Friday, July 8, 2016

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)

Monday, July 4, 2016

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.

Sunday, July 3, 2016

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.

Monday, June 27, 2016

Pain, Pity, and the Darkness: A Personal Reflection on Episode 13 of Re:Zero



Today, I wanted to discuss an episode that I witnessed for the first time yesterday. And, of course, in the beginning, it seemed so straightforward. A work of art won’t ravage your insides right away, at least normally. The episode I am referring to, Episode 13 of Re:Zero, has been the subject of fervent discussion. (Of course, that means that spoilers are to be expected, not that people unfamiliar with the show will understand.) There have been fervent discussions on this episode of course; see blackdragonhunt’s analysis for an informal yet academic perspective.

In case, this isn’t obvious, my intent is different. For, this episode was a legendary occurrence for me -- a work of art capable, in only 25 minutes, of breaking my fragile shell of apathy. This episode follows the royal selection process, which includes Emilia as a candidate. In the eyes of the council, Emilia is half-elf, the same as being half-devil, and so she faces discrimination. Earlier in the series, Subaru mistakes Emilia for the Witch, a tremendously feared being, drawing Emilia’s ire. But certainly here the councilmen, the nobility, the knights, and the royal candidates all have come to an unconscious decision to hold it against Emilia.

Subaru, trying to stand up for Emilia-tan (EMT) during the royal ceremony, managed to disrupt EMT’s very precarious chances. Beyond harming the reputation of EMT, Subaru finds himself becoming farther away from her, despite his proclaimed love. She tells him to stop, but he continues, for he is frantic to serve his purpose to her – frantic to be important to someone special to him. But, at some point, he flies into a frenzy, seeking to fight the council and everyone else on behalf of EMT. And still, she pleads him to stop, but he forges ahead. Subaru messes up not once, twice, or even three times – he, by insulting the institution of knighthood, finds himself fighting Julius, the knight of Anastasia the purple-haired royal candidate, with wooden swords.  A bloodied pulp soundly defeated, Subaru collapses as the screen turns to black, and Emilia screams his name.

Even though Subaru is fictional, I understand his pain as something of my own. His actions for EMT are because she is special to him, simple as that – even though they resonated with his defeat. The last time I truly experienced this devastation from a show was Clannad After Story, when that happened, momentarily shattering any perception that the world is a comfortable or warm place. Instead of being slightly productive, I spent half an hour sobbing, with my fists clenched, and feeling rotten. And by me were anatomy notes, for my test the next day. But the effects lingered on – by the next day and onwards, I had returned to a deep depression. Somehow, I had managed to get full marks on that test, but it didn’t put a dent in my sadness. This episode of Re:Zero was more or less the same for me, because I understood the pain deeply.  

His difficulties, however, rise to their highest as the episode draws to a final scene. Disoriented, Subaru wakes up to find Emilia sitting by his bedside, and to learn he hasn’t died. Emilia, after the events of the ceremony, has many questions and concerns. Subaru dashes this discussion with his talk about doing everything for her sake.  His eyes narrow, and he stammers in surprise, when she announces her decision to leave him in the capital. Through the course of this conversation, Emilia is forced from a soft, strict tone to enflamed anger – from her throwing her cloak at him, to her standing up -- to tell Subaru that she doesn’t need his special treatment.

After this episode, Subaru is the hero destroyed by his hubris, and nobody can rightly claim he did not deserve his downfall. Emilia screams, “I told you, I don’t understand!”, trying to get Subaru to understand. It’s a one sided argument, with Subaru losing badly. But the show highlights his paralysis  -- the purple hands that foretell doom appear, and he is forced to give up on his explanation. This exchange is so powerful yet painful because both parties are helpless, even as one person shares a larger portion of the blame. One can’t help but cringe when Subaru lists off his accomplishments in protecting Emilia – as a viewer, we know of those debts, but it shows Subaru backed into a corner.

Heading for the door, Emilia’s last words are “I thought maybe you…That only you wouldn’t give me special treatment.” But Subaru admits that he can’t. These are words of defeat. Subaru is now the fallen hero, the one who failed to save anyone, but was most abrasively destroyed by himself. Who would feel for Subaru? Emilia is in the right, no matter how painful the situation is for both of them – and there is no way for that friendship to continue. Again, who would feel for Subaru? Emilia is the one most visibly harmed. So, one last time, who would feel for Subaru, except to release an iota of pity?

Then, allow me to, in my hubris, share that pity – I have been in a similar situation. It would be satisfying, in a sadistic way, to say Subaru was horrendously in the wrong. But, in a way, I was Subaru in that last scene too, trying desperately to cling onto something special. That’s where the immeasurable sorrow comes from. Subaru, in the last seconds of the episode, pulls Emilia’s cloak towards him, as he sniffles – that was me, hating the world instead of studying.

The crux of the matter is the lack of mutual understanding in the relationship between Emilia and Subaru, not simply bad behavior. It was something intrinsic, something moral that caused the divergence; a complete disagreement.

As for how I understand this…my first year of college, I had a friend, someone who I wasn’t fond of at first – but after working together on a project, we grew closer, and she ended up as one of my few close, by my standards, IRL friends. Our relationship strengthened over time, until something happened to me. My legs grew resilient to my command and became numb – as I struggled to figure out what was going on, I found myself despairing while forcing my way through school. Similar to the purple hands that guide Subaru to death, and bar him from speaking, my legs seemed to lead me astray – for both of us, our respective omens represented and reinforced trauma. My reliance on my friend seemed to expand exponentially, emotionally and academically—but in my state, my metaphorical weakness had grown greatly, and our friendship declined. Four classes together, but hardly anything outside of school, and I had started struggling to remain focused. Like Subaru did with Emilia-tan, I began showering my friend with excessive attention and affection, suspecting that it may be wrong but never fully realizing it.

And, the implicit “Stop” was stated, but never quite grasped. But one day, the apparent point of no return was hit, and I never realized I had showered her with the special treatment I had never meant to. As someone who prides himself on being cognizant of social justice, this situation felt unfair, downright cruel – at this point, I understood not to put someone on a pedestal, but that does not stop it from happening.  My friend and I argued, much like Subaru and Emilia did, over who was right, and what was wrong. But our words ended up being talking at each other, rather than a meaningful discussion.
Most importantly, self-reliance was the central topic – both of us had worried our relationship had become too entangled, which became difficult for the friendship and for school. Emilia shouting “I don’t understand!” describes how these conversations always flowed. My friend refused to be around me more than she had to, which made the self-reliance issue murkier.

But the pain I was in at the time clouded my judgment further – I became convinced I was worthless, but wanted to be special to her. Well, not just to her, but still to her. But these thoughts led to a delusion that my friend had some need for me, at the very least for school – yet, there’s always friends to help, friends other than me. Similarly, Subaru saw himself as Emilia’s best knight, but she had people like Roswaal-sama, Rem, and Ram. You see yourself as the hero, but that just blinds you to the reality that this world – and other worlds – are based on teamwork. And in your delusion, you don’t see that you fall out of that pattern, and get stuck. So I got stuck on that view of my friend, and that led to us drifting apart.

Maybe this is just silly projecting, but Subaru’s struggle resonated in me as I watched this friendship, this very special friendship, of mine begin to fade into nothing. But both cruelties – that of Emilia, and that of my friend – are performed to shatter the illusion, and are done with compassion, even if they are painful. Breaking off a friendship is far different from rebuking a stranger, but it be utterly devastating in the moment. And like Subaru, I was acting in the moment and thinking of my pain – physical and emotional – rather than the other person clearly.

But then, the person is gone, and healing requires moving on. That is true for Subaru, and that was true for me. However, there’s a snag: forgetting means ignoring what was special. I for my friend and Subaru for Emilia, his friend, sought to act on feelings of “special,” even if that amounts to special treatment. And the presence of a physical memento can be constraining – Subaru holds Emilia’s cloak, and I still have a book loaned to me by my friend. So, move forward with the pain, knowing that the trauma will likely never fade, and incorporate it into a new future. Like the me sobbing instead of studying, and like Subaru sniffling after Emilia leaves, the only path is forward.

Rather than mere pity, I feel the utmost empathy for Subaru, having been there – being there. Even if you are likely in the wrong, and that your pain does not make up for the terrible situation, you will be stuck with a decaying relationship. I could pretend to hold answers, but I know nothing, scarcely more than what I did a few years ago. Except, and this holds for both of us, that that precious person should live on in memories, even if the physical separation becomes painful. Otherwise, claiming them as special, and losing them because of special treatment, might become obsolete.

Watching this episode was equivalent to being submerged in a pot of sadness, fear, and anger, slow cooked into something that sinks to the bottom of one’s stomach. But there is a sliver of hope, that beyond the pain, emotionally and physically, something valuable rests. After weathering the suffering myself, I was eventually able to grab hold of an ideal of growing, even with the painful separation. In the following episodes, may Subaru find the thread that he can pull himself on towards a brighter future.