Friday’s Feature: Baiting the Hook

There’s been a lot already said about the proliferation of anime, seasonal watchers, and the general idea that there’s just too much content so I’m really not going to get into that. However, in that sea of content, creators know they have to get the attention of their very fickle audience and then they have to catch us and reel us in. Mostly because seasonal watchers tend to demonstrate a number of common traits: a short attention span and limited tolerance for ‘filler’.

While previously shows have had episodes to build a world and characters, now many viewers make snap judgements with some cutting episodes before the first scene is done. Where the three episode rule used to hold true, and current narratives seem to be well aware of such a rule with more and more shows either moving a mini-climax to episode two or making episode 3 a two-parter to draw their episode back (How Not To Summon A Demon Lord), less viewers seem to actually hold to this rule these days. To be honest, they just don’t want to sink an hour of their lives into something they are ultimately going to drop.

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As such we are getting more and more first episodes and more and more characters with quite distinct traits designed to draw the audience in with the hope that then the rest of the story will hook the in for the season. While sometimes this works beautifully as the audience is dragged along on a wondrous adventure before being cut loose to go and bite some other line, other times it leaves the audience feeling like they got reeled in and left high and dry.

This isn’t exactly new. Entertainment has always been competitive and most shows have always realised they needed something to distinguish themselves from other titles. Yet in the age of streaming and simulcasts this has become more important than ever and it is starting to show in the way first arcs are feeling more and more compacted and rushed and mid-seasons are feeling a little bit empty before we escalate toward a climax.

Now, there are some obvious baiting moves. If we look at Darling in the Franxx, well we already know how they baited their hook, the glorious Zero-Two. She was such an energetic enigma of a character in the first episode. Throw in some nudity, a bit of danger, and a sense of her rebellious nature, and you have the perfect bait for a community to go crazy on social media. And so they did. I also really loved Zero-Two’s initial characterisation particularly the way they built up the idea of her being a partner killer. However, this was definitely a case of bait and switch as little came of the partner killer idea beyond the first arc and Zero-Two became a progressively less interesting character as the season continued.

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Clearly the writers knew how to grab the audience’s attention but then they didn’t know what to do with it. They’d created this perfectly researched, tantalising character, but had no message, point, or even solid arc for her to travel on. By the time she literally became a hollow shell before turning to stone while staring at the sky a lot of the love for Zero-Two had worn down and many viewers realised that they’d been hooked onto a show that ultimately didn’t suit them and what they wanted from an anime.

Other obvious baiting moves include the flash forward or flash back to some kind of massive conflict that may or may not become relevant later. The issue with this is it has been done to death and when done poorly, it mostly just eats up screen time with characters no one knows running around or shouting and there’s little reason to care what is going on (Lord of Vermilion – looking at you right now). However, this can be highly effective bait.

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Look at the opening sequence to season one of Attack on Titan. The birds slowly flying over the city to the wall where we suddenly see the titan emerging. The close ups on the character’s eyes as they widen in fear and horror. This sequence is brief enough that it doesn’t feel like wasted time and yet sensational enough to have an impact. The audience wants to know. When is this going to happen? What happens next? And fortunately, Attack on Titan knew what to do after baiting the hook. It delivered the titan by the end of the episode. No waiting an entire season just to get back to the original bait. For all that Attack on Titan might be criticised for some of its narrative choices, it knew exactly how to capture an audience and that really explains why its popularity exploded the way it did, even if the longevity of that massive fan-base wasn’t so set in stone.

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However, bait isn’t limited to first episodes. Supporting characters introduced later in their series need bait as well otherwise they get crowded out or forgotten. There are many shows where viewers would struggle to name any of the support characters even a month after the show finished its run. Yet a memorable support cast can really elevate a viewing experience.

That word memorable might be a bit of a double edge sword though with some shows simply giving characters insane designs or making them needlessly crazy but forgetting to actually characterise them in any meaningful way. The Musicians from Caligula would fit this bill. They were definitely visually distinct and yet their characters rang very hollow and ultimately I couldn’t tell you anything about any of them, except one of the guys had some complex about another guy being prettier than him. That isn’t exactly leaving an impression.

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My Hero Academia excels at building its support cast and baiting their individual story-lines so that when the main narrative turns its attention to one of these characters it doesn’t feel like filler but rather like a much anticipated story thread. Who didn’t want to know the story behind Todoroki’s scarred face? Who isn’t curious about Tokoyami’s dark shadow? And let’s be honest, if Twitter is anything to go by, Tsuyu is a character who has captured all the fan’s attention and the filler episode of season 2 was entirely a show about everyone’s beloved Froppy. These characters each have something about them that makes the audience want to know more and feel satisfied when they finally get it. They are talked about almost as much as the protagonist’s, and they are an intrinsic part of what makes the show feel like more than what the basic narrative of Midoriya becoming a hero really should warrant.

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When a show does baiting right the audience feels satisfied and happy with the experience. When the baiting is just that and there’s no substance to back it up, then the audience feels cheated. When the baiting is poorly done the audience looks at the hook and then turns away looking for something better.

Of course, that does leave us all with the question of whether or not this is going to have a positive impact on how stories are told? While grabbing a reader’s attention has always been an important goal for a story, usually there was more time to do this. As we get increasingly more gimmicky, more violent, more zany and more over the top premises clamouring for our attention (and longer and longer titles on light novels) you have to wonder where it is all going and whether we’ve already gone too far. Has narrative integrity been abandoned for a series of point in time sensational moments that will be shared on social media?

The more cynical would say yes, but that is ignoring some fairly fantastic stories that have come out in recent times. However, there is definitely a shift occurring in the way stories are presented and as always it is the audience driving this shift, whether we’re doing it intentionally or not.

Over to the readers then: What is the worst bait an anime has used to hook its audience?


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Karandi James

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Lord of Vermilion: The Crimson King Episode 4: Another Drop for the Season

I was hoping now that they’d had their exposition dump the story could actually pull itself together, but the mess that is episode 4 of Lord of Vermilion proved otherwise. Honestly, it might still get better but I think I’ve given it long enough to flounder about.

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I’m feeling this story was written by someone who never really got over the whole edgy teen stage in their life. Not that there’s necessarily anything wrong with a supernatural action piece being written for people who appreciate edgy teen drama, but it would be nice if it could at least be done competently. This episode drops us into the story after the characters clearly decided to help the church with the whole destroy Tokyo plan in order to remake the world, though Chihiro seems more just happy smashing things, a fact which the reporter kind of points out in his usual unsubtle way.

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However, during the second battle of the episode, Chihiro and the girl from the other side somehow end up in a land of white mist (as opposed to the red mist where they usually are) and they have a conversation that essentially goes in a complete circle before dialogue starts repeating (much like listening to two NPC’s in a game that are just stuck in the same loop). Then she helps him escape for reasons unclear.

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I still haven’t been given a reason to care about these characters. Despite the exposition dump last week, I still don’t even really get the nature of the conflict or what either side even wants. Delaying answers is fine and all but you have to make the audience care what the answer is. Despite my normally curious personality, I just don’t because at this point it doesn’t seem well thought out enough to be satisfactory regardless of what the answers might be.

And so, I say farewell to Lord of Vermilion.

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Lord of Vermilion: The Crimson King Episode 3: Here Comes the Exposition Dump

After refusing explanations for two straight episodes we get to the end of a fight sequence and new random character will take them to a church to find out what is going on. Enter jargon, unconfirmed motive, and yet more poor characterisation.

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Can I just ask who named the things in this show? We’ve got a heroic lineage and agents of chaos. I wonder who we are supposed to think are in the right. Then again, the heroic lineage characters are all pretty clueless and are now being directed by a church that essentially has admitted it plans on destroying the world in forty years (because that will create a new world of hope of course) so I’m kind of left with no one in this story that I actually want to succeed. There’s still a thin hope that the protagonists will strike out on their own denying both the church and the chaos guys, but from listening to the various exposition dumps it seems like everything that has happened is pretty irreversible so we may as well just accept Tokyo is done.

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All and all, the plot of this show is either a mess or incredibly simple (I guess we’ll see which way it goes) and the characters haven’t done a thing to distinguish themselves as anything other than cardboard cut outs that might have one defining trait  (report guy likes to make comments about journalism and truth, Chihiro likes to get lost in his own head and freak out). It isn’t good by any means but it might just be bad enough to be kind of entertaining provided you aren’t picky about things. That said, I’m fairly certainly this is not going to be a show I’ll be talking much about.

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Lord of Vermilion: The Crimson King Episode 2: I’ll Tell you Later, Unless You’re Dead

Yep, it is another one of those shows that mistakes poor writing and characterisation for intrigue and we’re going to have character after character just leave sentences hanging or outright deny another an explanation in order to string the audience along. Does this ever work?

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Picking up from last week we have Chihiro killing off the monster and then waking up to realise he has blood on his hands and his friend’s father (and I’m guessing his foster father) is dead. This kind of freaks him out but the spooky girl who has shown up is waiting for him to remember before she tells him anything. Doesn’t that seem kind of contradictory to you? And given that Chihiro is clearly being targeted it also seems really stupid. This is the kind of decision making that plagues these kinds of shows though and comparatively there are plenty of worse things out there, even while this remains fairly unimpressive.

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By the end of the episode about all the audience has been told is that Chihiro belongs to some bloodline of heroes and apparently so does his friend and the guy in the blue jacket wearing sunglasses clearly wants them dead and has the ability to open gates and make other people turn into monsters. Why and how have yet to be explained or anything about why everyone fell asleep or what the red mist is. These are questions that the show presented in episode one but didn’t really feel the need to address yet.

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However, by not addressing the basic questions of what is going on, this anime has left me with little reason to care about what is happening. So the bystanders can scream and clutch their heads in pain and terror right before transforming into monsters but I’ve not been given a reason to be overly concerned about whether that’s the end or not. Nor have they explained why Chihiro is so special that he was unconscious for so much longer or why some characters seem to know more about what is going on than others.

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Still, it could be worse and it might get better. Maybe I’m just clutching at straws given Chihiro is shaping up to be the worst kind of protagonist. The one who insists he can’t fight because he doesn’t want to hurt people, even as everyone is already getting hurt. At least he isn’t also a shouter. That would be the final nail in the coffin of this one.

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Karandi James

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