Seasonal & Community

The 100 Girlfriends Who Really, Really, Really, Really, REALLY Love You Season 3, episode 1

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Sparks of Tomorrow, episode 1

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Previous Post Here

Botan, Yaeka and Akane hung out in Yamaha Sound Crossing Shibuya in episode 10

There is also a very cool Kamiina Botan collab event there until August 16.

Writeup + comparison pictures of this pilgrimage and collab event here

Kamiina Botan IRL locations full article list here

I hope to complete the next set of articles in the upcoming few days, just need to sort through a few hundred pictures...

One Piece: Heroines, episode 1

Alternative names: One Piece Heroines

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“Nothing wrong with deferring to support mechanisms if you don’t get it.”

Words I’ll take to heart, Chin-lan. Welcome back to Short & Sweet, where members of the r/anime Awards Off Season team talk about their favorite scenes in anime. It’s time for an art lesson as I delve into the meaning behind the paintings depicted in the tenth episode of Botan Kamiina Fully Blossoms When Drunk, with the help of “support mechanisms” (AKA art history articles on the Internet). To help viewers understand Kanade Gujou’s rapidly deteriorating mental state (poor girl), the show places her in front of numerous compositions meant to underline her feelings. 

Very helpfully, the show quickly points out that the girls are visiting the Pola Museum of Art located in Hakone.^(1) This exhibit boasts a large collection of foreign art, including works from Monet, Picasso, and Van Gogh. In the first scene of the episode, Gujou stands in front of a painting featuring two clasped hands wearing nail polish. The painted nails suggest that these hands belong to two women, visually depicting Gujou’s sapphic desire for a romantic relationship with Ibuki. She mirrors the painting with her own hands, her body language giving away her longing for this dreamlike, pastel-colored world.

The signboard next to Gujou points out several artists who belong to the Impressionism and Post-Impressionism movements. But this piece in particular seems antithetical to that school of thought: it hides the brushstrokes, emphasizes the shadows in the gaps between fingers, and presents the subject as clearly distinct from the background.^(2) This painting highlights the hands alone, in stark contrast to Impressionist artists like Monet, who preferred the totality of the scene. It’s a bit of a liberal interpretation, but to me it makes clear that Gujou is hyperfocused on that romantic gesture of handholding as opposed to appreciating everything as a whole. Perhaps a red flag about how Gujou approaches her love for an idealized Ibuki. 

Next, the cast explores a visiting exhibition, which looks inspired by color field painting. Popularized by artists like Mark Rothko, this art style is characterized by large planes of flat, solid color to evoke raw emotions without the assistance of forms or symbols.^(3,4) While Gujou wanders the exhibit, these vibrant red paintings constantly catch the viewer’s eyes. They reflect the passionate yet unrequited love she feels towards Ibuki and how that inner turmoil overwhelms her. Meanwhile, Chin-lan is frequently placed in front of the same style of painting but in cool blues. Not only does this foreshadow their later conversation, in which Chin-lan encourages Gujou to join her at a metaphorical sea, but it also contrasts with the more intense and painful feelings that are tied to the red paintings. Rothko famously noted how people have wept upon seeing his works because they reflect the most basic and relatable emotions back at them. And the audience can see that phenomenon in action as Gujou falls apart amidst these fields of red.  

While the color field paintings were fairly easy to deduce, I did have to rely on some “support mechanisms” to better comprehend the other artwork discussed in this episode of Botan. While I’m okay with that, Gujou would go on to bemoan her need for support mechanisms, conflating her ability to decipher art with her understanding of Ibuki. No matter what she reads or what she learns, she’ll never “get” Ibuki like Botan does. This short escapade to the Pola Museum of art captures the highs and lows of Gujou’s tragic love life through its wide assortment of Impressionist and non-Impressionist art. 

References:

[1] Pola Museum of Art, www.polamuseum.or.jp/en/. 

[2] “Impressionism: Art and Modernity.” The Metropolitan Museum of Art, www.metmuseum.org/essays/impressionism-art-and-modernity. 

[3] “Mark Rothko.” The Museum of Modern Art, www.moma.org/artists/5047-mark-rothko. 

[4] “Mark Rothko’s Color Fields.” Teravarna, www.teravarna.com/post/mark-rothko-s-color-fields. 

Sekai Saikyou no Kouei, episode 1

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