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 (1 kusuri-uri contemplate)
[ ETA: to clarify a term I frequently use (but may be unfamiliar to some), "animanga" is a portmanteau of "anime" and "manga", meant as a shorthand for "the Japanese illustrated-story publishing/production industries, including manga (graphic novels), illustrated 'light' novels, four-panel comics, animated television shows, animated miniseries/OVA (Original Animation Videos), and animated theatrical releases". Because there's often a great deal of cross-pollination between the two types (printed vs. moving), I tend to use "animanga" to refer to the entire ball of wax in one easy word. ]

We all know (and likely loathe, at least given the posts I see go past from most of you) the damsel in distress: she does something stupid, gets captured/hurt, has to be saved by the hero, and usually ends up clinging to him. I've been browsing some of the manga that readers have classified (on reader-tagging database sites) as "strong female lead" or "strong female character", and I think we need an intermediary.

Something like, "female character damselfied by the author", or "damsel with fighter tendencies," for a less anti-author spin on it.

The so-called "strong female characters" usually go like this: she's relatively outspoken, strong-willed, and ostensibly very good at whatever she does (even if in some stories we never see her do anything, we're at least told she's good). She's independent, and a common expression or thought among the transistional damsel is that she wants to 'stand on her own two feet'. She'll often explicitly state that she intends to fight [the big bad], alongside the hero, as his team-mate or equal. She doesn't see him as her rescuer, but as her mentor or her role model (and sometimes as the person she aspires to equal). )

All these are just more reasons on the list of why I love Balsa and Gen. Oliva Armstrong so much.
kaigou: (1 mushu reads the news)
We can blame this entire post on [personal profile] ivoryandhorn.

First: apprentices. It's a long tradition (West and East) of apprentices going through the chop wood, carry water period before ever being allowed to touch any tools of the trade. In the West, the real learning doesn't seem to start until one becomes a journeyman, having graduated out of the simplest practices and general grunt-work of the apprentice. A long way to say: I'm willing to accept that apprentices do grunt-work and are often just barely a step above slaves -- what gets me is when stories treat such extreme apprentice-abuse as funny.

This has been bugging me about D.Gray-man, which to be honest I'm only watching because there's little else right now that has my attention, and watching means moving away from the computer. In other words, it's a mental break, although I don't particularly care for the fact that I'm taking quite that much of a mental break. (I mean, honestly, is the entire first season nothing but freaking filler? I don't think I would've made it past about the fourth episode if I hadn't read the manga and knew it'd be getting better... well, sort of.)

Anyway, the manga implies a lot about Allen's time as an apprentice, while the anime goes into considerably more detail and flashback. Both treat Allen's experiences as a kind of joke, though Allen himself (at least in the manga) seems to withhold purposefully any further details, preferring to let any discussion pass with a hand-wave/smile rather than go into detail (where, it implies, he might not find it so easy to pretend like it was nothing). The anime-version, however, treats the entire thing as funny, in the narrative, I mean: other characters both reinforce the "it's so funny" as well as outright undermine Allen's own obvious reluctance for the telling and dislike of what he's telling. I might even be amused by the irony of a female character basically telling the male character right up that the male character's impression/understanding is wrong (because normally it's the other way around: male --> female )... if I weren't so annoyed by the narrative treating outright abuse as somehow a source of amusement, even of admiration!

...and a little more on that first thing, and then the second thing: hard choices, wherein yet again Arakawa shows me the way. )

Other thoughts as they come, again, with all blame due (for once, not on Duo) to I&H.
kaigou: so when do we destroy the world already? (3 destroy the world)
note: uncharacteristically, I wasn't inclined to or wasn't up to or whatever other lack o' motivation, thus in writing this I found myself without the energy to spell everything out as I might normally do -- so if there are any blanks for you (history-wise, mostly), please refer to the comments, where others have taken the time to carefully delineate what I let pass with vague implication. I know, unlike me! But still. I can't always be writing 10-page posts at the drop of a hat.

If you've watched your share of mecha (and related) anime, you've probably seen this trope several times, maybe even enough to know it by heart: madman acting out of self-proclaimed altruistic means, which usually amounts to, "if I destroy the world by (a) dropping a big honking meteor/planet/space-colony (b) launching a massive mushroom-bomb of horrendous power (c) whipping up the entire world against me so it stops fighting each other and instead fights only me whereupon I crush everyone (d) ending the world as we know it by some other means (e) pretty much killing everyone and blaming it all on the two-step maneuver of war and peace because anyone with a clue knows "rebellion" is just a self-justified synonym for war, you morons who can't count..."

...and that by doing so, WE GET PEACE.

Because, apparently, if you're a self-proclaimed lover-of-humanity with psychotic but ultimately altruistic intentions, of course it's perfectly logical to you that if you burn everyone's retinas with the ultimate war, that they'll all immediately come to their senses and want peace at any cost. And that of course, humanity has always become immediately pacifist upon surviving a horrendous war of attrition. I mean, look at World War I -- boy, Europe and the Americas were just swept by a craze of pacifism as a result!


This is not logic that resembles my earth logic, but then, a lot of anime doesn't resemble my culture earth, either.

Anyway. That's the basic logic: you've got your Gundams drop-the-colony versions, you've got your "I'm so depressed the whole world should suffer along with me" variation a la Eureka Seven, hell, even Naruto's gotten into the act with a combination of both of the above. In the end, it's all different harmonies to the same melody, that if one achieves peace through war, ergo a really BIG war should bring about a really BIG peace.

That was in my head, with some amusement at the lack of parallel, when reading the FMA manga... and the eventual realization that Arakawa really doesn't play nice with some of the biggest animanga tropes. ) Wah. It just makes me wish all the more I had at least a smattering of Japanese, to be able to write Arakawa and tell her about how I've got a little shrine to her brain, right here beside me in my office, because what a brain it is. Man, I've not thought this much about a series after it's ended since, uhm... never Gundam. Okay, since Gundam, but I defend that on the grounds that Gundam was my first introduction to the madman-says-BIG-war-makes-BIG-peace trope, so I guess an evolution to the next level naturally gets me going all over again.
kaigou: this is what I do, darling (1 Edward armor)
This has been bugging me, thinking about the implications of the final showdown in FMA. Since I can't really avoid spoilers (duh), it's all behind a cut ...shorter version: wherein there's question of reset buttons. )

Maybe there weren't a lot of gaps in the course of the overall FMA storyline... but I can sure see a whole lotta possibilities for fanfic when it comes to grappling with the consequences of questions Arakawa left unanswered.

FMA 104

11 Feb 2010 03:34 am
kaigou: this is what I do, darling (2 dot dot dot)

*goes into shock*


*still in shock*

Bloody hell, is Arakawa purposefully trying to give we readers heart attacks?
kaigou: this is what I do, darling (Default)
I've realized the best definition for my reaction to american cartoonage: emotionally unsatisfying.

It's kind of like watching Romeo and Juliet, or Hamlet, or even Porgy and Bess... as put on by fourth-graders. Or worse: adults with all the maturity of fourth-graders -- that is to say, none.

It's a character about to commit suicide at the side of his dead beloved:

I still will stay with thee;
And never from this palace of dim night
Depart again: here, here will I remain
With worms that are thy chamber-maids; O, here
Will I set up my everlasting rest,
And shake the yoke of inauspicious stars
From this world-wearied flesh.

...who follows that with a smirk.

If -- for even the remotest second -- you, as the audience, believed, truly believed that this character was a living person moments away from killing himself -- you would be absolutely on the edge of your seat, the tragedy that much more compounded knowing that Romeo is ignorant of the fact that Juliet only appears to be dead. You might even be one of those in the audience fighting to hold back the cries of wanting to warn the character, somehow, to stop the forward momentum that will lead to eventual ruin.

American cartoons are an embarrassed fourth-grader, wiping his mouth after faking a kiss on the dead Juliet's lips. )
kaigou: this is what I do, darling (sakura)
Title: Measure of Desire
Chapter: 1/1
Epilogue to the Contraries Arc
Genre: drama, action, post-series
Spoilers: episodes 22-27; divergent future from ep30
Rated: PG-13 for violence, some language
Archiving: Ask permission for each story separately, please.
Critiques: Always welcome if constructive.

epilogue: complete )
kaigou: this is what I do, darling (escaflowne)
Title: Restraint of Desire
Chapter: eight
Book Two of the Contraries Arc
Genre: drama, action, post-series
Spoilers: episodes 22-27; divergent future from ep30
Rated: PG-13 for violence, some language
Archiving: Ask permission for each story separately, please.
Critiques: Always welcome if constructive.

chapter eight: content )

word count: 5600
kaigou: this is what I do, darling (sakura)
Title: Restraint of Desire
Chapter: seven
Book Two of the Contraries Arc
Genre: drama, action, post-series
Spoilers: episodes 22-27; divergent future from ep30
Rated: PG-13 for violence, some language
Archiving: Ask permission for each story separately, please.
Critiques: Always welcome if constructive.

chapter seven: steadfast )

word count: 6000


13 Jan 2005 10:41 am
kaigou: Edward, losing it. (1 Edward conniption)
"A what? You rode a..." Ed's gaze moved past Alphonse, and his eyes went almost impossibly wide; his mouth was as round as his eyes. "That's not a horse," he hissed furiously, never taking his gaze off Mustang - with Becky across his lap - guiding the horse down the footpath to the road. Ed swallowed, hard. "That's...that's a fucking house! On legs!"
kaigou: this is what I do, darling (sakura)
draft removed now that final (errr, mostly final) is posted.
kaigou: this is what I do, darling (escaflowne)
Title: Restraint of Desire
Chapter: six
Book Two of the Contraries Arc
Genre: drama, action, post-series
Spoilers: episodes 22-27; divergent future from ep30
Rated: PG-13 for violence, some language
Archiving: Ask permission for each story separately, please.
Critiques: Always welcome if constructive.

These words are part of 18K total requested by Ravensilver, Tripoverhercats, and Mikkeneko, who together donated $180 to MSF and UNICEF. Thank you – and all others who donated – for your compassion and generosity.

chapter six: courageous )

word count: 5400. woo!
kaigou: this is what I do, darling (sakura)
yep, yep, yep. finishing up chapter 5, which had been left unfinished--so, another 1K knocked off the count, with 17K more to go. That's about 3 good-sized chapters, which just might finish this story up neatly.

For those of you coming in at a late date, please be aware: this story does contain spoilers for episodes 22-27, roughly. If you don't want to be spoiled, wait until the american broadcast has passed that point. Sorry. Also, this is a divergent future, meaning it does not necessarily reflect how the story really ends; I began writing somewhere around episodes 29 or 30. Anything that remotely matches the actual series' ending is completely by accident or just the product of a good guess. It's also genfic, so you can read what you want between the lines, but in the end, all good friendships have 'ai' in them...IMO.

Disclaimer, as always: I don't own the characters, nor the world; these are owned by Arakawa, Funimation, Square-Enix, et al.

chapter five, protective )
kaigou: this is what I do, darling (Default)
Damn if I'm not this close to declaring Tetractys as incomplete for at least a month. Take a hiatus. I so loathe doing that - I keep telling myself, just six more chapters and it's done! - but this part upcoming will be the hardest to write. I don't like writing when my heart's not in it - that seems like gypping the folks who've hung in there, this long. And I do still plan to finish Contraries...just haven't been in an FmA mood.

If I see one more instance of wank from that damn fandom, I swear... )


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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