Saturday, 12 October 2013

Is A Life Worth Three Hundred Million Double Dollars? - Trigun: Badlands Rumble

So after posting my ideas about Trigun I decided to watch the movie made in 2010, called Badlands Rumble. I had been meaning to watch it for a while but I thought I should rewatch Trigun first to get a feel for everything again. It is set seemingly somewhere in the middle of TV series but I don't know quite where, I have heard it is probably between eps 9 and 11. It is about the revenge of the notorious thief Gasback, who was betrayed by his accomplices and before he was killed by them saved by Vash. Anyway when I was watching I noticed how well the overlying conflict of the series (this being whether or not it is ever right to kill someone) is played over again. Again it is in the forefront and combined with many other topic, revenge, the value of family and even incorporates some new ideas, such as theft. Vash is as he always is, fumbling around and saving everyone's live despite his reputation as the coldest killer around. But one good thing about it is (because the main story with Amelia and Gasback is set up by Vash saving Gasback 20 years ago), that the writers are able to give the idea of redemption and a clean slate more of a thorough look without just speaking about it. We can see whether it worked, but more on this later.

Trigun wasn't an ugly anime by any means but it has dated, like anything. The new look animation was super hype. 

Just as Vash stays the same (he does add some points, like his philosophy is not religious, implying it is more common sense or above religion), Amelia is the new Wolfwood. Wolfwood does appear but he is not hugely relevnat for this talk (although he does say that his killing is nothing personal, just his job - interseting as a reason we are told not to kill is because everyone has a family and has someone to remember them). She will come round to Vash's way of thinking, but this time not after the two have a huge fight, this time is it a moment of clarity, where she realises what she has been doing is wrong and now gets what she should be doing. This happens when she returns to the town after she thinks Vash has died. She overhears a mom crying about how her boy will die without power, due to an illness, and Amelia remembers how she also broke the powerplant lightbulb thing when trying to shoot Gasback. She realises she could have killed the boy and seemingly also realises all killing is wrong. This is eventually shown when she decides not to show Gasback in the final fight scene.

Amelia with a photo of the man she wants to kill, Gasbcak the notorious thief. 

Amelia is also used to show off some of the deeper parts of the philosophy presented in the Trigun series. Firstly she is a representation of revenge. She wants revenge for her mother and wants to kill Gasback. However, the fact she can let this go shows she realises revenge is not a reason to kill someone. Secondly her rather emotional backstory shows how valuable life is and how painful is it for family-members to lose a loved one. She is the family member left behind who must bare with the grief.  And lastly she is the reason to spare people. (Spoiler alert she is Gasback's daughter) So if Vash had not saved Gasback, at the start set twenty years in the past, she would not exist. She symbolises the good things that can come about if life is not snuffed out. 

Another piece of fanart (by the person who did the Rem picture from my last post. http://solidgrafi.deviantart.com/art/Trigun-Badlands-Rumble-Amelia-286516276

Anyway one of the new ideas about killing comes from the character Gasback, the notorious thief. He thinks of everything in terms of personal gain and loss and sees life just as something to be valued along side property and possessions. He thinks everyone is out for themselves and their own gain, so to do this we need to steal and stuff. Basically I help myself by hurting others. He asks why should others get things (to keep their lives) for free. He thinks he will be better off with others dead as he will have comparatively more stuff. Killing seems like just another thing to steal (but yet he never actually kills anyone which is wierd). When he talks to Vash about this concept of life Vash uses this to his (philosophical) advantage by implying stealing is never right, so because killing is a form of stealing, killing is never right either. Also Gasback does bring up the idea of redemption (and its plausibility and possibility) by confronting his enemy and calling him irredeemable. 

Gasback with his signature weapon thing that can do all kinds of crazy shit.

One last point I want to mention is the idea of killing and risk. This was inherent in the Trigun series. It was either kill your enemy (or the person who is going to kill others) and save them for certain, or let them live and risk losing your own life or that of your friends. Wolfwood appropriately (because this is all his ground in the TV series) is the one that mulls this over. Others, such as Wolfwood, do not like risking their lives in the hope that the other person with a gun will kill. But Vash is willing to take this risk again and again. Ultimately he succeeds but there is always a risk. The image and metaphor is used on several occassions with this idea. In a way this all adds onto and sort of clarifies the idea it is kill or be killed. It shows there is no certainty if you let live that there will be other deaths. There is risk, like rolling a dice, for sure but the odds could go in your favour and all you can do is hope. 

Ok so another reason for writing this was to show off more cool fanart. http://srokaml.deviantart.com/art/Trigun-113362277

The Trigun series had one of the most thought out and repeated messages I have seen in a TV series. I thought the movie was just going to be a fun revival of the characters, action movie, like what One Piece movies are, just problem problem problem then fighting and solution (but with shounen characters you love from TV). But it was more than that. The writers were able to continue and expand on the ideas of the mortality of killing in the movie and I was pleased by this. 

Wednesday, 9 October 2013

Is A Life Worth Sixty Billion Double Dollars? - Trigun

So recently I finished watching one of those if you are an anime an you should watch this, late 90s iconic series, Trigun. The story of Vash the Stampede is a very interesting one with a good story overall. It touches on many issues such as environmentalism and alcoholism, but one message is pushed in front of the viewer again and again. This is about the value of life and the rejection of killing (not just murder but killing in all circumstances). The characters themselves, from how they are introduced play on this message: Vash is a man, quite literally with a price on his life, who is (in the first conversation of the series) introduced as someone who kills men, women and children without hesitation and mercy. The two main female characters, Milly and Meryl, are insurance brokers who work to minimise damage to building at the risk of their own beings. They don't seem like the type to portray this message, but that is why they are chosen for this presumably. 

A very cool wanted poster fanart of Vash: http://jax89man.deviantart.com/art/Vash-Wanted-Poster-2-0-298012281

The first real time we get an idea that Vash values his life and the life of others is the first fight scene. Not only does he, in an offhanded way, say he disapproves of suicide more than anything else but we hear reports of him destroying towns but miracoulously there are no casualties. This offhand comment is made a few more times and suicide does appear with one of the Gung-ho Guns but the other message that Vash does not kill others reappears too many times to mention throughout the series. Vash in fact goes out of his way to save the innocent potentially caught in the crossfire (especially when fighting these Gung-ho Guns). These seem like obvious messages that are not that out of the box. Suicide is not worth it and the life of others is just as valuable as yours. Not hugely groundbreaking messages. 

Caine the Longshot, one of those Vash failed to save.

However the main problem the writer saw with this view was questioning whether or not is ever right to kill someone. Is it right to kill someone who would kill you or who would kill numerous others? These are difficult questions, in both cases you are protected by law but it is a question of morality, not legality, especially when it is set in a post-apocylypitic world. This question is in fact one of the main conflicts in the series, as an overtone to Vash vs Knives. The most notable expression of this question is in the backstory of Vash and Knives, on the spaceship SEEDS. Here Knives kills a spider to save a butterfly, as Vash was trying to free the butterfly from the web. Knives is attacked by Vash and Rem for this but says that the only way to truly save the butterfly is to kill the spider, because even if he does save the butterfly the spider will die of starvation in the long run. This idea then takes places on the ship when Rem is held at gun point by another of the crew, Rowen, and the captain, Joey, kills the crewmember (by sucking him out into space) to save Rem's life. Rem's philosophy, however, is that no one deserves to die, ever, and no one has the right to decide if someone else should die (no one has the right to kill in other words). Vash continues this philosophy throughout the series and tries to save as many people (innocent) and enemies as possible. He will disarm or injure his enemies (and even allow himself to be injured) but never kill them. He always (well with one real exception) finds a way to end conflict without himself killing anyone. He does this whilst others are always saying he needs to kill his enemy or others or himself will be killed. 

Another wicked piece of fanart of Rem Saverem, trying to save everyone. http://fc07.deviantart.net/fs71/i/2012/129/e/5/trigun__rem_saverem_by_solidgrafi-d4y979g

However to say it is one constant reminder of the same message is wrong. Vash may constantly (throughout the first half of the series) spout out the messages of this philosphy when begging for his own life (or when begging for someone else's in fact) or when he is fighting or when he has won the battle and his enemy does not know why they are not dead. He seems to show and convince almost everyone that killing is never the right opinion and there is always a way around. But in the second half of the series Vash himself is thrust into the argument (rather than just sitting on one side) as when defeating the numerous Gung-ho Guns, they either kill each other, kill themselves or are killed by Vash's sidekick (sort of) the priest Wolfwood. Vash's failing attempts to save absolutely everyone continues as he fights the Gung-ho Guns and culminates in his killing of the most powerful Gung-ho Gun Legato when it seems he has no choice in order to save the lives of Milly, Meryl and countless others. Vash then has a huge conflict within himself, saying he is no better than a mass-murderer, for only killing one person in the most justifiable circumstanes. He is lost, he does not know what to think or do when he confronts his brother, until he is redeemed through Meryl, who he envisages as a new Rem, and is able to defeat his brother without causing death. 

The high point of Vash's internal conflict, Legato's death, as depicted in a really detailed piece of fanart. http://wizyakuza.deviantart.com/art/Vash-and-legato-355707775

Wolfwood too personifies this struggle but in a much more real way. Rather than being brought up like Vash, on this doctrine that no one has the right to kill, Wolfwood is brought up on a more realistic philosophy that it is kill or be killed, and if you delay in your decision-making the choice will be made up for you. He continues to argue with Vash and struggle to adhere to Vash's philosophy until the two come to blows after he kills Zazie the Beast, one of the Gung-ho Guns, as Vash is convincing him not to kill anyone. Vash is convinced he can save everyone but Wolfwood's ideas takeover and in order to save Vash and  numerous others he kills his enemy. As said, Vash and Wolfwood somewhat come to blows and then (after the two have made up) Wolfwood fights his teacher, Chapel the Evergreen, and after defeating him (for Wolfwood the personification of his doctrine) adopts Vash's doctrine that no one has the right to kill another, and lets his enemy go. Although this concludes in Wolfwood's death, as he ends up being shot, Wolfwood is happy as he dies, pleased that he knows he made the right decision in his heart. So just as Vash is redeemed by Meryl, Wolfwood is convinced by Vash and is the better (in terms of his inner peace) for it.

Wolfwood's death. http://i591.photobucket.com/albums/ss358/keyroon/wolfwoodv2.jpg

A huge part of this philosophical doctrine is the idea of a clean slate, that anyone can start afresh and change. This is because it means that no one should be killed because they can still become good people and do good in the world. They do not deserve to die for something they have done in the past, the future is full of potential. This is the whole reason for living according to Rem and Vash (all possibilities are available). This also plays into the much theme of Revenge and Forgiveness, which is underlying in many of the early epsiode plots. Often the reason people will want to kill another for revenge. For example, the whole premise behind the conflict in the fourth episode is vengence against the man called the Reaper. Time and time again we are told revenge is not a sufficient reason for killing, if any reason could be, because of this idea of a clean slate due to endless possibilities for the future. This idea also helps Vash get over the fact he has killed others, Legato to be specifc. He realises his future is what matters and that he cannot change the past. 

I love how someimages can look with just the most simple effects.

The value of family also plays a big role in choosing not to kill someone. Not only are you hurting the one who you will kill but also their family. They become victims of grief. The best example of this in episode 19 which is based around two families, the Freeze and Polo families (which seem sort of like gangs at the same time). The whole reason the guy wants to kill his captive is because he killed his daughter. Vash tries to convince the man not to kill his hostage because he has a family as well and in the end the would-be killer just can't go through with it. We could also imagine this would just create a vicious cycle of revenge and pain. The pain of others, especially family is bought up time and time again. 

Wicked wallpaper of Vash and Wolfwood. Too bad I can't find a link of the original artist.

The last reason others will kill is to save another, or in other circumstanes, a group of people. This is explained above though as something that is not always necessary because there is no certainty that they will actually kill until they pull the trigger. After killing the crewmember the captain of SEEDS feels regret because he knows this. Again the future has infinite possibilities and no one is irredeemable. So we have explored two reasons why killing is not right, but are there any reasons to die for (because Vash is just as concerned with stopping self-sacrifice)? One reason people die or get killed in the Trigun universe is their pride. They aren't willing to meet the ridiculous demands of the one holding the gun. Vash (in episode 18) is willing to put aside his pride to save the life of another by stripping and pretending to be a dog. Onlookers even comment they would rather die than do this, but Vash and the philosophy in Trigun values life too highly for that. 

Again the most simple effects get me. http://lychi.deviantart.com/art/Trigun-216545221

Are there even examples of self-sacrifice that meet approval? Well there are two from memory. The first is on the Sandsteamer when the driver is willing to sacrefice his life in an attempt to save his passengers because it is his job. It seems the lives don't have so much of an emphasis (although this wins him sympathy from the viewer) it is his duty. He must do this because he has promised to do. One's duty and honour (not pride) is seemingly given some value in the Trigun series. The other example is in episode three when the gun makers is finally willing to fight against the bank robbers. He does not do this to save money (his family's death, which stopped him fighting, serves as a stark reminder than no amount of money is worth life) but it is for equality. The idea that everyone is equal is also placed above life and rightly so, in both Trigun and our own history. Equality could even play a part in why no one is fit to judge if someone else should live or die (in other words why no one has the right to kill). I suppose we could say Wolfwood's death shows the value of beliefs in what is right and strength of these is potentially worth one's life. This is especially true if your views are right (but who says what is right and wrong). Wolfwood's death just shows that not killing your enemy brings peace and happiness, more so than killing them. 

I think Triugn is pretty popular, just a guess... there is soo much wicked fanart. http://hemoglodreams.deviantart.com/art/trigun-92681600

So I feel as though I have established all of the writer's/director's ideas and given the justifications for them. However there are two pieces of the puzzle that leave you feeling uneasy and unaccepting of the philosophy presented. The first is Vash's killing of Legato and the second is Wolfwood's death. As I have said, Vash's redemption by Meryl and his treatment of his brother and Wolfwood's mood are sort of shown as victories over these difficulties but they don't fully cover up the failings that sometimes killing has to happen. Yes we can argue that Legato is not truly human and does not deserve to be treated as such, but then should all mental sociopaths be put to death? He does show some sympathy towards the slave girls in the bar and does show emotion (albeit inappropriately) so he is not above redemption surely. Likewise, we can argue Wolfwood does not have the same power as Vash so he should not follow the same philosophy, but then why should we (as humans like Wolfwood) follow it ourselves? Why do the writers leave these pieces of the puzzle open? Yes Wolfwood's death is emotional for the viewers and Vash's killing of Legato leads him to seeming fall in love with Meryl, but these can be done without undermining the philosophy presented. Why is it done then? I think it is done for purely this reason. To have people discuss and question the doctrine and work it out for themselves. What worth is it pushing heavily philosophy views on people if they don't think it through and accept it for themselves? What is a life worth? Is there any reason to kill another? Is there anything that is worth risking your life?

Saturday, 5 October 2013

Korra's Suicide - Legend of Korra Season 1

I rewatched Korra before I wrote that essay thing on Amon and as I watched I remembered that the last episode had some controversy surrounding it and a scene supposedly showing Korra's suicide attempt. What I am talking about (if you are unfamiliar) is Korra's reaction to being told that when Amon took her bending away (except air) it was permenant. Katara, the best healer in the world was unable to heal Korra's affliction. Outside Mako, the man Korra has been chasing for some time, then declares his love for Korra but she still feels shattered without her bending. She rides off on Naga to the precipice of a huge ice cliff at the Southern Water Tribe. Next we see the most visually convincing shot where a solitary tear falls down to the ocean below as if we are looking through Korra's eyes. Then, a figure arrives that Korra believes to be Tenzin at first. Then he reveals himself to be Aang in spirit form. He says something profound. "When we are at our lowest point, we are open to the greatest change." Aang then granted Korra the power of all her past lives by allowing her to go into the Avatar state and use energy-bending. The Deus Ex Machina is complete and everything is rather swiftly return to normal. It should also be noted that the previous scene was the (for me anyway) emotional climax of the first season where Amon/Noatok and his brother Tarlok are running away in a boat and Tarlok decides to blow up the fuel tank and commit murder-suicide. Surely suicide is not out of the question then, right? Now the writers and directors have been questioned on it but have refused to comment so it seems to be down to speculation.

This shot is for me the most powerful image in realtion to this topic

What reasons could Korra have for this though? Depression obviously is the first thing that comes to mind. She has just lost her bending and herself in the process. Korra is the Avatar, seemingly the personification of bending (being able to bend other people's bending is very meta) and she has lost this. Well not all of this but the only thing that remains is her air-bending, the element she is most opposite to. She is literally not herself anymore. It is not the fact she has lost her powers this has happened, it is the realisation that she will not get them back, that she is not who she was is what seems to cripple her. Her reaction to Mako shows how much importance she puts on and how much pride she has in being the Avatar, which is now effectively gone). Now people have said Korra has a strong personality and I would agree, she doesn't run away or give up easily, so they put the suicide idea out of her mind, but throughout the series she is very emotional and these emotions can get the better of her. When she sees Aang, and although this ultimately saves her, we learn she is at her lowest point. If that isn't depression I don't know what is. 

Secondly, and more importantly, being the Avatar means she should have all the elements under the control. Seeing she is not longer has this and can seeming not get this back is motivation for suicide.  This is the most compelling reason for me because the Avatar must have all four elements, and she no longer does. Korra knows the Avatar will be reborn with this potential she no longer has. She must commit suicide to allow a new Avatar to be born, one who can control all the elements and keep the world in balance. We are also reminded in this scene of the very fact the Avatar is reborn with the various reincarnations of the Avatar appearing behind Aang when he appears (it could even eb suggested they are there to welcome her to the Spirit World). In other words self-sacrifice for the greater good seems like both an admirable and justifiable reason for suicide. Likewise, Tarlok seemingly killed himself and his brother as a sort of self-sacrefice to the world as he realises that he and his brother became what their father wanted and they could not bring good to the world, only bad. 

The other Avatars, previous to Korra. 

All this makes it certainly seem possible and even very plausible that Korra could have been on the cliff to commit suicide. This actually makes for a very compelling ending and it is actually quite interesting to ask what would happen had she thrown herself into the water? Would the Avatar State have kicked in anyway? Would it have saved her and would she have had to be a sort of walking shell of what she once was? Would she actually have to relearn the elements again? This has all become a subject of criticism. It would surely have been very emotional to have Korra commit suicide or at least try to. The storyline where she has to relearn the other elements surely opens itself up and makes a nice second and third series possible. Why then do the writers not take this route for the next few seasons? Why too do they take a very quick Deus Ex Machinima approach to sorting things out and returning them to normal? Well to me it is simple. This may be the Legend of Korra but it is not her story exclusively. The writers realised the most compelling part of Korra's struggle was in fact the struggle of the Equalists, not her fixing the world after Amon's exit. That is not exciting and I believe the attention of the series is rightly focussed on the feud in Republic City, not within Korra's mind. Likewise, I believe the storytelling overall has stepped up from the original Avatar series. They do not want to do the same thing they did with Aang. The Korra series was very plot driven and every episode led into the next. In the original series this was not the case. Many episodes could be taken out (The Southern Raiders for example) and the overall story would not be hindered at all. I believe, and it seems to be the case so far with Season 2 (with a civil war), that the Korra series has more important and interesting ideas that learning the elements. 

A wicked picture of Korra as the Avatar http://darkkenjie.deviantart.com/art/Korra-208688798

Lastly, I just want to mention that there are a number of Korra fanfics out there that deal with this subject. The most remarkable and best read I have found is Korra's suicide letters. It is basically in two parts: the first is a series of letters to Korra's friends, family and trainers and the second part is their reactions to the event and the letters. It reasons the suicide very well and captures emotions very well, giving messages thanking people like Pema for their eveyday help, giving Korra a more real life feel to her. You can read this at: http://www.fanfiction.net/s/8248583/1/Korras_Suicide_Letters

This has been a depressing write so I thought I would end with my favourtie Korra fanart. http://heracrossed.tumblr.com/post/24142091672

Sunday, 29 September 2013

Amon the Equalist - Legend of Korra Season 1

One of my favourite American cartoons of all time was Avatar: The Last Airbender. When I heard a follow-up series was coming out I was exstatic. The creators of The Legend of Korra, for me anyway, not only lived up to expectations but easily surpassed them with the world, story and characters they created in the follow-up series. For me the highlight of the whole series was not Korra and her companions but the villian, Amon. Brilliantly voice-acted by Steve Blum but even more brilliantly written (plus with his his mask on he looks like a total badass). He was for me a near-perfect villian. In this post I want to explore Amon, who for me is the most compelling villian ever really.

Does Amon's image not just scream "This guy is a BadAss". The symbol by the way means Equality.
http://greenguy22.deviantart.com/art/Amon-299386490

Amon, like any great villian, has the skill to cause the protagonist a lot of worries. He is an agile hand-to-hand fighter, able to take down the best benders without even breaking a sweat. However, his true power is his waterbending. Not only is he a master in the art of bending water but he has mastered, through years of training and his own natural talent, blood-bending. Although some can break free from his grip when he does decide to control them with this formidible power, if he was ever to get an adversary on the back foot he would be able to end the fight by using his blood-bending abilities to permenantly block their chi (stopping them from bending). We see these skills used throughout the series numerous times, like during his "Revelation" and after the pro-bending tournament final. He is also, like many a great villian, cunning, intelligent and highly manipulative. His speeches are always filled with rheotoric and plans are always well thoughtout to the most minute details. His backstory is one that is compelling and somewhat heartbreaking. 

Amon (originally known as Noatak) standing up to his father for his brother Tarlok.

This all seems like any other great villian, they usually will have a great backstory and be awesomely skilled and intelligent. However there is one point of difference that pushes Amon beyond these others. This is his moral ambiguity, in both the his motivations and methods of doing what he wants, as well as his humanity at the end of the series. What he wants is equality. Equality, fairness, for one person to be treated the same as someone next to them. We all want this don't we? Recent history has been all about creating a world of equal oppurtunity free of discrimination. Amon wants this world. He sees that some benders are using their powers to exploit and get above non-benders and he wants equality. This is built into him from his background, where he realises he is only being used by his father, a notorous gang criminal, to get back at the Avatar, the most virtuous person in the world charged with keeping balance and order. The first time we see him, during his "Revelation" show, we see he is targetting gang-leaders and their affiliates. At this Equalist rally Amon reveals his plan to eradicate the powers of benders, as they only brought suffering to the world and were the cause of every war in history. Admittedly there is a lot of false rheotoric behind this, such as his sympathetic backstory (where his family, all non-benders, was extorted by a firebender and his face was left horribly scarred) and how he has been chosen by the spirits to bring order and equality. However the fact remains he is looking for an idealised future that we all want and are brought up to want. 

Amon taking Lightning Bolt Zolt's firebending away.

What further enforces the fact he has good in mind is that he has all the capability to be a gang-leader, exploit thousands and make huge bundles of money, yet he is an idealist in what is essentailly an unfair world. The only reason i can see that he is chastised by his closest follower, the Leutenant (the guy with the electric batons and moustache), is because he is a bender (and thus called a liar) and the son of the most notorious gang-leader in recent history, yet he is not judged as his own person or on his ideals and beliefs. It reveals that the non-benders don't want equality as such, they want to be on top. Amon is shown to be better in his beliefs than the lackies he leads. The only reason he is seen as bad by those in power is because those in power have bending and would be affected by this. There is such a strong parallel now to rich people being in governments around the world, yet not wanting to help economic equality because it would diminish their own personal estates. 

A wicked cool election poster for Amon. I know he would have my vote for what ever the fuck he wanted. 

So why is Amon the villian then? The music and the way he is visually portrayed gives off the vibe that he is bad, but his beliefs are in fact the purest and best they could be surely. It seems he is the villian due to the methods he wants to go to to make the world equal. They are too Draconian. He wants to rid the world of bending, the thing which has traditionally given the Avatar (the true champion of balance) all their power. And he does this all with force. Sometimes it all does come across quite harsh. I mean, sure the gang-leaders deserved there powers being taken away but realistically the pro-benders did not. They were definitely wrong for bribing the referees but they didn't deserve their powers to be taken surely. It would be like breaking a footballer's legs if he was to try and matchfix. Very harsh indeed, but at the same time he never actually kills anyone. With his bloodbending he could quite literally break people into two, but he doesn't. During "The Revelation" he casts himself as a sort of second (non-bender) Avatar and performs his role perfectly for this part. But it could be considered somewhat treasonous not to mention megalomanic to say you get to decide what is right and wrong.

Another hype fanart picture of Amon.

It is this middle ground that makes Amon such an intriguing and a great chracter. He has very good, the best even, intentions. He wants to make the world a better place for everyone. He wants equality. He is not selfish in his beliefs. But it is the way he goes about it that is what makes him the villian. But at the same time we must reason that if he did not do it by force, could he realistically achieve equality? The moral ambigiuity of his character is not only an interesting point in itself but it asks many philosophical questions. Is equality in a world where so much depends on birth ever actually possible? Should might ever be used to do what is perceived to be right? How far should punishments be pushed? Of course the show has one disappointing answers for us. No, equality is not achievable. It is just part of the word and we need to live with it. 

A recreation of one of Amon's posters.

Lastly, Amon is also one of the more remarkable villians due to his exit from the series. He is killed by his brother Tarlok (the first time a family member has killed another family member in the Avatar series and thus a very poignant moment). He is not plotting his revenge, he is trying to just escape it all with his brother. He has lost his emotionless traits and finally seems human, shedding his sociopathic ways with his tears, something he hasn't really been since he was betrayed as such by his father. Emotions are always a way to be memorable and I think the writers did a good job in sending off a great character in this way.

Amon is human after all. Man tears make the great antagonists better. 

The antagonist in the newest season of Korra had shown some moral ambigiuty (and definitely the same amount of skill, cunning and background as Amon) but this moral ambigiuity has just been broken in the most recent (4th) episode, inspiring me to write this post, and so I think Amon will retain his position as my favourite villian of all time.

Unalak, you showed so much promise, but now you're just a man looking for power.

For a more detailed run through of Amon's traits, backstory and history etc see the following link:

Monday, 23 September 2013

How should I feel? - La Maison en Petits Cubes (Tsumiki no Ie)

So originally this blog was intended to be a series of reviews as I journeyed through anime, but I think this is maybe a little boring. I don't really like to read reviews, and I just discovered I don't really like writing them. However, what I do like writing is more analytical pseud-essays. I do like to read these too. So this is what this blog will be, oh and the odd real life report if I see or do anything anime related. 


So the other day I was talking with my friend on skype and we were showing each other youtube clips as you do and I decided to get her to watch La Maison en Petits Cubes (Tsumiki no Ie). I thought it was a touching anime that was worthwhile for anyone to watch, plus it is easily accessible on youtube. So we stopped video calling and I let her watch the film and I decided to do the same having not watched it in a while. At this point I advise you to watch it too (not only for the story but also because of how it tells the story with no words and a great art style), becuase I will give a pretty detailed summary in order to talk about what I want to talk about. 


Anyway the short film, which incidentally won an Oscar for best animated short, is a just an old man and his home on this planet where the water levels keep rising. As they rise he is forced to build a new house, smaller than the last on top of his current home. He is doing this as his room is flooding until one day he drops his favourite smoking pipe down the trap door in the middle of his room. Each of his houses has one of these to connect it to the house below and above it. He tries to buy a new one but the ones on sale don't quite match so he decides to buy diving gear to find his pipe. As he finds it in the next lower level, he decides to open the trap door this house and each lower level, until he reaches his first house. As he goes through each house he reminisces about his life, backwards in stages as each house was a different part of his life. He remembers his wife dying, his grown-up children coming to visit him with their own children, his own children going off to school and finally, on ground level, his life growing up with his friend and eventually marrying her. The film ends with him and two wine glasses on his table, just as he had the first day he owned his house and was at dinner with his wife.


So we stopped watching and I video called my friend again only to find her crying. She said that the film was really sad but she had enjoyed it. We had a small discussion about why this was. She said it was because the man is basically just waiting to die and all he can do is remember the good times of his life, but they are only memories not his life. All he is doing is building an ever depressingly smaller house, waiting for death. The last scene just shows how memory is just a fleeting grasp for reality and for happiness which is ultimately not real. His memories are related to his loneliness, from how his daughter grows up and gets married and how his wife dies, leaving hm alone. This is only further emphasised by how we realise that when he goes under water there are more houses. This was a town, now it is just one old man. There is nothing beautiful about loneliness. All of this is something he had, but no longer. This is a very sad view of this, but one that does seem to come quite naturally and logically. I mean the first memory he has is of his wife dying, surely the saddest point in his life now that his children have moved out and he will be all alone. 


However, I feel as though I need to explain why I disagreed with her interpretation. I feel as though the man was not sad about his memories, he cherished them. He loved his pipe, he wanted to find it, but more than this, when he found it he didn't just resurface but he wanted to go further down and think about the rest of his life. Just the fact he went through all the hassel to buy a scuba suit and dive down instead of just buying a new one isn't just some nice sentimental action it is a way to show he is not depressed about death (he is happy with the life he has lived). This is the idea I got from the whole film. He was content with his lot in life. In a way he realises his death will come and he is (I wouldn't say ready for it or embracing it) but he is happy with what has life has given him. The last scene isn't a failed attempt to relive the best time in his life, it is a celebration and acknowledgement of it. In the end this makes me happy. Everyone is scared of death but this gives me joy that someone in their old age could be happy. Now I will make one admission, this being that the way his house is constantly shrinking and looks quite cell like is depressing. But he doesn't need an expansive living space, he realises his needs are less and is happy with a smaller house (showing his acceptance of his old age and not a depressed clinging to the past). 

A very nice piece of FanArt showing the last scene of La Maison en Petits Cubes. http://lamianqueen.deviantart.com/art/a-solo-celebration-303499713

So now I want some feedback from you. This is such a good and interpretative film all based on emotion. I mean all the photos on the wall could be interpreted either way really. So who do you agree with, not that there is a right opinion (but if there was one it would be mine)? Is he enviable or is he pitiable? Or both? Can we feel both sadness and happiness for the old man?

Links for the anime below:





Sunday, 22 September 2013

Pictures of Merchandise from the Ghibli exhibit

The merch I got, all pictures... few words. 


The Book of the Exhibit. I think (and hope) it has pictures of every layout on display.


Nausicaa and her pet squirrel fox thing, from Nausicaa of the Valley of the Wind (1984). 


Obviously the castle city thing that is Laputa, from Laputa: Castle in the Sky (1986).


Seita consoling his little sister Setsuko, from Grave of the Fireflies (1988).


Totoro about to call for that Cat-bus, from My Neighbour Totoro (1988).


Kiki lying on the ground listening to her radio, from Kiki's Delivery Service (1989).


Only Yesterday (1991)


Marco/Porco talking on the phone to Gina if I am not mistaken, from Porco Rosso (1992).


Rikako sitting down to talk to Taku, in Ocean Waves (1993)


Shoukichi and Okiyo with their children, from Pom Poko (1994).


Whisper of the Heart (1995)


The creepy (at first) forest spirit himes, from Princess Mononoke (1997).



My Neighbours the Yamadas (1999)


Chihiro looking at the bath-house of the spirits, from Spirited Away (2001).


The Baron riding Toto tracking the cats, from The Cat Returns (2002).


The walking castle strutting its stuff, from Howl's Moving Castle (2004).


Terrhu singing her lonely falcon song, from Tales of Earthsea (2006).


Ponyo and his friends/brothers are released, from Ponyo by the Sea (2008).


Shun riding home, from Up on Poppy Hill (2011). 


And last just some small tokens for my friend who couldn't come (hopefully they don't see all the stuff I bought for myself and get jealous).

At an end note, I was disappointed that there was no print from Arreitty, I checked... twice.