I guess posting an entry once or twice a year (three times, max) is my thing.
But enough faux-guilt – rush this off before I get my SuperBowl on.
It’s taken me about two years to really get comfortable with Jiro Matsumoto. But now that I am, I’m really starting to understand what’s so morbidly fascinating about him.
First of all, you just gotta admire a man so uncompromising in his vision. Sure, there’s an audience for his material in Japan – there’s an audience for his violently twisted sexual stuff anywhere. But that he won’t abandon that strangely sexual element to his work – one that easily becomes a barrier to an audience with a weaker stomach – says a lot. Not just about his affection for women with strong sexual appetites (not to mention their ability to multi-task) but that it is an unrelenting theme in his unapologetic and unfeeling world. Once you get past that sensory deprivation – or sensory rape, whichever you choose – the whole Matsumoto world unfolds for you, like a flower in bloom.
Secondly, as a creator with a host of shocking visual techniques, he’s constantly keeping his fans on their toes. Not just with the rape and the rape – or even with the rape. But with the characters he creates. In Freesia, one thing that drew me to the storyline, and succeeded in keeping me despite all of the bizarre sexual situations, is the unexpected behavior of his unfeeling characters. Kano’s innocent madness and immoral behavior, the manner in which he manages in a desperate society, the depravity of his floating world, and his consciousness of a greater force at work (incidentally, his manipulative and scheming boss-woman/bitch – cue demonic laughter: mmwwhahahahahahhahahaa) is a Matsumoto reminder that sometimes, everything just hurts.