This Week in Anime
Looking Back
by Lucas DeRuyter & Steve Jones,
Steve and Lucas discuss creator Tatsuki Fujimoto and director Kiyotaka Oshiyama's Look Back film in all of its heartbreaking glory.
Disclaimer: The views and opinions expressed by the participants in this chatlog are not the views of Anime News Network.
Spoiler Warning for discussion of the series ahead.
Look Back is streaming on Amazon Prime.
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Steve
Lucas, I don't know about you, but I sure have been wearing this exact expression quite a bit during the past week's worth of posts and news updates.
Ironically, though, rewatching Look Back gave my facial muscles some sorely needed respite. Instead of grimacing, it let me focus on crying! Problem solved!
Lucas, I don't know about you, but I sure have been wearing this exact expression quite a bit during the past week's worth of posts and news updates.
Ironically, though, rewatching Look Back gave my facial muscles some sorely needed respite. Instead of grimacing, it let me focus on crying! Problem solved!
Lucas
I want to agree with you, Steve, but it depends on if tear ducts are face muscles. Either way, the Look Back (short?) film had me tearing up every few minutes!
I'm not sure if it's Tatsuki Fujimoto's best work, but as someone who aspires to earn the acknowledgment and respect of the people who inspire me to be better at my chosen crafts, Look Back hits me where I live!!!
I want to agree with you, Steve, but it depends on if tear ducts are face muscles. Either way, the Look Back (short?) film had me tearing up every few minutes!
I'm not sure if it's Tatsuki Fujimoto's best work, but as someone who aspires to earn the acknowledgment and respect of the people who inspire me to be better at my chosen crafts, Look Back hits me where I live!!!
Like most people, I was introduced to the wild world of Fujimoto through Chainsaw Man. And I only realized just how wild it was when I trekked back through Fire Punch. But Look Back (the manga) made me realize he had even more layers to him. He could apply his quirks and pet themes to something a little more grounded that still didn't pull its punches. It was an eye-opener (and not just because of the tear duct thing).
Oh God, don't get me started on Fire Punch, which is about the best version of an angsty, socially critical opening that any artist can have to their career! But yes, Look Back definitely demonstrated that his work is successful because of more than just its shock value, and I think the success of the original manga was a big factor in Viz publishing collections of his one-shots.
Yeah, both of those are so interesting! They're messier works—unsurprising given that some of them were probably made when he was a teenager—but they're an invaluable look into his progression as an artist. I feel like we rarely get so extensive a peek into the past and development of most contemporary mangaka. And that's even if you ignore the potentially autobiographical elements of Look Back.
The FLAGRENCY with which Look Back references Fujimoto's career and other works never failed to get a laugh out of me.
Outside of asking Fujimoto directly, it's impossible to know how autobiographical the early parts of Look Back are, but it's the universality of this experience that makes me like it so much. I don't think a career making manga is in the cards for me, but my life is so much better thanks to all of the connections I've made thanks to my writing, and I feel like I'm still working to be as good of a writer as I can be. Look Back perfectly captures the fulfillment people get in their lives from dedicating a part of it to a creative pursuit.
Outside of asking Fujimoto directly, it's impossible to know how autobiographical the early parts of Look Back are, but it's the universality of this experience that makes me like it so much. I don't think a career making manga is in the cards for me, but my life is so much better thanks to all of the connections I've made thanks to my writing, and I feel like I'm still working to be as good of a writer as I can be. Look Back perfectly captures the fulfillment people get in their lives from dedicating a part of it to a creative pursuit.
Oh, I couldn't draw my way out of a paper bag. I got one of those "How To Draw Manga" guides at a Scholastic book fair once and rather quickly concluded that it wasn't the life for me. But I've nonetheless always been a little envious of the artists who nurtured their talent, which is another universal experience that Look Back tackles well.
I mean, it goes for writing too. Sometimes I read a sentence someone else wrote and go, "oh geez what am I even doing here? I could never." But like Fujino, I've (mostly) learned how to turn that frustration into fuel.
I mean, it goes for writing too. Sometimes I read a sentence someone else wrote and go, "oh geez what am I even doing here? I could never." But like Fujino, I've (mostly) learned how to turn that frustration into fuel.
The opening half of this anime is so sweet and relatable. Fujino and Kyomoto having the best day that two middle schoolers can imagine and realizing that they only spent like 50 bucks is so heartwarming and affecting to me. If I have to nitpick this work, though, I'd say the back half loses some steam, but I imagine the Kyoto Animation arson attack that influences story development hits a lot harder for creatives working in Japan.
You're not alone there. The "twist" is probably the most common point of contention I've seen in criticism of the manga and its adaptation. But I think the story needs it. It wouldn't be Fujimoto otherwise.
Yeaaaah~ If it doesn't get at least a little dark and address some deep-seated human anxieties, it ain't a Fujimoto joint!
And, just like with Mokoto Shinkai's Suzume and the way it draws upon people's grief over the 2011 Tōhoku earthquake and tsunami, I have to respect how Look Back is very clearly a communal act of processing and grieving over the Kyoto Animation arson attack.
And, just like with Mokoto Shinkai's Suzume and the way it draws upon people's grief over the 2011 Tōhoku earthquake and tsunami, I have to respect how Look Back is very clearly a communal act of processing and grieving over the Kyoto Animation arson attack.
If I recall correctly, I don't think Fujimoto ever "officially" acknowledged the arson as inspiration, but I think pretty much everyone connected those dots themselves. Also, interestingly, some dialogue in the manga was changed shortly after publication to lessen the resemblance to the KyoAni arsonist. The movie dialogue references the accusation of plagiarism again, though, so maybe the increased distance from the attack made the production more comfortable referencing it more directly.
Oh yeah! I remember that development, and I think it's how I first learned that the U.S. and Japan have some cultural differences between the "acceptable" ways for art to reference real-world events and tragedies.
Though, speaking of changes between (different versions of) the manga and the anime, what did you think of how the Look Back anime adapted Fujimoto's manga?
Though, speaking of changes between (different versions of) the manga and the anime, what did you think of how the Look Back anime adapted Fujimoto's manga?
In two words: loved it! Kiyotaka Oshiyama is one of my anime GOATs, and he's exactly the kind of hands-on madman perfect for tackling a story as offbeat and personal as this one.
The skipping scene you posted there is a great example. Fujimoto lands that moment with a huge two-page spread, but you can't do that in a film. Oshiyama, therefore, opens up the scene with a lengthy and utterly joyous sequence of animation.
I also just noticed this, but Fujino actually rises higher and higher in the frame between the cuts in the buildup to that scene. Very smart!
As I read more manga and watch more anime, I'm increasingly of the opinion that the better a work takes advantage of the affordances of one medium, the harder it is to adapt it to the other. Fujimoto really understands the strong points of manga as an artistic medium and fills his work with loads of "in-between action" panels that feel more personal and immediate because you don't see them in other kinds of art often. They also translate terribly to the more fluid medium of anime, so Kiyotaka Oshiyama and Studio Durian are absolutely correct to put their own, thematically appropriate, spin on it.
At the very least, they do a better job than MAPPA did at adapting Chainsaw Man's first couple of arcs. Which, btw, are we as a society finally ready to grapple with the fact that MAPPA simply did not understand the assignment with that project???
At the very least, they do a better job than MAPPA did at adapting Chainsaw Man's first couple of arcs. Which, btw, are we as a society finally ready to grapple with the fact that MAPPA simply did not understand the assignment with that project???
I'm gonna disagree with you there! I'd say Fujimoto's major strengths as a mangaka are his paneling and his cinematic sense of pacing/scene construction, and Ryū Nakayama homed in on the latter with the anime adaptation. The muted, movie-like naturalism paid homage to Chainsaw Man's influences and also lent some extra gravitas to certain key moments. I think it was orthogonal to most people's expectations, given the madcap energy of the manga, but like you said, a good adaptation puts its own spin on things.
Oshiyama takes a much different tack with Look Back, but that's also with purpose. He leans into the roughness of the story and its subjects and has a lot of fun doing so. I think we're lucky to have two Fujimoto adaptations with so much personality and variety between them.
Oshiyama takes a much different tack with Look Back, but that's also with purpose. He leans into the roughness of the story and its subjects and has a lot of fun doing so. I think we're lucky to have two Fujimoto adaptations with so much personality and variety between them.
Haha, I think we might have stumbled into a future TWIA topic! I'll admit that the CSM anime is clearly the product of a lot of hardworking and talented people, but I think the manga's grindhouse visual direction and less-produced action sequences are a big part of the series' appeal and identity. Then again, I'll be suspicious of any adaptation that nixes an inoffensive reference to labor unions.
But, you're right, that early animation sequence of Fujino's comic strip was a delight! My only semi-critique of the Look Back anime is that I think it's weird that they change the exercise ball she sits on at her desk to a chair! I'd love to know the reason for that change. Is sitting on those not actually better for your back and core muscles???
But, you're right, that early animation sequence of Fujino's comic strip was a delight! My only semi-critique of the Look Back anime is that I think it's weird that they change the exercise ball she sits on at her desk to a chair! I'd love to know the reason for that change. Is sitting on those not actually better for your back and core muscles???
Now that'd be an excellent question for Oshiyama. On that note, I was lucky enough to catch Look Back during its theatrical run last month, which attached an interview with Oshiyama after the film. I wish Amazon had included it on the streaming version too, because I thought it was illuminating. One of the best points he made was about keeping the human-made imperfections in the film. Obviously, that's consistent with the story and its themes, and it's why, for example, a lot of the linework isn't cleaned up. You're supposed to be reminded of the animators and other artists who did the work behind the scenes.
I did notice those details/imperfections and absolutely LOVED them! This film displays a human touch on every level; which is probably the highest praise I can give it, or any other piece of media.
Not only that, in the same interview, he also explicitly positions the film's ethos in opposition to generative AI. That shouldn't be surprising to anybody with a functioning brain, but it was really nice to hear that in plain Japanese.
Interesting! And that's great to hear! Disregarding recent political events that might make it easier for the gen AI industry to grow, by all accounts the technology is widely abhorred and cannot find enough use cases to justify its exorbitant costs and energy consumption. I'm feeling confident that AI for creative purposes is limping towards its much-deserved death, and it'd be rad as hell if Look Back could help hammer that final nail into its coffin.
Yeah, there's no space for AI in Look Back's ultimate message, which, imo, boils down to the question posed in this single panel/frame.
It's a great question and the movie presents some damn good answers over its hour-long run, all while being equal parts hilarious and heartbreaking.
The montages with Fujino and Kyomoto working together echo their manga counterparts well, and they're probably the places where haruka nakamura's soundtrack does its best work. And, in that metatextual sense, this is a factor where the film becomes an even stronger example of the story's message. Manga is collaborative, but anime is even more so. Creators and artists of all kinds have to come together to make an anime work.
I also really liked the decision to cast two young, unknown voice actors as Fujino and Kyomoto. It adds that extra layer of scrappiness and authenticity.
I also really liked the decision to cast two young, unknown voice actors as Fujino and Kyomoto. It adds that extra layer of scrappiness and authenticity.
While I think the montages worked a little better in the manga where a reader can focus on an individual panel for as long as they want to rather than at the pace the movie sets, I also think that the score was top-notch! I watched the dubbed version of the anime and Valerie Lohman and Grace Lu do a terrific job in their leading roles as well.
I enjoyed the dub, too! I liked having that option after seeing the sub in theaters. There also weren't many of these, but I did like the moments in the adaptation where it emulated manga paneling. That was a nice little nod to its origins.
Though, as we mentioned earlier, the movie isn't short on much louder homages to Fujimoto's oeuvre either.
I forget if this was in the post-movie interview or somewhere else, but Oshiyama commented that American audiences at Look Back screenings were very vocal when reacting to the Chainsaw Man references. Shocking, I know.
Though, as we mentioned earlier, the movie isn't short on much louder homages to Fujimoto's oeuvre either.
I forget if this was in the post-movie interview or somewhere else, but Oshiyama commented that American audiences at Look Back screenings were very vocal when reacting to the Chainsaw Man references. Shocking, I know.
Lmao! I totally believe that! And while I definitely got a kick out of the fictional Shark Kick being a pretty on-the-nose amalgamation of Fire Punch and Chainsaw Man, the fraction of a second reference we got for Goodbye, Eri got me the most riled up!
Someone make that Fujimoto one-shot a movie next! We need it more than ever in the digital media age, with people apparently becoming more disconnected from their emotions and other people than ever. Also, I personally would love to see a group of professional animators take on the (extremely) student film the the story opens with.
Someone make that Fujimoto one-shot a movie next! We need it more than ever in the digital media age, with people apparently becoming more disconnected from their emotions and other people than ever. Also, I personally would love to see a group of professional animators take on the (extremely) student film the the story opens with.
I'm optimistic that Look Back's critical and (I'm assuming) commercial success should open the door for Eri down the line. And just for the record, I'm happy to report my theater wasn't obnoxious at all when I saw it. It was an almost fully packed house, and I don't think there was a dry eye to be found when those credits rolled.
On a personal note, I ended up watching Look Back about two weeks after Nick passed away. As a story about being motivated and finding meaning through the process of creating something with another person, for other people, it hit me even harder then than the first time I read the manga. I think that's the ultimate testament to this adaptation. It's gonna stay with me for a long time. As it should.
On a personal note, I ended up watching Look Back about two weeks after Nick passed away. As a story about being motivated and finding meaning through the process of creating something with another person, for other people, it hit me even harder then than the first time I read the manga. I think that's the ultimate testament to this adaptation. It's gonna stay with me for a long time. As it should.
I completely understand where you're coming from. I don't often look to the media I consume for validation, but I'm even more confident in my life and career choices after reading the Look Back comic and watching the Look Back anime. I think this movie will resonate with everyone but, especially if you're a person who cares about developing your chosen craft and connecting with others through it, I cannot recommend this story enough.
And we'll be back when the inevitable second season of Shark Kick drops.
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