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I am too familiar with and well aware of the areas in which Ai Yori Aoshi may be criticized. And on an smart level I would agree. There is absolutely no purpose to Tina’s overtly perverse and extreme behavior, which was for all intent a grossly distorted crack at American conduct. Taeko may have been more amiable had the character not been a stereotypical clumsy but well-meaning goof of a beauty who is the most endowed among the cast. And Aoi is so subservient, deferring her beget wishes, ambitions and aspirations to a weakling that had abandoned her in the first region that it defies reality and suspends disbelief. And its most primary failing may be said to be its dishonesty. To inaugurate with exposition of a profound romantic premise that after four episodes takes not fair a detour, but a stout 180-degree turn to become something less and driven by slapstick and fanservice is unprejudiced deceitful and misleading. As a romantic drama, the title is guilty of all its shortcomings.
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But what if the recent intent had not been to compose a romantic drama, but to sell a product that is highly accepted among male demographics? And what if success in this business venture was to be found in illustrated literature that falls under a genre in which a harem was not only popular, but fundamental? Moreover, what if author and artist Fumizuki Kou was a skilled and gifted writer able to conceive strong situations that test his characters and thus go his readers? And, that despite his need to eat and pay rent or the mortgage, his respect for his enjoy artistry forbids him from producing entirely unsubstantial material, that he devises a opinion to bring about warmth, richness, and dimension to the product. And that he does so by setting its foundation on the treasure of two childhood friends bethrothed to one another but separated by bitter familial politics. But he would decisively and canonically attach an absorbing destiny for these two no matter who was thrown in the mix. And to highten and strengthen the dramatic impact, he would create the two in the most interesting fashion by sparsely placing throughout the series the tender, touching, lively, and interesting moments of intimacy shared between them. And as the two of them seize one another, we are exposed to their thoughts and emotions, raw in the pursuit of the other’s well being but founded on a compelling desire to be the source of nourishment to the other. Finally, their interaction would be pure, just, mutually weird, and courageously untainted by any accomplish of wanton and gratuitous sexual provacation (Tina’s antics notwithstanding) as is well-liked in today’s smut being passed off as romance. What if the noteworthy romantic elements of Ai Yori Aoshi was merely a component traditional to enrich the product belonging to a genre from which there certainly was no shortage?
This is how I understanding Ai Yori Aoshi. It is an luscious harem anime based on a handsome manga. As a harem anime, it would then be expected for one male to slay up in situations where he is living with many women. Yet, the title sets itself apart in execution, as it profoundly explores and develops that romantic component that was sorely neglected in Savor Hina and diverted away from in Tenchi. It is also ludicrous to contemplate the character of Aoi Sakuraba in light of western upbringing and not think the cultural context from which she was conceived. Whatever it is that one may say about her only demonstrates one’s set about the culture, and not fallacies about her plan. The Aoi and Kaoru moments were few indeed, but they were though-provoking and utterly appetizing, and their rareness made them all the more special when they did occur. I have nothing but the deepest affection and fondness for Ai Yori Aoshi. I’ve not seen anything as breadthly emotional in a romance, not the books I’ve read by jaded authors nor any film or video to which their efforts I ascribe superficial. This title is one that I continue to peek over and over again. If the elitist viewer can rep over him or herself, there is worthy to appreciate in this lovely production.
I must admit that when I originally watched the entire Ai Yori Aoshi series ( including the second season, Enishi ), I too felt disappointed and a dinky let down at what seems at first to be a very start ending. But following a second run-through, I better enjoy what is its essentially laid-back “slice-of-life” come. Although there are few sincere surprises in this final volume of the series, it nicely wraps the entire gang up and returns to the examination of basic feelings of the valuable characters.
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The simultaneous strength and weakness of Ai Yori Aoshi is its basis in what was at the time an ongoing manga series of the same name. Since it remains faithful to its new source, it shares the same general structure, with only a limited tinkering and shifting of station elements. That means it bounces between the sentimentality of the Aoi/Kaoru relationship and the often-manic actions of supporting characters, particularly Tina, Taeko, and Chika, with no actual primitive “destroy” in explore. Happily, in this final volume, we tune down the frenetic behaviour and return to the strong personal stories that made the first volume of the first season such a delight; and if we don’t exactly obtain a “final solution” in the produce of wedding bells ( other than in Kaoru’s dreams ) or anything else really overt, we at least gape a qualified stopping point.
For Aoi and Kaoru, the first episode on this disc provides an opportunity for potential “consummation” and to “remove their relationship to the next level”; this is as qualified as it’s ever going to accumulate - for us or them - or needs to. Having finally gotten that out of the plot, we turn to the intricacies of the relationships within their “extended family” in the mansion. Although it is Tina Foster who serves as the somewhat surprising focus of the final three-episode mini-arc, she is only a representative of intertwined bond, the “enishi” of the title, that connects all the characters. Although I would have liked to perceive more of their future antics and activities, as the saying goes, “All noble things must near to an slay”!
