[flv:Ore_no_Imouto_ga_Konnani_Kawaii_Wake_ga_Nai_OP6.mp4 512 288]
「俺の妹がこんなにアニメ化なわけがない」 (Ore no Imouto ga Konnani Anime-ka na Wake ga Nai)
“There’s No Way My Sister is Getting An Anime Adaptation”
There wasn’t a whole lot of interaction between Kousaka siblings this episode, but the way that Kyousuke continues to go out on a limb for Kirino even without her knowing about it never ceases to amaze me. In fact, it’s gotten to the point that Kuroneko even wishes she had an older brother like him, which goes to show that just about everyone’s taken notice to his constant sacrifices for her. At this point, I’m really starting to wonder if the effect of this series is two-fold — to make older brothers treat their younger sisters better and to get younger sisters to appreciate their older brothers more. Either way, it’s promoting some sort of sibling bond of the non-incestuous kind and that’s never a bad thing. In Kyousuke’s case, I still get the impression that he realizes that Kirino’s a good girl who just has difficulty showing the appreciative side of her. She’s kind of whiny, spoiled, and always has to have her way, and even though Kyousuke says he hates her, his actions clearly indicate otherwise much like they did here when he stood up for Kirino’s novel that was getting an anime adaptation. However, this week wasn’t only about Kyousuke pleading on Kirino’s behalf, as we also got an anime version of the business politics that go into adapting a novel or a manga into an anime.
In the latter case, this is in reference to how production staff and even outside factors such as investors will ultimately dictate how an original piece of work is adapted, with potentially very little regard for the author’s wishes to see a faithful adaptation. Kirino and her earnest yet naive nature gets a taste of that first hand when her manager Iori Fate Setsuna (Itou Shizuka) has her meet with the director, screenwriter, and producers interested in adapting her “Mai City” 「妹都市」 novel into an anime. This pertains to how she created a memo for every detail on how she would like to see her work adapted, right down to the character designers she wants, opening and ending themes, and seiyuu to play each of the characters. As a result, she came off as a fan-crazed middle schooler who was getting the chance of a lifetime and could barely contain her excitement. That enthusiasm was unfortunately met with people who had been in the business for a long time and may have lost sight of the passion for anime production seen in Kirino, to the point where they were hitting her with the “reality bat” and urging her to change the main character to a male one to appeal to target audiences. That was like the dagger in the heart to Kirino and what led to her ever-so-reliable brother Kyousuke stepping in and pleading on his hands and knees for them to reconsider.
I think the most admirable part of Kyousuke is that he does whatever he can within his power to help Kirino and thinks rationally through it. Unlike Kuroneko who admitted that it’s vexing to have something like Mai City adapted into an anime and felt that the studio and everyone adapting it should go out of business, Kyousuke stuck to just begging them to reconsider retaining Kirino’s original work as faithfully as they can and not disillusion his sister with the business side of the anime industry. Ultimately, that’s what did get through to them, including the screenwriter whom Kuroneko hit very close to home by questioning what gives them the right to say how something should be when they’re probably unsuccessful authors themselves. Regardless, I have to give it to Kuroneko for saying it exactly how it is about disliking Kirino’s novel and taking enjoyment when the staff dissected her work and changing it on their own accord, yet still be objective enough to say that she hates this side of the business where the staff thinks they know what’s best for everyone without being scrutinized themselves. I just loved how she spoke her mind against business politics, which really set the tone when Kyousuke explained that they may just see Kirino as a business partner but he still sees her as a sister who’s given it her all writing this novel, before begging them to hear her out. With the music going, I admittedly felt a bit choked up watching that scene.
To lighten the mood afterward, it was nice to hear Kuroneko question if Kyousuke’s a siscon or a masochist to go to these lengths for such an unappreciative girl like Kirino. They were questions that just had to be asked at some point, despite how it was obvious that he would deny being either. As for Kirino, she never does find out why the production staff suddenly started listening to her input — nor how her series was only green-lit because some other series was cancelled — but the bigger thing of interest is how she needs one last life consultation from Kyousuke. Could this be the end of a beautiful sibling relationship? Probably not, but it still made for a decent cliffhanger.
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