Starting with Exaggerated Movements
A short retrospective before get into the verily of abstract line in The Tatami Galaxy. Artists, writers, and authors also use abstract art forms in a particular medium to effectively express meaning. In addition to being the most common medium in the modern age, anime is an excellent example. Many human readings surpass the standards of reality through eyes, bodies, movements, and narrative performance. However, visibility and exposition on expressing or displaying a genre can be demonstrated using these methods. In answer to reality, anime uses peculiar abstract icons and produces new linguistics by declining the traditional culture without removing the meaning of its identity at the beginning.
Akira Kurosawa has introduced an exaggerated way to describe a character in movements, surroundings, situations, and essence. On the other hand, Jan Baetens explains how a comic’s narrative is a deductive approach. Narrative instantiations are under strain with fiat cross-fertilization possibilities and restrict their importance in general. The image becomes an applied concept by simplifying it in which the perception is pleasant. It is a rough term for indulgence.
Masaaki Yuasa and the Counterpart View
Masaaki Yuasa is one of the greatest and quintessential names besides Eiichi Yamamoto, Katsuhiro Otomo, Satoshi Kon, and Shinichirō Watanabe. They influence such techniques. Keep Your Hands Off Eizouken! success in showing Yuasa’s stigma never abandons his identity in organizing a new way of presenting and implementing anime. The Tatami Galaxy, in contrast to its verily of abstract line, is also an animation with more abstraction methods, symbols, context from a distorted yet prejudicial view of the protagonist, and Japanese parallels in literature for the cause of irony.
Personally, The Tatami Galaxy is a mystery and psychology anime with a bit of romance. Yuasa also directed Ping Pong the Animation, the phenomenal one. No wonder the two anime have the same uniqueness, especially in their artwork. The Tatami Galaxy can be interpreted as always facing two or more choices in everyday life. Anytime whether everyone accepts or rejects it, it might end with a happy ending. However, it is only temporary if it refuses and leads to the opposite. In contrast, there are many ways to interpret how The Tatami Galaxy works.
The Tatami Galaxy tells about Watashi, a single person who wants to live his college life with a beautiful tale. However, it is not what the protagonist hopes for. There is one chance to repeat his life. At first, it is a series about college days but ends with regrets. Apart from always seeing repeated scenes where the shades are castella cake, ramen shop, granny fortune teller, and organization, The Tatami Galaxy is like a literal journey of time to the verily of abstract line.
The Literal Haze
In traditional media, The Tatami Galaxy’s prospect is an unknown protagonist—taking David Fincher’s Fight Club new possibilities and occurrences, but differs from the additional one. A permanent anecdote has been the unidentified protagonist or Watashi in a formal account. It was clear whether the perspective was contaminated by part of what the audience was seeing. When he speaks of discovering college life in colored pigments, pink fills the world and considers humanity in literal pixels. Everything turns red when he is intoxicated. His motions are a shirker and more vapor; when he isolates himself from his crush, everything becomes a cob, though it represents uncertainty and enthusiasm.
In the first five episodes, The Tatami Galaxy revolves around the protagonist’s efforts to follow a different organization in each episode but results in the same failure yet verily of abstract line. Simultaneously, the audience who wants to enjoy the storyline with a whole twist might feel disappointed at the formula, especially how Watashi’s behavior never learns from his mistakes, making him anxious. However, Watashi’s perspective is because he technically never experienced anything other than just witnessing a possibility from Watashi’s way of life. From the tennis club, cinematography, literature, bicycles, to studying at his seniors to do fun, it still has the same end, namely less satisfaction over two years of college.
Watashi as the First-Person Character
The world around Watashi changes as the story progresses to change its understanding of the framework. Watashi enrolled in the film circle and found his artistic vision smothered by the president of the process, Jougasaki. Likewise, Watashi reminded him of greedy people and rulers with his first experiences with Jougasaki. The visuals were modified to adhere to the view of Watashi. When Jougasaki spoke to the members of the circle, they used military uniforms. At comical moments, his expression becomes unusual and unlike him. Yuasa introduces Jougasaki from the point of view of Watashi, where a stretcher leads him to preach. He was drunk, and two men accompanied him.
There is an essential point in the story where the minor elements, one of them is the castella cake, never change. The ending is always the same, where Watashi considers Akashi to be the “final destination” of the story’s limitation. However, the protagonist knows that he never really realized that his life was not so gloomy. It also took many words to describe how dire the situation was in his life is one proof, but not many people met their juniors intimate enough to promise. Apart from having big ambitions to fight Jougasaki’s perversion, does he want to be above being selfish again?
The Two-Dimensional Concept
The Tatami Galaxy is an obscure fairy tale, but all the characters’ prejudices are immediately understood. Each episode is anthological, with the story standing alone following the same overall template. However, after making a different decision, it follows Watashi. Put it like video games, especially visual novels, where all decisions are meaningful. Every episode has its own unique but succinct ideas and metaphors to convey the issue. Just as the best abstract symbols are, the protagonist’s meeting becomes a two-dimensional concept from several points of view, making it easy to understand.
Yuasa lets everyone feel more genuine and stresses the message of The Tatami Galaxy. Since he has only one viewpoint, from which he sees them for every episode, Watashi sees others differently. The picture reveals an apparent persona in the prejudicial attitude of Watashi. In later episodes, the absence of other personalities indicates how Jougasaki saw him as a tyrant, as before in a movie circle. When Watashi encounters Jougasaki in different situations, his description’s ugly portrait is missed in another episode. The characters do not alter whether it prepares for sporting matches, marionettes, or even proxy fighting, but the lens forms a new viewpoint inside it.
Pulling Down the Dynamism
In the last two episodes, the abstraction techniques Yuasa stressed from the very beginning showed abstract intentions and life. The Tatami Galaxy explicitly demonstrates the aim of picking an abstract and iconic art style. Watching Watashi walk from universe to universe, he became aware of all viewpoints’ limits on his choice in each galaxy. Two-dimensional pictures of Jougasaki gradually represent three dimensions until it becomes possible for the viewer to see the appearances in every episode, back to the dynamic, complicated starting point, which has no common ground from the start.
Watashi reevaluated his mind and views on Ozu, the unwelcome antagonist. Ozu is depicted in the series as a mysterious yet almost supernatural character. He is an alien, an outsider, or a demon in a particular part, in contradiction. However, Watashi could eventually crack the veil of his preference to realize who Ozu was as a human. He enjoyed it, particularly when Watashi again met Ozu; at last, he saw him as he was. There are no distinctive spicy teeth, and he has both a gentle face and personality. Watashi did this in a catastrophic and antagonistic way when he encountered Ozu one last time in the end. When Ozu questioned why Watashi was so drawn to him, he took the previous characteristics of Ozu and echoed a view of passion. Watashi understands his friendship with Ozu. As a result, Ozu had to regard him the other way round.
The Idiosyncratic Sight
Ironically, Watashi reflects most people and the writer’s personal experience, especially teens who have just graduated from school and cannot wait to become college students. This kind of tale is more entertaining and not that bad either. However, maybe, everyone is destined to be what they really can be, talking about waiting to be accepted. On the other hand, most of them, again, have a fantastic ending. There are lots of questions. What can be done? Is it about excusing the opportunity or having to create your chance to achieve a hallucination? It is absurd to think about, and it might even be; after all, everyone is Watashi entirely.
Recognizing the Surrealism
The Tatami Galaxy allows the audience to project in an abstract art style as a sign of perception into the cosmos, integrating the way people see before reorganizing and shifting viewpoints from scratch to from the beginning. To draw attention to the uncommon part, it takes the general human nature of tending to generalize everything in simplistic terms, primarily from the point of view of its sinful nature. It leads rapidly to the generation of prejudice and is an obstacle to preventing further information.
The art style of abstraction often facilitates the protagonist’s use of the symbol, making himself a character for the entire universe’s self-project and viewing. Finally, it produces a meaningful universe. However, only the foundation of truth is a part of the novel’s whole world, confined and distorted. The Tatami Galaxy urges a viewpoint for freedom where all dimensions are simple to grasp and abbreviate, apart from being surreal.
- Baetens, J. (2008). Graphic novels: literature without text?. English Language Notes, 46(2), 77-88.
- Bobduh. (2013). The Tatami Galaxy or: How I Learned to Stop Worrying and Love the Ride. Wrong Every Time.
- Cannon, W. M. (2017). Symbology and Abstraction in The Tatami Galaxy. Wave Motion Cannon.
- López, A. H. (2018). Colour and Symbolism in the Anime. Japanese Animation as a Means of Artistic Expression. CUICIID 2018, 105.