Japanese Title: FLCL
Related: FLCL 2 (TBR)
Similar: Excel Saga
Watched in: Japanese & English
Length: 6 episodes
- Good animation.
- LOL random!
- Haruko is annoying.
- So bloody boring.
- All noise, no substance.
- The dub is the worst. THE WORST!
I put off FLCL’s review for the longest time, but with the sequel announced, I guess death is inevitable now, so best get it over with.
Naota’s dreary life turns upside down when the mother of all annoyances, Haruko Haruhara, crashes her scooter into him and bats him with her guitar. It’s not long before a horn grows from his forehead and a robot bursts forth. Haruko and the robot take up residence in his home, against his wishes, but that’s the least of his worries with the battle over his power yet to come.
It’s hard to get a sense for FLCL without watching it. The comedy is best described as ‘LOL random’, the action as flashy yet pointless, and the metaphors as trite. FLCL masks its meagreness by throwing everything and the kitchen bin at you. With one episode’s worth of substance stretched across six, it is no wonder they filled the time with random humour and weak imagery. The inconsistent tone with no throughput line to tie it all together delivers a disjointed anime. Haruko’s sole purpose seems to be to yell spontaneously some idiocy or other, just in case coherence is trying to take a foothold. She is a contender for worst character of all time.
You will hear viewers talk of how hard it is too follow FLCL. Don’t confuse this for complexity. They refer to the lack of cohesion, not depth of ideas. Anyone would be forgiven for getting a headache from all the noise. The Tatami Galaxy is far weirder, yet has leagues more cohesion and sense.
The genius depth fans claim to find in FLCL comes from the metaphors. I hate to break it to them, but these metaphors couldn’t be more obvious. A girl slamming into (love at first sight) and giving “mouth-to-mouth” to a guy, which makes a horn (boner) grow from his forehead doesn’t take genius to figure out. Oh wow, he’s attracted to her and has a hard-on for her against all sense later, just like every other teenager – colour me shocked. My mind has expanded…
The defence for all these shows is “You don’t get it.” I don’t know why people think that any story is hard to ‘get’. I think they confuse their fascination of an art piece – often a piece that showed them something new or a new way of thinking – as some hidden genius, and if others don’t find it deep, then it must be because they haven’t seen it yet, they haven’t been enlightened to the secret genius of the artwork. No, everybody saw it, everybody got it – they had simply seen better before. “You don’t get it” is the worst defence you can use. It makes you look like a simpleton unable to justify your stance on a critique. (I’m not referring to the “It’s not your type of art” meaning of “don’t get it” – just the “you are too stupid to understand it” version. We really need to start using two different phrases.)
Even setting all the above aside, a good metaphor doesn’t require understanding to succeed. The subtext simply adds to the effect, similar to an Easter egg or a subtle call back to a previous series. If you read Moby Dick and think it’s about hunting a whale, then you can still enjoy it as a great book. See the metaphor, and it gets even better. The best metaphors enhance your experience without your knowledge. You’ll find that the way a story came together, the narrative resonance from start to finish, is brilliant yet not realise it is because of the overarching metaphor. Then a friend happens to mention it years later and it all clicks together like that final Lego piece. You didn’t see the metaphor, but you subconsciously got it.
An easy technique to analyse the weird and zany is to strip it down to the basics, to the characters and story. Do they still have complexity? No? Then all the world’s weirdness won’t save them. Yes, weirdness adds to the style, presentation, enhan— it’s the difference between some monotone bloke versus Stephen Fry narrating an audiobook. It makes a difference, perhaps enough to be entertaining, but it doesn’t fix underlying problems. The best CG doesn’t save a bad film, does it?
FLCL certainly has good ideas. You can see the same ideas of teen sexuality in Neon Genesis Evangelion and the action style went in Gurren Lagann later on. If you want the weirdness executed with control and thought, look no further than Kill la Kill. Brought together like this is just a mess, however.
Even at a mere six episodes, FLCL was a chore to finish – took four sessions. I found it boring all those years ago and I still think the same today.
Art – High
Good animation and clever shot compositions are FLCL’s only redeeming features.
Sound – Low
The script is nonsense accompanied by weak acting, and yet the dub is infinitely worse. Avoid it!
Story – Very Low
A kid’s life turns upside down when a crazy girl with a guitar hits him in the head and a robot grows from his forehead soon after. FLCL’s reliance on random humour to fill time between plot moments marks it as a show lacking in confidence and substance.
Overall Quality – Low
Recommendation: Skip it. If you must watch FLCL, don’t subject yourself to the dub.
Awards: (hover over each award to see descriptions; click award for more recipients)