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No Slaughter Without Laughter? Music and Genre in Japanese Popular Media

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No Slaughter Without Laughter? Music and Genre in Japanese Popular Media No Slaughter without Laughter? Music and genre in Japanese popular media Julie Mireault Department of Music Research McGill University, Montréal February 2013 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts in Musicology © Julie Mireault, 2013 TABLE OF CONTENTS TABLE OF CONTENTS 3 ABSTRACT 5 RÉSUMÉ 6 ACKNOWLEDGMENTS 7 INTRODUCTION 9 CHAPTER ONE: MUSIC IN THE VISUAL NOVEL HIGURASHI NO NAKU KORO NI 18 HIGURASHI AS A (VIDEO) GAME: DEFINITIONS 18 HIGURASHI, A MUTE SOUND NOVEL? 25 SOUND AND MUSIC IN THE SOUND NOVEL HIGURASHI NO NAKU KORO NI 28 CONCLUSION 36 CHAPTER TWO: MUSICAL GENRES IN THE GAME AND THE ANIME HIGURASHI NO NAKU KORO NI 39 THE ENDLESS REPETITION OF HIGURASHI 41 VIDEO GAME MUSIC VS ANIME MUSIC: HIGURASHI’S FIRST STORY ARC 42 CONCLUSION 53 CONCLUSION 55 BIBLIOGRAPHY 61 ANNEX 1: TRANSCRIPTIONS – VISUAL NOVEL 65 3 ANNEX 2: TRANSCRIPTIONS – ANIME 69 4 ABSTRACT In an increasingly connected world, fans of Japanese popular culture take full advantage of a system that already emphasizes links between works and media. In order to reflect this highly intertwined field, the present thesis compares two works from the same franchise, Higurashi no Naku Koro ni, a story mixing school-life drama with mystery and horror. The first chapter deals with the earliest instalment of Higurashi, a video game belonging to the visual novel genre. As visual novels are still not very common outside Japan, the chapter introduces their characteristics, as well as Higurashi’s stand within the genre. The discussion concentrates on how visual novels seem to have maintained as part of their generic code some characteristics which Western histories of video games and video game music associate with early video games. A particular focus will be put on the idea of repetition, both in the game’s narrative structure and music. The second chapter presents the results of a side-by-side analysis of the music in the video game and its anime adaptation in order to better understand what exactly are the similarities and the differences between the two installments’ use of music, and how it affects the experience of the player or viewer. The discussion focuses on the question of rhythm and its far-reaching influence on the installments’ generic diversity. 5 RÉSUMÉ Dans un monde de plus en plus interconnecté, les amateurs de culture populaire japonaise profitent d’un système qui lui-même met l’emphase sur les liens entre différents produits et média. Pour bien refléter cette toile médiatique, la présente recherche porte sur un jeu vidéo et une série animée provenant de la même franchise, Higurashi no Naku Koro ni, une histoire qui mêle vie étudiante, mystère et horreur. Le premier chapitre traite du jeu vidéo original, qui fait partie d’un genre appelé « visual novel ». Comme il s’agit encore d’un genre encore peu connu hors du Japon, le chapitre commence par une introduction du genre, pour en arriver à mieux comprendre les spécificités de Higurashi en tant que visual novel. Il sera notamment question de la place des visual novel dans le tracé habituel de l’histoire de la musique dans les jeux vidéos, avec une emphase particulière sur le thème de la répétition . Le deuxième chapitre présente les résultats d’une analyse côte-à-côte de la trame sonore du jeu vidéo et de l’animé. Elle a pour objectif de mieux comprendre les approches musicales respectives dans les deux média, et leurs effets sur le joueur ou le spectateur. La discussion s’articulera autour de la question du rythme, qui aura un impact important sur la diversité générique de chaque version de l’histoire. 6 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisor Prof. David Brackett for his infallible support and his enthusiasm towards my project. I am also grateful to the Music Research department staff at McGill’s Schulich School of Music, especially to Lloyd Whitesell and Steven Huebner, for their support and encouragement. From the East Asian Studies department, I would like to thank Prof. Thomas LaMarre for his generosity. Thanks to McGill’s Provost’s Graduate fellowship and E.J. Low-Beer Music fellowship, as well as the Social Sciences and Humanities Research Council of Canada for their financial support. As graduate school is made of human encounters, I want to thank all of my colleagues from the Music Research department, especially Mimi Haddon, Alix Haywood and Harry Thorrington for their friendship. Special thanks to Melvin Backstrom and Dana Gorzelany-Mostak for their guidance in teaching. Many thanks to the graduate students of the East Asian studies department for their welcoming me warmly, in particular Daigo Shima, Matthew Young and Fu Meng. Je remercie mes amis musicologues de l’Université de Montréal pour avoir gardé le contact. Un merci bien particulier à Marie-Hélène Benoit-Otis pour son amitié et sa confiance. Merci à Yves Lavoie et Gabrielle Gauvin pour leur intérêt envers mon travail et pour leur compréhension lors des jours difficiles. Je suis reconnaissante envers ma famille qui m’a apporté tout le soutien possible et imaginable. Enfin, je remercie Jérémie pour son appui indéfectible, sa curiosité intellectuelle contagieuse et ses encouragements constants. 8 INTRODUCTION Crystalyn Hodgkins, a writer for the website Anime News Network, reported on a special panel presented at the 2010 Sakura Con, an anime convention in Seattle: The “Anime that Scarred Me for Life” panel, which has been run for many years at Sakura-Con ... was a huge hit with attendees. The premise is simple. Attendees can line up, and when it is their turn they just talk about the anime that scarred them for life. ... The most talked-about anime at the panel? Higurashi: When They Cry. It will apparently screw you up, so don’t watch it.1 Higurashi: When They Cry is the English title for the anime Higurashi no Naku Koro ni (Kon 2006), an adaption from the video game of the same name developed by a small, independent Japanese company called 07th Expansion (2002).2 While it does include scenes of extreme violence, those are not the only reasons for Higurashi’s shock-value. For many fans and commentators, it is rather the mix of different genres that constitutes Higurashi’s particular experience: What makes Higurashi no Naku Koro ni so disturbing is that it contrasts a light-hearted childhood comedy with visually gruesome and deep psychological horror. ... The result is a very contrasting, 1 Hodgkins, Crystalyn. Day 2 - Sakura Con 2010 - Anime News Network 2010. http://www.animenewsnetwork.com/convention/2010/sakura-con/day-2, accessed February 20, 2013. 2 The original Higurashi game belongs to a video game genre called “visual novel”. Visual novels are still not very well-known to the North American or European gaming community, thus Chapter 1 will provide a presentation of the genre and its characteristics. For the moment, and for 2 The original Higurashi game belongs to a video game genre called “visual novel”. Visual novels the sake of clarity, let it be noted that the denomination “Higurashi video game” or “Higurashi are still not very well-known to the North American or European gaming community, thus Chapter 1 will provide a presentation of the genre and its characteristics. For the moment, and for the sake of clarity, let it be noted that the denomination “Higurashi video game” or “Higurashi visual novel” will refer throughout the thesis to the original visual novel for PC, and not to the games developed for PlayStation2 (2007) and Nintendo DS (2008-2010) that were subsequently released. 9 surreal anime, most notably during the murderous conclusions of the arc which then starts again very bright and sunny.3 The present research’s aim is to understand the consequences of this genre mix in musical terms not only in the anime series, but also in relation to the original installment of the story, a video game. The reason for this transmediatic study lies in the deep relationship running between different medias in the anime industry. Thomas LaMarre underlines the multiplicity of “circuits of production, distribution, and reception” (LaMarre 2009: xviii) of different media that intersect with Japanese animation: manga, film, OAV4, toys, accessories, fan art and fan fiction, to name just a few. The anime industry’s practice of connecting some of those circuits together is referred to as “media mix”. Marc Steinberg defines media mix as a popular and industry term that refers to the practice of releasing interconnected products for a wide range of media “platforms” (animation, comics, video games, theatrical films, soundtracks) and commodity types (cell phone straps, T-shirts, bags, figurines, and so on) (2009: 4). The phenomenon is better known as “media convergence” in North America. Most often, these media forms are linked together through a character or a narrative world (Steinberg 2009: 4). Steinberg posits that anime was from the 3 ONOE. Higurashi no Naku Koro ni Review – When the Cicadas Cry Review – ChetshireCatStudios.com. http://www.cheshirecatstudios.com/reviews/higurashi-no-naku-koro-ni- when-cicadas-cry/, accessed February 20, 2013. Higurashi’s plot line is divided in arcs loosely related to one another. More details on this peculiar structure will be provided later in this introduction. 4 Stands for “Original Animation Video”, an animated feature released directly on DVD, rather than being shown on TV or in theatres. 10 very start a medium that allowed the migration of texts between different media; he demonstrates this through the study of one of the earliest TV anime series, Astro Boy, and its derived merchandise, especially candies and stickers.
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