kaigou: stop it. you're scaring the dog. (2 scaring the dog)
Not sure if this will work, but it's definitely one for [personal profile] umadoshi: sheep riding!


11 Aug 2014 04:36 pm
kaigou: this is what I do, darling (Default)
You know it's been awhile since you've posted, when you totally forget to do a cut on a really long post.

Yep, definitely out of the habit.
kaigou: this is what I do, darling (2 candy mountain)
Sidenote: I think I got a stress fracture in my foot last monday. Foot's definitely reacting like it. I've been getting these off/on (in either foot) since 4th grade, so I'm pretty blase about it. It was a little more complicated by the fact that on Tues/Wed, my team at work had a major offsite team-building/innovation thing that I absolutely could not miss -- followed by four days in Philly for the Association of Asian Studies (AAS) conference that I absolutely refused to miss. I tried to minimize the walking on Tues/Wed, with minimal success, but there was no minimizing any walking between airports, hotel, going from panel to panel, and then going out to find things to eat. Only got to go to Chinatown once. If I hadn't been limping so much by that point, probably would've spent a lot more time in Philly's more-than-a-block Chinatown.

On the plus side, coming back, I somehow lucked out and got on TSA's pre-boarding. No more shoe removal! Which was both good and bad. Bad, because I really really wanted to take the boots off (I wore hiking boots in the possibly-false hope that some compression would help) and good -- because if I had taken the boots off, there was a good chance I'd simply not put them back on. My hiking boots have the least flex in the sole, which in this case is a good thing.

But enough about me. Some random observations about AAS. )
kaigou: Skeptical Mike is skeptical. (1 skeptical mike)
Followup post for [personal profile] whatistigerbalm, but anyone else interested, here's the entire sad list. Maybe a quarter of these are available on the web; the rest are from Jstor. Check your local city library. You might have a free Jstor account. If not, and you're as whacked as I am about research, I have the pdfs. I can email zipped version. Just don't ask for all of them because that's just lazy, and besides, there's 895 of them. (and these don't include images and other non-pdf formats).

kaigou: Jung-In (Kim Jae-Wook) looking very please-no (1 oh dear heavens no)
In what appears to be another case of unplanned synchronicity: much like [personal profile] starlady, I also had dental surgery last week, also spent the past few days happy on vicodin, and also downloaded something for pleasant watching while mindless on the aforementioned vicodin. Except in my case, it was Fuurin Kazan, and... uh.

Alright, so I like Uchino Masaaki enough to watch despite his sometimes overacting (I adored him as Ryoma in Jin), but at least he can act. Compared to Ichikawa Kamejiro (who plays Takeda Shingen), who sometimes seems to think that "dramatic acting" really means "dramatically widening and narrowing your eyes" sometimes punctuated with "dramatically raising and lowering your eyebrows in unison". A truly dramatic scene was ruined with Kamejiro raising and lowering his brows about six times in rapid succession. All I could do was burst out laughing. It was not the vicodin's fault, trust me on this one.

But then we get to Uesegi Kenshin, played by Gackt. Yes, that Gackt. Except apparently he was under the impression that he was playing the lead role in Tale of Genji, because he's dressed about a hundred years out of date (read: like a court noble, not some local daimyo). As if the ultra-old-fashioned dress and loose, barely-tied hair weren't enough, the first few scenes his makeup was so dark around the eyes and so pale everywhere else that in comparison to his generals -- who all look like tanned men who, y'know, actually go outside and do general things -- Gackt looked more like a corpse. Not even a warmed-over one. More like 'dead for several days'.

Between the out-of-date clothes, hair, and the ultra-pale complexion, it's just icing on the cake that Gackt holds his mouth and enunciates in such a way that I keep expecting to see fangs. (Or maybe he's just talking about mouth prosthesis, I'm not sure.) Holy crap, Kenshin wasn't a woman, he was actually a vampire.

This realization is reducing all of Uesegi Kenshin's scenes to total camp, except for the fact that none of the other characters seem to be aware of the wierdness.* Only me, the viewer. Just call me Van Helsing of Taiga.

*truth is, this just makes it more painful to watch, as though the rest of the actors were forcing themselves to pretend like Gackt's total wrong-for-Kenshin treatment is perfectly fine. I mean, I thought Hiroshi Abe was miscast as Kenshin, but clearly I had no idea of the heights of miscasting that could be achieved.
kaigou: life would be easier if I had the source code. (3 source code)
[personal profile] branchandroot and I have commiserated in the past about this obsession over Making Code Look Nice (Just On The Off-Chance Someone Might See). I've always applied that rule. I mean, it's not like it's my own hair, which ostensibly I should be making Look Nice but hell if I can see it myself, so I don't have to look at it. But I do have to look at my own code when I'm working on it, so I try to keep it clean and organized and legible.

So I had a benchtest for an FED position, and naturally I organized the code like I normally would (although the commenting was more than I'd usually do, since it was a benchtest). I didn't fully minimize it for live-level presentation, but was still mostly legible. During the follow-up interview both the PM and the lead were highly complimentary about how nicely organized it was, that it was the highest level of clean, simple, efficient code presentation they'd yet seen.

I was all complimented until they added that other benchtests they've gotten back have consisted of a) the original png, sliced into large chunks and arranged on the page via basic css, and even b) a digitized, pixelated flat-image version of... the original png.

I'll take the original compliment as-is, but it's still hard to see yourself as that awesome when you find out the competition was that low-grade. It's like being proud of getting an A on what you thought was advanced calculus only to find out the most anyone else did was sign their name. If they're grading on a curve, that A might not have been so awesome, after all.

But that could just be me. Still going to keep organizing my code neatly, as a matter of pride, at the same time I wish I could pay someone to interview for me. I really do suck at extemporaneous on-the-spot questions.
kaigou: this is what I do, darling (2 what I do)
Like I ever follow that rule.

1) Applying for various things online. You want a lesson in how NOT to design a form? Apply online. You'll see every damn example possible of The Worst Way To Design A Form, aka, Utter Unusability. Ohmygawd, it seriously burnssssss ussss, it doess.

2) Anyway, applying online, and it's common now to include a link to social profile. FB, Linkedin, whatever. Fine. Not so keen on the forms that not only want you to attach resume and cover letter... but also a head shot? I'm not applying to be a goddamn runway model here. But the phrasing sure makes it sound like if I don't include it, I'm gonna get penalized. (And even if they don't mean to penalize, I bet there's an unconscious penalty all the same.)

3) Job description that says, "we have a great sense of humor, but don't work here if you're easily offended". I'm not easily offended, I just find racism, sexism, and homophobia offensive. If you're lampshading the potential for a new hire to be offended, you've got bigger problems than whether I know all the languages you want. Next!

4) Watching the 2011 Journey to the West, despite the mediocre subtitles that are timed to PAL and require almost constant tweaking with VLC's subtitle synchronizer. Whew, no wonder CP was a little taken aback the first time we watched Saiyuki.

5) There is a certain irony that I'm watching JttW on my right-hand screen, and for the entirety of episode 9, the left-hand screen had a shot of Sanzo. I'd just started ep10, and the wallpaper changed... to Son Goku.

6) If Hakkai in Saiyuki made people froth at the mouth for being so different in the English dub, because he's just not like that, whew. The difference between Engdub-Hakkai and Japdub-Hakkai is nothing compared to the difference between Sanzo and Sanzang. The more I watch, the more I'm like a) I think I liked Sanzo better, and b) so that's why CP went from taken aback to jaw-dropping when the gun came out.

7) Not that I mind Sanzang. He is kind of growing on me, but I did enjoy the first six or seven episodes the most, when it was All About Monkey.

8) I can't help but feel -- no idea why, just do -- that it's almost like Monkey's a completely different story that somehow got shoehorned into the historical story of Tripitaka. And then the storytellers had to figure out how to make it work. Just a strange kind of tension. Dunno.

9) Still a little in shock that I finished two books in three months. Maybe in future the secret is to spend six months ahead of time daydreaming the entire story from start to finish. I didn't have the "and then something happens" lurch at the high point this time, but knew exactly where the story was going and just had to write it. Every story before this, I've left that third-quarter "and then something happens" and then I get there and have no idea how to proceed (or have a glaring plothole that can't be duct-taped shut for love or money).

10) I wrote a small plugin for forms. Yay me! And then Github crashed, which has given me plenty of time to rethink the value of posting my small plugin. Ah, here comes the second-guessing.

11) I can't decide whether I should edit book 1 & book 2 and then start book 3, or do book 3 and then go back and edit all three in a streak. Not to mention I haven't even a clue what kind of logline to do for each, and haven't even tried to write teasers.

12) I have realized that I don't care whether or not there's a market for these three stories. Maybe no one wants to read a fantasy about a young transgender character making hir way through the world, finding love, conquering evil, and overcoming hardship to become happy. It's possible there's just not a market for that, but I tried to pay attention to the market on everything I'd written before now, and that got me nowhere. Screw it. I'll just write what I want, and when I'm done, I'll move on. I'm not quitting my day job for this, after all.

[ps: I look folks off the story-filter if they hadn't replied in a while, rather than keep spamming, especially those of you who I know are really swamped right now. I've exported to one master doc that I can output as pdf. PM me if you want it.]
kaigou: I am zen. I am BUDDHA. I am totally chill, y'all. (2 totally chill)
In LA Story, the weatherman Harris K. Telemacher ends up befriending a road sign. It tells him that he'll find the key to his happiness by unscrambling the phrase, "HOW DADDY IS DOING". Harris spends most of the rest of the movie puzzling over this, and at the end, he takes his (new) girlfriend to meet the road sign. Yep, side of the LA highway, there they are, talking to a sign.

Harris: I never figured out the riddle, HOW DADDY IS DOING. It's a riddle too tough for me.
Sara: I know it. It's an English crossword clue. See, unscramble means rearrange. Change the "s" with the "h," move the "ing" after the "s," put the "do" after them. Swap the "h" and the "s." And put the "i" behind the "d."
Harris: "Sing Doo Wah Diddy?" That's the mystery of the ages?

I just discovered that all this time, I've been doing object-oriented programming. I just never really grokked 'object' so I'd figured I was somehow not doing it. Then I get whacked in the head and I'm like, what? That's the mystery of the ages?

Then again, this is a common reaction to me when I stumble over something that's gotten a constant build-up of mystique. Like objects. When I finally grok it, I'm not sure whether to be disbelieving at how simple it actually is, or disbelieving at how much time I spent agonizing about it.
kaigou: life would be easier if I had the source code. (3 source code)
Almost done with second part of the series, so figured I'd take a break and straighten some things up on the conlang generator. Now you can set up word-patterns for up to four languages at a time, if you want to track which languages get certain vowels, consonants, and word-patterns (to avoid duplication or to make sure you're keeping things pretty distinct). Do one to four, and each one will produce a link. Copy & paste that into your browser, and you'll get the conlang generator with everything entered, and all you have to do is click on GENERATE to get results.


I figured for the random SFF RPG that wanted consistent conlang vocabulary, it'd work for people passing along the link so others can generate additional words under the same rules. Besides, Firefox keeps crashing on me and I keep losing the rules I'd laid out for each conlang, so I needed a way to save them. Bleah.


Yes, I really am such a dork.

ETA: whoops, sorry, got the testsite confused with the live site. URL fixed now.
kaigou: Jung-In (Kim Jae-Wook) looking very please-no (1 oh dear heavens no)
Thanks to [personal profile] marymac's suggestion, I ended up watching various documentaries from the Volvo Ocean Race. The best are the most recent, which include in-port, mid-race, mid-break interviews with each boat's skippers, navigators, crewmen, and so on. You don't get any idea of what's coming, but you do get a lot of really interesting reflection on what decisions they made in that leg of the race, what influenced those decisions, how they made those decisions, and so on. Plus, the narration is somewhat subdued, and there's not as much a sense of the teams being pestered to interview while on the water, which undoubtedly could get annoying. (No, I do NOT have time to explain what that is, I'm busy FIXING it! and so on.)

The 2005/6 race seems to just have an hour's documentary, which is like ten-something months to cram into one hour. You get a lot of highlights. Okay, more like you get a sense of how insane these people are, because most of the highlights consist of "and then their bowsprit broke" or "and then their main mast came down" or "and then they discovered a massive crack in their hull" or "and then they RAN OVER A WHALE AND LOST THEIR RUDDER" and there's no need to make this stuff dramatic. It comes that way out of the box.

The 2008/9 documentary seems to be a more as-it-happens format, but it has a lot of padding from pre-race clips. I really don't need a shot of some guy walking along the shore with his wife with voiceover about his dog dying. I get enough of that shit watching the Olympics. Plus, the narrator seems to have graduated from the Robin Leach school of narration. Not only does he talk like a bootleg version of Leach, he's just as dramatic about it. Quit the "but little did they know!" and the "but more was to come!" and "they had no idea what lay in wait!" Dude, when bowsprits break and sails go ripping along 120' of seamline, and this kind of catastrophic shit is considered one of the race's features, the tension is already there. No need to amp it more. Please.

A'course, the truly annoying part is that the 2008/9 narrator teases but then doesn't explain. Like, "little did they know..." and idyllic shot, then "...that THIS would happen!" and then a video of... something happening. I'm not sure. It's not explained. It's just several minutes of the boat going at a crazy angle and the boom swinging around, and... hey, narrator? A LITTLE HELP HERE, PLEASE. Someone tell me what I'm watching. At least the 2010/11 documentaries pretty consistently put voice-overs from the skipper or person-on-watch, explaining what you're seeing, to some degree.

Serious, this race? Shit happens. Constantly. Like nightmare material, extreme-panic, holy-crap-we're-all-going-to-die shit. I don't need some Robin Leach knock-off telling me for the nth time that these teams are experiencing LIFE AT THE EXTREME. Their fricking MAST just splintered and they're a thousand miles from the nearest solid land. They just missed a goddamn ICEBERG by a foot and a half. Unless someone wrote the 2008/9 documentaries for the total cabbages in the audience, it's pretty much OBVIOUS that we're not dealing with just a trip to the goddamn supermarket here.

The 2008/9 videos are totally inconsistent on subtitles, too. We've got one guy who talks softly and kind of mumbles, and no subtitles. We get the guy who speaks with an American middle-class accent... and subtitles. The guy who I still can't tell if he's speaking Spanish or English, and no subtitles. And then one episode won't subtitle anyone, and the next one subtitles every other person. Plus that year's version has bad editing and unoriginal music, though at least they quit it with the car-commercial jump-cuts and slow/fast crap after a few episodes. The production values on the 2011/12 version are substantially higher and the narrator is a more laid-back. I mean, it says something when you're watching a freaking youtube television documentary and you think, where can I get this soundtrack? Naturally there doesn't appear to be available OSTs on the Volvo Ocean Race site. Figures. Probably a bunch of generic soundtrack music from one of those warehouse companies, but still, whomever went through and found the music had an incredible ear for what to use, when, and blending it from one mood to the next.

I do wish the videos would have more infographics on what's happening. A simple CGI showing where the break occurred, or how, or whatever, would be really helpful. The extent of Volvo's visual info appears to be crazy-ass low-budget CGI of the little boats scudding across computerized water, with trails showing their paths. Not nearly as useful as knowing wtf-just-happened-there, especially when the skipper is speaking heavily-accented English so I'm ostensibly getting an explanation... that I can't understand even if I did know the jargon.

Last! Today's protip: don't bother with Google's on-the-fly subtitles, unless you're slightly tipsy and need the entertainment. Google doing on-the-fly of someone who speaks American english is iffy, but of someone speaking with non-American accent? Utter hilarious uselessness ensues.
kaigou: (2 play naked)
There's a joke in this house about Scorpios (of which I am not one), but it'd take like a paragraph and a half to give backstory. Instead I'll just say that walking into a women-developer's meetup was one of the most awesome experiences I've had in months. Granted, as mostly a front-end person, I was sitting in the category of lightweight compared to the Java and Python women I met, but still. No one dissed me for being web-focused. The one time someone made (very slight) fun of me and one other person using PHP, all I had to do was point out that we could be using dot-net instead, and suddenly PHP wasn't the worst choice.

Still, I know there are plenty of issues with PHP, but it's not something I'd say I program in, per se. I use it per its original intention (pre-processing) and rarely do any kind of major work with it. I think the only time I've even bothered with instantiating classes was in writing WP plugins, and let's not even get into how kludgey WP really is. Which means most of the issues with PHP just aren't a concern to me. I use it functionally (as opposed to OOP) to do what I want, to talk to the sql db, and I haven't had need or interest in doing more.

Jquery, on the other hand... hunh, once you start writing functions, it's like the damn rabbithole. It's worse than the shortcut-functions I write for PHP, which I do solely so I can save time on the front end. (Easier by far to write get_story_name($id) or even multi_select_box($table, $group) than writing it out over and over.) Now that I've finally figured out (this) and how to make a var of (this) name (not just value), I have turned into a function-writing fool. I feel like I need to practice my maniacal laugh.
kaigou: life would be easier if I had the source code. (3 source code)
Alrighty. Now the conlang generator will incorporate first/last vowels or consonants that you pick.


ETA: ah, anything's better than dealing with the madness out there on the roads, so I went ahead & figured out the logic to allow different choices in start/end vowels and consonants. Now you can designate whether you want ending vowels to be single or multiple, same for consonants.

Frex, if you pick "only ends in certain consonants", you'll get a choice of single consonants and doubled consonants, which repeat from your original selections from each. If you want to narrow it down, edit/add as needed. If you only want to limit the options on one, say single consonants, just edit that one, and leave the other field (for doubled consonants) intact. Then carry on.

Note that for some reason it's not pulling over the single vowels for ending options. I don't know why. For now, guess you'll just have to refer to the previous tab to see those & copy them over.

Next up: a way to save all selections so you can come back to the same just by clicking on (a really long and complex) link. Hrm!
kaigou: you are no longer in control of your life (2 no longer in control)
Since clearly I needed a break from several days of furious coding... I went and coded to relax. Yeah, I'd say this is starting to get to be troublesome. But regardless!

conlang generator v1.2 is up!

Now with the ability to set what you want, generate, then tweak how you like and re-generate without losing your previous options. The glory of a left-side bar and some judicious jquery.

Still working out the logic of how to do limited options on start/end vowels or consonants (ie "words can only ever start with G, H, J, K, or L" or "words can only end in "a, u, i, or y"). That's going to take some fiddling, so it's just a placeholder question for now.

btw -- I haven't actually tested in anything but Firefox and Chrome. It's possible the little site would work just fine in IE. It's equally possible that it'll just explode in your face. If you're on IE, you're using it at your own risk. Just so you know.
kaigou: please hold. all muses are busy, but your inspiration is important to us. (3 all muses are busy)
Sometimes it's a little odd to analyze other people's stories, and also get feedback from the author at the same time. Evidence A and B being some point I made for Diana Francis once and her response was basically, "hunh." Even over the phone it was kind of clear she was trying to figure out how I'd come up with that one, whatever it was. Which is to say, I think sometimes it's what a reader sees (whether reading into, or just picking up on little details that tip the nuance one way or another), and sometimes it's just the writer being focused on this plot-point and that character arc. Or: in the process of writing, the author sees the trees and doesn't realize until the end -- or until a beta points it out -- that the forest is not high altitude evergreen after all but somehow ended up being a semi-tropical rainforest.

It occurred to me today, out of nowhere, that while my current wip has an additional (if somewhat casual) theme of a matriarchal-blend in a patriarchal world, there's another genderflip going on that I'd completely missed. Main character has two potential spouses (polygamous society). In the MC's marriage to one of them, the one who proposes is the woman (editor: more like demands, really). For the MC's second marriage, the male potential consort arranges himself as part of a political transaction, which takes all of it out of his control, and in the end is effectively given as a male-consort to the MC. (I should note that since the second is a political transaction, it's not within the MC's control, either, but that's just a side-point.)

I had been thinking along class-lines, not gender lines. The female consort is from the farming class, and historically it seems that since the lower classes didn't have a lot of money or land, there was little basis for making marriage into a business transaction. When your dowry is going to be new shoes and maybe a picture for the family altar, or the bride price consists of a half a leg of cow (if even that much for either), then there's just not reason for anyone to get all worked up about arranging the marriage as an alliance between two dynasties. Over and over I've read historical commentary about otherwise widely-disparate cultures where the lower classes did do the whole love-match thing, because love (or at least a general like) was the only currency the participants really had. For that matter, lower classes tended to marry later, and without a lot of hoopla, and even in societies with emphasis on arranging (for middle class and above), the lower classes didn't have, or need, or could afford, such busy-ness.

So it made sense to me that if the female-consort is from a lower class background, she'd have grown up expecting marriage to be basically a, "hey, let's me and you live together." As long as the families don't hate each other, and the two parties agree, then that's about the extent of it.

Meanwhile, women in upper-class have less freedom -- being valuable assets used in transactional politics, like marriage alliances -- so the upper-class consort had to be male if he were to participate in the story at all. (Along these lines, I also realized belatedly that there's only one woman of rank from the patriarchal society who even gets named, let alone has any role to speak of; all the rest of the female characters are lower-class, thus not shut up in the house to sit around looking pretty all day.) And that means marriage becomes transactional, so it's not a huge stretch, culturally, for him to assume that marriage between his own elite family and someone else's family will be based on business/political alliance.

Anyway, that just struck me, that I'd unexpectedly reversed the usual gender-based order of things. It's the woman who takes the traditionally-(western)masculine approach of being active and doing the proposing; it's the man who sets himself up as a commodity to be bartered for and purchased, unseen by the groom.

kaigou: life would be easier if I had the source code. (3 source code)
Per yet another dinner discussion combined with the need to produce some displayable code for upcoming interviews, I decided it was time for yet another insightful and elegant solution to yet another non-existent problem.

Lo, I have created a conlang word generator. Except it doesn't simply spew randomized letters at you, because that wouldn't be elegant at all, would it. No, as befitting my status as a nerd of the first order and a geek of the second, this word generator requires that you enter actual rules for your language.

(As in, whether a word can start with a vowel or a consonant, and the phonetic patterns of syllables, and what vowels can be doubled and whether a word can end with a single vowel or a doubled one, or maybe doubled vowels only occur in the middle of a word and doubled consonants only ever occur in the last syllable.)

Go forth and have fun, if you're easily linguistically amused. Do let me know if you run into problems, though, since I've only tested a little, and not nearly as obsessively as I hear you're supposed to. Or something.

kaigou: (2 play naked)
I finally realized who Shun Oguri reminds me of: a young Brendan Fraser. Similar striking height and good looks, hiding some kind of innate good-natured, good-hearted goofiness. Like the body of a model but the mind of a big honking dork. Or maybe it's just that anyone willing to star in a wacked-up storyline like Tajomaru can't be all that fundamentally different from someone willing to star in a live-action make of George of the Jungle.
kaigou: Jung-In (Kim Jae-Wook) looking very please-no (1 oh dear heavens no)
Well, it's a kind of linear, but it's still not very good. I mean, watching Fam: the Silver Wing (sequel to Last Exile which was and remains a favorite of mine) and... it's like every episode is a timeskip. One episode ends with a cliffhanger of a character fighting what appears to be a major one-on-one fight -- and the very next episode opens with the same character now fleeing several miles away. What? Did I miss an entire episode between then and now? Apparently not. Apparently "end of an episode" is grounds for the director to just, idk, skip a few scenes or something. A mini-timeskip every time. It's driving me bonkers.

I think I'm only still watching out of affection for the original characters, because the new characters just don't have much going for them. Nor does the story, for that matter. That's not to say there isn't a good story in there, it's just not the story being told. That kind of almost-could-be is the worst, I think.

Anyway, those random interval timeskips make it especially wierd when I'm missing an episode. Not helping is the fact that some of the fansub groups have renumbered somewhere in there; an unexpected recap got skipped by some groups as tediously useless, but their numbering also skipped. So depending on the group, episode 12 is actually episode 13. And it's taken me to the (real, not renumbered) episode 17 to realize we did skip an episode in there, somewhere, which I think was episode 14. Or maybe 13. I'm not sure. I wouldn't even know for sure if I didn't follow a blogger who posts weekly reviews.

Meanwhile, Rinne no Lagrange is holding in there (and its humor remains undismayed, even as its plot thickens), but Mouretsu Pirates still holds my heart, this season. When was the last time you saw the bureaucratic aspects of owning/operating a ship (let alone a privateering vessel) -- and there isn't a shonen-mecha show I can think of that ever thought, let alone actually went and showed, sending its hero into a test situation before ever exposing him to true battle. What a freaking concept.

Ah, then again, turns out the author of the original story is an award-winner of the Japanese version of the Nebula. Well, now it makes a lot more sense how we can be seeing a hard SF anime that, well, makes so much sense.
kaigou: Internet! says the excited scribble (2 Internet!)
Why, hello, second item on the list.

Am I the only one thinking that might actually be an awesome mashup?

"Look at me, Nathaniel! It's all for you..."
kaigou: this is what I do, darling (Default)
Carrying on with the voice actor bits, watching Natsume Yuujinchou ep4 (fourth season), and the new yokai introduced... instantaneous response: it's Ginko. That's got to be Ginko. And... it is.

There is something just too delightful about the VA whose best-known role is Ginko, guesting on Natsume Yuujinchou. I'm not expecting any inside jokes, I don't mean that kind of delight. Just... there's lots of seiyuu out there, but they got Ginko.

Okay, so I'm kind of wierd, sometimes.
kaigou: (1 olivia is not impressed)
Watching a bit of Towa no Quon, ep5, over lunch, and there's a very short scene with two VA I can't recall seeing in the same scene together, before. I know they've worked together, they have to have had, but this is the first time I can recall seeing just the two of them: Toru Ohkawa and Shinichiro Miki. Also known as Roy Mustang #1, and Roy Mustang #2, respectively.

It's a little odd. It's like Roy Mustang, in stereo... and I'm going to have to say that although Miki did a fairly good job, in the end, as Mustang, that everything else being equal, I still prefer Ohkawa's version. Miki's voice manages the sexy, just as well as Ohkawa, but Ohkawa manages one thing really well that Miki doesn't: the amiable, guy's guy, kind of easy-going tone. And by that I mean, it's a kind of delivery that doesn't load on the sexiness, but sounds just like some regular guy, the kind of guy who'd have beer and chips to watch the game, and order too much pizza with the notion of having it cold for breakfast the next morning. Probably while standing at the sink in his boxers, still half-asleep. Miki's delivery always sounds like he's up to something, or would like to be up to something. Ohkawa's able to dial that down and just sound like the only thing on his mind is that pizza, and maybe another beer.

ETA: Ohkawa can also pull off the military a helluva lot better than Miki, who always sounds just this edge (if not all the way into) insubordination. And while Mustang may be ultimately insubordinate, plans-wise, he spends a whole lot of the storyline not showing it. Ohkawa manages that dutiful military respect a great deal better.

Still. Dual Mustangs. I swear, there's a fanvid in there.


kaigou: this is what I do, darling (Default)
锴 angry fishtrap 狗

to remember

"When you make the finding yourself— even if you're the last person on Earth to see the light— you'll never forget it." —Carl Sagan

October 2016

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