Revolutionary Girl Utena

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Revolutionary Girl Utena

Revolutionary Girl Utena (Shōjo Kakumei Utena?) is a manga by Chiho Saito and anime directed by Kunihiko Ikuhara. The manga serial began in the June 1996 issue of Ciao and the anime was first broadcast in 1997. A movie, "Adolescence of Utena" (Adolescence Mokushiroku?, literally "Adolescence Apocalypse") was released in theatres in 1999. A number of stage productions based on the franchise were also produced in the mid 1990s, including the "Comedie Musicale Utena la fillette révolutionnaire", staged by an all-female Takarazuka-style cast.

The main character is Utena Tenjou, a tomboyish teenage girl who was so impressed by a kind prince in her childhood that she decided to become a prince herself (expressed in her manner of dress and personality). She attends Ohtori Academy, where she meets a student named Anthy Himemiya, a girl who is in an abusive relationship with another student. Utena fights to protect Anthy and is pulled into a series of sword duels with the members of the Student Council. Anthy is referred to as the "Rose Bride" and is given to the winner of each duel. As Anthy is thought to be the key to a coming revolution, the current champion is constantly challenged for the right to possess the Rose Bride.

While the show generally has the appearance of a magical girl series, it is also highly metaphysical and allegorical. It contains a mix of borrowed visuals from Takarazuka theater, shadow puppetry, and classic Shōjo.

The anime and manga were created simultaneously, but, despite some similarities, they progressed in different directions.

Contents 1 Composition 2 Plot summary 3 Characters 3.1 Student Council 3.2 Black Rose Duellists 4 Themes 5 Visual motifs 6 Inspirations 7 Music 8 Movie 9 Video Game 9.1 Endings 10 Theater 11 Airing outside Japan 12 See also 13 References 14 External links

Composition The Utena franchise was conceived by BePapas, a production group composed of talents from various corners of the manga and anime universe. Most notably, the 39-episode Revolutionary Girl Utena TV series was created by some of the same production staff responsible for Sailor Moon, including writer and director Kunihiko Ikuhara. Ikuhara was already well known for his role in the production of Sailor Moon, including his contributions to the highly acclaimed third season, Sailor Moon S. The member of BePapas responsible for the manga version of Utena was Chiho Saito, a well-established shojo manga author. Though she and the other members of Bepapas discussed concepts together, Saito had little influence on the direction of the anime.

Ikuhara did not conceive of the idea for the movie, Adolescence of Utena, until watching the final episodes of the television series on broadcast TV. Once again, BePapas convened to discuss concepts, and Saito would go on to create a manga adaptation of the film. The film can be interpreted either as the end of the story initiated by the TV series, or as a condensed retelling with the same themes and characters, although it goes in a very different direction. Its structure is in many ways parallel to that of the series, but the roles of the leads are subtly switched. If the television series riffs upon themes from theater and mythology, it could be said that the movie riffs upon themes from the series. Familiarity with the television series is assumed, and it is even more visually bizarre, enough so that it earned the good-natured nickname "The End Of Utena", after the similarly abstract but much less cheerful The End of Evangelion.

Another incarnation of Utena came in the form of a number of one-shot theatrical productions. The Takarazuka-style "Musical Shoujo Kakumei Utena", as known as "Comedie Musicale Utena la fillette révolutionnaire", played in 1997, and the second disc of Shōjo Kakumei Utena OST 5, Engage Toi a Mes Contes, contains many of the songs from this musical. At Animazement '00, Ikuhara was said to be working on a later musical, "Shōjo Kakumei Utena, Makai Tensei Mokushiroku hen, Reijin Nirvana Raiga". with the theatrical group Gesshoku Kageki Dan.

The English manga was serialized by VIZ Media in the Animerica Extra magazine and later published into five trade paperbacks and an additional volume for the film adaptation. Enoki Films holds the American license and called the series Ursula's Kiss. However the American distributor, Central Park Media, chose to use the original title and character names. The same dub was aired in Australia, although it was listed under Enoki Films' title name.

Plot summary The series is divided into four story arcs, in each of which Utena comes to face a different challenge at Ohtori Academy (Enoki Films calls it "Otori Junior High School"). In all of them, Utena must defend her title as the owner of the Rose Bride, with the intention of protecting Anthy. The duels always occur when someone with the rose crest ring challenges the rose champion -- no refusal is accepted. The matches occur in the dueling arena, a large, high platform in the academy's outskirts, which is only open to duelists. The Rose Bride pins roses to the Duelists' jackets. They then swordfight, until one duelist wins by knocking away the opponent's rose with his or her blade.

Student Council Saga (Seitokai Hen) Episodes 1 to 13. This first part of the series introduces Utena, Anthy, and most of the main characters. It depicts how Utena ends up winning the Rose Bride, and her initial duels against the Student Council members. They in turn insist (for various reasons) on fighting in order to win Anthy back from her. Black Rose Saga (Kurobara Hen) Episodes 14 to 24. After repelling the Student Council's attempts to take Anthy from her, Utena faces another obstacle, Souji Mikage. Disguised as a counselor, he uses his powers of persuasion and knowledge of psychology to put people under his control by coaxing them to confide their deepest hostilities and fears. He then sends them, wearing black rose crest rings on their fingers, to fight Utena. This part also introduces Akio Ohtori. Akio Ohtori Saga (Ōtori Akio Hen) Episodes 25 to 33. After solving the Mikage situation, Utena must fight each Student Council member one last time. At the same time, she finds herself the target of Akio's seduction. This creates a rift between her and Anthy. This arc is sometimes referred to by fans as the "Akio Car Arc" because the duelists are convinced to challenge Utena during a car ride with Akio. End of World Saga (Mokushiroku Hen) Episodes 34 to 39. As the conflict escalates, the dark secrets of the duels, and Akio and Anthy's true intentions behind them, are unveiled.

Characters

Utena Tenjou Utena is a tomboyish, courageous and naïve character who lives to emulate the idealized prince figure from her childhood. She is forthright, honest, and friendly, and nearly all the girls in school idolize her. She wears white rose in her duels. Anthy Himemiya A mysterious and shy girl whose sometimes vapid expression and superficial politeness seem to mask something deeper. Many people project their wants or desires onto her, and she's often the target of their eventual rage or hate. Her "doormat" behavior belies a far more complex personality. Akio Ohtori Anthy's older brother, the acting chairman of the academy. Although barely present in the first season of the show, he later plays a pivotal role in the second and third seasons. His given name derives from the Japanese name for Venus, the Morning Star, which is identified with Lucifer.

Student CouncilJuri Arisugawa The captain of the academy's fencing team, Juri is one of Ohtori's most highly respected students, and even the teachers appear to be in awe of her. However, behind her aloof, intimidating manner, she is actually very vulnerable. Miki Kaoru Miki is a highly skilled and polite seventh grader who befriends Utena, despite their role as possible opponents in the duels. A piano player par excellence. He has a crush on Anthy in the anime, but a crush on Utena in the manga. Touga Kiryuu President of the Student Council, Touga is an arrogant and handsome young man whose desire to be powerful drives him to cruel and unscrupulous deeds. However at the end of the series, he realizes his love for Utena. Nanami Kiryuu Touga's dramatic little sister, often used as comic relief throughout the series. There are frequent allusions to her incestual desire, the phrase "big brother complex" is often applied to her. Nanami makes various malicious attacks on other students, usually motivated by jealousy for Touga's attentions. Does not appear in the manga, and has a very brief appearance in the movie. Kyouichi Saionji Vice-president of the Student Council and captain of the kendo team. He is temperamental, egotistic, prone to angry rages, and often cruel, but not as conniving as other characters. Saionji is also extremely possessive of Anthy and believes that they are destined to be together. Ruka Tsuchiya A master swordsman, Ruka is former captain of the fencing team and occasional member of the Student Council. He considers Juri to be the most talented member of the club and considers himself her mentor.

Black Rose DuellistsSouji Mikage Mikage is the pink-haired head of the popular Mikage Seminar at Ohtori Academy. He wishes to kill Anthy and install a gravely ill boy, Mamiya, as the Rose Bride. Mikage believes that he can save Mamiya if he wins the duels. Kanae Ohtori Akio's fiancee, daughter of the school's Trustee Chairman. She has a strained relationship with Anthy, who she finds 'creepy and intolerable'. Kozue Kaoru Miki's twin sister, who feels overshadowed by his talent. Kozue resents Miki's affection for Anthy Himemiya and is prone to "acting out" to grab her brother's attention. Shiori Takatsuki Juri's childhood friend. Shiori left the school after stealing the man she believed to be Juri's boyfriend, leaving Juri devastated (contrary to Shiori's initial beliefs, however, Juri is hurt because of her love for Shiori). Shiori at times appears sweet and kind and at others (more in the face of Juri) will be cruel and uncaring. Mitsuru Tsuwabuki Nanami's most devoted lackey, a boy in fourth grade. He is obsessed with serving Nanami and wishes to be her adored "big brother", even going so far as to put her in danger in order to rescue her. Wakaba Shinohara Utena's best friend. Wakaba's cheerful personality makes her a very friendly person. She hides a love for Saionji. Wakaba is the reason that Utena is first drawn into the duels for Anthy. Wakaba is an energetic romantic; she will jump onto Utena's back without warning and proclaim her love for her best friend. Keiko Sonoda Keiko is one of Nanami's sidekicks, she also has a crush on Touga. She is the leader of Nanami's followers and is the spokesperson of the three and the one who slaps Anthy. Though she appears cruel and a kiss up, deep down she is insecure.

Themes

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By its plays on such archetypal figures as the Prince, the Princess, or the Witch, and by the literary symbolic role carried out by such plot elements as coffins, thorns, or castles, Utena can be seen as the quintessence of the Postmodernist fairy tale. One important aspect of Revolutionary Girl Utena is that it grabs traditional ideas and perceptions, and twists them around. For example, it is often debated-and indirectly shown, in the series- that Anthy and Utena are both the princesses of the prince who is Dios, or Akio, or both. This is a stark contrast to the generally accepted theory that princes have only one princess, whom they love and protect. Dios and Akio are both shown to be protective of Utena and Anthy, in their own way. Another example can be the splitting and the imprisonment of Dios. It is generally believed that a prince is brave and gallant, without any flaws or any evil in him, and capable of defending himself and escaping any sort of captivity. In Utena Dios is imprisoned by Anthy, and his evil side Akio creates a better impression than Dios himself, which may lead some to believe that Dios is not that noble either, though he may be so.

It should be noted that the series addresses sexual themes quite often, including incestuous desire, actual incest, and sexual abuse. While the themes are important to the plot, they are usually not explicit in the series. There is somewhat more explicit sexual imagery in the motion picture, although it is still far from pornographic. Sexuality is quite fluid in Utena; most characters are at least hinted at having both same-sex and opposite-sex attractions.

Another very important theme is about gender roles (freely chosen or socially imposed), which play a large part in the series, from its very premise in which Utena wishes to be a prince and not a princess. The omnipresence of phallic symbols, such as swords, towers, cars, and poles, and the sexual connotations of flowers contributes to these sexual themes.

Chief among the romantic relationships in Utena is that between Utena and Anthy. It is non-existent in the TV series, but ambiguous in the movie - the director has a dislike of the strong shipper tendency in fandom and even complained about Sailor Moon's leads' idealized relationship. While Utena (especially in the movie) is boyish, strong, and physically aggressive ("masculine" traits), she is more emotional and innocent than the wearily experienced Anthy.

Much of the series -- arguably, in a way the entire series -- revolves around the transition between childhood and adulthood, and all that implies, notably development of sexual feelings and identity and the loss of "innocence." Most of the characters are estranged from a loved one in their childhood, something which affects them deeply and arguably stunts them, and this relationship is often complicated or corrupted by a sexual element.

Another theme of Utena is the reinterpretation of classic shōjo themes and motifs. Examples may be seen in the failure of "heroic" male characters, Utena's refusal to become a princess (and refusal to sacrifice her femininity in order to become a 'prince'), Anthy's subversion of the demure female role, and various plays on conventions in the genre, such as the transformation of outfits and idealized notions of friendship and love.

Visual motifs

Some of Utena's architecture.The dominant motif of the entire series is the rose, which fills the decor and landscape of the Academy as well as the ritual accoutrements of the Duelists. Highly stylized, they are reminiscent of Charles Rennie Mackintosh's.

Another motif is the use of elevators, which are used as places of transition or transformation. These include the Council's elevator, the one found in Nemuro Hall (scene of the confessions in the Black Rose arc), and the one found in the final version of the dueling arena.

Cars may be considered one of the most oblique motifs seen in the series. In the anime, they appear in the third version of the dueling arena. In the final act of the movie, Utena is transformed into a car.

Repeated use of animated sequences can be seen in almost every episode, most noticeably Utena's entrance to the dueling arena. While this is usually seen in anime as a practical consideration to reduce production costs, it may also be used to reinforce certain themes.

Utena also takes the typically shōjo poses and dramatic effects intended to heighten the mood or tension of important scenes and exaggerates them, often to the point of being deliberately comedic. Examples include characters framed with spinning roses, or a dramatic scene accentuated with a baseball match in the background.

Inspirations Riyoko Ikeda's The Rose of Versailles has often been quoted as an established source of inspiration for the visual style of Utena (scenes involving sliding mirrors and unsupported staircases appear during character introspections in "The Rose of Versailles," while in "Utena" very similar scenes are part of the surreal landscape), although director Ikuhara has denied this on several occasions, including the director's commentary on the final DVD Finale of the American release. Oniisama e has been noted as an inspirational source for certain thematic elements. Osamu Tezuka's Ribon no Kishi (the story of a young princess cross-dressing as a knight) and Kanashimi no Belladonna may be other inspirations. During the duel preparation sequences, Utena's outfit changes slightly in what is perhaps a friendly parody of the magical girl genre.

The music for the Student Council is strongly reminiscent of the Toccata and Fugue in D Minor by Johann Sebastian Bach, and the Student Council's oath appears to be paraphrased from Hermann Hesse's Demian.

Ikuhara cites prolific playwright, poet, and director Shuji Terayama as a major influence. Terayama was a long time collaborator with J.A. Seazer, who wrote the music for his plays. Ikuhara worked with Seazer for the most well known music of Utena.

Music The series' musical score scored by J.A. Seazer -- is considered among its most memorable features. Utena's signature song may be considered "Zettai Unmei Mokushiroku" (Absolute Destiny Apocalypse), which plays each time Utena makes her way to the dueling arena. This song, along with those played during the duels themselves, are composed in a style, which may best be described as choral rock. The music itself features polyphonic melodies with lyrics that often appear to be little more than themed words strung together. While there are no official explanations of the lyrics, some fan websites offer interpretations.

The non-vocal background music was composed by Shinkichi Mitsumune, and is largely orchestral in character, though with significant jazz influences. One notable song is "The Sunlit Garden," a recurring duet piano piece whose ubiquity within the series makes it a symbol in its own right. Mitsumune also handled the arrangement of the first 8 duel choruses.

The soundtrack of Adolescence Utena is of a similar nature, with a mixture of orchestral pieces and choral rock. Masami Okui's contribution, the J-pop ballad "Toki ni Ai wa" (At Times Love is...), is an unusual contribution, although it enjoys considerable popularity among fans.

Movie Adolescence of Utena was first conceived by director Kunihiko Ikuhara when the final episode of the television series was broadcast of Japanese television. BePapas reconvened and created a new vision of the Utena universe. The resulting film is ambiguous in its place within the Utena universe; though it functions as a separate continuity, much like the manga, it also refers to events in the television series frequently enough that it is confusing to those unfamiliar with the show. Ultimately, the film is plotted in such a way that it could be seen as a continuation of the series or an entirely new vision.

In a loose retelling of the Revolutionary Girl Utena TV series, Utena Tenjou arrives at Ohtori Academy, appearing to be a boy. She is accidentally swept up in a series of duels for the possession of the Rose Bride Anthy Himemiya and the power she supposedly holds. At the same time, Utena reunites with Touga Kiryuu, a friend and love from her childhood. It is later revealed that Touga died long ago. A commonly held belief among fans is that the movie takes place in the land of the dead. Other key differences between the series and film include the absence of Nanami (save a brief cameo in her cow incarnation) and the revelation that Akio is also dead before the film begins.

The film takes many themes from the series and either ramps up their intensity or turns them on an ear. For example, the latent sexual tension between Utena and Anthy in the series is far more overt in the film; it is made clear to the viewer that Anthy is not only a "bride" by name, but that she will sleep with the person to whom she is engaged. The concept of Ohtori as a prison is made clearer, and Utena's empowerment of Anthy to escape is given physical manifestation as Utena literally transforms into a car for Anthy to ride to freedom.

Video Game Shōjo Kakumei Utena: Itsuka Kakumeisareru Monogatari (Shōjo Kakumei Utena: Itsuka Kakumeisareru Monogatari?)

Developed and published By Sega for the Sega Saturn video game console, the Utena game was never released outside of Japan. It tells an original story which is set between episodes 8 and 9 of the TV series. The main character of the game is an original character (no default name, voice: Kaoru Fujino who transfers to Ohtori Academy.

The game is in the style of a visual novel with strong dating sim elements. The major characters each possess a statistic called "Heart's Nobility" which the player affects though dialog choices that appear sporadically during play. Each character's level of Heart's Nobility determines how the game will end. The special endings available for characters that end with particularly high Heart's Nobility represent the game's dating sim element, but because it is set within the larger plot of the TV series the relationships are usually somewhat platonic, or one-sided affections on the part of the main character. Yet, there are many aspects of the game that make it interesting to fans, such as duels between Student Council members and the opportunity to turn the main character into a duelist.

Endings Perfect Utena Touga Saionji Juri Miki Anthy Akio Black Rose Normal (little changed from the perfect ending) Bad (game over)

Theater Musical - Shōjo Kakumei Utena (Musical - Shōjo Kakumei Utena?)

Dates and Location Dec 17 - Dec 29, 1997　Hakuhinkan Theater, Tokyo Staff Director: Yuji Mitsuya Cast Utena Tenjou: Yu Daiki Anthy Himemiya: KaNNa Touga Kiryuu: Rei Saito Juri Arisugawa: Sanae Kimura Shōjo Kakumei Utena Hell Rebirth Apocalypse: Advent of the Nirvanic Beauty (Shōjo Kakumei Utena Hell Rebirth Apocalypse: Advent of the Nirvanic Beauty?)

Production Company Gesshoku Kagekidan Dates and Location May 26 - June 1, 1999　Zamza Asagaya Theater, Tokyo Staff Producer: Kunihiko Ikuhara Director： Ei Takatori Cast Utena Tenjou: Megumi Ichinose Anthy Himemiya: Kazuyo Noguchi Touga Kiryuu: Rei Saito Nanami Kiryuu: Chieko Misaka Shōjo Kakumei Utena: Choros Imaginary Living Body (Shōjo Kakumei Utena: Choros Imaginary Living Body?)

Production Company Fantasy Adventure Dates and Location September 30 - October 1, 2000　Amasaki Piccolo Theater Center Hall, Hyōgo Cast Utena Tenjou: Mayu Watari Anthy Himemiya: Aki Kaai Touga Kiryuu: Kazuki Aoi Juri Arisugawa: Shinobu Kiryu

Airing outside Japan Hawaii-based TV station KIKU aired the FUNimation Productions licensed version of the series during the January~March and July~August periods of 2007. FUNimation had previously acquired broadcast rights for Revolutionary Girl Utena from Central Park Media in 2006.

See also Revolutionary Girl Utena media information

References Clements, J. and H. McCarthy. The Anime Encyclopedia: A Guide to Japanese Animation Since 1917. New York: Stone Bridge Press (2001) Lyons, Michelle. Revolutionary Girl Utena: Book 1. Guardians of Order (2004)

External links Enoki Films website Intersections Review of Revolutionary Girl Utena Anime News Network review of the movie