Mari Okada: Modes of Melodrama (Kiznaiver)

Mari Okada: Modes of Melodrama (Kiznaiver)

This is one of many essays on Mari Okada and melodrama. If you stumbled upon this post, I recommend you start at the Introduction or Table of Contents instead! Spoilers for Kiznaiver.

Now that we’ve established a melodramatic basis and looked at the particulars of teen melodrama, we can start to criticize those particulars and flesh out the complexities of melodrama. Mari Okada herself engages in this criticism via her writing of Kiznaiver. I think it’s fair to assume that, after many years of writing for and adapting melodramatic projects, Okada has some opinion on the mode or has learned something from it. This might sound like an endgame essay topic (like we’re looking at the culmination of Okada’s career), but discussing this early on allows unique insight into the melodramatic mode and why Okada would be continually asked to/interested in working on these projects.

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Digibro explained Kiznaiver as The Breakfast Club told in the style of Cabin in the Woods, and I think that’s a hilariously accurate description. Kiznaiver is quintessential teen melodrama manipulated and ramped up to the point the narrative doesn’t make any sense if you stop to think about it. Yet, that’s why it’s so interesting. (Side note: if you haven’t seen either of those movies, do so immediately. The Breakfast Club is my favorite film of all time and Cabin in the Woods is one wild ride). But anyway…Read More »