Ask John: What Are Some “Relationship Polygon” Anime?

Question:
In respect to the original CARDCAPTOR SAKURA, aside from the shounen-ai elements, which were minimized as far as possible in the English Language adaptation – either by omitting some episodes or possibly some level of editing – one of the more noticeable elements which carries the story along is the growth and development of the “relationship polygon” which involves many of the principal characters. What are some other examples of “relationship polygons” to be found in other anime?

Answer:
Although seemingly straightforward, this question doesn’t completely and concisely state its stipulations, so I’ll need to do a bit of interpretation on my own in order to address it. While there are romantic relationships within Cardcaptor Sakura, the question posed doesn’t specifically inquire about romantic relationships. Rather, this may be a question about anime in which four characters significantly impact each other and influence each other’s psychological growth. Or this may be a question about anime in which four characters become increasingly integral and vital to the lives of other characters. With that ambiguity in mind, I’ll do my best to provide an adequate answer. It would be easy to simply cite any and every anime revolving around four primary characters, but doing that doesn’t explore the narrative construction of particular anime or reveal any informative information about subtle differences in the composition of various examples of Japanese animation.

Unquestionably one of anime’s most famous character polygons is the Lupin gang: Lupin III, Daisuke Jigen, Ishikawa Goemon, and Fujiko Mine. Lupin and Jigen are frequently partners. Lupin and Fujiko are occasional lovers. Goemon assists Fujiko but rarely pairs with Lupin or Jigen alone. And, of course, all four routinely work together. The extent to which these characters influence each other’s development, however, seems minimal.

The primary cast of Saber Marionette make up an interesting quad. The dignified Cherry, muscular and violent Bloodberry, and childlike Lime could be called the embodiments of Freudian super-ego, ego, and id, respectively – all revolving around Otaru, who sustains the balance between the three and gives them purpose and direction while they, in return, adore and serve him. In order to maintain their literary roles, the marionettes don’t develop or psychologically change significantly. Their existence compliments each other more than it sustains and encourages their development.

More literal psychological and emotional influence among four characters may be seen in Gurren Lagann. Kamina encourages Simon and serves as Yoko’s love interest. Yoko and Simon are Kamina’s motivation. Nia is Simon’s love interest, and it’s Simon that provides Nia’s anchor in humanity. Simon relies upon Yoko. He also serves as her reason to cast off her grief. Gurren Lagann is an excellent example of a show in which the four main characters influence each other and motivate each other to grow psychologically.

Rozen Maiden, likewise, reveals a lot of psychological development between four primary characters. The Rozen maiden dolls gradually encourage Jun to emerge from his hikkikomori shell. Hinaichigo gradually encourages Suiseiseki to temper her selfishness. Hinaichigo comes to accept the responsibility of self-sacrifice through her interactions with Shinku. The pair cause Shinku to develop feelings of responsibility and concern for her sisters.

The current Guin Saga television anime also hinges upon a fascinating relationship among four characters. The twin children Rinda and Remus are protected by Guin. In return, they sustain leopard-man Guin’s humanity and give Guin purpose. Rinda is a love interest for Istavan and the motivation that encourages him to transform from selfish rouge to self-sacrificing hero. It’s precisely that relationship that drives a wedge between Rinda and Reums, causing Remus to swiftly mature psychologically and become more allied with Guin.

In terms of relatively straightforward romance, Hana Yori Dango’s Domyoji is attracted to Tsukushi, who is attracted to Rui, who is attracted to Shizuka. Kodomo no Jikan and Hachimitsu to Clover also immediately spring to mind, but these two latter anime series would require excluding prominent characters and relationships in order to arrive at just four characters and their intertwined relationships.

Given the complexity of the question and the massive amount of anime that could be discussed in relation to this question, I hope I’ve done a brief yet sufficient job of providing example of anime that depict an array of relationships between four characters. Some of these relationships are complimentary, some involve influencing others, and some are romantic. Merely being aware of these variances in anime attests to the literary diversity of anime.