Kemono no Souja Erin (The Beast Player Erin)

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Kemono no Souja Erin (The Beast Player Erin), is a surprising anime. Not in the way it looks or sounds, or in any aspect of it’s production. Not even because of it’s story or characters (which are wonderfully by the way). No, it’s surprising for being the most recent example of a genre that is slowly disappearing in anime.

Many people will be confused by that statement, especially as the show is very clearly labelled and marketed as a children’s series, and as everyone knows, kids shows are rife in anime. The problem, however, doesn’t lie in the fact that this series was initially aimed at children, no, it lies in the fact that this is one of those rare anime where age boundaries are no longer relevant.

The majority of people may not consider that to be a problem, however one should remember that whenever a series is labelled as a kid’s show, the majority of older audiences will automatically avoid it, regardless of how good it is (and before you ask, yes, I have done this too).

Kemono no Souja Erin is based on a series of light novels by Uehashi Nahoko, a name that fans of Seirei no Moribito should recognise. Directed by Hamana Takayuki (Toshokan Sensou, Sisters of Wellber, Chocolate Underground), the anime adaptation, like Seirei no Moribito, follows the plot of the light novels as much as possible.

The story is about a 10 year old girl with green eyes called Erin. She lives with her mother Soyon in Ake Village, a place where creatures called Touda (large, lizard-like animals with horns), are bred, reared and cared for. Soyon works as a “beastinarian”, and is considered by many in the village as the best, and Erin, who is a quick learner and very clever, wants nothing more than to follow in her mother’s footsteps.

Fate, however, is a cruel mistress.

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Picturesque village, close to major travel routes, perfect for commuting by giant lizard.

This series is truly remarkable in several aspects, not the least of which are the scope and complexity of the plot and the huge amount of detail in the story. At 50 episodes though, it’s not surprising that the series would have a good deal more depth than the norm, however in this case the fact that the show is based on a series of books also plays a major part. The story itself covers a number of disparate, seemingly unconnected, threads and, as the plot progresses, these are deftly woven together to create a tale the likes of which hasn’t been seen in anime since the advent of The Twelve Kingdoms.

Now one would think that an adaptation of a novel would feature some decent writing, and Kemono no  Souja Erin is no slouch in this department. The pacing and dialogue are all exceptionally well handled, and the plot is allowed to flow rather than to stop and start. That said, there are some recap episodes scattered throughout the series, however rather than simply being a simple cut and paste episode, there has been a conscious effort to include these as part of the narrative.

And speaking of narratives…

One big surprise while watching this series (at least for me), was the narration of the story. Throughout each episode there is a voice over providing summaries of certain events and occurrences, both historical and otherwise, however it’s the style of the narration that is surprising as, at times, it can make one feel like they’re listening to a fireside fairytale rather than watching an anime.

One of the sticking points for many people is the look of the series. Goto Takayuki’s character designs, while being charming and expressive, reinforce the perception that this is simply a kid’s show due to their simplicity. The backgrounds and settings are unusual in that the series adopts a simplistic, yet stylised, approach, giving the anime the feel of a picture-book for the most part.

The animation throughout the show is very good, and both characters and creatures move in a very natural manner. There is also a small amount of cel shaded CG in the show (they just couldn’t resist – it’s a Production I.G. series after all), however this is limited to the Touda and Beast Lords. There are also some extremely good visual effects throughout the series, especially where creatures are concerned, and these add to the quasi-mystical element of the series as a whole.

One unusual aspect of the visuals is the artwork, and by this I don’t mean the backgrounds. While Kemono no Souja Erin is marketed as a children’s show, some of the artwork, while being stylised, is actually quite graphic at times. Violent scenes are sometimes depicted in a manner similar to animated cave paintings or aboriginal works, however there are also occasions when death and violence are shown in a straightforward, no nonsense manner.


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Still think this is just for kids?

I’ve heard it said that this series is sanitised in certain respects in order to appeal to children more, however I have to disagree with this argument. The depiction of how the kingdom of Ophalon fell is, by the standards of any kids show, very graphic indeed.

In terms of sound and music, both are very good throughout the series. The show makes great use of aural effects, from the crooning and growls of Beast Lords, to the rumbles and whistling screams of the Touda. The effects provide the anime with a depth that is often missing from other “kid’s shows”, making the world more alive, more real.

The voice acting throughout the series is exceptional, with the biggest plaudits going to newcomer Hoshii Nanase. Her portrayal of Erin possessed a charm and brevity that is surprising given that this is her only anime role. The rest of the cast, all of whom are experienced seiyuu, are equally as good, which makes Hoshii’s achievement all the more impressive. As far as seiyuu go, one can fairly expect good things from her in the future.

Kemono no Souja Erin is one of those shows that not only uses music as an emotive tool, but also as an integral part of the story. Thematically the music ranges from some rock style guitar tracks to melodic piano and harp pieces, with a number of different styles and renditions used throughout. While this may seem like a haphazard approach, the wide variety of tracks available works extremely well throughout the series, often enhancing the mood in an extremely subtle manner.

One key thing about the music though, is the OP and ED, as the series has two of each. The OP  for the entire series is called “Shizuku”, and from the beginning up to episode 30 the track is performed by Sukima Switch. From episode 31 though, the track is then performed Hajime Chitose, and adopts more of a kabuki style than the previous Peruvian flavour. The first ED, “After the Rain” by Cossami, is an upbeat, yet slightly bittersweet, ode that has a distinctly childlike feel to it. However, from episode 30 onwards the ED changes to “Kitto Tsutaete” by Takako Matsu, a track that is both more melodic and more mature. This change is actually significant in terms of the series, and not something that has occurred on a whim, and by the time you reach episode 31 you’ll understand why the ED was changed before the OP.


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The simple life of Soyon and Erin

As for the characters, suffice to say that Kemono no Souja Erin has some of the best development I’ve seen of a main character in anime. While the majority of characters are developed to greater or lesser degrees, the show is focused on Erin in particular, and her growth from a ten year old girl to a mature young woman is handled in a sensitive and realistic manner. Granted the series has periodic time leaps and some episodes focus on other characters, but these are very minor deviations from what is effectively a continuously developed character. I haven’t seen this much concerted growth of one character, well, ever to be honest, and that’s part of the beauty of the show. The fact that it devotes so much time and care to Erin, but doesn’t ignore the other characters in favour of this, makes for a character that you can truly care about.

One thing that did standout for me though, was the amount of symbolism ascribed to each of the major characters. The Queen’s symbolic nature is mentioned heavily in the series, as is that of the Beast Lords and Touda. However, there is one major symbolic aspect that many people miss because it’s so obvious. Erin’s name means “wild apple”, and as everyone knows, the apple is the forbidden fruit from the tree of knowledge. When one considers Erin’s life throughout the series, her inquisitive nature, curiosity, and non-conformity make far more sense

A point about Nukku and Mokku though. While their inclusion is very much comic relief, they are noteworthy for providing Erin with a sense of continuity, and their continued presence is more to help with her development than to amuse the audience.

So don’t hate them too much please.

I will be honest and admit that I was both surprised and enthralled by Kemono no Souja Erin. The series is both charming and original, and while there is a degree of sanitisation to make it appeal to children, this never actually goes to the point where adult would be put off watching the show. The anime is adventurous and playful, yet sombre and deeply political at the same time, one of the many dichotomies and conflicting ideals that occur within the series, and it’s great to finally watch a series that harks back to those around when I was a child (e.g. The Mysterious Cities of Gold, Ulysses 31, etc). Nowadays they may not be considered decent viewing because of how they look, however those shows, like Kemono no Souja Erin, all had a deep and complex tale to tell, one that was far more mature than most would initially believe.

That said, it’s a given that some people may not enjoy this show. Fans of Seriei no Moribito should definitely try it, as both series are equally enjoyable for very different reasons. The show may also appeal to those who want something charming, yet with a little bite to it, or to those who are looking for world building in the style of Twelve Kingdoms.

A word of warning however. Younger children may not enjoy this series as even though much of the violence is stylised, the aural effects and music enhance the visuals, and all three give the imagination a good old kick. Older kids may enjoy the series though, especially as it’s one of those rare anime that doesn’t assume it’s audience is made up of morons who need everything explained to them.

This show has pretty much everything one could want from a series: politics, love, betrayal, assassination, history, religion, war, friendship, joy, sadness, terror, a touch of mysticism, and more besides.

Given the content though, I can only wonder how anyone could consider this to be simply another “kid’s show”.

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