Death Note: Another Note

No sooner had the dust seem to have settled from the hype surrounding the Death Note franchise Viz published an English translation of the spin-off prequel novel, Another Note: The Los Angeles BB Murder Cases. Sifting through the rants and raves surrounding the original story I still look upon it fondly as a series that had an air of suspense, excellent artwork and a premise that posed a number of interesting moral questions. Its quality was diluted later on when the writers were forced to stretch the narrative past the L arc and introduce two new (inferior) antagonists to pit against the story’s anti-hero but otherwise it was a series that was both exciting and intelligent.

My only other beef with the series was the way in which it featured one of the most under-used Awesome Supporting Characters of recent times, in the form of Naomi Misora. Another Note remedies this (IMO) glaring oversight by dedicating an entire storyline to an earlier pre-Kira investigation in which Misora, still working for the FBI in LA, is called upon by the infamous freelance detective L in solving a bizarre series of murders. Basically we don’t see any of Light’s deranged JUST AS PLANNED megalomania: just Misora teaming up with L and hunting down a crazed killer who dispatches of his victims in increasingly gruesome and deranged ways.

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Anime as Serious Business part 1: anime and the silver screen

First: my expansion of the point I raised with Gaguri, initially touched on during my second Kara no Kyoukai post. It stems from the time when I became an anime fan proper which, to get what follows after the jump into perspective, happened at a relatively late age when I was already a general film/TV nerd. Second: to clarify on my stance on this issue I dropped English language and literature in favour of a more science-orientated timetable post-GCSE, in the hope that it would improve my employment prospects. Long story short, it didn’t, which meant I abandoned my favourite subject to make a gamble that I regret to this day. Just so you know I’m not trying to be clever here, because I couldn’t even if I wanted to.

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Just for the record I stole this pic from a blog called, appropriately enough, Serious Fucking Business, which is well worth a visit

So then, I’m an academic without being an intellectual, watching anime as a layman but one who likes a decent movie in addition to the typical box office blockbuster. I hope I’m not insulting your intelligence here in pointing out that the term ‘anime’ is merely an umbrella term for a set of artistic techniques (animation) and the geography (Japanese in origin); except my own set of standards and definitions need something a bit more specific than this to differentiate a certain type of anime from the rest. No, I don’t have higher education qualifications in this area, but I still want to talk taxonomy. Please hear me out, ‘kay?

Mono: Hymn to the Immortal Wind

hymn-to-the-immortal-wind-coverI know it’s a bit pre-emptive nominating a contender for Album Of 2009 when we’re only three months into the year but in recent days I’ve become so entranced by Mono’s latest effort Hymn to the Immortal Wind I’m pretty confident that we may already have a winner. It’s their fifth studio effort but apart from the EP compilation Gone this is the first time I’ve had chance to properly check them out…and I absolutely love what I’ve found.

The band’s sound is in the vein of Mogwai or God is an Astronaut in that the songs are almost all instrumentals with keyboards and occasional samples woven in between layered guitar lines. Although there are several bands, including the two mentioned above, who fall into the category of atmospheric post-rock or shoegaze this is one of the finest examples I’ve had the pleasure to hear so far: a tender yet emotionally-charged gem of an album that balances experimental guitar noise with staggering orchestral beauty. If it isn’t the best thing we’ll hear in the next twelve months I’ll enjoy being proved wrong.

Kara no Kyoukai: Satsuiji Kohatsu (part 1)

The more I watch of this series the more I fall in love with the way it’s all put together. I daresay the sedate pacing and idiosyncratic dialogue won’t be to everyone’s taste but personally I’m finding myself more and more in my element; “Where were you all my life?” springs to mind. Thanks for answering my “Where’s the love?” question so well though, guys. ^_^ It’s reassuring to know that these films are getting more attention than I initially thought.

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Like its predecessor Kara no Kyoukai: Satsujin Kohatsu expects patience and open-mindedness from the viewer but in return I was rewarded with a viewing experience that is more mature than either of the other Nasu/Takeuchi animated adaptations; I was once again left speechless at the marriage of visuals and music but the storytelling goes further into the characters’ heads, and is all the more satisfying for that. There are plenty of supernatural thrillers around these days but it’s not often that it’s handled in this way: namely portraying events from the point of view of the supposed killer as well as those caught up in the investigations that ensue.

It would appear I’m also tsundere for Haruhi Suzumiya-chan

It’s funny watching the “Where’s my Haruhi sequel?!”  dorama unfold from a distance and not really being fussed one way or the other. If my finances were a little healthier I’d have bought the DVDs of the first season already but since 1. I still think Mushishi is more awesome* and 2. my Tokyo trip is my priority at the moment they’ll have to wait. While I’m not as affected by the absence of Haruhi’s second appearance as most people I did begin to take a passing interest in the chibi-fied, ONA incarnation, Suzumiya-chan Haruhi no Yuutsu. Eventually.

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I honestly believe there’s a lot of potential in ONAs: not just the fifteen minute slabs of win that make up Eve no Jikan and the idea of Crunchyroll ‘going straight’ but the general freedom of expression and distribution that the format offers. I can’t comment on CR’s integrity in the past, though, and truthfully the ONA issue would warrant a post of its own. In any case the launch of the Haruhi spin-off that I’m guessing is supposed to stop the fans lynching the studio staff fill the gap before the second season bypassed all that and went straight to Youtube; even in the current climate I was pleasantly surprised at that.

Marcel Theroux goes in search of wabi-sabi

As part of the Hidden Japan season of movies and documentaries on BBC4 (which coincidentally is being broadcast a matter of weeks before I fly out there myself. Handy or what?) there was a fascinating piece from writer/journalist Marcel Theroux that examines the concept of 侘寂 (wabi-sabi) in contemporary Japanese culture. It was an excellent documentary for a number of reasons, not just because it connects to the idea that forms the namesake of this very blog, but more importantly because it was explained from the point of view of a curious and relatively impartial outsider who was prepared to speak to a variety of people and visit numerous places along the way with candid commentary and an open mind.

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iPlayer sadly doesn’t let me take screenies, which I’m guessing is for copyright reasons. It beats plugging in a TV and having to pay the licence fee though

I’m familiar with his younger brother Louis but Marcel Theroux has a more laid-back and, how shall I say, quintessentially British approach to his work that makes it all come across really well to the viewer; even the Wikipedia entry for wabi-sabi is a bit vague and esoteric to my untrained eyes so it was refreshing to see someone start exploring the idea from scratch. Needless to say there’s plenty of stunning photography on show too but it was also Theroux’s style as a presenter and the context in which he was approaching the subject matter that made it such a winner for me. Sorry if it’s region-locked for you or if the link has already expired but this is the full version.

Survive Style 5+: “What is your function?”

Or, “What is the function of cinema as an entertainment medium and expressive art form?” Or, more simply, “What the hell was that?”

I’m a little reluctant to endorse the marketing strategy of some distributors of Japanese cinema titles, beyond the fact that they bring the said titles to would-be viewers’ attention. Y’see, I don’t want originality and thoughtful film-making to be mistaken for some “Hey, look at those crazy Japanese people and their crazy movies!” sales pitch. The Happiness of the Katakuris was an artistically innovative demonstration of the importance of family (I’m not kidding) and if you watch Battle Royale purely for the shock value of sixteen-year olds killing each other, you’re missing the point of the exercise by a mile. I’m more interested in seeing what their film industry as a whole has to offer beyond this cultural stereotyping, but I digress.

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Gen Sekiguchi is probably better-known as the director of the imaginative and offbeat Supercar music videos but here he makes his feature-length debut with some well-known names in Japanese media…along with a special appearance by British footballer-turned-actor Vinnie Jones. This movie is unlike any other I’ve seen and as such has ‘cult hit’ written all over it but my question to Survive Style 5+ is: What is your function?

Final thoughts on ef-a Tale of Melodies

I caught up on ef-Melo belatedly (as usual) but with a curious and interesting sense of closure. I don’t think it’s on par with the first season but that I think isn’t the point: I can see where Omo was coming from in thinking about how the two seasons were pretty much complimentary as opposed to be being simply series and sequel and judged on those terms alone. While a sequel can rarely stand alone separate from its predecessor, this one seemed to add more weight and significance to what went before and giving it fresh meaning restrospectively, in addition to merely continuing the story chronologically. It worked better for me because I marathoned the last few episodes in one sitting too.

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Listen to his song!

I’m guessing the title refers to Kuze’s occupation and how his work brought certain characters together but it’s as much of a tale of memories as the first season was when you think about how much time it spent in flashback mode, connecting events of the past with those of the present. In both story threads the male lead is stuck in a no-man’s-land with memories holding him back from appreciating what the present holds; the idea of music being a muse or redemption is of secondary importance next to the importance of memories one cannot, or does not wish to, forget. Because of this I think arguing that ef-Melo is somehow inferior to its predecessor is purely academic when they are two parts of the same damn thing.

Kara no Kyoukai #1: Fukan Fuukei (Overlooking View)

I can’t believe this hasn’t whipped up a frenzied cult following, unless I’ve been dense enough to miss it. Anything with a connection to Type-Moon seems to be given a fair hearing in these parts so seriously, where’s the love, guys? I guess it’s down to a sparse release schedule that may prevent an international fanbase gaining momentum like TV shows do, or the fact that the full series of films is still incomplete so isn’t yet ready for Western licences. In any case it’s hidden under my radar for two long.

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I’ve actually been working back through the Type-Moon stuff in reverse order: anime adaptations before VNs, and sampling the later VN before the earlier one. Taking a step back though I’m seeing an evolution of the recurring themes and character types, noticing Kinoko Nasu’s and Takashi Takeuchi’s trademark flourishes respectively. Back when I first reviewed Tsukihime I thought there was nothing really amiss with it apart from the pacing and obvious gaps in character backgrounds but what that, and everything from these guys that I’ve seen so far, had by way of compensation were atmospherics and underpinning concepts. Kara no Kyoukai floored me straight away on these two things alone.

Toradora! halfway thoughts

My high school romcom track record is atrocious. It all began with Kare Kano back in the day: a masterful combination of Hideaki Anno’s genius as a director and Masami Tsuda’s enchanting characters, it’s one of my all-time favourite anime shows. It was touching, romantic, artistically innnovative and laugh-out-loud funny; ignoring the ending, obviously. Bokura ga Ita in contrast had a nice watercolour style and a relaxed pace but it felt so insipid I grew bored and dropped it. Similarly Itazura na Kiss lacked that special something to make me care about the everyday dorama of characters who are a decade my junior and I grew impatient with that too.

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I must confess I dismissed Toradora! after one episode as being another generic dollop of frivolous froth held together with unfunny slapstick and featuring unfunny characters you just want to slap. With a stick. After reading about how even my most esteemed co-bloggers such as Bateszi-senpai were enjoying it I wondered if I’d underestimated it somewhat. Now I’ve crossed the halfway mark I’ve come to realise how Toradora! could be one of the surprise hits of the last twelve months…I never saw it coming. At all.