The second chapter of the completely new theatrical trilogy of the popular TV anime "Mononoke," which was broadcast on Fuji TV's late-night anime slot "Noitamina" in 2007, "Mononoke the Movie: Chapter 2: Fire Rat," was released on March 14th. The trilogy is based on the theme of the "fallacy of composition." The fallacy of composition is an economic term that means that the correct answer for an individual does not necessarily coincide with the interests of the entire group. "Mononoke the Movie" depicts the "Mononoke" that is born from the friction and discrepancy between the individual and the group, set in the Ooku. After the first chapter, "Karakasa," which revolved around the story of new maids Asa and Kame, how did they try to express the fallacy of composition in the second chapter? We asked General Director Nakamura Kenji.
◇ In this day and age where it is difficult to define what is right, the reason for depicting the fallacy of composition
"Mononoke" is a TV series derived from "Bakeneko", a part of "Ayakashi" that was broadcast on Noitamina in 2006. It is a supernatural tale of a medicine seller who faces off against a monster, and the stylish character designs and innovative visuals that combine CG processing such as the texture of washi paper became a hot topic. Director Nakamura, who worked on the TV series, wanted to create a new "Mononoke" for the new movie version. Why did he decide to make the "fallacy of composition" the theme?
"The TV version was inevitably limited by the time it took to make the film. The medicine seller is able to obtain 'form,' 'truth,' and 'reason' and pull out the demon-slaying sword, but in the TV version, the story's scope was limited to personal emotions. To put it simply, it was a microscopic story. With the movie version, viewers can watch it all at once, and by extending the film length, we can tell personal stories while also touching on social issues, depicting the discrepancies between them. In the TV version, the individual's state of mind became the emotion itself, but this time, friction occurs between the macroscopic situation and the microscopic self, and emotion is born from that. Even if the person has passed away, only their feelings remain, and these become Mononoke. We set the theme as something that could be expanded to 'individual emotions within society.' This was the rich potential of 'Mononoke' that was possible because of the length and scale of the movie version. We wanted to expand the possibilities of the 'Mononoke' format and drama in the form of a movie version."
Although the setting is Ooku, the gap between the individual and the group is relevant to the modern day. Director Nakamura said, "I think we live in a spiritual space similar to Ooku."
"The things that happen in the film are not just happening in Ooku, but are also happening in our society. We all know that a lot of things are happening within our field of vision, such as on social media. However, I don't think there are many people who can see the whole picture, including outside of that. In this age where we can connect with people on the other side of the world, there are groups of people who are similar to each other, and within those groups, troublesome problems arise that would take a long time to explain. I think 'Mononoke the Movie' is a caricature of such a world."
The story also depicts the discrepancies in the "justice" of the characters in each position, but the author says that in today's world, "it's very difficult to define what is right."
"In fact, rightness in emotional terms is the easiest to define. For example, if someone is hurt and everyone feels sorry for them, then the person who hurt them becomes the bad guy. On the other hand, if everyone thinks that the hurt person deserves it, then the hurt person becomes the bad guy. But that can really be turned around so easily. What's strange is that the facts of what's happening haven't changed, so why is it that people are ridiculed or pitied so much because of the way they're perceived? It's a shame, and everyone thinks, "Wouldn't it be better if people were a bit more calm?" Groups have emotions, but they are mainly driven by logic, so I think what's being said is that there is a huge distance between logic and emotions. It's an interpretation that adapts the fallacy of composition."
◇The moment when the individual and the group come together The Otomo Button that I want to see descend into the world today
In the second chapter, "Fire Rat," the story focuses on the intrigue and conflict between the families of the Ooku over the succession of the Emperor. The main characters are Fuki Tokita, a self-made court lady of townspeople background who is the favorite of the Emperor, and Otomo Botan, the daughter of a senior councilor. Botan and Fuki, who value discipline and balance, clash with each other.
"There are rules in the Ooku, and there are people who make those rules. But the rules and the feelings of the individuals don't always line up neatly. That's where friction arises, so it's essentially a structural issue. As for Fuki, she is bound by a dual structure of rules: the rules of the Ooku and the rules of the Elders outside. Within that structure, Fuki hits all sorts of obstacles. In the first chapter, Utayama spoke for the group in the fallacy of composition, but this time it's the Elders and Button who speak for them. However, Button gradually realises that the logic of the group she had in mind is flawed, and she starts to reject the people who are creating what she believed in - this is the change in the second chapter."
One of the key points in the second chapter is when Button, who was on the side of the group, finds the flaw in the fallacy of composition.
"Button's 'strangeness' somehow synchronizes with personal feelings. Button speaks from a high-minded perspective, for the sake of the proper running of the Ooku and the continuation of the age of peace. But for some reason, there are moments when this fits in well with Fuki, who has always been irritated while expressing his own 'feelings.' So I think that the fallacy of composition isn't always cruel, and there are probably moments when it works out well."
"However, the moments of success are short-lived," he explains.
"It breaks down easily, so it has to be fixed right away. But because everyone treasures things that once worked, they end up deteriorating, and various problems such as the effects of aging appear. That's when the living person starts to think, 'We don't need this.' As this process repeats, we slowly move towards a decent system. I think we're in a constant state of difficulty along the way. And the world can't change unless someone like Button appears every once in a while. In that sense, Buttons are amazing. I want them in the world today. I want Button to descend! (laughs)"
He says that in the second chapter, we see a glimpse of salvation from the fallacy of composition, saying, "The first chapter is about newcomers, and the second chapter is about mid-career employees. The perspective gradually rises."
Continued in interview (2).
