Alderamin on the Sky First Impressions: Storm Comes In Like a Lion

Madhouse. Remember Madhouse?

They did One Punch Man, earning them respect again, but they also have recently done shows like Magical Warfare (based on secondhand information) and Mahouka, making everyone eh. Needless to say, they are not the studio that churns out Cardcaptor Sakuras anymore. Understandably, they can be considered a hit-or-miss studio in this day and age.

So when I wanted to start Alderamin on the Sky, one of those fantasy type shows, I was feeling nervous. Asides from the main vocal cast, featuring Nobuhiko Okamoto (Rin, Accelerator, that one guy in Boku no Picodemia), Risa Taneda (Rize, Kaori Miyazono, that one person in Shinsekai Yori), Haruka Chisuga (Shizuka, Sylvie, Sapphire-chan's cousin), that one guy who plays Ryuuji in Toradora, and Inori Minase (the ever-so-famous Hestia, and Chino), there is not much in the way of notable people on this show. (Think LNtrash dream team.) I knew then that it would be a leap of faith.

The show opens up with the following frame:

A lush image of a moss-covered tree, complete with light streaming through, beautifully portrays this fantastical landscape. This aesthetic brings to mind Sunday Without God, a darker but still gorgeous fantasy tale (also Madhouse). As far as animation and surroundings go, this show is capable of detailed yet effective characterization through details. All those times Yotori is forced to kick Ikuta's butt for being an immature punk are animated quite well.

~~~~~~~~~~Plot Recap~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~(senpai~)

There is actually a plot to this story, though it is rather confusing for most of the episode. Ikuta (played by Nobuhiko "Blue Exorcist" Okamoto) and Yotori (played by Risa "Gun-Toting, Coffee-Serving" Taneda) are childhood friends, off to take a test to finally become soldiers, or something to that effect. To travel to the site, they take a boat, bringing them into contact with a host of other strange characters. Now, you may be worrying that they're tropes, but only Matthew (inconsequential charactermantownland #shotsfired) really falls that low on the totem pole. Yotori, played by the magnificent Tane-chan, is the leader who keeps everything in check, while Ikuta is the punk who is too casual about everything. Together, in a group of several people, they end up playing shogi, as if there's nothing better to do. (Probably not intentional, but it does remind me of March Comes In Like A Lion.) They meet a rather pretty blond 12 year old girl, who scampers away.

The foreboding feeling clenching your chest is not wrong: something does happen asides from Madhouse scenery porn. The lights go out, water begins to flood into the room -- an idyllic scene turns to Directing them, Yotori is able to lead her comrades to the surface of the boat, where there's even more rain than in the Pacific Northwest. The show's title, A Stormy Encounter, comes to mind here. Fortunately, the group is able to escape on a small boat. But as they make their escape, Ikuta notes that the blonde haired girl from earlier was still on the boat -- she falls into the water, forcing Ikuta to save her. And she next wakes up in a cave, surrounded by Ikuta, Yotori, and the others. They have been stranded in enemy land, without any allies but themselves.

~~~~~~~~~~~~Fantasy LN Recap FIN~~~~~~~~~~~~~~~~~~~ (senpai~)

This story, as one might guess, is quite difficult to explain, as there are many nuances. The story mixes a fantasy setting with updated technology, including notably a blimp, but there are also many subtleties surrounding character interactions. Ikuta, for example, is an orphan, which shocks everyone, as apparently orphans didn't exist back then. The use of music and directing pushes the story forward, allowing the viewer to step into this complicated scenario. However, the show is insistent on throwing too many details your way, leaving you confused. Though this information transfer is not per se heavy on exposition, it is slipped into dialogue -- thus, it has a natural feel, but is still excessive.

The directing is simple and clean, offering shots of the beautiful landscape, though it probably should offer more creative benefits.

Is this show worthwhile? My complaints about the dragged, diluted plot likely suggest this show is not fun. However, that is rather far from the truth, as the characters and dialogue is still rather fun! In particular, the banter between Ikuta and Yotori is very entertaining. And the show has a decent soundtrack, a good opening theme, and beautiful scenery. Though the first episode is weighed down by capturing a serpentine trajectory, its last few minutes indicate brilliance. In a sense, that makes Alderamin reminiscent of Grimgar, a Winter 2016 fantasy show by A-1 Pictures, in that both appear to start off slow, but have potential. And, Alderamin has strong potential, so I expect future episodes to build upon the premise, rather than detract or stagnate.

Score: (4^2)/(5^2) * (Rhodanthe/Petit Rabbits)

Bad Saint: The Promise of Filipino Food

*Co-authored by me, and my sister Nadia

Bad Saint is a popular Filipino restaurant that opened up in Washington D.C. only this year. I’ve never had Filipino food, though I suspected there would be a glimpse of other Asian cuisines present. Needless to say, I was curious by the concept, so yesterday my sister Nadia and I paid Bad Saint a visit. We put our name down around 5:30, after waiting in line for 30 minutes, and were told we could be seated between 7:15 and 7:30. And that text message alert came around 7:30. We had spent our wait at Meridian Point, a nearby restaurant, and were rather excited to finally enter Bad Saint. It was time.

Upon arriving inside, we were greeted by a waiter. Of course, this restaurant was a small hole-in-the-wall, where the seating was basically arranged around the kitchen. Though the space was rather small, the area felt well-organized. The intimate atmosphere was complemented by half the kitchen being in plain view – the rise of flames and smoke hallmarked the food preparation, giving an authentic feel.

Fancy restaurants, ones like McCormick and Schmick and 1789, strictly separate the sitting area from the kitchen area – and in the case of M&S the restaurant is brightly lit. Not so here. Bad Saint, true to its nature of being an informal hole-in-the-wall, is dimly lit enough to be warmly cozy but not too dark for visibility. Another dissimilarity from M&S: the room adornments strayed from a sense of neatness, aiming instead to represent Filipino culture. Paintings were hung on the wall behind me and my sister, which we could see in the mirror in front of us. Loud music coated the space – choices ranged from an Aesop Rock piece, to “Buggin’ Out” by A Tribe Called Quest, and even to electronic music. This decision added a natural buzz, elevating the ambiance of the restaurant. Bad Saint’s atmosphere is impeccable.

Seated at a couple of stools, we received an elegantly simple one-pager menu – one side listed the vegetarian, seafood, and meat dishes, and the other side, which noted alcoholic beverages, was promptly ignored. The service, it must be said, was a strong part of our time here. We were brought water promptly, though we had to wait to give our order. However, the food was brought in a timely manner (discussion about the food to follow shortly). Small flourishes made the experience better. Our waiter brought jasmine rice to complement a chicken dish my sister and I shared. The waiters expressed true courtesy during our meal.

Naturally, it was not the atmosphere, the culture, or the service that we came for. The food was the main attraction, and here I will devote more thought to it. Our drink was simply water, so the food itself is of greater concern. To recap, there were three groups of dishes: Vegetarian, Seafood, and Meat. Me and Nadia reasoned that one dish from each category would be plenty for sharing. We ordered and received, respectively, Pancit Bihon Guisado (Rice noodles with wood ear mushrooms and lemon oil), Ukoy (soft-shell crab, sweet potato fries, and fried cilantro), and Pyanggang Manok (chicken, Thai curry sauce [palapa], and burnt coconut).

Pancit noodles, were brought first, allowing us a light first course. The noodles are thin and slight, making them fun and easy to eat. The taste itself had strong hints of garlic. Creative arrangement elevated this dish over your typical noodle dishes. Green spring onion rings were scattered around the edge, making the plate seem stuffed with food.

Next up was the ukoy/crab dish. Crab meat was presented with orange sweet potato fries protruding – in other words, the dish appeared as a crispy crab. Though the ukoy veered towards being too orange, the presence of fried cilantro diversified the taste and appearance of the dish. Because cilantro tends to require much chewing, its fried version was much welcomed. The presence of a spicy sauce with hints of lemon and spring onion elevated the flavor of the sweet potato fries. However, as I do not like crab, I left the meat itself to Nadia – fortunately, she enjoyed the crab.

Lastly, and bear in mind we were getting full by this point, was the Chicken (Manok means Chicken in Filipino). It came to us very warm, with a visible stream of steam. This chicken, though it was served as a fried dish, was well layered with greens, particularly spring onions. The manok itself was tender, allowing for easy eating. The edge of the plate caught my eye – a murky green sauce encircled the chicken. Its spiciness raised the overall impact of the chicken, but also allowed for my sister to only eat the non-spicy parts. (Nadia is rather sensitive to spicy food.) However, I prefer chicken to be served with rice – eating the manok with jasmine rice accentuated the taste for me, preventing my mouth from drying.

By the time we finished our meal, an hour had passed, and we had our remaining food packed. Coming to Bad Saint had involved a wait of nearly 3 hours (starting from when we left the apartment), but it was completely worth it. As a whole, Bad Saint is a very good restaurant that lives up to its hype, while allowing the eater to immerse oneself in Filipino culture. Beyond good food, the entire visit was cultural edification.

Anne of Brown Gables: A Reflection on Kana Hanazawa's Performance as Lucy M in Bungou Stray Dogs

Below is spoilers from Bungou Stray Dogs, that one show from the Bones animation studio which recently finished airing. Being the strange person I am, I will once again sidestep any concerns about whether this is good or not.  (For the record, I found it enjoyable, but don’t’ draw any conclusions from that, gosh.) This finale was an absurdist (by non-Kaiba anime standards, that is) festival in being strange. But, if art is political, and it is, strangeness is not simply that. After all, Yuasa’s Kaiba was deeply interested in human bodies, which it explored through its characteristic strangeness.  And that, ladies and gentlemen and other groups not represented in either, is what we’re gathered to discuss. Rather, permit me to talk at you.

Imagine you are at a busy intersection, you see a strange red-haired girl in the crossing, and then suddenly you appear in a demented toybox (see below). That’s what this finale does to main characters Tanizaki (orange-haired) and Atsushi (white-haired), who belong to the Agency, along with a hapless man dressed in a lab coat and a handful of others. Insanity is written all over this toybox: the sky is violently pink, while there are cheerful banisters adorning a nonexistent ceiling. And in the below frame, nobody has their face. Meaning…that the person standing there, with maroon hair and a black dress could hardly be normal.

 

This maroon-haired girl (MHG) – played by the alluring Kana Hanazawa (Kanahana) – wears a bright smile (shown below), as she welcomes the crowd to Anne’s room. [Anne to be introduced later.]  Kanahana’s performance as Lucy invites the characters into a simultaneously warm yet off-kilter atmosphere. Her nonchalant tone passes this situation off as simply a game to be played, but this does not assuage anyone’s fears. (After all, most of these people aren’t mentally equipped to deal with a crisis situation, especially not one as bizarre as this.)

At this point in the episode’s narrative, MHG has shown two seemingly contradictory sides – an enjoyment of the surreal, shown by the room decorations, and the warm hospitality expected of a woman. Her dialogue and mannerisms – clasping her hands together – act to ask the guests to stay. But if MHG simply existed in the realm of gender roles, then she would not be a very interesting villain. However, behind her warm smile is a black door, behind which people caught by her are imprisoned.

In reality, MHG is fighting as an agent of the Guild, an American group formed with criminal intent, so she puts on a tough face. (If she loses, she will be discarded and left to die.) Kanahana’s performance effectively balances sinister with friendly, allowing for a sophisticated portrayal of someone on the verge of losing everything. But however close to becoming hysterical she may seem, MHG never gives in entirely, maintaining a sense of composure. Her immense inner strength holds her together.

Explaining the rules, she holds up a key that can open the black door. But then they must play with Anne, her familiar. Confidently, she draws attention to a white door through which people may escape.

 

However, MHG has until this point forgone a common pleasantry --  yes, she finally addresses herself as Lucy M, and her ability as Anne of Abyssal Red (see below). Once summoned, Anne dwarfs everyone else, conveying Lucy’s intimidating persona. Though she explains that Anne is shy but playful, the people in the room become frightened, and leave in a panic. Lucy freely accepts her ability to frighten people, allowing her to take control of her destiny. This can be considered a truly empowering act, though it goes against the wishes of others – it is powerful for the self. Rather its lack of convenience means that she refuses to cow down to societal expectations of her, as both a woman and an outsider.

Lucy’s inward resilience is beautifully portrayed by her anticipation of Anne to defeat the remaining stragglers (Atsushi, Tanizaki, and lab-coat-guy-man) – finally, she reveals her smile, a feature blemished by her braces, and her pupils dilute, giving way to the whites of her eyes. But this act allows Lucy to embrace herself, “braces and all.” When I wore braces, I was afraid to smile, but Lucy’s brave enough to not be held back.

Now the two apparent sides to Lucy come to a full battle – the warm smile is intrinsically different from the maniacal smile. There must be some resolution that is not simply insanity – if Lucy is driven by that force, then she becomes  a cliché, the woman who steps out of line and becomes an unreasonable villain. For me, Ryukishi’s character Brenda, a woman driven by her Christian beliefs to “guide” the creation of a better world, meets this “golden standard” easily. However, Lucy represents a more complex villain, one driven by a traumatic past (see below) and a desire to stay alive, no matter the tough face presented. Standing before Atsushi, she reveals her past – like him, she was an orphan. As a child, she grew up in an orphanage, being forced to clean chilly windows and treated abusively. And similar to him she was taken in by the Guild.

Her resilience comes from these traumatic experience  but cracks start appearing, as she is only human. (Unlike Brenda, who lacks those misgivings that make one human.) She wonders “why is it only me that has to suffer? Why can’t it be you?” In that moment, Lucy lays bare her real concerns about losing, and being discarded by the Guild. The strength she places on display in the beginning, though it is wearing thin, came from deep within her and it moves in parallel with her ability to switch between the mode of hospitable and the mode of arrogant.

Through events in the rest of the episode, which I will not get into, Lucy is soundly defeated. But her time of defeat is a chance to see the rest of her strength at play. Atsushi, reaching out to console her, is evaded by a teary Lucy. Rather than accept his help, even though they come of similar backgrounds, she takes the high ground and refuses to acknowledge his efforts. In doing so, she circumvents the occurrence of the “male savior” phenomenon, which circulates back into breaking normed gender roles. No matter his intentions, she will fight as her own being.

And, that, is why I admire Kanahana’s performance as Lucy in this episode. 

Works Cited
Bungou Stray Dogs. Bones, 2016. Dir. Takuya Igarashi. Per. Kana Hanazawa. Anime.