Natsuiro Kiseki is a standard affair in many ways yet intriguing for it’s approach to friendship, a topic Akirascuro wrote about in observation. I raised the point that Hanasaku Iroha may exemplify the kind of frictionship immediately prominent in Natsuiro, but I feel there is more to the texture of friendship which grants Natsuiro Kiseki an appealing stay with the audience.

Saki is, of course, the first impressive aspect, with the conflict between her and Natsumi being featured from the start. Cold, uncaring, and mean; there was a mess of discussion about this character and her personality. Upon reexamining the first episode, I realized that Natsumi and Saki have a short history of beef. Fighting between them is common for reasons I cannot pin solely on Saki’s cold-cat attitude; it’s chemistry. There is a friction between these friends revealing precisely how they are close [1]. Yet Saki happens to be the off element. I find her discontented, jaded with young emotions, and more important than the presence of her curious actions are the motives behind them.

Giving Saki special attention yields two-faced detail: mean-spirited towards her best friends while internally concerned with life’s convention. Her expressions show a dissatisfaction with the present, and we see how she redirects the internal struggle to those around her. She is largely saying, “Fuck it!” to a mundane, changing life she seems to have little control over, and it manifests in a naive attempt at burning bridges. These are moves of an inexperienced rebel on the verge of an important stage. But there is more to Saki beyond her angry pubescent potions: light cynicism.

She holds an air of doubt when wishing upon the rock, and this shows her cynicism towards the extraordinary, a sad embrace of reality and forgone dreams. I believe her need to play the Devil’s advocate enables quarreling among friends she sees as lofty or unrealistic. And when tennis nationals becomes an unattainable dream in Saki’s reality, she becomes pointed at Natsumi’s “unrealistic” goal. Jumping from the bed, I feel Saki is further amusing in that she remains willing to test life’s magic even if she has lost the motivation to consider possibility. She is easy to read in this way and quite charming in her tender complexities.

But beyond Saki and the chemistry of opposition, the characters break a conventional balance of cliche circles. If we notice distinct roles in the friendships of Lucky Star, K-ON!, and arguably Manabi Straight, then by comparison we should see how the girls of Natsuiro have overlapping attributes. Yuka, Rin, Saki, and Natsumi are all instigators to an extent. Natsumi and Saki are sporty, Yuka and Rin think in the clouds, Rin and Natsumi share homely bonds with their mothers, while Yuka and Saki, in my opinion, ready an independence poised for sexuality. The beauty is not that each character brings a single role color to the palette, but the palette they create together is colorful in mixed hues. And no matter how well-written, these characters need not be Faye Valentine for their intricate friendship to be attractive.

Finally, I should mention how the girls are unsettled as a group. We may understand this simply from the opening cat fight or see that each girl is characterized with her own life circumstances. Interests, responsibilities, problems, and relationships vary, and we understand that each carry a selfish wish [2]. How well can we realize life’s magic when surrounded by multifarious desires differing from our own? The power of the wishing rock allows us to believe wishes earnestly shared together shall be granted. Thus the true magic is not only having wishes granted but understanding which wishes are truly shared between friends. And in that light, how their delightful friendship can remain fruitful or fall apart.

Notes

[1] – In my experience, it is more difficult to fight with people we don’t care about and easier to butt heads with those extremely close, we’re comfortable like that.
[2] – Or a book of wishes in the case of Yuka.

“Into each life some rain must fall, some days must be dark and dreary.” – Henry Wadsworth Longfellow

A rainy day is a good place to start this episode. Water is so fundamental yet powerful with regards to life. “April showers, bring May flowers,” but in more traditional contexts, water is related to emotive forces and feeling. One of my early attractions to Japanese culture was the idealistic relationship and integration with nature, and Nodame Cantabile showcases a healthy amount of the natural world throughout. I do not mean to insist the story is ripe with natural symbolism outside it’s convenient placement, but rain feeds the flowers and the flowers hope to bloom. Similarly, Milch stirs emotions this episode which will enable Chiaki to discover more within his cold, mechanical self.

Milch’s challenge to Chiaki occurs in a few different forms. First, Milch attempts to rebuild bonds with the S-Oke as if he had not wronged them. His shifty ways raise question to his authenticity among Chiaki and Mine, but Chiaki believes Milch to be Strezemann. Chiaki’s confidence in Milch is so eager to grow but immediately stunted when Elise appears and intends to bring Milch back to Europe.

Without a mentor, Chiaki must again question his position or his identity, a thought I like to entertain. He cannot become a conductor as his circumstance becomes more uncertain. Milch challenges Chiaki by returning only to have him play a concerto under the maestro.

“You are a student from the Piano Division.
What’s wrong with playing the piano?” – Maestro

Milch’s excellent scheme drives the episode towards one of the most famed segments in which Chiaki performs Rachmaninoff’s Piano Concerto No. 2, a piece which is both complex and emotionally exhausting.

Strezemann’s goal is to bring about a heightened state of emotion in Chiaki to which the feelings of loss and longing will be most apparent. Rach’s concerto requires such a great amount passion of the spirit and for the moment. Milch burns the idea of expression into Chiaki with hopes that he will emanate a lavish interpretation of the music.

“Use your whole body more to express music!”
“But I’m not that type of person…”

Chiaki continually practices, reflecting on the instruction and searching to understand Milch’s desire. And we see glimpses where Chiaki may not break free of his own mechanics.

The timeliness of Milch’s words before the concert are what ultimately transform Chiaki as he is informed that the concert will be their final act together. Chiaki did not realize what he had been prepared for: the performance, sentiment, and passionate feeling for the present. But he appreciates the music and approaches it honestly. The future nostalgia is in the distance, but it’s realized how this event will be a memory for all time.

“I don’t like the fact, that it will be over soon…”

The Tin Woodman finds his heart. It is a crucial step for Chiaki in becoming a more robust person, accompanied by fantastic music. Milch proves to be more than a maestro of music, conducting not only the orchestra but also the emotive forces within Chiaki. It’s such a great episode.

Afterthoughts

Nodame staring up at the moon after Chiaki’s performance also carries a natural symbolism. Watching from afar but not yet reaching for the moon. She also holds Milch’s pocket watch, and there is a sense that she needs to act before time ticks away. Nodame’s conflict is beginning, Kiyora and Mine’s gears are turning. Meanwhile, Sakura looks completely adorable in that pink hair bow.

Rachmaninoff’s 2nd is a truly beautiful and mesmerizing piece in full glory. I believe the drama-cut took a majority from the Moderato movement and finsihed with Allegro while removing Adagio completely. I have always found the second movement, Adagio sostenuto, the most romantic and painful of the three due to the closing melody’s low-strung dissonance. I highly recommend listening to the movement with Chiaki and Milch in mind to better understand the breadth of emotion these characters were dealing with.

Bonus: Milch Expression Session Swatch

Unlike last episode, I have a few thoughts on the presence of Hibito and how he and Mutta are mutually revealing in many ways. Hibito is and isn’t what I expected, mostly because of how well Mutta understands his younger sibling. While the overall message of episode 5 may have been that everyone is “missing something” or incomplete, I felt more compelled by the brothers’ interaction with one another.

Presumably, Mutta and Hibito have not met in some time, though there is no issue of it as Mutta knows Hibito almost as well as he knows himself. Mutta points out the hints of trivial disarray in Hibito’s approach to life. What was obviously amusing for myself was the sibling awareness. My younger brother and I are similar to the point that we see each other’s “chaos” when we visit and observe our places.

Though beyond the identification, I feel Hibito’s lack of perfection, his chaos, is relatively perfect. Whereas I think Mutta’s meticulous and seemingly exhaustive approach is exactly why he fails; a failed perfectionist. Mutta sees each piece of the machine and attempts to reconcile a method to the mayhem which may limit his perspective of the big picture. The presence of bicycles this episode struck me because “riding a bike” is a great point of comparison between the characters.

For those who ride bikes regularly [without falling into a river] the process is too simple for conscious decomposition into smaller movements. We feel the action as one or two units: pedal, steer. And here is where enumerating each involuntary sub-action works against the meticulous. If we think about every necessary motion, we will tire or fail. Hibito makes his success look easy in taking initiative towards larger steps, grouping minuscule details into intuitive motion. Satori, perhaps.

But Mutta can reach Hibito with his small-step approach. And we return to “one small step for man (Mutta), one giant leap (Hibito)…” I could go on, but… I enjoyed the episode. That is all.

This logo is an immediate favorite. Akira explained the elegance of type in Aoi Hana‘s logo, while I am mainly attracted to the soft palette and accessory. Its specific hue appears darker in contrast with a white background but yields a sensitivity unlike other series with watercolor appeal. The light blue sensation, both gentle and inviting, is felt throughout Aoi Hana‘s 11 episodes. I feel it leaves an impression comparable to that of Fumi’s character and her emotional struggle.

A little blue flower to accessorize the type is a necessary enhancement. With ‘Sweet Blue Flowers’ in title, the accent has a natural fit while lending a touch of youth; blossoming, feelings anew. The minimalism is effective, and I love that.

As a Kyoto Animation – Key project, Air is likely a divisive anime for many fans. I rarely express my opinion of the series but admit Air to be one of the more agreeable stories in the Key universe because it divulges greater details into the karma and ancient magic driving the story. This logo is attractive for a few reasons.

The streamlined type with embossed shine is minimal and provides gratuitous whitespace between characters. It uniquely features a silhouette holding hands, presumably Misuzu Kamio. I don’t believe many logos feature the romantic gesture, but hand-holding melts me like butter on a warm muffin. Finally is the bird in the distance, which is indiscriminately a crow. The bird can symbolize Yukito’s fate as well as the tragic cycle which binds Misuzu, feathers on the wind. I like that these features capture the story in one succinct image.

While the typography and colors are fairly plain, the strength of Cross Game‘s logo is the clover. Clover is the name and icon of Tsukishima’s cafe, a family introduced in the first episode of Cross Game. The family consists of four daughters and a their widowed father, each daughter signifying one leave of the clover. Wakaba Tsukishima, the second daughter and childhood love interest of Ko, tragically loses her life in the first episode, hence the single faded leaf. This event triggers emotional momentum and tension that persists until the story’s conclusion.

The clover appears throughout as we get to know Ko, the Tsukishimas, and other characters connected to Wakaba. This is the inescapable sentiment about Wakaba and what attracts me to the logo. One glance at the clover and I understand there are as many complexities as irreplaceable memories for the characters.

The Ga-Rei – Zero logo kicks ass, that’s about it. Because the main draw is calligraphy, I have no method of tying it into the story. But it’s the style and aesthetic tightness which I find appealing. A square grey diamond, set on white, marked in black. In some way the calligraphy resembles a postmark. While not a minimal approach, the strict palette lends to a visual simplicity I admire. And the diamond enhances asymmetry in the design.

What’s fascinating about this is how the calligraphy offsets the lower symmetry and maintains balance from left to right. Tracing the strokes in 喰 and 霊, there is a sense of strength and movement in the kanji. My knowledge of Japanese calligraphy artists is limited, but Heart by Kasumi Bunsho is similarly attractive for these reasons.

Leave it to CLAMP to evoke the aesthetic of Victorian iron fencing in type. I am showing only a vector for example as the xxxHolic type is distinct for structure and pointed trimmings more than coloring. The thought of iron fencing is curious, perhaps as a boundary to Yuuko’s shop. But the type also carries the elusive movement of smoke rising from a pipe, almost cryptic.

Both aspects feel valid and contrast Yuuko’s presence and the atmosphere of her shop. The type is far more mysterious than welcoming but holds true to the dark and guarded story. And I believe the logo perfectly captures the essence of xxxHolic to a recognizable extent.

Afterthoughts

I have little to say about this exercise, other than it was very enjoyable (a bit tedious between a busy Friday and lazy Saturday). I’d love to read or hear about other logos fans find interesting and why.

Shance and Yi composed a fun post on nekomimi which I enjoyed reading. Surprisingly, I didn’t see mention of Azusa Nakano and her kitten dynamics from K-ON! She is an interesting character to investigate in progressively bolstering cat ears, which she amusingly grows into after resisting Yui’s aggressive play (resistance is futile an all). Kuroneko is equally interesting for different reasons, primarily her stature being more cat than kitten yet still very adorable.

But my fascination with all this cat business stems from a quote:

Cats have been known to be very curious animals. Because of this innate curiosity, subsequent characteristics of the cat come into the fray, such as childish playfulness, agility, and mischievousness. Add in the already mentioned cute look, and you have a very genki character that sprouts cat ears whenever these cat-like characteristics surface.

I believe cat ears are purely aesthetic and symbolic of nekomimi-mode, which arises out of character personality or context. And I feel the playfulness we find amusing and adorable is driven mostly from the Japanese adornment of cute. But my undying fascination is provoked when we move into a sexually appealing realm of the play.

Mm. We have to take caution in this arena, for with most sexually heightened portrayals in the Japanese style, there is a tendency to mix youth and eroticism. While there are examples of elegant framing, where beauty is more prominent than eroticism, mixing cute with sex is still the peculiarity of interest. There may be playful kink, but it is purposeful nonetheless. And here is where we see such a contrast to the Western anthropomorphism of cats.

“Maybe you can help me find the woman behind the cat.” – Catwoman

I would argue that the most exquisite example of sensual cat-play in Western fiction is Catwoman. And look no further than Michelle Pfeiffer in Batman Returns (1992) with her fearsome tongue and tight bodysuit, whipping heads off mannequins. Her entire image – dominatrix, stitched leather, whip, provocative body language – radiates sexual prowess and powerful woman. Intimidating, thrilling, terrifying? It’s an aesthetic men may shy away from, while I somehow feel the character is a hit with the ladies.

Catwoman is no more or less like her Japanese counterparts in terms of cat characteristics, but we rarely [if ever] see characters that embrace female sexuality as such. We may argue that such a character grates against the gender-bias inherent to classical Japanese culture, though I am optimistic a character like Catwoman would have a footing among modern fans. But I believe the trouble comes with the sensual allure of cat girls and the pandering of predominantly male fans.

Can we achieve nekomimi-mode with a sexual intensity and gender-free respectability? I’d love to see Japan try, at least.

The funny thing about weekly watches is the lack of insight into the joys and sorrows contained in a single episode. After waiting all week, I was very pleased with a few of Spring’s new episodes, and the third episode of Space Brothers happened to be equally appealing. Episode 3 continues Mutta’s stellar characterization by stressing his honest nature and his affect on other characters. One the of peculiar things I found enjoyable was the shift away from Mutta being pushed and instead, showing him as he functions during this transition. There was also a refreshing focus on someone other than Mu-chan, Serika Itou, to which I found most suprising.

“more Watson than Sherlock” – “more Robin than Batman”

We have received only a sample of Mutta’s internal repertoire and focused on [necessary] forces pushing him forward. But as we see Mutta tackling the JAXA exams this episode, we see a greater amount of inner-monologue. I feel the overall effect of his strive reveals honesty, especially honesty towards himself. His honesty leads me to wonder if this is what drives his pessimism. I believe people have a way of limiting confidence or faith in oneself by being overly frank, and that would be my guess with Mutta. Though his honest and unabashed nature is what adds a touch of sentiment to a thoroughly entertaining episode.

“Today’s Headline
I saw someone press himself against the spacesuit display.
He looked suspicious… But he reminded me of Dad.
So I was happy…”

Personally, the developments with Serika were unexpected. I did not figure her background would be disclosed after only brief interactions with Mutta. She completely jumped Makabe in the realm character development, perhaps flagging a more significant role in the story. Though I find the triviality, Mutta’s staring into the spacesuit, brilliant in leading her to identification. The way Serika resonates with Mutta’s action, through her dad, shows thoughtful writing and gives her mature character a youthful touch. She is illustrated as poised, capable, mature, and suddenly retains an attractive adolescent energy drawn out through memories of her father.

This is great stuff.

Afterthoughts

I feel the portrayal of JAXA in Space Brothers - the offices, facilities, plaques, and photographs – shows a strong sense of pride in the organization. I admire this because we could see JAXA with more or less prestige depending on context, but I think the representation is true: JAXA is a highly regarded organization through which many individuals have passed and take great pride in. In our reality, it’s scary to ponder the future of the space industry, though this series may illuminate fond memories for those who were/are there.

Also, Mutta went through those tests like a champ, even if he wasn’t at the peak every time. He flashed a highly competitive spirit in the lung test despite losing to his awe of Serika. And I must say the chemistry between those two is pretty adorable.

Update: I could have been more careful with wording in the first sentence where “contained in a single episode” should imply every new episode yet to air as there is potential for surprise in things unseen.

Space Brothers episode 2 continues the pace of the previous episode. Mutta stays true to the character we were previously introduced in that his internal momentum is hampered by his negative psyche. While the reason for his detrement is still unclear, Mutta is gradually encountering his dream of space through the spirits of those around him and relearning the power of being a challenger.

“You have to make noise before you can make music.”

Sharon is a new face and welcomed addition to the cast for her history with the brothers and mature observational power. The large observatory at her place is lightly symbolic of her keen graces. Here, young Mutta would sight his dream of becoming an astronaut, while Sharon refined his education in various areas such as music and English. Sharon brings the passion of Mutta’s former self into perspective, recalling he was once an individual courageous enough to attack the most difficult challenges. In the case of music, it was the trumpet. The conversation has dual purposes, inspiring Mutta to take the JAXA exam and showing the audience young Mutta’s perseverance. He changed for some reason, becoming somewhat cynical, but I hope we see the course his life took and how he became such an adult.

“That’s one small step for man…”

The subtly of Sharon’s presence is remarkable in furthering the idea that Mutta cannot achieve his dream without the help [or guidance] of meaningful individuals. Mutta has received nudges from Hibito, his mother, and now Sharon. We may also acknowledge Mohri’s indirect guidance, possibly in ways beyond the meeting shared with the Nanba’s. Whether or not Sharon’s influence will extend into future episodes has yet to be seen, but I feel more characters may help Mutta along this new path. And I believe this is a necessary or at least sincere message of Space Brothers illustrating the human endeavor into space. It has taken the effort of thousands to achieve such a sensational feat. This was not the work of one man alone, and I would not be surprised if Mutta’s achievement is similar in that respect. [1]

Afterthoughts

The little twist during the interview was amusing, as were many other bits of the episode. Mutta is kind of a freak, but the interviewer’s trick, passed on from Mohri, was a nice way to shine some light on what makes the three individuals special. More than anything I think that kind of spice offers a glimpse into the person in ways questions and answers would never reveal. Taken figuratively, I think astronauts should intuitively deduce there is a problem in a given situation and attack it with hopes of finding a solution. Mutta’s action shows initiative even despite his apparent lack of motivation. Mutta is a challenger! He also headbutt his boss, so yea… Mutta! (Just saying, again.)

1 – Realizing his achievement has yet to be fleshed out. He may not become an astronaut in the end.

The tone and personal resonance of Space Brothers was unexpected, and like ghostlightning, I wasn’t ready. Episode 01 displayed a captivating style of writing which I found similar to the energy of Moyashimon or Level E. Stylistically pleasing, with light humor, the episode drives the premise home by juxtaposing simple human facilities anyone might find identifiable: family, career, and dreams. There is no cunning or large mystery, merely an earnest situation concerning two youthful brothers and a common childhood dream. What’s more adventurous is the nature of the story, the momentum behind Mutta and Hibito Nanba, a dream of space exploration.

I’ll be honest here, the OP sequence was enough to convince  me this show is personally relevant. NASA, shuttles, rockets, and launch pads bought me back to childhood. This was my childhood, the first 10-11 years at least. I was born in Cape Canaveral Hospital and my grandfather spent ~50 years as a communications engineer, from the early days of Apollo to finishing at OPF-3. The space coast had a profound impact on my life. Like many children, I also dreamed of being an astronaut, and on a fundamental level, I understand what drove Mutta and Hibito as children towards the void.

Hibito is tough to discuss at this point as we simply do not know enough about him aside from his excellent brother qualities. But I could align with the phone call between him and the mother, seeing how conversations with my mother often include topics my brother (or sister) would prefer I ignore. Still I wonder what challenges and development will be in store for Hibito, or if the story will focus primarily on Mutta.

Mutta is an awesome character. I like his minor eccentricities and the fact he maintains a relatively normal presence, giving off an “I’m just anybody” vibe. Also, I find it easy to identify with him as someone who lost sight of his dream along the path to becoming an adult. Most of us can identify with him. But Mutta’s personality is not on the side of dreams, for his pessimistic tendencies and disorganization encourage chaos. Just what the hell is he doing with so much stuff anyway? Compare the aesthetic of Mu-chan among boxes to Hi-chan on the sofa. We are comparing clean lines to noise. One might suggest a clear Red Oni, Blue Oni distinction between these two, but I won’t push for it. I enjoy the polarity but would prefer seeing the brothers relate rather than differ.

Although I think the characterization is fantastic, the tone of Mutta’s existence, his current struggle, stands out and is essentially why I believe this episode is brilliant. He is an adult, has known success as an engineer in the auto industry, but seeing Mutta hit a low, especially because he Zidane’d his supervisor, speaks to youth rather than wisdom. As Mutta strolls home in the sunset, I felt the sky calling to this burning youth, or possibly the latent passion he left behind on a Denon DEON cassette. This feeling is immediately highlighted as two children appear beside him, scrambling after one another. He thinks of his role as a brother, and I feel that is where Mutta finds his youth.

These brothers have youth in each other. I love this concept.

Episode 13 was certainly a fine way to punctuate the end of Gruier’s arc. For once, the pace was more than pleasing and contained a variety of scene locations. And we also received closure on small outstanding details concerning Gruier and Marika’s father, Captain Gonzaemon Kato. The plot may have advanced a little unexpectedly, as Marika became a second-year student, but these small developments bring stature to this transitional episode. The level of entertainment was surprising and I would be thrilled if every episode carried this pace and dynamics.

As expected, Gruier and Grunhilde relocate to Hakuho Academy while Marika gains popularity after being awarded a medal from the Serenity royal family. Two princesses, better than one? Both princesses find their way to the infamous yacht club, which is great minus the sad realization that Oh, Jenny has now graduated. We might have lucked out in catching a glimpse of her video call with succeeding president and elite hacker, Lynn. If I remember correctly from Wikipedia, Lynn was in love with Jenny, so I’m kind of left imagining the rest of that conversation given romance (angst) has been deliberately removed from the adaptation.

Along with the academic changes came mention of recruiting new yacht club members. The concept of a school club recruiting members is mostly typical, but the dialog between Mami and Marika managed to resonate with me on a personal level.

“They’re all just watching from a distance.”

Yes, Marika has a growing social presence and has brought positive attention to space pirates and the yacht club, but onlookers keep their distance out of fear or unintended intimidation. Marika moves about this poignant thought with ease, as if she already realizes her lifestyle is inherently isolating. Well, not entirely isolating or lonesome, but the truth is that Marika now exists in a world the average person will not dare pursue or understand. From the boundaries, this world gives an exclusive atmosphere, which is arguable to some extent. Those who tread, have purposely decided to do so.

I feel refreshed with the changes and moments of reflection brought about by this episode, one of which was Misa’s evaluation of Ririka as a pirate and mother. It feels as though the blossoms of Spring have arrived once again. And I’m excited to see the tone of Mouretsu is similarly matched in this month of April.

Afterthoughts

Maybe I shouldn’t confess, but I skip the OP every time. It doesn’t do anything for me. I wish I could have spoken more on the thoughts behind Ririka and her push to move forward with her own aspirations of grandeur. Anyway, Mami’s 可愛いMAXPirate服 was a nice touch and use of her character. Not my favorite part of the episode, which was everything scene with Ririka, but still amusing.

Episode 12 ends Serenity’s ghost ship arc with much of the hazy details clearing up through minimal dialog. I did not expect the episode to address Serenity’s present issues after the previous episode, and while that was a failed assumption, Serenity’s political “turmoil” was a far more natural social progression once revealed. Most of the episode was unsurprising with the exception of Marika’s role concerning Gruier and the played tension with Serentity forces.

What I found surprising of Marika’s role this episode was her lack of bold presence, and I felt she was sidelined in order to procure the mystery of the golden ship. However, this gave Marika another angle of characterization as a pirate to which we sense nobility in her actions and poise when dealing with Gruier in her territory. Marika shows grace and even Misa mentions how Marika and Gruier are like “prince and princess.”

Actually, Marika was not the only surprise this episode given there was a royal baby in the rose womb. It blows my mind that this was necessary to bring a little more development to Gruier, who was ready to destroy the genetic chamber while unaware of the life inside. I doubt this detail was truly necessary, but the baby’s appearance does not weaken the content in my opinion.

And having closed the episode as well as an arc, the content of this story is my main point of concern. Satou has guided us through twelve, carefully constructed  episodes which were each thoughtful and well-produced. The views and technological candy have been excellent, and despite the lack of strongly convincing chemistry, the characters are individually distinguished and carry a lightly sexual tone I happen to enjoy. But I question my own entertainment in this story and the fact it’s not leaving a grand personal impression. The conflict of this arc seemingly fizzled out in one scene, almost as if the audience was played by tension that would never motion drastic consequence. And I question how serious this plot is willing to become after this result.

I guess Mouretsu is a lighter story than I had hope for, but I generally like it and will continue.

Afterthoughts

Misa has the best spacesuit. She was also kind of low-lighted this episode, and apparently Kane was taking a nap. Or did I just miss him completely? Also, I want to know if they plan on changing the OP song or sequence anytime soon. The tune is fine, but that sequence is still boring as hell.

One of my personally significant ending themes in recent years is a surprise to myself because the meaning is almost entirely based in surrounding meta of the track. As God Dictates is the product of a fascinating culmination of influential artists who break the flavour-of-the-day concept overused in many anime themes. When I noticed the names in the collaboration for this track, I was somewhat amazed. I think many fans instantly noticed Etsuko Yakushimaru, but in the greater scene of music, I feel she carries less weight than Yoshinori Sunahara and Junji Ishiwatari. Etsuko and Soutaiseiriron have been successful outside the realm of anime themes, but given Etsuko’s uncanny vocal quality, it seems an almost natural procession for Etsuko to lend her voice to anime themes and the fanbase which adores her tender notes. She has also greatly appealed my ears with those wonderful Arawaka tunes.

Yoshinori Sunahara is perhaps lesser known to the Western anime fandom, but he rides nicely on the Sony Ki/oon label with many other well-acquainted artists. Sunahara is an electronic artist who came into the spotlight in the mid-90s and I encountered around 2001 through Lovebeat and a later feature of 2300 Hawaii during Cass and Slide’s December Essential Mix on Radio 1. Sunahara’s beat is instantly noticeable in the Tatami Galaxy ED theme, but the vaporous influence of 70s electronica is more hazy. In exemplary fashion, Sunahara revitalizes a period enlightened by Yellow Magic Orchestra, Tomita, and Kraftwerk among others, with present-day style, a sign that his musical ingenuity truly remembers love.

Ishiwatari wasn’t a name I instantly recognized until seeing his connection to Supercar. Supercar was a Japanese band that formed in the mid-90s, within quaint proximity to Sunahara. Yet their mastery was in the fusion of rock and electronica. Many anime fans encountered them through Eureka Seven, in which the track Storywriter was heavily featured. This was the period I discovered them for myself, but Three Out Change!!!, sounding much like a garage album and incomparable to their later works, was instant love. Ishiwatari was the guitarist for Supercar and also wrote the band’s lyrical catalog almost in it’s entirety. And the dangerous words we hear Etsuko sing were not only written by Ishiwatari but also written with Etsuko’s tenure in mind. Such an established overlay atop Sunahara’s melody is remarkable enough, but Etsuko also proves to be a monumental requirement to this haunting composition.

One final fascinating bit about this track comes when considering Tatami Galaxy‘s author, Tomihiko Morimi, and her time at Kyoto University, which served as inspiration for the novel (later adapted into the anime). Morimi was born in ‘79 which would place her university attendance in the late-90s, right around the same time Sunahara and Ishiwatari/Supercar were gaining momentum in their circles, yet it’s unclear whether or not Morimi is actually aware of who these artists are; the romantic in me believes she is quite aware. Having the story influenced by her time at KU also places the setting around the turn of the millenium, the novel was published in 2004, just as Supercar released their final work …what matters is that it all arrives out of the same primordial atmosphere, perhaps loosely coupled, and then there are Ishiwatari’s lyrics. If translation serve’s right, they’re about a woman, Akashi, or perhaps Morimi in another sense. It is eerie and beautiful, both in concept and form, though likely just a dream.

Mating the pieces in my mind, perhaps the context of As God Dictates isn’t simply Tatami Galaxy the anime. What I feel is a connection through the ending, something that haunts us and brings us back to that time when these artists were first blossoming, creating. For myself, it is a reminder of a time I felt a lust for life, through both the vigor and darkness that comes with being enamored.

This was to be published quite some time ago.

Well, I did not find any of this week’s developments particularly outstanding. Marika’s awareness of Gruier keeping secrets about Serenity shows her perspective coincides with our own. But this episode was primarily focused on Serenity’s Golden Ship, a multi-generational colony ship on a planet-seeking mission, which turns out to be a mammoth and intimidating on approach. The Bentenmaru had difficulty closing in on the ship but what a ride it was in navigating the “space-time quake.”

The episode was overall enjoyable and thrilling during navigation. We learned that warning systems are pliable as far as Kane’s concerned, but there is a limit to what kind of forces the Bentenmaru can suffer without worry. Benchmarking the ship and crew’s boldness will be great for plot consistency should they really need to push themselves in a future conflict. My amusing highlight of the episode had to be the subspace exit and entry, where Marika questions if a neutron star was going to leap out of the epicenter. Also Kane’s parking, or docking, style was pretty fresh, showing once how nonchalant and reckless the crew can be.

Of course, there were political developments, but I think the foreshadowing was excessive and could have used more substantial details concerning Grunhilde and what her presence, along with Marcot and Corback escorts, further implies. I suspect we’ll stray away from Serenity’s present issues to reveal a more historical foundation in the next episode. I have to wonder if Serenity’s past and present are on a foreseen collision course and if that is the reason there appears to be turmoil within the kingdom.

Afterthoughts

Short entry. So I was drained on anime this week by way of a Cross Game marathon, a highly satisfying series. And I couldn’t think about sitting down with anything else. Mouretsu was the only seasonal episode I managed, skipping both regulars, Natsume and Chihayafuru. Guess I’ll ease back into the season somehow.

Continuing from last week, episode 10 utilizes much of what has been established as a trial of patience and command for Marika without losing momentum. The intensity is maintained and swells with conflict, yielding a comparatively fast-paced and entertaining atmosphere. While Marika makes all the correct decisions, Gruier shines a naive presence in asserting the situation and we gauge an absence of tact from her character.

My gripe with this episode happens to be in Marika’s Disneyland-perfected character development to which she mesmerizes an experienced crew. Yes, we have witnessed her focus, acknowledge her inherited potential, but I find her genius is too polished. In terms of a hero’s journey, there is stark comparison to Luke Skywalker of the Star Wars franchise and his journey in becoming a Jedi Knight while fighting to restore the Republic.  We experienced Luke’s mentoring from Obi-Wan and Yoda and his gradual growth through challenges faced, and his ability is not unfounded in the final battle with Vader. Yet Marika’s journey lacks similar depth and I question if her path is in fact that of a hero.

In any case, the usage of known technical details of Mouretsu happened to be fantastic during the Bentenmaru’s rocky navigation in hellish space weather. We are well-aware of Courier’s hacking ability and I enjoyed how it steered into plot development, raising questions about Serenity’s royal genetics. Emperor J nudged the idea of cloning which carries potential for social commentary, but I am not keen to speculate. However, I truly enjoyed the detail of applicable security of dated technology, in this case the authentication mechanism of Serenity’s observation buoys.

Other awesome hints of science and technology were in Hyakume’s concern of “fusion blasts” possibly something akin to the plasma buildup we have seen from the Orbiter and Apollo spacecraft as they managed extreme velocities. Schnitzer’s anti-matter missiles and the ability to predict a route for the anomaly, even while jumping around hyperspace, were also intriguing thought candy. This is all well within what we expect of Mouretsu‘s brand of science-fiction, but we are then thrown into a conflict with Serenity ships in the middle of a storm, giving the mixture of tactic and technical elements solid cohesion.

Despite my uncertainty of Marika’s heroic journey, this episode provided satisfying pace and entertainment values. I am quiet pleased overall and looking forward to next week as we may learn more of Serenity heirs.

Afterthoughts

Misa was so chill this episode, aha. The buoy map Courier had up reminded me of good times I had programming small applications to interact with NOAA’s NBDC stations (and the corresponding tables on NCEP) for wave, wind, and water forecasts. And, Marika may or may not be the hero in my eyes, but it is plausible the role belongs to Gruier, with Marika and the Bentenmaru tricking-out like Han and the Millennium Falcon. Wouldn’t that be fun. “The Tumbled Sea” or the tumbled sea happens to be one of my favorite composers of piano/minimal/cinematic/nostalgic music.

Yi recently constructed a delightful meditation regarding Mawaru Penguindrum‘s embedded sexuality as fashionable to which she begins:

Mawaru Penguindrum has always had this elegant, fabulous vibe it. It is sensual, sexy, and, above all, fashionable. Being fashionable allows Mawaru Penguindrum to be super sexual—erotic, even—without seeming sleazy. In anime, this might just be the difference in taste level between, say, shibari in Mawaru Penguindrum and panty shots in some harem anime.

The post was primarily focused on what I consider the apex of sexual tension and provocation in the scenes where Ringo is drugged, in a fairly incoherent and pliable state, with her rape impending. This would be the scene worth mentioning as the following episodes replaced most sexual extremes with trials in violence and melancholy. Fashionable perhaps, but I believe significance of why sexuality in Penguindrum is not obtuse or sleazy is that eroticism is ultimately not the point.

We realize this as the scene closes, beginning to understand Yuri’s reflection: Ringo is not and cannot replace Momoka. Yuri’s violence towards Ringo is the result of internal strife and turmoil in having lost Momoka so many years ago. Though her drastic actions leave her with contrast enough to evaluate herself and her consciousness. And she is not alone, as we see Tabuki traverse a similar violent path later in the story.

To venerate Penguindrum‘s sexuality is less consequential than reasoning for its meaningful presence. There is nuance in distinguishing a story told for sexual enticements versus a story told with them. And part of Penguindrum‘s stylistic brilliance is its inclusion of spectacularly titillating elements in narrative method. Regardless of sex or fashion, Penguindrum‘s delivery is a masterful feat in visual style and an excellent refinement of allure.

So we’ve arrived at another precursory episode of Mouretsu Pirates, masked by one or two guises. The importance of a primer on Serenity Stellar Monarchy and it’s polarized politics towards the Galactic Empire brought about interesting observation on Gruier. But at hand is the mission to find a ghost ship rather than exploration into Serenity’s questionable politics. Episode 9 was unable to dive into the mission but provided slightly more interesting dynamics than previous episode.

First, it was excellent seeing Jenny and the yacht club delinquents again. Their purpose in the episode was mostly trivial, continuing antics with the princess and school, but in another way, their meeting of Gruier has merit in solidifying her place with Marika. Gruier appears to have entered Marika’s inner circle, shared by Mami and Chiaki. In terms of characterization, this quaint contrivance is of small accomplishment but likely of greater importance in foreshadowing plot themes and intricacies; trust.

I believe the outer story surrounding Serenity is beginning to show with Grand Chamerlain Yotof’s appearance, accompanied by battle-maid. The greeting exchange and delivery of Serenity’s information on the ghost ship yielded an irresistible feeling that Yotof expressed a covert message to Gruier. His phrasing was peculiar in denotation, “the palace is safe” sounding much like code, though it was subtle enough to leave the current focus, searching for the ghost ship, undisturbed.

Of course, finding the ship is the order of business, which apparently we’ll get into next week. This episode revealed specifics on the ship and headway of the mission to a fair degree, with many of the ships details being points of speculation. And Gruier’s motives remain a light mystery, given Chiaki and the Barbarossa were also ordered to find the golden ship. I am under the assumption this subplot will lead into a more complex conflict as driving forces, possibly political turmoil, emerge in the distance. However, my confidence in Mouretsu‘s ability to captivate is faltering. Still, I’m glad to see the storytelling remains technically poignant despite the lackluster content of the two most recent episodes.

Will we have a significant development next episode? I wonder.

Considering last episode’s cliffhanger I was underwhelmed at the lack of edge this week. The content was generally lackluster but remained careful in pacing for future episodes. That said, the episode is not without points of intrigue, naturally stemming from the opening. Episode 8′s opening narration places galactic history, the war 100 years prior, into perspective and brushes the necessity of Sea of Morningstar’s pirates originating during that time. While this opening seemed rather useless, there was a connecting point I’ll touch on shortly.

Music sets the tone for the opening scene on the Bentenmaru’s bridge, establishing a somber mood as the princess learns the previous captain had passed away. Marika and crew proceed in the only plausible way in trying to make sense of the situation and explain circumstances to Princess Gruier Serenity. This scene also constructs the comical antics seen throughout the episode, with Marika acting novice and treating the unexpected matters lightly.

But Gruier’s royal lineage in the Serenity family offers a clever turn of conversation when Misa explains their heritage. Through Misa’s sharp statements we learn that the Serenity family is able to trace their lineage hundreds of generations in record, and in comparison, kings of the Galactic Empire have even greater range. Given a the typical human generation spans 30 years, these family trees can be traced thousands of years into history. This feat raises interesting questions regarding structure and order within the Galactic Empire, but the duration itself dwarfs the time since the war. It is a powerful contrast which leads me to believe the political world is still quite fragile.

In any case, the concern of Gruier’s presence felt typical of a “princess power” conflict as higher rank or order may become a question; who are her parents or older relatives? We learn she has a request for the Bentenmaru in finding a golden ghost ship, yet the primary conflict tends to point at her whereabouts. Sadly, there is very little progression from beginning to end, and most of the episode is woven with scenes of silly antics to fill space between plot-development.

The episode was not terrible even with the scanty core exposition. And there were some entertaining happenings, but I hope for a stronger return next week.