KANLen09

The Heike Story, Heike Monogatari, or more objectively documented in Japanese history books as: The Tale of the Heike. No matter what you call this show, I see it as 3 words: a cult following. It's so pleasant, fresh and refreshing to watch a historical work like "The Tale of the Heike" which was already very well documented in the history books throughout centuries as an epic account throughout its many translated derivatives, and the well-known 3-person team of director Naoko Yamada, scriptwriter Reiko Yoshida, music composer Kensuke Ushio who were once stationed at KyoAni making "A Silent Voice" and "Liz and the Blue Bird" beforethe well-beloved studio's unfortunate-and-fateful arson tragedy, came together to produce this show being adapted from Hideo Furukawa's 2016 work of the same name, translated into modern Japanese. Which if you read it in context to the series of events, having to see this notable event in animated form, while it will not beat the essence of the original work, at least this show is a statement piece to add to that work. This 13th-century historical epic depicting the rise and fall of the Taira clan that's set during the Genpei War between 1180-1185, this story comes to us from a 3rd person's POV perspective of Biwa, a young girl and traveling biwa (the instrument) minstrel. And the first thing that you should be aware about Biwa is of the uncommon trope of a character that has heterochromia, which if you have watched shows like Wonder Egg Priority before, you know that there's a legit story to tell behind those pair of differently coloured eyes. And in the case of Biwa, her "origin" story is that she is the daughter of a biwa hoshi (lute priest) who got killed by guards of the Taira clan after she unintentionally insulted them, and she dresses up as a boy in order to avoid detection from the Taira assassins. Biwa is brought into the Taira clan after her blind father got killed through the help of Taira no Shigemori, the next in-line heir to the clan, in the midst of the Genpei War and needing to claim supremacy to spread the Heike name far and wide. Being the eldest son of the monk Kiyomori, the irresponsible and hard-headed leader of the Taira clan, Shigemori is a true taskmaster of what he does to keep his clan alive, no matter the hard tasks and internal strifes between family members (most especially the leader Kiyomori) in concern towards the raging war against their natural enemies, the Genji. Like Biwa, Shigemori is also heterochromic, but as opposed to Biwa foreshadowing the future with her pair of eyes, Shigemori on the other hand, can only see the spirits of the dead. But the two come together because of the fact that they're both heterochromic of seeing the future and who dies in various periods of time, and knowing Biwa's resentment on the Taira Clan for killing her father, this fact is only known in the most secret of secrecy between the two as Biwa is taken into Shigemori's family disguised as the usual orphaned child to be a companion for his wife (Tokuko) and 4 children (Koremori, Sukemori, Kiyotsune and Arimori). The fact that both Shigemori and Biwa have "merged hands" is just for one sole purpose: to avoid the downfall of the Taira clan (and simultaneously the Heike) and with the amount of foreshadowing done between the two, they make amends to save the people they know that will face death imminent at specific junctures of their lives. But don't forget that as much as Biwa can only do so much to help the loved ones around her, her main role is to serve to chronicle the events of the Taira clan's rise and fall. Playing the biwa as the events are documented through solemn song, Biwa's voice gave some atmospheric pressures thanks to her VA Aoi Yuuki, and the juxtapositions of how both the Taira clan and the Heike are slowly but surely squandered of their control provides a sense of realism for a time period that many of us would've preferred to be in just for a day, and nothing more. Truth be told, I always get goosebumps whenever Biwa plays her lute to depict the winners and losers growing towards the Genpei war, and not just for Aoi Yuuki's distinct vocal performance, but also that Kensuke Ushio's magic for BGM around those periods are the ones that you'll really feel that it hit the hardest as you see people die for glory, valor and especially not to be humiliated by a rival clan like the Genji. Remember, pride back in those days are akin to today's high-standing political positions, only that the olden days have more weight to carry people and moral with them. It's for this reason where the story really shines, and as complex as the Tale of the Heike gets with many characters, locations and motives that you will not understand if you're that type of person who likes to have a fix on the content, but it's meant to tell a much bigger story: a larger than life story that only some like Biwa have the privilege to witness while helping others out of their rut if it's possible. We are also seeing this in a 3rd person perspective, so we're also in Biwa's shoes to really see what'll happen in this epic journey of proportions unimaginable. Your mileage may vary depending on whether it makes or breaks your experience. Historical work like this, there's bound to have characters which may seem like a lot of actors running around a traditional town going places, and unless you're the type to really analyze what these characters add to the mix (I sure as hell understood), then this will also prove as a miss point to you. I have watched many historical live-action dramas that has the setting be like this (most of it are Chinese-based but it's similar), and can largely understand the adage of "too much cooks spoil the broth". But for a show that's based solely on this time period, you have to understand that there's a lot going on under the hood from royal families to ordinary townsfolk, because every fateful decision will be carried down to the people, and these decisions have serious implications to affect not tens but hundreds and thousands of people, affiliated or not. For example, taking Biwa into context as she journeys and dictates the life of a Heike, there's not one single person that is the sole cause for many to act. It's through meticulous and calculated actions to think for your own people, starting from the top-down royalty, and when pride and ego comes into the mix for characters like Kiyomori, the downfall is just as striking as the rise to fame, even if albeit a short-lived one. Everyone's decision matters, and not one character is wasted because he/she feels redundant to the entire story, which says a lot about character dynamics, especially for one rooted in the historical complex. Unsurprisingly, you should already know of the 3 names by now: Naoko Yamada, Reiko Yoshida, Kensuke Ushio. These 2 ladies and a man have very prolific portfolios of works to their name, and the departure from KyoAni to Masaaki Yuasa's studio Science SARU marks a brand new chapter where this feels like the old Madhouse standards of Masao Maruyama being flexible with his staff to do what they want to do with creative freedom. Nevertheless, The Heike Story also really glows with vibrancy and colour throughout the entire show, and since "Eizōuken ni wa Te wo Dasu na!" a.k.a "Keep Your Hands Off Eizouken!" was a significant mouthpiece for Masaaki Yuasa's studio in 2020, that excellence carries over in this show, and I can never get bored of watching visuals done the same that are made different which gives it a very unique feel of watercolour oozes. It's mouth-droppingly gorgeous, I'd say so myself. Making things better is the OST for the show, part of which I've already covered especially for Biwa's song recital tunes. Hitsuji Bungaku's OP is really good that's not worth even an episode's skip, and agraph feat. ANI's ED "unified perspective"...I don't know if you're feeling this with me, but there's a sense of duality, not just with the black-and-white visuals. It almost seems condescending to have monochrome colours to show Biwa's state of mind, and I guess the two-toned, mostly instrumental song is there to provide context of perspectives that somehow, work really well to give a ghastly vibe. Does it really hurt for me to say that I want more of the trio's work portfolio, now that The Heike Story is offically added into the list that stands alongside KyoAni's films? Hell yeah, I suppose. The consensus is that you don't just watch shows that are done by well-enough reputable people, entities or even companies, because what concerns us is the real meat of the show and its contents, and for a work that's based on a centuries-old book, The Heike Story is a story worth telling for the many generations to come, and you and I both form the cult that will spread this underrated work that has gone under the radar for time past and present. Let this story not be gone and left in the dust in the future, and I applaud Naoko Yamada, Reiko Yoshida and Kensuke Ushio for the substantial effort for this underrated anime that's one hell of a learning journey through Japanese history.

SingleH

I love Yamada Naoko, and the last thing I expected this to be was a disappointment. Think about whether or not you'd be excited to watch a light novel adaptation because its fans swore by it. Now replace “light novel” with "14th century epic chronicle,” and instead of getting an adaptation which enlivens the story, you get the screenwriters reading the SparkNotes summary of the original text out loud while periodically inserting their own headcanon at the most inopportune times and reinterpreting the setting in a similarly jarring fashion. A historical text of this nature had simply too much ground to cover, and an elevenepisode TV anime didn’t give them nearly enough time to do so. They had to juggle the half-baked emotional lives of the Taira Clan, the manufactured backstory and narrative relevance of their anime original protagonist, Biwa, and the extensive formal narration sequences stringing the story together. Needless to say, the resulting anime is a bit of a mess. What’s worse is I know this is all most likely Yamada’s own fault. A director has a team of episode directors and storyboarders on projects not because they don't want to do all the directing themselves, but because most of their time is spent being showrunners who oversee creative decision making, and it seems KyoAni's tightly knit team and the constant presence of Ishihara and Takemoto really supported her more than anyone originally thought. Deciding to add so much anime original content only to cram the rest in with it was stupid, and it quickly became clear Reiko Yoshida had no idea how to pace such an unruly source material, the likes of which she's never handled before. Anyone who hasn’t read the original text will find this rushed adaptation to be completely impenetrable. However, considering this show’s lukewarm reception even in Japan, any source material unfamiliarity which international viewers may have isn’t really the problem. The show is just plain boring, and everyone other than Biwa has the presence of a completely forgettable potato. Speaking of Biwa, this show feels like feudal Japan sanitized for the social justice generation. Yes, underage arranged marriages are bad. War is bad. Classism is bad. But these are all fundamental aspects of feudal Japanese society, and to have our obnoxious little Greta Thunberg protagonist scream in the faces of warlords about their moral bankruptcy and have them respond with goofy anime smiles and laughter instead of doling out punishment is just plain stupid. AstralBread wrote a preliminary review where he described Biwa as a protagonist who “simultaneously has zero presence [and] is a giant eyesore,” and I couldn’t have said it better myself. The story tries to prioritize a vague sense of climax towards the end, but in the early episodes, it absolutely refuses to make any necessary cuts. They’ll sideline important characters to focus on those who quickly lose relevance without even including their whole story because limited screen time didn’t allow, so what you’re inevitably left with is a bloated cast of increasingly inaccessible names and frustratingly identical faces, an anime original and out-of-place protagonist who gets inserted into plotlines she obviously has no place in, and partially developed characters with butchered backstories to whom you say goodbye shortly after meeting. The animation is usually fantastic, which is surprising considering Science Saru has always been an absolute clown show. Yuasa burned out as soon as he realized producers couldn’t be artists, and he put Eun-Young Choi in charge of the studio despite being deeply out of her depth. They hire way too many foreigners, many of whom are total amateurs and not used to Japanese work ethic, and worst of all, they take on more projects than they can realistically handle as a studio. They were doomed from the start, and up until now, they’ve been incapable of making even a ten episode anime worth a shit for Netflix, one of the richest entertainment companies on the planet. I figured there was no way they would be able to keep up with Yamada's unrealistic KyoAni standards, and the production would fall apart as soon as she failed to deal with the industry’s incompetence plaguing a project of hers for the first time in her sheltered career. However, I can’t even grant them this, because their chosen color palette is so dry and dull, the animation can look bland even when it moves well. This is yet another case where I’m forced to blame Yamada herself, because the Director of Photography, Kazuto Izumita, worked on absolutely gorgeous anime like Great Pretender, Ousama Ranking, and Rolling☆Girls, so it can’t possibly be one of those cases where the DOP wasn’t supervised closely enough by the director. She obviously had a vision, and it obviously didn’t work. It’s a respectable passion project, and it has lots of beautiful shots and impressive sequences of animation, but it’s the most style-over-substance rendition of classic literature you could possibly imagine. Thank you for reading.