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Omonomono

Sunshine Chef: Moe Moe Kitchen Stadium

Crazy Emcee besides, Hidamari Sketch S3 episode 12 is very much about popular modern cuisine. It’s one subject matter I find way too dear, especially when presented in this way. I am no Alton Brown, but let’s do a play-by-play shall we?

The last time I went to a place where the waiter wrote on the tablecloth was a blue-collar seafood joint. Because the tablecloth is made of that plastic, lobster-bib material. Seriously, who does this anymore?

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Kobato Lacks Fierce Tsukkomi

One thing I love about CLAMP stories is how they are subversive. The Kobato animated journey, though, not so much.

The really only subversive thing in this story is, perhaps, the premise. Okay, I get that Kobato’s contract with God (is this why she wants to get with a future/present lawyer lol) is forever binding. Fulfilling the requirement merely allows her to escape the alternative, which is cessation of existence, but it does not allow the Judge to consider modification, and probably without consideration of parol evidence to boot.

More relevantly, her act–of fulfilling the contract is to heal hearts–is entirely a straight play. I guess that’s a perfectly noble goal. It didn’t pull a Yuko Ichihara on us because this is not that show. At the same time, and like most other CLAMP stories, there is that “dark side of the light” to this CLAMP story too, but the anime just failed to make it into a focus. Instead we just have this incessant Iyorogi whining about running out of time.

Even Mahoro’s counter-timer did more to instill impending doom.

As to the actual story, I think it’s pleasant and probably enjoyable. Who am I kidding–the real only reason is to watch the antics of Hanazawa’s clutz-moe heroine conquer hearts and supernatural contracts alike. And to drool after baked goods, fancy CLAMP-style tresses, and cute shoes.

I can’t imagine how CLAMP designed Simoun would look like. Heck, that needs to happen. Someone make it happen please?

Meanwhile I’ll take my subversive twist ending allowance in the form of mysterious green fluids.

And it’s even made of people (or their healed hearts).

So Ra No Wo To, Soranowoto, Sora no Woto, Sorawoto

Construction is an ancient art. When human civilization began, people settled, farmed, hunted, and lived inside structures that protected them from the environment and other harms. At first these structures were natural, but at some point people began to build them. Hunting and farming also gave rise to need for peculiar tools, that were also constructed.

Civilizations flourished and perished throughout the course of history. As no longer preoccupied purely with the bare minimum of survival, human civilizations constructed all kinds of things beyond huts and sticks. Fans of the Civilization series of games should be all too familiar with these concepts, but anyone who stopped to think what sort of a world they live in should get some kind of idea about what sort of occupations, jobs, roles, and things people are doing that makes up the totality of their social identity as a group. It doesn’t have to be a complete or accurate idea, but as little kids, for example, we were taught that there are cops and robbers, that there are teachers and construction workers, that there are the rich and the poor, that there are buyers and sellers, that there are presidents and astronauts, that there are good guys and bad guys, that there are soldiers and (lately) terrorists, that there are children and adults. This is structure, a construct with which society functions.

Social constructs, like physical constructs, are developed from the ground up. Technology such as language and laser-guided tank gun sights do not get invented overnight. Necessity is the mother of invention, at least it would seem, and needs evolve and develop over time. However, the rhyme and reasons that guides the development of constructs, physical or meta, are something that was set in stone before anything had happened.

Which brings us to Soranowoto. And there will be spoilers (albeit in the usually vague manner):

My crackpot theory is thus: There are two stories to Soranowoto. The first one is the story about a band of girls who decided to do their best to protect what they believe in. The second one is about rebuilding the human civilization to see if we repeat our past mistakes, and this means not only the lost technology, religion or language, but also “humanity.” Those who do not see the first story and how it interacts with the second are much more likely to be disappointed with the story. Those who do not see the second story are not likely to find themselves enjoying the episodes leading up to before the end of the series, and, really, are likely wasting their time if they do try to watch it.

What is beautiful about Sorawoto’s story is that (well, also that it is a composition of two things, but) both stories are about reconstruction, and they are told in a reconstructive manner. The stories began in a deconstructed state–we have a totally new girl who joins a decrepit but still functional military installation. Her motivation is about learning music–the revival of an art that was largely lost during the preceding apocalypse. We learn about her role, job, and function in a situation where we are partly familiar (the “military”), but at the same time entirely unfamiliar (this military; Felicia’s ship; Seize). While presumably during the 6-month stay, Kanata’s world did not turn upside down through rapidly advancing technology, things did change rapidly during that time. Kanata changed. Her gang changed (most notably in Kureha’s case). The team fixed the spider tank. She now spoke a new language (of trumpet music). But that’s mostly about the first story. The second story changed in the way how the setting was revealed to us. In the meta-sense, that’s usually called “world building” or “character development.” There was a lot of that; entire episodes were dedicated to funny little tidbits about their world, about their social organization, about their religion and technology. I believe those who honed in on this subtle but strong narrative would have likened Sorawoto to Haibane Renmei. In that show, too, much of the narrative goes like our clueless protagonist in learning about the worlds both now resides.The audience learn about the world, and more importantly, explore and speculate, alongside with them.

The two stories build up and converge. I don’t know how many people said it explicitly, but Sorawoto is a story about war. While it is also much more than that, thematically, your view on war ultimately will color your impression of the show. I think how you feel about Tomino’s stories about war, peace and life might be an indicator on this as well. And war, too, is a human construct as we know it.

Perhaps here is a better way to phrase the same issue with Sorawoto’s arguably dissatisfying ending. How do you feel about the Christmas Truce? To grunts living in WWI-style trenches, it’s a God send. But to them, the politics behind the cause of WWI is no different than the audience’s involvement with Rio’s royal decree and political marriage, as in, not a lot. Aren’t we suppose to be happy that nobody is going to shoot at Kanata? Well, I think that’s where Sorawoto failed. But if we were to look at the show for the story it tells, I think Sorawoto resoundingly gave us its piece of mind, clearly, loudly, and early: it is one of peace (but not one of a pacifist). In fact, this is a question worth asking: is Sorawoto making a reference to that exact thing, or is it inspired by it? The European setting and the religious nods seem to support the idea.

Yet another way to frame Sorawoto is through the eyes of Manami Ayamiya. Would Manabi Straight ended any better if they did not get to put together the epic student cultural festival, and failed instead? Would Sorawoto’s story about a bunch of silly grunts living inside a backwater military base make sense if they died to prevent a war (that may have nonetheless happened, or not)? I think the present resolution was consistent; perhaps they just need to do it more convincingly. Maybe they do have to kill somebody. I don’t know.

On that note, I thought the ending was great, even flawed as is. It was emotionally evocative, if only a little. Great works are always emotionally evocative… And knowing what they were setting us up for (if you could follow the second story and see where it collides with the first) made the sudden peace bit a lot less contrived than one might feel. Its last-moment push for iyashikei powers probably left some wanting more of the inverse, but once you’ve obtained that context about war, trauma, rebuilding, and all that is dearly unique about TV “anime” in the last 10 years, things begin making sense.

Spring Training 2010: Cons, Again

I’m looking forward to the next 6 months, which covers the bulk of the con season.

Which is why I’m not looking forward to the next 2 months, since it feels like the con season is getting longer and longer.

Just plotting some cons of interests in the near future:

PAX East – I was going to go, but it just didn’t work out. Also it doesn’t help that I am not really motivated about gaming anymore. I guess it will be a quick way for me to brush up on my StarCraft 2 skills. It’s also not an anime con, but I think it’s related, to say the least. It probably has as much Touhou content as an anime con, anyways.

Anime Boston – I was not going to go, but it just worked out. Also it helped that I can afford this as long as I don’t make any more large, impulsive purchases. I guess  it will be one good VGM show, and hanging out with folks like these.

Sakuracon – I was going to use the same sentence patterns, but after doing my budget for the year I think I have to stay away from too many west coast engagements. Seattle is a delicious city, too… No, there was no GUHROOGAMESH this year. I was hoping they would have a sense of humor and ride on that meme, but oh well. Sakuracon’s guest lineup this year is much more to my liking than prior, between High and Mighty Colors and Mayumi Tanaka. The Trigun movie should be a riot to see. DJ Sharpnel will be there. [Edit: Ugh, they just announced Rika Morinaga (Mamina from Simoun? LOL WADABA? But also part-time model and musician) and Mai Kadowaki (one of those otaku-poi seiyuu) today! Ugh.]

Anime Central – DJ Sharpnel will be there. So will Kaori Nazuka. Kaori Nazuka! How does she do it, I don’t know. I don’t care for the walking sophomore wet dream Tsubaki at all, and while Soul Eater is pretty neat, that is to little part of the voice acting cast IMO. Unless they bring over Takehito Koyasu or some such. Well, Yumiko Kobayashi is a different kind of a guest that I can get behind, too.

Animazement – It remains a mystery as to what is behind this outlier of an East Coast con, but I prefer North Carolina over most non-urban, East Coast, south-of-the-Mason-Dixon-line locations for a con. It’s the kind of con I would go if I am strapped for vacation days. Which I am. So I am probably going. Being at end of May, it is plausible to hit this and Acen, but it will remain a mystery if that will happen. I’m not super excited about the guests announced so far, but they look like good people. Chika Sakamoto should be a very cool vet to see, and the creator of Utena, well…

That’s 5 cons in 2 months or so. I remember when I used to only go to 1 or 2 cons a year!

To cap it out, Otakon’s “guess the second guest” contest is going on right now. Prereg at the new price ($10 hike from ’09) now or…later. I have no idea who it is this time. You have until midnight 3/23 Eastern time… Not a lot, yeah. If you need any help, visit the forums. And know it is not him.

Judging a Book by the Climax: Pick a Few

It’s in the middle of March Madness. I paid my hour forward no thanks to the American practice of daylight savings time last week. It’s time to unleash my groggy discontent against the machine on undeserving television anime. These are just the first few that came to mind.

The Book of Bantorra – I shy away from long engagements, looking back at my viewing history in the past few years. Yet at the same time, series that I follow beyond 24 episodes tend to be much more satisfying than not, compared to the 1-cour variety. I think at times Bantorra was able to reach some great heights, despite its disjointed narrative format. It is a bit of an exception perhaps? But at the same time, shows that run for the full 2-cour length (and more) will have small plot arcs and side stories, which might effectively be the same thing.

What sets Bantorra apart, though, is that it was able to manufacture dramatic highs on a consistent basis. Plot arcs come and go as a matter of concluding the narrative, but what each story revealed is different, to say the least. The final arc tells us the backstory of the villain-protagonist, so regardless of what happens, it ought to end on an interesting note. Perhaps more importantly, though, the Noloty arc that concluded couple weeks ago was much more emotionally and philosophically provocative, and it serves like a proper climax.

Hanamaru Yochien – Why bother with climatic story arcs when you can have a climax every episode? And even when nothing of note happens, every episode of Hanamaru is notable. This is great stuff, if it is your cup of tea.

Your cup of tea being the operative phrase here. Different cups of tea might include Hidamari Sketch and Kimi ni Todoke.

Baka to Test to Shoukanjuu – It’s conventional, but it works. Something about this style of comedy just sounds…sound. Add some Hideyoshi and you’ve got something to worth with. I guess traps are the latest rage for real now.

Toaru Kagaku no Railgun – I think I like this show best when the QQ stops and the pew pew rains down like Skittles at the end of a rainbow. It’s too bad that the bad guys always have the best mecha designs; I’m thoroughly impressed at Telestina’s hardware. I’ve not seen anything like that since…the nineties. Someone jog my memory please, but it has been a dry time for those of us with a thing for SF-style power armor and hardsuits. In some ways watching Railgun was a Pavlovian adventure; you know what’s going to happen next, and then what’s after that, and so on, but you can’t bring yourself to just skip to it. I am definitely not in the Ruiko Saten camp of things.

I mean, it makes no sense if I watch the first and last episode of an arc in Bantorra, but it would in Railgun. It’s just the sad truth.

Durarara – This … doesn’t quite climax does it now. At least in Baccano! there was a “destination” so to speak; enough people perish that at some point the story will resolve, with the mysteries explained and people arrive at their “stable state” by the end. I’m not sure what that is for Durarara. At the same time I think it tries to paint a picture of normal life in which everyday is weird, or the weird is normal. So what is it when MootMikado crowdsources his way to safety? Well I guess the fact that he crowdsources his way to safety is the climax? orz.

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