There's a movie from the 90s that's really popular; it's a roadtrip movie about a dad and his son. The dad is worried about his teenage son growing distant and plans a cross-country roadtrip, culminating on a campout on a fishing site that he had been on with his father years ago. He's extremely affectionate towards his son, but painfully unaware that his son is growing up and that that paradoxically means he needs his own space to grow into his own person. Meanwhile, the son is a little shit; he is deeply embarrassed by his father, and wants as little to do with him as possible. In fact, the movie starts with a (pretty terrifying) nightmare of the kid turning into his own dad. Far from a fishing trip, he wants to go to a concert so he can show off to a girl he likes. So he changes the trip route behind his father's back to avoid the kitschy tourist traps his father wants to visit. Along the way, the father and son realize that they *have* grown apart with each other, but they've also got plenty to love each other over; the father comes to respect his son's growth, and the son learns to not be a little shit to his adoring father.
Because anyone reading this that isnāt me is Like That, you know Iām talking about A Goofy Movie.
Letās ignore for a minute that I hold stuff from Disney in contempt, because thatās neither here nor there--and besides, to this movieās credit, the basic idea is solid. This is treated as an underloved classic by most people, and the plot alone is reason enough. Kids young enough to have seen A Goofy Movie when it was new have grown up enough to appreciate what it was like for their parents when their kids reached That Age. Also, Goofy is a Good Dadā¢. The worst thing about him is that heās painfully unaware of Maxās hobbies, and thatās mostly because... well, itās Goofy.
But thatās the point I wanna lead into; as good as the basic plot is, I, as the kids say, canāt take A Goofy Movie āseriouslyā--because this movie wants me to empathize towards Goofy.
Again, ignoring that Goofy is a Disney Characterā¢, trying to tell a dramatic story about him is like trying to make a clowncar wreck serious. To me, it just feels cloying. Youāre using a character whose entire shtick is ādeeply unintelligentā. Any pathos attempted feels extremely unearned. Itās like making Grave of the Fireflies sexy.
But bear with me, because Iām not here to take a dump on people that like A Goofy Movie. A lot of the stuff I like is usually on the receiving end of this. Yāknow, like Kamen Rider.
The first time I introduced a friend to Kamen Rider, it was with Kamen Rider OOO (read āohsā). By coincidence, it was the only Rider of whom I could readily find footage on Youtube. And the person I showed it to couldnāt stand it. This was a person fairly used to the idea of tokusatsu; theyād grown up with Power Rangers after all. But OOOās transformation and costume just ruined any kind of attempt at him ātaking it seriouslyā.
Suspension of disbelief is one of those really hard things to pull off, and Japanese media in particular has a higher cliff to scale, Iāve noticed. Itās been pretty bewildering to me for a long time that Goofy is allowed a very personal story about paternal love but, yāknow, people ugly-crying in One Piece is weird.
And like, I get it. Some stuff in Japanese pop culture can be weird. Like, take the Nopons for example.
Xenogears/Xenosaga/Xenoblade-creator Tetsuya Takahashi really likes making a) complicated stories about religion, politics, and personal morals and b) putting weird, tiny fluffballs with speech impediments into these stories as significant characters. Xenoblade Chronicles 2 has the Nopon, a species of puffball-people who speak in broken English and have the general intelligence of toddlers. A current plot Iāve encountered in my playthrough of XC2 involves Tora, a Nopon who built his own Blade-companion (as opposed to summoning one from a Crystal, like other people). It turns out Toraās Blade, Poppy, was based off of his grandfatherās (āGranpyponā) design. His father (āDaddyponā) and grandfather arenāt around to see Poppy activated, and we soon learn why: a masked Nopon and a troop of gunmen shot the Nopon scientists dead while they worked on Poppyās prototype.
Silly? Oh yeah. The sight of a rotund, two-foot-high puffball in a lab coat and evil-looking mask holding a flintlock pistol is some goofy-ass anime bullshit. But can we really call it sillier than Goofy getting mad at Max after Maxās lie is revealed?
Stories hinge on us being able to suspend disbelief. And Iāve spent a long time why it is much of Western pop culture has a hard time suspending disbelief when it comes to Japanese media. I never struggled with that, and Iām not entirely sure itās because I started watching anime at a young age. I met plenty of kids who had no patience for Digimon, after all.
What is it that makes us want to buy into a story? It canāt be characters alone, because frankly Iām not a tremendous fan of the Nopon in Xenoblade. And writing isnāt enough, else I wouldnāt care that Goofyās emotional breakdown in his car after he sees Max changed the route on his map feels plain wrong because itās Goofy. But Iām not sure this is entirely a voluntary thing, either; I donāt want to buy into a story about a rotund mammal investigating his fatherās death, but the story has won me over by virtue of its sincerity. A Goofy Movie canāt quite do that with me, even though itās no less sincere than Toraās search for familial justice.
I definitely feel like people who watch anime or consume Japanese media in some capacity have an easier time buying into weirder concepts, partly because so much anime has bizarre concepts from the get-go. But having written stuff myself, itās my belief that when an author writes something itās because they meant something. There was something they wanted to say to the world. That their mouthpiece wound up being Goofy probably shouldnāt take away from that.
A Goofy Movie is still a good movie, even if I canāt take it seriously. Iām not sure how people buy into it so willingly, given what it is and what it does, but I guess thatās something to be admired on their end. I appreciate that of them. This all feeds into a weird thing about media, and itās that at the end of the day a lot of what we consume has everything to do with whether or not it resonates with us. A lot of media discussion feels like a competition at times, but itās ultimately important to remember that not everything is going to echo in someoneās heart the same way. We canāt really expect that of people or works, especially when so many different people make such different things.
So maybe the lesson here is, thereās more to something than ābeing able to take it seriouslyā. Maybe that phrase is one of those stopgap solutions people use to verbalize a much bigger feeling towards something that we otherwise canāt quite express--which, I think, is totally fair.
Itās okay if you canāt take Kamen Rider seriously. I have a hard time taking A Goofy Movie seriously.
