Examining the ingredients of the Pineapple Salad

Groups of friends often develop in-jokes and running gags over time, like memes on a localised scale. One of the most well-used in my experience crops up when a fictional character dies in tragic, dramatic and heroic style: we refer to such an admirable and Manly Tear-inducing exit as getting the ‘Pineapple Salad’. It’s given a passing reference in TV Tropes under Fundamentally Funny Fruit, but there’s nothing funny about getting the Pineapple Salad. Nevertheless, it’s the best kind of tragic.

This accolade is never given lightly. Given its origin, it demands to be an award of the highest order as a recognition of epic courage, selflessness and sheer badassery; spoilers for Super Dimensional Fortress Macross are coming up, by the way.

Kaiji makes me want to drink beer and gamble

It’s been a long while since I last saw Kaiji’s ragged mullet grace our screens (since my old blog, in fact) and given the average lifespan of most anime blogs I’m not sure how many other fans of the first season are still around to enjoy this one. For the benefit of everyone else, I think watching the first season is helpful to know where this guy’s coming from but I don’t think it’s essential in understanding the premise and appreciating what this second one sets out to do.

HE HATES IT

The gritty and unconventional storytelling and aesthetic of Kaiji are refreshing and it’s therefore still a heady weekly dose of ugly, dirty, suspensful badass-ness and, well,  everything that the generic otaku fodder isn’t. The fact that there’s nothing quite like it around right now is as true now as it was way back in ’07…and it still kicks.

K-On and the guitar geek

K-on #27 turned out to be the perfect way to spend a lazy Saturday afternoon – it’s amazing how entertainment value can come out of so little. The girls don’t get as far as going on holiday but even the inconvenience of applying for a passport somehow comes across as fun. *shrugs* Since there’s not enough going on to warrant a post in of itself I might as well use it as an opportunity to write about my own angle on the show as a whole.

AKGs and Fender combo HELL YEAH (1)

2DT did a good piece about the evolution of moe and how it relates to K-On and the early days of anime heroines such as those in old-school Ghibli movies, which led to me making some massive rambling comment about the characters. There’s a great discussion going on there if you’re interested but I wanted to make a proper job of elaborating on my comment to 2DT’s article…namely how it’s more to do with the fact that I’m a shameless tech nerd.

Madoka Magica: science is a verb now

I didn’t find enough time to reply to the comments in my first Madoka Magica post and there’ve been so many plot twists and food for thought since then I feel I need to say more about it. The fan reaction to this show is staggering: it makes Twitter a very dangerous place at certain times of the week but I honestly can’t recall a new anime series that had everyone fired up like this.

Back when I started blogging it was all about Haruhi Suzumiya…and that was the first season before everyone got upset about Endless Eight. For Madoka though the opinions I’ve seen so far have been overwhelmingly positive; while in the NoitaminA slot Fractale has met a lukewarm reception and Hourou Musuko has been excellent in a more understated way, Shinbo’s latest offering has set the fandom on fire…consistently and repeatedly.

Halfway through Mahou Shoujo Madoka Magica: holy crap, this is good

An issue I see quite often in anime fandom is the cry of “it’s not a cartoon! It’s animation!” I’m as guilty of that as anyone, and even set out my own thoughts on the topic a while ago but quite frankly it’s a whole can of worms I can’t be bothered to deal with again. I will say though that Mahou Shoujo Madoka Magica IS a cartoon. But what a cartoon it is.


“I am the bone of my sword…” and so on. Make of that parallel what you will

I have it on good authority that the magical girl genre isn’t always aimed solely at a young female audience and, if you look at how long ago the Cutie Honey franchise ran before Hideaki Anno did his live-action remake, it never was. In terms of premise and outward appearances Madoka is the sort of thing you’d expect to see kids tuning into on Saturday mornings but what makes it one of the first big pleasant surprises of 2011 is how much else is hidden up its frilly sleeve.

Thoughts on Loups-Garous, second half: the anime

It was a funny coincidence when I spotted the Loups-Garous anime on fansub so soon after I’d bought a copy of the original novel. I was interested to see how the transition would go since the book’s an atmospheric and moody piece; the adaptation of Kyogoku’s Mouryou no Hako went through a couple of episodes where the wheels fell off for a while but it was still really disappointing to see Loups-Garous stumble so badly. I wish the staff who had worked on MnH had been given the chance to work on this one too, because that worked far better on screen than this did.

The novel laid the philosophy on quite thick but fortunately there’s enough going on in there to make for a decent movie from the SF and conspiracy-thriller aspects without exploring anything else too deeply. I actually think the film would’ve been bogged down with Kyogoku’s long-winded intellectual musings but even with a more digestible narrative it still falls flat and, oddly, seems to be aimed at a somewhat different audience from the source material.

Shiki and the disease that makes monsters of us all

Shiki was hard-going at first what with its slow build-up and all, but it got better towards the end. The new OP and END theme tunes were an improvement on those of the first half and many of the backstories to the characters were satisfactorily filled in. The premise and rural setting are allegedly a homage to Salem’s Lot by Stephen King; I don’t care much for King’s style but I enjoyed this all the same.


I really liked these two in the end

I suspect the novel is even better (aren’t they all?) because the artwork and screenplay were a bit clumsy yet the characters were fascinating and, personal reservations about King-esque horror aside, it’s a good story. These were the series’ saving graces, in addition to a wonderfully fascinating moral ambivalence that just managed to make it memorable.

It’s time we showed REC some love

I think REC must be a forgotten gem because I’ve never read or heard much about it at all. In fact I stumbled on it purely by accident when the premise of “boy meets girl, girl becomes roommate after her house burns down and romantic awkwardness ensues” read exactly like the early strips of my favourite webcomic, Questionable Content. Even so, my hopes still weren’t high because it didn’t sound like anything out of the ordinary.

Satisfied that I’d at least discovered something about the lives of characters who were out of high school I then learned that it was directed by Ryutaro Nakamura, which was another happy coincidence. As a matter of fact the storyline of REC is itself founded on happy coincidences and how things sometimes just…happen. Nakamura’s involvement may also be the crucial factor that tips this from being a likeable yet ordinary story into something a bit more special.

Macross Frontier: The False Songstress

It’s fair to say that the anime industry’s track record for feature film adaptations of TV shows isn’t a good one. For the first Macross Frontier movie I was torn between the idea that another Macross cinematic outing helmed by Kawamori himself could only be a good thing and the opposing notion that similar efforts from other franchises have left me disappointed. This one could well polarise opinion among the Macross fandom but for me at least it’s not the waste of time the nay-sayers claim it to be.

The inescapable factor is the Serial Narrative Compression Effect or, to put it simply, the fact that an episodic TV series has to be squeezed into two hours or less of screen time. Certain details have to to be left on the cutting room floor, others are shuffled around and the thematic emphasis shifts too. Itsuwari no Utahime (a.k.a. The False Songstress) does suffer from these limitations but the streamlined plotline and the production values stemming from the feature film budget are where it really shines.

Memory Lane is paved with gold

It’s strange how you remember certain things from a long time ago so clearly. Rewatching my childhood fave The Mysterious Cities of Gold for the first time in nigh-on two decades is proving how accurate my memory was before it was addled with things like schoolwork, girls, beer and all the other crap we’re preoccupied with as we grow up. Even more surprisingly, it’s still entertaining to me now.

I remember watching this for the first time when I was around four or five; the reruns were a few years later, when I was around seven or eight and able to appreciate it more. At that point my family had a single-floor house in Norfolk with a cherry tree in the front garden; rewatching this has dredged up memories of living in that place and sitting in front of the old 4:3 CRT Sony TV set. Good times…and now I can see how good they were.