On progress, density and vore

This likely isn′t an uncommon sentiment, but with every anime I watch, I become progressively more aware of what an absolute masterpiece FLCL is. So much so, that the chances of a sequel ever doing it justice were essentially naught and I decided to go into FLCL progressive with no expectations whatsoever. Was it terrible? Mediocre? ″Good for a sequel″, whatever that′s supposed to mean?

No. It′s easily the best show of the season, which admittedly isn′t that impressive, but also just an amazing watch in general. If you haven′t seen Progressive already: Stop being a coward and do so, if you have: here′s my avowal of love for FLCL — Fetish edition.
    
A lot is said about density when it comes to the agreed upon masterpieces of anime, Lain, Eva, FLCL and the such, without ever discussing the possibility of there being such a thing as too much density, or rather a maximum sensible amount of information per second, and that might be because this limiter is a comparatively new development, arising from the change in viewing habits. Back in the olden days before the normalization of online streaming and the release of five billion new anime per season vying for everyone attention rewatchability was an obvious benefit. A show could be so loaded with audiovisual information as to be almost incomprehensible on first viewing, because those who own it would rewatch it until they mined every last ounce of meaning from it and then some. Super dense media exists because the net enjoyment over multiple viewings of it is vastly superior.
What many don′t seem to understand however is that how well a show fares on the second watch has become entirely irrelevant over the course of a decade. No one, and by no one I mean a very small number of people whose viewing habits I don′t entirely understand, will ever watch FLCL progressive more than twice, or any modern show for that matter, because rewatches, however gratifying the might be almost never deliver the same amount of stimulus as something new and we live in an age where we could watch anything. The optimal density therefore is one that allows a reasonably intelligent, attentive viewer to gleam all relevant information on the first try as it is the only one that matters, without at any point being boring. That is the standard to which FLCL Progressive should be held, not to those of a predecessor made to cater toward thoroughly antiquated processes of media consumption. 
With that said: Yes, Progressive is more obvious with its metaphors, not that a coming of age tale that employs a steam iron as one of its most notable pieces of symbolism could ever have claimed subtlety, but that doesn′t make it any less cleverly written. Let′s take Hidomi′s vore fetish for example and how it′s quintessential characterization as well as a vital element in the progression of the plot. If you don′t think that′s fascinating, innovative storytelling there′s something seriously wrong with you.
    
The idea of ″being empty″ permeates Hibajiri′s entire perception of herself. She interacts with her environment without being invested, even in her own safety, and claims to not have aspirations if any kind, which doesn′t seem to upset her, though that might be due to the emotion suppression device on her head. Her fantasies of being dismembered reflect that, as she wishes to be torn apart until there is ″nothing left″, which would either reveal her innermost core and therefore grant her the meaning she longs for, or prove her right, thereby ending her struggle.
Neither Haruko, nor her own mother seem to comprehend Hidomi′s predicament, as both describe her tsundere personality as a ″thing she′s doing″ assumably consciously, rather than a simple inability to communicate feelings she herself doesn′t quite understand. It acts as a protective shield, pushing the people, who might be able to help her work through her issues, away, a reality of which our heroine is at least subconsciously aware, when she fantasizes about her literal protective layer, her skin, being stripped off, revealing what is underneath.
Jinyu does a better job at locating the actual problem at hand, telling Hidomi that she will ″slowly rot away″ if she keeps shutting the inputs of the outside world out, although her own inability to communicate effectively keeps her from helping or winning the young girl over to her side. Here too the concept reappears abstracted in Hibajiri′s fantasies, as she rambles about being what one eats, i.e takes in, and the negative consequences of taking in the wrong things. Her shutting out any input would by that logic lead to the emptiness Hidomi struggles with. Can someone please explain to me in what way this show is supposedly shallow?
Isn′t this what FLCL is all about? Exploring the psychology and emotional hardships of teenagers though unnecessarily fleshed out, yet pertinent metaphors that at first glance might just be dumb sex jokes? Any claim that Progressive isn′t as viscerally resonant as the original might simply be the result of relating stronger to Naota than to Hidomi  and sure, it capitalizes on visuals from its predecessor while employing less impressive animation, but that′s what sequels do, and when has well integrated guitar combat ever cheapened a story?
Never, that′s when.
    

<= Go back