kaigou: this is what I do, darling (W] perfect circle)
Here's one way to start your story: dead body. Whammo!

there is no way around it: spoilers out the wazoo.

Lots and lots of images behind the cut. Also: EYEBROWS. )
kaigou: this is what I do, darling (Default)
Gee, there appear to be credits for the company that did the dubbing. So why does the actual production value make it seem like THE ENTIRE STAFF WAS ASLEEP for the entirety of the recording?

First! You! With the SCRIPT! Look, just step AWAY from the KEYBOARD. You do not DESERVE this job. Go back to working as an ACCOUNTANT where your tone-deafness for language will not HURT people who have no CHOICE but to read your PATHETIC EXCUSE for a SCRIPT.

Failing that, a small hint: when a character speaks precisely and formally, you can indicate this by NOT having the character answer "yeah" -- HELLO, INAPPROPRIATE COLLOQUIAL -- or by using contractions. "It'll be dangerous" does not have the same weight or cadence as "It will be dangerous." Your script is half the basis for characterization, maybe even more for viewers with no exposure to the language at all. Don't freaking mess with someone else's work. Just freaking translate it -- properly -- and then get the HELL out of the way AND take your LAZY-ASS inappropriate colloquialisms WITH YOU.

Second! You! With the DUB SCRIPT! And no ducking out, mister soundman and mister director because YOU TWO ARE NEXT. )

So from now on? NOT BUYING. Not until I get word that someone is actually doing DECENT work, y'know, that includes knowing what all those knobs and buttons and dials are for on the soundboard and ACTUALLY USING THEM.

Until then, no dollars from me, you freaking lazy-ass brainless twits of a dubbing company.

I mean, REALLY.

kaigou: this is what I do, darling (Default)
NOTE: some images missing, lost in journal-transfer

A note about Kabuki makeup, from Kabuki Story:

The colours used in kumadori are of great significance, and it is these that highlight the emotion and temperament of the character.

beni (deep red) — anger, indignation, forcefulness, obstinacy
beni (red) — activeness, eagerness, passion, vigour
usuaka (pink or pale red) — cheerfulness, youthfulness, gaiety
asagi (light blue) — calmness, coolness, composure
ai (indigo) — melancholy, gloominess
midori (very light green) — tranquillity
murasaki (purple) — sublimity, nobility, loftiness
taisha (brown or burnt sienna) — selfishness, egotism, dejection
usuzumii (grey on chin) — dreariness, cheerlessness
sumi (black) — fear, terror, fright, gloom

note to [livejournal.com profile] branchandroot: how do these line up with the research you've done on colors? is there a correlation?

You didn't think that was the end of it, did you? More behind the cut, and lots of images, but mostly compiling & noting research results, little analysis. )

More coming as my brain resolidifies. Two more days of no dishwasher, but I'm not even going to go there, not tonight. Sigh.
kaigou: this is what I do, darling (Default)
[semi-direct contination of this post; also, this post is image-heavy. NOTE: some images missing, lost in journal-transfer]

While watching any new series, I often do searches for other folks' reviews. Pile on enough blog-reports and tiny things filter in for a bigger picture -- that is, one small question over here and another over there, that sort of thing. Then there are the things that a lot of people question. That's where I can get a pretty good idea of what's working (or not working) for non-Japanese viewers, because such things intrigue me.

In Mo No No Ke, the biggest complaints were these three things.

One, the medicine seller doesn't have a name. This really bugged a lot of people.

Two, the disconnect between his help and the actual results. In the end, just whose side is he on, anyway?

Three, there wasn't an easy-to-hand analogue for western viewers. They couldn't seem to place the archetype outside a catchall category of 'obscure/opaque Japanimanga characters'.

As I worked my way through the series, I kept thinking about those three complaints. Identity, alliance, archetype, but since the last one is often the best for understanding a character's place in a literary mindset, it seemed the place to start.

Quick! Name that archetype in five words! )

I had more to say, you know I did, but I'm not up to it right now. First, I have a dishwasher to fix.
kaigou: this is what I do, darling (Default)
WARNING: IMAGE HEAVY! NOTE: some images missing, lost in journal-transfer

I'm going to start in an odd place: the xtian book of revelations. (No, stay with me on this one!) One of the few biblical-text classes I took in college was on this part of the xtian bible, and I took it mostly because it fit into my schedule & I liked the professor -- which means I've done a pretty good job of knocking a lot of the information out of my head, so don't bother asking. What I didn't knock out was the one crucial detail to comprehending the book, because it fascinated me then and still does. Not as a theologian or philosopher, but as a writer.

See, the thing about understanding that text is that it leans hard and heavy on Judaic symbolism, phrasing, and styles. Whomever wrote it -- whether you go for the John What's His Face theory or some other theory -- on a textual level, it's a masterpiece of reworked Judaic imagery. In some ways, to really see the depths of the symbolism, you first need to know Judaic symbolism inside and out. It's very much a case of someone who came from that culture (ignoring the issue of religion) enough that much of the cultural language, the connotations, were second nature.

Lack of fluency means always asking, am I noticing this because it's supposed to be noticed? Or am I twigging on this detail because it unwittingly carries weight in my native cultural language? ... thus asking, naturally I proceed to twig like crazy. )

However, it's late and this is going to have to wait to be continued for when I have more braincells, and more sleep. In the meantime, I leave you all with the admission that never again will I ridicule those Naruto cosplayers for having to wear fishnets with their quasi-ninja quasi-historical garb.

This is why.

Live and learn, even if that does mean learning Japan was goth liek woah, centuries before it was cool.
kaigou: this is what I do, darling (Default)
-- previous posts on this ongoing conversation with myself: here, here, here -- plus, images behind the cut (none large, but a fair number of them) -- NOTE: some images missing, lost in journal-transfer

When I'm rambling like this, the point isn't really to persuade anyone, though I know I can take that tone like I'm an authority of some sort & trying to bring you 'round to believe in my point. (Sorry.)

Maybe it doesn't matter if there's a hundred-percent bulletproof logic to anything I'm positing, maybe it doesn't matter if there are half again as many exceptions to prove every rule, so long as maybe someone (other than me, because it'd suck to be doing this all by my lonesome) stops and says, what else have I taken for granted, that's built into our cultural biases?

Language and charms; a few additional notes about Mushishi... ) About the medicine seller; exorcism in Mo No No Ke... ) Vengeful spirits and demons; ep1: zashiki-warashi... ) Forgiving the banished; ambiguities and loyalties... )

Or we could just sum it all up as: if you meet the Kusuri-uri on the road, slice him.
kaigou: this is what I do, darling (Default)
NOTE: images may be missing, lost in journal-transfer. sorry.

[It might help to read the previous/lead-in post on this topic, or the points in here might not make as much sense. Erm, I hope they do, but just in case. Also: a handful or so of images behind the cut. None that massive -- I sized them all down -- but still. Just in case you're on a reallllly slow dialup.]

When last you heard from this unrepentant bastard, I was busy prefacing another lengthy think-out-loud with a comment that I didn't actually chase anywhere in that post: most stories have a pantheon of some sort -- whether this be a competitive one (set against a backdrop of generic monotheism) or completely supplanting real-world religion.

Now I'm going to... so here we go.

Granted, 'pantheon' is usually taken to mean a system of belief in which there are a multitude of gods, but I'm with Tillich on this one, which is why I tend to use 'pantheon' to mean a multitude of beliefs. Diverging slightly (but not entirely a tangent), let me explain my comprehension of the stricter definition of a belief system, with a host of nods to Tillich: that we must remember there are two words in that phrase. The system, then, is the dogma and the observation and the ritual (however slight to overweening) that one participates in, observes, or acts out -- and the belief is focused on one's understanding of the ultimate. That should be ultimate with a capital U, but I'm not that reverent.

Suffice it to say that for some, this may be a single god, a collection of gods, no-god, or even material things like money, technology, or even another person. It's whatever is the center of your universe; it does not necessarily have to be that which created your universe so much as that which has ultimate power over you. SF, especially harder SF, tends to have belief systems focused on an ultimate of technology -- and here I find myself thinking of Bladerunner, or even William Gibson's earliest works, in which technology has ritual, dogma, and definite power over a person's life.

Stories grounded in today's modern life (and here I speak mostly of US-as-west, although to some degree this seems true of Europe-as-west, as well) will invariably have, somewhere in the background, a cultural belief system that is mostly-to-strongly theistic. Yes, that seems like a big fat duh, but there's a reason I'm spelling that out. Whether we realize it or not, this theistic framework that permeates the western culture(s) has a massive impact on our understandings of fantasy and magic. )
kaigou: this is what I do, darling (Default)
It works as an AMV (by my standards) which is above & beyond any basic artistic value: does it make me curious about the series/movie? In this case, definitely. Even if I hadn't already seen the series, I probably would want to, after seeing this.

[livejournal.com profile] cosplayeriori for the win! It's Yoshida Brothers' Storm [TM Remix].

Btw, if you're wondering about the series, it's called Mo No No Ke, which is a spin-off of Ayakashi Samurai Horror Tales: a combination of Japanese folklore/myth about demons, ghosts, a dose of mystery and a heaping of horror, put through a blender of neon-colored pop art posters, kabuki, cinematic homages to the Shining and Hill House, crammed into a visual of ukiyo-e meets Peter Max meets the cover of the Sgt Pepper album*... And for all that frenzy, at heart it's incredibly layered, subtle, and at times quite chilling.

*a description cobbled together when CP and I watched the first episode and tried to put our fingers on just what was so bizarre/familiar about the visuals.