love interest seem to dislike them.
C3: The lead gives it their all and confesses their feelings to their love interest, usually as part of an apology, and finds that the love interest doesn’t hate them at all. The two of them find a way to start a new relationship with each other, one that’s going in a positive direction.
This pattern is designed for writing serials, and will work for any kind of continuing episodic story from Manga to Xianxia Webnovel chapters. However, it can also be used for any other kind of story as well, and will work for organizing stories from a few paragraphs to thousands of pages in length. Just remember that there can be cycles within cycles, and each of those cycles can have other smaller 3-Cycle Plots inside them!
Look at your favorite Japanese stories and you’ll quickly start to see this three cycle pattern everywhere. While there are other patterns as well, most of them are variations on the three-cycle pattern which helps to define how the Japanese put together their stories.
Apparently an early 80’s Japanese music genre called City Pop is exploding on the internet right now. As a watcher of 80’s anime, I’m used to it, but it is nice to see this music getting it’s due. Everything old is new again!
Plastic Love (the song taking YouTube by storm)
What is Plastic Love (about a City Pop single which has recently shot up in popularity on YouTube)
In this episode, Don and Rob head East with Justus R. Stone, YouTube Light Novel Reviewer, to discuss the ins and outs of the Japanese and American Light Novel markets. Along the way, Justus takes the pair on a tour of the origins of Light Novels, why they’re growing in popularity in English, and how Light Novels have become linked with web-fiction. All this, and the answer to the question Is It Wrong to Try to Pick Up Girls in a Dungeon?, is waiting for you in this episode of The Department of Nerdly Affairs.
A while back, I blogged about a Japanese story structure called Ki-Sho-Ten-Ketsu (Kee-Show-Ten-Ketsoo), which is normally presented as an alternative story structure which doesn’t revolve around conflict. I found the whole idea fascinating, especially since our normal “western” story structure is generally entirely based around characters in conflict (with others, their environment, themselves, society, etc). Finding the Ki-Sho-Ten-Ketsu (KSTK) format seemed like a great alternative, and that’s especially true since there aren’t a lot of different story structures out there.
For those who aren’t familiar with the structure, it works like this:
Ki– Setup the situation.
Sho– Development of the situation
Ten– Twist or surprise on the situation that the audience expects.
Ketsu– Resolution of the situation.
Ki– Sazae-san is enjoying a riverside view.
Sho– An American Soldier appears and asks her to kneel down.
Ten– Sazae-san is pleased he wants to take her picture.
Ketsu– He’s really taking a picture of the beautiful girl behind her.
This format was originally found in Japanese poetry, but later became “famous” as the structure used in their Yon Koma (4 Panel) gag comic books. (Their equivalent to our newspaper strips.) Some others have come to use it in different ways, but the information out there in English said that it was a structure that relied on dramatic and situational twists to produce a reaction from the audience (usually a humorous one). However, when you’re working with limited sources of information about a subject that isn’t in a language you speak, there’s bound to be some miss-communications here and there.
I had believed it was a form without direct conflict, but now thanks to Araki I understand that instead it is highly flexible form where the conflict is optional because the story structure doesn’t require it. In fact, Araki demonstrates in his book that it is in fact the standard format still used by many manga writer/artists today when planning short stories and chapters of their serials. Not only that, he demonstrates how flexible the structure is.
But first, let’s make sure it’s clear what each step represents.
Ki – In this stage, we get a character and situation, and that character demonstrates a need, usually one based on a derivative of basic human needs.
Sho – The character makes a plan, and tries to follow a path they think will fill that need.
Ten – The character faces an obstacle to their plan, and must figure out how to overcome it.
Ketsu– The character is done facing the current obstacle(s) and now has either fulfilled their need or moved closer towards fulfilling it.
Therefore, it’s no surprise that, according to Araki, most manga stories tend to follow this structure closely or loosely. He also mentions that a common variation of it is the structure of Ki-Sho-Ten-Ten-Ten-Ketsu (with the number of Tens (twists) being as few or many as needed). In fact, referring to Ten as “Twist” might be a mistranslation in this case, as it’s often more like “Dramatic Event,” “Unexpected Revelation,” or just plain “Opposition.”
You could have a dozen small Tens or just one big one, and they can take any form you’d like, as long as they keep building the dramatic power of the story.
A longer Romance tale:
Ki– Two people meet.
Sho– They fall in love.
Ten– The woman’s insecurities get in the way. (problem)
Ten– The man’s family hates the man. (bigger problem)
Ten– The man must follow the woman to Europe and bring her back. (biggest problem)
Ketsu– She agrees and they marry.
Also, as Araki also points out, the Ketsu phase can be moved around and take different forms. For example, in serial stories (or chapters of a book), the Ketsu might be delayed to the start of the next installment, so you end up with a structure like:
Part A: Ki-Sho-Ten-Ten
Part B: Ketsu-Ki-Sho-Ten
Part C: Ketsu-Ki-Sho-Ten
Part D: Ketsu-Ki-Sho-Ten-Ketsu.
In this case, the Ki in part B-D is actually the “new normal”, not a complete reset to zero. The Ketsu is producing a “new normal” or “new state” which the characters are at, and then the next round of buildup (Sho) begins towards a dramatic situation. There is always an upward building of dramatic momentum as the story progresses, so that each cycle tops the one before it. This way, the reader is always wanting to read the next installment/chapter to find out how the situation resolves, and is kept focused on the story until the end.
Specifically in Manga, the pattern tends to work like this:
Ki– Introduce the characters and situation.
Sho– The situation develops/the characters pick a goal.
Ten– A dramatic event (or series of dramatic events) happens. (There can be more than one Ten)
Ketsu– The dramatic event(s) resolve to create a new situation.
Or, they look like this (especially during multi-chapter battles or multi-part stories.)
Ketsu– The dramatic event(s) of the previous chapter resolve to create a new situation.
Ki– This new situation and it’s characters are established.
Sho– The situation develops/the characters pick a (new) goal.
Ten– A dramatic event (or series of dramatic events) happens. (There can be more than one Ten) The Chapter will end on a Ten beat, leaving the events unresolved until the next chapter (forcing the reader to read the next chapter to find out what happens.)
So, for example:
Opening Story Arc Chapter:
Ki- Ninja Bob and Ninja Sue are facing off with Evil Ninja Red over a Ancient Ruby.
Sho- Bob and Sue try to convince Red to join them.
Ten- Red counters by offering to let them join him instead. (Event)
Ten- When they refuse, Red reveals he knows Sue’s dark family secret and says unless she joins him he’ll reveal it. (Oh no! Bigger Event)
Middle Story Arc Chapter:
Ketsu– Sue says she doesn’t care, she won’t betray Bob.
Ki– Bob and Sue resolve to fight Red, who is clearly not going to give up peacefully.
Sho– Bob throws a smoke bomb while Sue attacks!
Ten– Red dodges Sue’s attack. (Event)
Ten– Red counterattacks Sue, sending her flying. (Bigger Event)
Ten– But Bob came in for a surprise attack behind Sue. Red is caught off guard! (Biggest Event)
Ketsu– Red is caught by Bob’s attack and left injured and unable to fight.
Ki– Bob rushes to Sue and finds her dying of a sword wound.
Sho– Red tells Bob the Ruby can save Sue.
Ten– But the Ruby will be destroyed in saving her! (Event)
Ten– Not wanting Sue to die, Bob sacrifices the ruby. (Bigger Event.)
Ketsu– Bob and Sue return home to their ninja village to face their master. (And a new series of events!)
Finally, one last advantage of this story structure is its flexibility of length. You can make a KSTK story as long or short as you want, and obviously have a overall KSTK structure with the chapters within also having mini KSTK structures. The above Romance could be a short story, or it could be the root structure of a whole novel, depending on how you want to let the story unfold. It is especially good for stories where character or setting have a greater focus than plot, because it can allow those elements to play out while still having what the audience will recognise as a story structure underneath.
And, of course, not all the dramatic twists have to be ones based on conflict, and I now know and appreciate. 😊Live and learn!
Have fun experimenting with this structure, and read Araki’s book if you get the chance, it covers a lot more things than just this, many of which you might find useful.
For more on writing manga and anime plots, see my book Write! Shonen Manga. Available on Amazon and wherever online books are sold!
As a writer, writing teacher, and a lover of Japanese comics, I was excited when I stumbled upon Hirohiko Araki’s Manga in Theory and Practice: The Craft of Creating Manga on Amazon the other day. Published in English in June of 2017 (it was published in Japanese in 2015) by VIZ Media, it was of immediate interested because Araki is the writer/creator of the manga epic Jojo’s Bizarre Adventure, which has been running in Shonen Jump and Ultra Jump for over 25 years. So, naturally, I snagged the eBook edition of the book for my tablet and started reading.
Having just finished the book, I wanted to share my thoughts, but if you want the short version of my review, here it is: If you want to write Shonen (boys) adventure stories like Naruto, One Piece, and Dragonball, this is a must read. If you’re a new writer looking for a basic book on writing in general, this is a pretty good read. If you’re an experienced writer who has read/written lots, it’s an interesting read, but mostly from a cultural perspective. It’d give it 4/5 stars.
Okay, with that out of the way, lets divide this up into the Pros and Cons of this book.
I’m going to start with the Cons, just to get them out of the way, and because they’re short.
Araki is a oldschool battle manga/pulp adventure writer. So that’s what he’s basically teaching you how to write in this book. If you want to write something else, it can still be useful, but this might not be the book for you. He’s also a bit of a maverick, with his own way of doing things that falls outside of the norm even by boys manga standards. (He didn’t apprentice under the previous generation, is largely self-taught, and his stories are often radically different than most other Shonen stories are.)
This isn’t a book for visual artists, except in the very general sense. He’s got a lot of suggestions and comments about manga art and comic composition, but it won’t teach you serious hardcore artistic theory like Scott McCloud’s Making Comics and Understanding Comics will. Heck, even those “How to Draw Manga” books will likely give you more actual how-to than this book does, if that’s your chosen style.
Piggybacking on that, the rest of this book is for writers, but again, it’s really just a collection of tips and basic theory that he’s picked up over 25 years in the business. If you want to get into how to write story in depth, John Truby’s The Anatomy of Story is the book you want. Also, the story structure he teaches (Ki-Sho-Ten-Ketsu) is really intended for short stories and chapters of longer serials, and he doesn’t really go into writing and structuring a full serial.
A lot of the advice here is specifically for the Japanese manga market, because this is just a translation of a Japanese book for a Japanese audience, not an edition for foreigners.
He gives a passage from a Hemmingway story and claims that it tells us information that it really doesn’t. I have to wonder if this is a mistranslation of what he was saying the passage was supposed to be giving us.
There are a few times when the translation is a bit unclear, but those are few and far between overall.
Okay, that aside, let’s look at what the book does well.
This is a really good primer on writing in general for new writers, whether you’re a visual artist or a pure writer, or both.
This is a great book for understanding the ways of thinking that lay behind writing boys manga (aka The Golden Road), and how Japanese view creating manga in general. His thoughts on how manga are more emotionally driven than western comics are were interesting to read, and he really takes you through the process of creating his manga and how the Japanese manga artist system works. (If this part interests you, you should also read the manga Bakuman, which covers this in more detail and in more dramatic form.)
Araki’s thoughts on the relationship between Setting, Story and Character and how they’re all tied together by Theme are worth remembering and a good primer for new writers. He also gives a lot of good tips and suggestions about those elements of story and how they work in a Shonen comic.
The Ki-Sho-Ten-Ketsu story structure he outlines is a good one for short story writers to keep in mind, and simple and flexible while still offering a straightforward way to structure your stories. (One of his two Implementation chapters acts as an example in great detail, which is also nice. Although after you read it, you can look at any Shonen comic and see it in action immediately.)
He goes into great detail about how he creates characters, and even shows you his character template that he uses to think through his characters before he sits down and designs them visually.
He goes into detail about his own experiences moving up through the manga industry. It’s not quite “On Writing” (Stephen King’s book), but it does give you a feeling for his highs and lows in the industry.
You get a behind the scenes look at his Jojo’s Bizarre Adventure series, and the thoughts, ideas and approaches that went into making it the series it is. (I have to say, as a Jojo’s fan, I really enjoyed all the tidbits about the series he scatters throughout the book.)
It’s a pretty quick and easy read. It took me about 3 hours to read, and I wasn’t trying to power through it.
Overall, I enjoyed reading it, and as I said above, I recommend it to new writers and Shonen manga fans. Araki himself says this book is really intended as a “passing of the torch” book where he shares his secrets with the next generation of manga producers, and that’s what it is. There isn’t likely to be too many mind-blowing ideas here, but there is a lot of things worth thinking about, and I’m very glad I was able to read it. Like I said above, if you enjoyed this, try Bakuman next, which is a dramatized version of this topic. (And an amazing one at that.)
Now, if you’ll excuse me, I’ve got to track down his Rohan Kishibe stories, which look amazing.
Page from Tagosaku and Mokube’s Big Toyko Adventure
In this episode, Rob and Don journey back into the past of Japanese comic books to explore it from its roots 1300 years ago until the great experimental manga age of the 1970s. They explore the European roots of Manga, how the medium was shaped by the winds of Japan’s history, and the major figures who helped make manga what it is today. All this, and how Go Nagai brought sex and violence to Japanese children’s television, is waiting for you in this episode of the Department of Nerdly Affairs.
YouTube user Super Eyepatch Wolf posted a fascinating video last year about how the manga/anime BLEACH went from being one of the big three to cancellation. It’s a sad but fascinating story that tells you a lot about the manga industry in Japan, and is worth watching even if you don’t like BLEACH. (I’m not a BLEACH fan myself, I tried but never cared for it.)
I’d have to say the reason BLEACH died sounds like it was just a case of Tite Kubo just plain not being a good writer. When you combine that with being forced to serialize a story for over a decade on a weekly basis, and not being able to actually enjoy any of the money he was raking it, it’s not hard to see why the project collapsed. BLEACH just didn’t have a core concept to carry it through and give it direction, and that’s ultimately why it couldn’t sustain itself.
A fascinating follow up to the above video was this one the same creator did on the recently finished Naruto franchise, where he goes into good detail about how and why Naruto may have managed to keep itself going while BLEACH fell into a death spiral.
Both videos are worth the watch both as a study in the Japanese anime/manga industry and from a storyteller’s perspective.
Oh, and since both videos do extensively refer to One Piece (perhaps the best anime/manga ever made) here’s his intro to One Piece video as well to round out the Big Three!
A few weeks ago, I wrote about the Kung Fu puppetry of Taiwan, but little did I know that I wasn’t the only one who’d taken an interest in Taiwan’s Wuxia puppetry- Japanese writing star Urobuchi Gen (the man behind Madoka Magica, Psycho Pass, and Fate/Zero) had also taken an interest in Pili Puppetry form. In a twist of fate, Pili was also looking to work with him, and as a result of that partnership- Thunderbolt Fantasy (Toriken Koki), a Japanese-Taiwanese hybrid TV series was born! (You can hear about this story in full in the Episode 0 special on Crunchyroll.)
I only heard about this show a week ago, and when I did I got pretty excited. I’ve never been able to watch a Pili series before, much less one as it aired, and this one was being simulcast with English subtitles on Crunchyroll. Thus, I eagerly waited for July 8th, when the first episode would air, and couldn’t wait to watch it last night when it popped up on the list.
So, how was it?
In short- as awesome as advertised!
I’ve seen clips of Pili shows, and even watched Legend of the Sacred Stone, but this was a whole other level. The puppet-work is amazing, the story and characters are engaging, and the craftsmanship in everything is a sight to behold. I couldn’t believe how into it I got, and by the end of the episode all I wanted to do was watch more!
In the Episode 0 (Making-of), the Japanese partners talk about how they were on set in Taiwan and the wonder of watching a piece of wood and cloth come to life the moment a human hand was put inside. I haven’t seen it done in person (although I’d like to, someday) but I can completely understand what they meant, as you literally forget you’re watching puppets at times because of the way they move and act. It really does take the magic of puppet theater and bring it into the 21st century.
The story at first blush is fairly standard. A great evil lord is trying to get his hands on mystical artifact, and killing everyone who gets in his way, which leads him into conflict with our heroes. Like I said, standard. But given Urobuchi’s reputation as a writer (it was written by him, but produced by the Taiwanese) I suspect there will be some nice twists coming that take it in a different direction. Not that it matters, because this story isn’t about the plot but the characters and action, both of which will keep you watching.
One thing I did like about this show is that each character has a different voice actor. In the original Taiwanese Pili shows, there is just one person doing the voices for all the characters, which is fine, but having a full cast allows each character to have a bit more life to them. It adds to the immersion, and I liked the voices they chose. One weird thing is that the English subtitles use the Chinese names, while the Japanese actors are using the Japanese names. It does make it more authentic, but it makes it a bit harder to remember everyone’s name since you’re hearing and reading different names.
In any case, Episode 1 has garnered 5/5 stars on Crunchyroll (with 123 votes) and I suspect it will be cult hit here and in Japan. (It’s only disadvantage is that it came out the same week Pokemon GO! launched) I hope so, because it really deserves the attention, and I’d like to see them do more in the future.
Want to check it out?
New episodes air on Crunchyroll each Friday evening starting July 8th (July 16th if you have a free account and are delayed a week), and I strongly recommend you do so. You might watch to watch Episode 0, which is available for everyone July 8th, and includes a preview of the show in the last five minutes.
In this episode, Rob and Don do an overview of the Japanese media titan Ultraman, delving into the concepts behind the series, doing an overview of Ultraman’s long history, and talking about their personal connections to the character. All this, and a trip into the world of 80’s independent television, are waiting for you in this episode of the Department of Nerdly Affairs