Could the end of the world just be a set-up? - Legend of Korra Season 2

So the first episodes of the third season of Avatar: Legend of Korra have just come out and it is showing promise so-far. In fact more than anything I am super pumped for this series more because of the trailer than anything. A lot of things were glimpses at: a number of air-nomads (with noticably darker skin than Tenzin and his children); a very rich Earth kingdom lady (who one can only assume is the Queen of the Earth kingdom) and her army I guess; an elderly King Zuko; Eska and Desna; as well as the daughter(?) of Combustion Man (I like Sparky-Sparky-Boom Man better); and numerous previously unseen locations (a desert, other cities, new islands). All I can assume is that Korra is venturing outside Republic City, and to be honest this excites me to no end. The greatest thing about The Legend of Aang series was the wierd and whacky world in which he explored in order to find teachers and learn the elements. Now that Korra is exploring it I am excited to see how it has changed. Also with all these seemingly influencial (in the world) characters in the trailer does it signal the start of a new war? But one question remains for me about Book 2, does this leave the second series as just a set up series?

Fire Lord Zuko is making a return: http://www.theotakukid.com/wp-content/uploads/2014/06/The-Legend-of-Korra-Book-3.jpg

Book One of Korra was set up as a sort of stand-alone 12 episode mini-series that then got picked up for a further 3 seasons to bring the episode count up to 52 in total. I could be thus assumed that Book Two would set up the other two Books that would conclude the story of Korra, just like how Aang had his three books. Book Two however had its own antagonist who was beaten and the world was returned to a state of balance so should this Book been seen as a standalone series too? In short, no. I would argue that Book Two was brilliantly played out but in the end was just a set up series for the main story of Korra's avatarship to unfold. 

The meme a co-creator of Korra (Bryan Konietzko) made to announce more books as a series beyond season 1: http://bryankonietzko.tumblr.com/post/27078349740/im-sure-this-meme-is-dead-by-now-but-it-still

Many would argue though that Unalaq was an enemy worthy of his own series and this Book was more than just set up for something else. With Unalaq and his attempt to become the "Dark Avatar" is where the writers got it right in being able to show this as something more than just a prologue. Everything about Unalaq and Vaatu was cosmic: Korra had to reconnect with the first Avatar to just learn about Unalaq's plan; Unalaq vs Korra was going to invlove, quite literally, the spirits of good and evil, or rather "light and dark"; and of course Unalaq's plan could only happen during the Harmonic Converge (where the planets align), which only happens every 10,000 years. How could an enemy that could only be created with a ceremony so cosmic be just a mere introduction to the main story? This is what the writers did right with it. They were able to create an antagonist that would seem like a main villain, due to the epic scale of his powers, but is just a tool for set-up. 

Early concept of Unavaatu: http://bryankonietzko.tumblr.com/image/67728323264

The next two Books in the Korra series (Book Three: Change and Book Four) surround the events that happen in consquence of Korra leaving the spirit portal open. Obviously the writers wanted to do something big and drastic to the world, namely letting the spirits into the world (and having watched the first three episodes give many new people, including the new antagonist airbending powers). How could they do this? Well obviously Harmonic Convergence was conceived of as a way for Korra to open the portals and change the world in a good way for new ideas and new storylines to develop. So the writers had to answer why were the portals opened. They could not do it out of Korra's storyline, so they had to make her do it. Thus they had to make a reason for Korra to open the portals and keep them open. Thus Unalaq was conceived of as someone who could trick Korra into opening the portals and as the person who presented the arguments for keeping the portals open (saying how the humans had lost touch with the spirits). Other factors (such as seeing Bumi's friendship with the dragonfly bunny spirit) also convinced her to keep it open, but Unalaq was the driving force. In other words Unalaq was an enemy not for a great story but just to get Korra to open the portals and leave them that way so that storylines could be created for the next two books. 

Fanart of human forms of Raava and Vaatu with Korra and Wan: http://th03.deviantart.net/fs70/PRE/i/2013/310/d/9/harmonic_convergence_by_little_mongolian-d6syksz.png

I would further argue this because Unalaq and Vaatu as enemies were very cliched. I mean he was set up very early and rather obviously as the one who would be the main antagonist. The writers tried to do what they did with Amon in making his cause seem worthy (this time arguing for spirituality instead or arrogance towards the spirits or spirituality vs secularism) but then his cause becomes just about power. Amon's cause was one many could get behind and this made the first series great as I said before: http://animevigil.blogspot.kr/2013/09/amon-equalist-legend-of-korra-season-1.html.  However, Unalaq, as it eventually turns out, just wants power. He was willing to sacrefice his son in order to open the second portal and as his children admit at the end "he had beomce a deplorable man". He fuses with the manifestation of evil, the spirit of darkness Vaatu. In doing this he becomes the "Dark Avatar". I am sorry but you don't get more comic-book cliched than that. Basically because Unalaq and Vaatu, by the end of series, had become so cliched that the story was nowhere as compelling as the first Book I would say this Book was made to introduce the next two, hopefully more morally ambiguous and thus interesting, seasons. 

Fanart of Korra with the spirit of Raava: http://i1.ytimg.com/vi/mBmUCe6Q2Zk/maxresdefault.jpg

Furthermore, Unalaq was not really set up as an enemy with a backstory. For Amon we had the backstory explained to us by Tarrlok who told us about Amon's childhood, connection to bloodbending and the reasons behind his move to take other's bending away. For Unalaq, yes, we are told of how he got his brother banished (by the corrupted judge) and for Vaatu we are told of his goals and ambitions through Wan's story, but it still leaves me with unanswered questions. We are told of how Amon got his bloodbending ability, but how did Unalaq get his connection with the spirits and where did he learn how to control them? I suppose we can assume by studying very hard or just naturally etc. But the main question for me is: how did Unalaq find out about Vaatu, Harmonic Convergence and when did he decide he wanted to fuse with Vaatu? I mean sure Tenzin knew about the "Tree of Time" but if he had any idea of Hamonic Convergence surely he would not have left Korra so quickly for his family vacation. I suppose again we could say his studies told him about Vaatu and Raava, but again why does no one else know. I think Korra was right at hinting Unalaq was jealous of his brother when said "it must have killed you to find out your brother was the father of the Avatar". This could be a motivation for fusing with Vaatu, because of his jealousy for his niece. Did Unalaq go into the spirit world before? Wan Shi Tong knew him, maybe he studied in the library and found out everything, then when he found out his brother's daughter was the Avatar he decided to become the "Dark Avatar" as he already knew about the nature of the Avatar, Raava and Vaatu from his studies with Wan Shi Tong. This is all speculation and because I can only guess at this backstory, it makes me think Unalaq was not properly thought out as say Amon was and is just a means to creating a new set of storylines in a new world of the Avatar. 

Fanart of Korra doing her spirit thing: http://artipelago.deviantart.com/art/Korra-Spirit-407380348 This artist has many more works on the Legend of Korra, check it out.

I mean the only way Korra found out about everything to do with he nature of the Avatar, Raava and Vaatu was through her connection to Wan, something Unalaq did not have. In fact the story of Wan is crucial to this argument. Although it says how Wan became the Avatar and why Unalaq must be stopped it does so in a rather long narrative way. It goes into who Wan was before the Avatar (in order to show Korra she has her on spirit and is not defined by Raava) and it tells the story of Raava vs Vaatu  (to show why Unalaq must be stopped due to the nature of Vaatu). However, the story as tells about Harmonic Convergence (yes necessary for Vaatu and Unalaq's plans) but just as necessary for setting up the next seasons as consquences of a new world brought about by Korra opening the portals. In addition the story of Wan also showed how spirits and humans interacted and what they thought of each other. How spirits thought humans were destruction and selfcentred and how humans thought spirited were to be feared because of their mystical powers. It even showed a few scenes of spirits and humans fighting to bad results (a plot point for the next two seasons??). The reason Wan became the Avatar was because he was different to all other humans. The story also shows why exactly he closed the portals, which of course sets up how when Korra leaves the portals open she will change the world. Thus, the two epsiode story of Wan, as artistically appealing and interesting in terms of the overall world as it was, can be seen as a story about the Harmonic Convergence and the relationship of humans and spirits, just as much as it is about Vaatu, Raava and the Avatar. The story of Wan sets up how the world will change at the end, which is necessary for this to be a set up season, just as much as it was for driving the antagonist characterisations forward. It is interesting to note how different Wan's drawn out fusion with Raava was compared to Unalaq's comparatively simple fusion with Vaatu, as it shows there is a little bit of inconsistency given to this aspect of the tale. 

Wicked fanart of Avatar Wan: http://www.deviantart.com/art/Avatar-Wan-411857563

Lastly, why was the Harmonic Convergence needed? Having watched the first three episodes it shows that it has given Korra something to fix in Republic City, which when she cannot she is driven out by the president. Second it gives the main antagonist, although with others, a power he could not possibly have before Harmonic Convergence. The antagonist of the new series, the leader of a group of four escaping capatives (held by the White Lotus in secret prisons restricting their bending) was given the power to bend air. The reason behind it is Harmonic Convergence presumably releasing energy to balance the four nations but nothing has really yet been revealed. This also gives Korra a new task, outside of Republic City, to find the new airbenders, and restore the Air-Nomad culture at the various temples. This to me is much more interesting than the take down the purely evil guy that was in the second season. Two weeks on from the Harmonic Convergence and the reasons for having it as a set up to these new problems looks interesting. 

Fanart of Korra vs a dark spirit: http://solkorra.deviantart.com/art/Korra-vs-Evil-Spirit-South-Pole-Batlle-378632449 This artist also has more Korra artwork. 

As an end note the second season left two interesting plot pieces open, which the first season did not. First Varrick was able to escape prison with Zhu Li (after "doing the thing") and was not seen from again. Could he return? Also, like Amon, Unalaq dies in the end. Although Amon had no family and no place of power outside his rebel group, Unalaq was chief of the Northern Water. Yes, the South was given a Chief in Korra's father, Tarrlok, the North has been left without one. In the trailer fo the third season we saw Desna and Eska waterbending, along with a host of others using their powers, such as  someone who appeared to be a highstanding citizen of the Earth Kingdom and a firebending King Zuko (recognisable by his scar). Will their be a war? Who will start it? As we hav seen from The Legend of Korra, the Fire Nation, is not the only nation capable of invasion. Having watched the first three episodes of the new season it definitely hints that the Earth Queen is one to watch, in terms of both riches (like Varrick) and invasion, although it seems more likely she will invade Republic City to regain former Earth Kingdom territory (and maybe more).   

Season 3 Big story is Korra must rebuild the Air nomads and their temples: http://www.awn.com/sites/default/files/styles/original/public/image/attached/1016847-korra_1.jpg?itok=GcjkhfuU

In conclusion, yes the series was great, in some areas. It shows a great relationship between Tenzin and his siblings Kya and Bumi. Likewise the relationship between Mako, Asami, Korra and Bolin, especially the love triangle it created, was interesting. However, as the season went on it started to pale in comparison to its predecessor and now that season 3 has started it really just feels like a set-up story rather than something that was as clean and well rounded as season 1. First, the enemies came off feeling too cliched after Amon, who is for me one of the best antagonists I have ever seen on the screen, big or small. Second, the plot, in terms of Unalaq backstory and motivations were too unclear and not really specificed other than "he just wants power". Third, Third, the story of Wan (the first avatar) was not just set up for Raava vs Vaatu, it was set up for the Harmonic Convergence and the relationship of spirits and humans, with which the writers could preface the next two series. So due to this I felt that the second season of Korra was well done but due to failings in areas is just a set up for stories that I hope are more interesting and less cliched and obvious as light vs dark, especially as the leader of those four capatives called their path "a righteous one". 

The dynamic family issues of Tenzin and his siblings was a highlight for Book 2 and it looks to continue with Bumi turning out to be an Airbender. http://metaboo.tumblr.com/ This artist also has several very good pieces on Korra Season 3. 

A Lesson On Life - Colorful (movie)

I myself have been particularly fond of anime that venture towards conveying an important message rather than just relying on entertainment as its only layer. Colorful is definitely an anime with a message. Rather than enjoying this anime solely for pleasure, one should be prepared to learn a valuable lesson. This does not mean that Colorful is not a boring or stale thing to watch because it definitely has quite a unique story and does draw the audience into it. It has emotion both for the protagonist and for his supporting characters. As a story itself the characters are deep and complex (this is in fact part of its message) and the plot is well worked even if its twist is not so unpredictable. The art and music is likewise very solid but nothing that should be shouted about from rooftops. So let's start of with a quick summary of the premise of the story.

A Colorful poster

Upon reaching the train station to the other world, a rather depressed soul is told that he is 'lucky' and will have another chance at life. He is placed in the body of a 14-year-old boy named Makoto Kobayashi, who has just committed suicide. The only condition is that the soul must figure out what his greatest sin and mistake in his former life all before his time limit in Makoto's body runs out. He must also adjust to being this person he knows nothing about (dealing with Makoto's own personal issue that led him to commit suicide) and is thus guided by a neutral spirit named Purapura. This all is very interesting because on one hand the soul must assume and fit into a life that he feels is not his all while trying to figure out itself from its past life. 

Purapura and his guidebook for the lost soul, Makoto. http://educawanico.deviantart.com/art/Colorful-Purapura-and-Makoto-214376865

Throughout the film many moral and philosophical issues are dealt with. The main issue that the film deals with is happiness. Throughout the film we are reminded Makoto committed suicide due to a sudden but huge state of depression, as he finds out his crush is a prostitute and his mother is an adultress on the same day. Throughout its "internship" the soul must deal with the same depressing issues and not slip into the same saddened state. Purapura even tells it (the soul)9 to just live in the moment and have fun. How does it do this however? How does it overcome what Makoto could not? Well simple, it finds a friend. Makoto never had a friend, he never had a companion to journey with, to enjoy life with. The soul finds this in Saotome. Saotome is neither smart, rich nor good-looking, but he does have something that makes him special, he is friendly. He is described as treating no one differently. He is happy because of his friends. In fact Makoto seems happiest when he is with Saotome, sharing a bun and some pieces of chicken. This simplicity is in contrast to Hiroka who wants happiness through expensive items (but does not find it). Purapura both praises Makoto and is envious of him, because he can find such happiness with such simple things. But it is not the chicken and the bun that bring happiness, it is the fact they are being shared between friends. 

Nice fanart of Makoto. http://www.zerochan.net/1123891#full

At the end of the film Purapura says how happiness is truly brought to us by friends and family, just as we bring them happiness. Of course we cannot be happy all the time. The symbolism of art as an expression of feelings within us is a huge part of the film. When looking through Makoto's sketchbook we can see how it changes from bright pictures to rather confusing and almost disturbing, indicating his depression before suicide. There is a discussion between Makoto and Hiroka where he muses that we are all like paintings: made up of dirty colours and bright colours. It is up to us to try and show off these bright colours and live a colourful life, and try not to pay attention to the dirty colours. Makoto's picture of the horse underwater (swimming from the dark depths to the bright surface) is the main symbol throughout the film. It shows how we must try for this bright happy place. At the end of the film a figure is painted leading the horse. This obviously representing Purapura who helps Makoto (the horse) and leads him to the correct way to find happiness. However, for us the audience Saotome is the real exemplum. Despite his intelligence, appearance and wealth he seems to be the happiest character throughout Colorful, simply because he is the friendliest. He is able to make friends and share things and be happy with what he has. When Makoto says he feels like he does not belong to the present time period (implying he wants to escape) Saotome replies he thinks that he would be suitable for any time period because he is grateful and happy with what he has. We should follow what Saotome does. As Purapura says, we only have a short time on earth, we must be thankful for it and enjoy it whilst we can.

Makoto's modified painting, with the added guide figure of Purapura to the horse that is Makoto, or anyone really. 

Other than the idea of afterlife and reincarnation, crime and sin is the first real philosophical issue that is dealt with. The soul is informed it cannot be reincarnated due to some horrible crime it has committed in its past life and it must figure out what this crime was. This is reminded throughout the film, and it is revealed to be suicide. In fact more crimes or sins (I don't think we should distinguish these two words) are dealt with. Prostitution (even underage prostitution it seems) is also addressed. Hiroka, the girl Makoto has a crush on, willingly goes to a love hotel with a much older man. When confronted she reveals she does this quite regularly in order to buy the clothes and accessories she wants (doing "it" three times to save up for one thing she wants, as she likes expensive things). Mugging is shown, when Makoto is beaten up for his shoes, but not hugely delved into. Bullying is shown in more detail and the trouble it causes is talked about by Shoko. As is pornography, which the soul shows to Shoko to show how Makoto was not so pure and has human desires, which is then followed by implied rape, as the soul then forces himself on top of Shoko. However, adultery is dealt with in more detail. Makoto's mother committed adultery with some gypsy dancer. She supposedly was somewhat neglecting her family during this time and only changes after Makoto's suicide. Makoto/the soul mistreats her when he finds out. When his father talks to Makoto about it, he blames himself and his job for not giving his wife enough attention. The true motivations are not revealed and this, I think, is one of the ideas about crime/sin that is put forward by the film (that only the committer knows the motivation for a crime). Hiroka has to reveal why she prostitutes herself. Makoto's father can only guess as to why his wife cheated on him, as he did not know about he depression pills caused by her mother's passing. Likewise, Makoto's teacher guesses his bad grades caused his suicide, but really only Makoto knows it himself. 

A poster showing Purapura the guide in a painting.

When the soul learns of his mother's crime/sin, that she cheated on her husband, he instantly treats her differently. He is constantly angry at her, even more so when she tries to make up for it by being a dedicated mother, who know handmakes side-dishes. This however really hurts Makoto's mother, to the point of breaking. It even causes his father to take him on a fishing trip and confront him on the issue, during which we get a very poignant scene of the mother absent-mindedly filling up a gas can and spilling it all over the place before crying in a heap. We feel real emotion and sympathy for her despite what she has done. On the otherhand we do not feel the same emotion when Hiroka reveals how she despises herself due to her crime. But why? Not because her crime/sin is any different (they are very similar intend) but because of the treatment she receives. She is not shunned for trying to do the right thing, in fact she is comforted by Makoto. The film shows we should not pile on the sinner, because we do not know their motivations (even if they are not a reasonable excuse), but we must be supportive. Just as Purapura says that friends and family bring us happiness, it is reciprocal: we bring them happiness too. They need us just as much as we need them. Makoto does not truly realise how he is treating his mother is the same way he was being treated at school. No one in the class talked to him for fear of being ostracised. It is not because they were not his friends in the first place, but because he did something wrong or a rather shameful thing in committing suicide. They are ignoring him due to what he did, just as he ignores his mother for her adultery. When Makoto finally eats his mum's cooking (showing his acceptance of her again) we feel like the family is truly happy and together. At the end of the film we see he has taken all he has learnt on board from Purapura, not only with the modifiation to his painting, but because he is cycling with his friend Saotome and wearing the jacket his mother got him (the one he rejected before his fishing trip with his father).

 

You should always listen to Purapura.http://www.zerochan.net/574235#full

So the one question I was faced with in this film was: is suicide really a crime? Obviously this is an especially relevant topic for many teenagers, and teenage suicide is well documented in Japan, and this film truly tries to deal with this issue. The film's writer and director explicitly say that suicide is a crime as this is the big realisation of Makoto at the end of the film: that his past crime was that he killed someone, himself and he was actually Makoto the whole time. We are reminded throughout the film he must find out his past crime to pass his "internship" and this crime is revealed to suicide. Why is this a crime? Well I can find two reasons from this film. First, it is not following the teachings of Purapura and how to be happy. We must find be grateful for what we have in life. We must be happy with what we have (specifically in terms of friends and family). But there is more than this, we must try to make them happy too. They are a support for us and at the same time we are a support for them. Just as Saotome was a support for Makoto in his life, Makoto finds out he was a support for Shono as she saw him suffer and how he dealt with it was an inspiration for her. The same goes for family, humans must have a symbiotic relationship and if this is broken (by suicide) it is not fair. The scene in the hospital, when the spirit is put into Makoto's body, shows the sadness, not for oneself but for others, suicide creates. I think especially about the older brother punching the wall, who otherwise seems so Stoic and unemotional. In this way it is a sin (even if it is not technically a crime). 

Although Purapura was Makoto's guide and we should learn from him he did not always act like it. http://www.zerochan.net/1123887#full

So I think Colorful was a great film, not only because of its very interesting story but also the way it dealt with many issues head on: pornography, adultery and most thoroughly teenage suicide. It was a truly courageous and inspirational film that I urge everyone to watch. It is by no means boring but still has the substance of a compelling philosophical doctrine. The film wants us to live a "Colorful" life, not for our own sakes but also others too. We should try to live with Purapura as our guide and with his teachings and musings in mind. 

Another fan art of Purapura. http://fc09.deviantart.net/fs71/f/2013/189/0/0/purapura_by_vikab-d6cmm1e.gif

http://myanimelist.net/anime/8142/Colorful_(Movie)

http://www.animenewsnetwork.com/encyclopedia/anime.php?id=11211

http://anidb.net/perl-bin/animedb.pl?show=anime&aid=7409

The Symbiotic Student - Golden Boy

Golden Boy is a mature anime indeed. Although it is not hentai it does not mind showing the audience breasts and mastrubation. In this way it was definitely made more for guys than for girls. It is about a 25yo guy named Kintaro Oe, who withdrew from college having learnt everything already, in order to persue a journey of life study by travelling on his bike and taking on new and difeerent part time jobs. Anyway this anime way certainly an enjoyable way to spend 3 hours of an afternoon. The animation is pretty good (but obviously shows its age, being from the mid-nineties) and the music is pretty good. But what is really fun to watch is the characters and their interactions. Kintaro (the protagonist) is definitely one of the best lead roles to be written. Overall what grabbed me about the OVA was the humour. It was very funny. There is a particular scene in episode 3 where Kintaro is trying to break up a love scene at a racetrack that was hilarious. However, some humour, particularly that which is about perverted love ( for example Kintaro's obsession with toilets and what females do on them), is strange for me. But maybe this is just a western thing. I never found Master Roshi all that funny either. That being said this anime is still very funny and the change in animation plays into this, even turning into real photos at one moment in episode 6.  

Probably one of the funniest moments in the anime!!

However, despite being an anime driven by humour this short OVA series did seem to have some nice observations of life and reality (even if it was quite unrealistic at times). The first of these observations is that we shoud always be looking to learn from others. Kintaro is an eternal student it seems, whose mantra whilst doing anything is "study, study, study". Every episode we are reminded the reason Kintaro is taking on these jobs is to learn life skills. Everytime Kintaro is scolded, he is not offended and does not go on the attack, he sees it as something to learn from, for him it is "educational". He is constantly writing what he has learnt down in his very important notebook. The workplace he seemingly like the best is the ramen restaurant, not due to some large wage, but due to the fact the boss is so encouraging in teaching him. In fact money often plays a secondary role for Kintaro who offers to work for free in places, for example at the swimming pool and the software company. He realises life lessons are more important than the money he could earn. Each episode is called Lesson 1, Lesson 2, etc and the closing theme is even about study, being called "Study A Go Go". We too should always be open to learning from others, like Kintaro. 

Someone's own version of Kintaro's notebook. http://fc09.deviantart.net/fs45/f/2009/079/0/8/Fan_Art___Golden_Boy_by_witegots.jpg

And it is not just Kintaro who learns from others but they (usually the women he is trying to seduce) too learn from him, at which time Kintaro leaves the town. This then turns into them wanting him after seeing his true nature behind the perverted, clumsy and naive exterior. This anime also observes how we should not judge others by their first impressions. This is mainly shown with Kintaro, who is able to save the day or able to overcome obstacles despite the first impressions he gives. In fact in the first episode, he is misjudged in numerous ways by the software company president: first he is a perverted dolt who wastes his money; then he is a scammer who made a copy of the software and unplugged the server for laughs; and then she finally realises he is a kind, hardworking and intelligent guy. At the same time we learn not to judge Kintaro by his appearance we also see others are not to be judged as they appear. This is done with Mr. Kogure, who isn't the kind-heartened man he appears, but really a thug and a con-artist, and Reiko, who appears to be a very dignified and sophisicated lady but is really so sophisicated she cannot be pleased by men only by her motorcycle. Kintaro realises he should not judge by appearances, as he is able to out play Naoko, the seemingly innocent daughter of the mayor, at her own game. 

The animation of Kintaro's face create both humour and the mood of the anime.

Lastly, this anime shows us that every profession has its place and is important. This is primarily shown in the last episode where he calls all the friends he has made throughout the first five episodes to help him save the day in the last Lesson. He sees the value in every job, even the lowly ramen makers have their purpose. Humanity and the economy it seems is based on a symbiotic relationship. I think it is important that Kintaro refused to graduate from Law school (what many would recognise as the most prestigous faculty of any university) in exchange for a life of learning from others, whether it be as a worker handmaking ramen or a servant in a rich estate. Every job has its importance it seems. It is also shown where his what he learnt at the circus pays off when working for the mayor and what he learnt working at a different restaurant pays off when he needs to make the animators a healthy dish in the last episode. And again we see the importance of keeping an open mind and learning all we can in life. No knowledge and no profession is unimportant.

I don't really get this "toilet" humour.

Golden Boy was a really fun anime to watch. Its humour was very nice to watch, even if all of it wasn't to my taste. This was definitely what made the OVA series enjoyable, even if it wasn't all to my tastes. At the same time the real life observations made by this anime were quite nice to see. Even if his ability to learn things is far too unrealistic, idea we should always be looking to further educate ourselves is a valid idea. As if not judging others by first impressions and how every jb has its importance and value. 

Nice piece of fanart to end with. http://37.media.tumblr.com/1fa5362315636d1ddb7568fd7f91b3fe/tumblr_mrm87pn7lL1qhq98mo1_1280.jpg

http://myanimelist.net/anime/268/Golden_Boy

http://anidb.net/perl-bin/animedb.pl?show=anime&aid=355

https://www.animenewsnetwork.com/encyclopedia/anime.php?id=373

How Should I Feel? (vol. 2) - Hotarubi no Mori e

Many think the romance genre has grown a bit stale over time, even with the idea of forbidden love. Hotarubi no Mori e is definitely quite a refreshing look at the genre right now. It is about a girl who falls in a sort forbidden love situation with a pseudo-spirit who she cannot touch and what happens. Visually and musically it is good but really the story and the relationship between the main characters is the main focus and stand out part of the movie. Anyway again it presents conflicting emotions about how we should feel. 

Movie Poster

First I suppose I should give a bit of a plot summary. So a young girl, Hotaru, meets an older teenage boy wearing a mask, Gin, when she is lost in a forest during her summer vacation at her uncle's house. 

The boy is in fact a spirit dwelling in the forest and mustn't be touched by a human, for it would result in him disappearing for all eternity. They spend the summer days with each other playing and relaxing, as well as showing curiousity about each other. When the girl must return home, she promises to visit him again next summer. The spirit waits for her she keeps her promise. This continues for the next few years, during which time she grows up and her age slowly gets closer to the age of the boy (who because he is a spirit doesn't age or ages very slowly). As these summers go on they grow closer together to the point where they think about each other constantly throughout the remaining seasons. And then, one summer, Gin invites Hotaru to a spirit festival as a date. As they are leaving and they grow closer still, Gin catches a child from tripping and thus touches a human. Then, in the few seconds that it takes Gin to vanish, Hotaru is able to finally embrace the one she loves. Then he is gone, leaving only his mask, and she is left to return home and to a normal life.

Gin disappearing after touching the boy. http://www.deviantart.com/art/firefly-319894218

So on the face of it this would seem like a very sad film. The two main characters share a very real and very close bond. Furthermore it is not a bond based on the physical aspects of love, it is a truly platonic bond between two souls that love each other more and more over time. To lose such a love surely makes a sad film. Yet there is more than this because the want thing they both want, to touch each other, to feel that the other truly exists, they cannot possibly do. This is made clear throughout the film with Horatu trying to hug Gin and then quizzically yet cautiously taking off his mask. However as this realisation of their predicament sets in (after numerous reminders from Gin and other spirits) Hotaru makes Gin promise her, in tears, (after she has fallen from a tree) not to touch her. Their closeness is emphasised by how throughout most of the film they are the only ones around each other in the forest. Physically, they are so close to each other yet are restricted. The only time they do touch is for a brief second. When Gin is gones Hotaru says how her chest hurts afterwards, mourning her lover. It is a very bittersweet moment. On one hand she did get to embrace Gin after years of thinking about him but on the other she can never do the same again. More than that she cannot talk to him again. Also Hotaru was sort of forced into hugging Gin as he would disappear anyway, it was not really her choice to do so. Lastly, I suppose there could never really be a happy ending without some Deus Ex Machima (that would have broken the story for me) due to the way the aging issue was working and their inability to touch. Because of this I suppose ultimately it is a tragic love tale.

A true love that grew over years was lost. Surely a tragedy? http://okashira2.deviantart.com/art/Hotarubi-209758362

However, I never truly got the impression that this film was intended to make the audience feel sad about the end result of the film. It felt like an appropriate conclusion to their love. The hug, which was them living in the moment, resolved everything. Also there is much humour made, for example during their date. The happiness they share is focussed on, not the sadness that they cannot touch. In fact much hunour is centred on the fact they cannot touch as Hotaru often forgets. Comedy is not hugely present in tragedies. Furthermore, at the end of the film, neither Gin nor Hotaru were really sad in what was happening. The spirits who were Gin's friends and family thanked Horatu for doing what she had done, giving Gin what he had wanted. The characters were not sad and I had the feeling neither should the audience. They love was never truly going to be able to happen, even if Hotaru moved to her uncle's town and found a job there. She would always be living a sort of double life. Both Gin and Hotaru knew it would never work so the hug was a fitting and climatic end to their Benjamin Button-like relationship. 

Everyone was at peace with what happened almost immediately. http://rells.deviantart.com/art/Hotarubi-No-Mori-He-288519708

Ultimately, I see it in the light that Hotaru gave Gin what he wanted and everyone was happy. In the end she took him out of what was essentially a cursed existence. He was a human that could not truly love, but she gave him true love. Also we do not get a sense of the sadness that might befall Hotaru, we get the feeling she is at peace with what happened. But again it is up to personal interpretation. So what did you feel?

The embrace was definitely the climax of the film. Was it worthwhile? http://wall.alphacoders.com/big.php?i=310825

Links for the anime:

http://myanimelist.net/anime/10408/Hotarubi_no_Mori_e/pic&pid=38229

http://anidb.net/perl-bin/animedb.pl?show=anime&aid=8289

http://www.animenewsnetwork.com/encyclopedia/anime.php?id=12543

It's not so Black and White - Tekkon Kinkreet (2006)

Tekkon Kinkreet is definitely an interesting movie. It is both visually unusual in the character designs and visually beautiful with the backgrounds and dream/hallucination sequences. It has a decent plot, not too twisty, centred around two orphans (Black and White) and their struggle in fighting the Yakuza that have moved in on "their town", Treasure Town. It also follows one of the Yakuza but his story is somewhat subsidiary to that of Black and White. It is the relationship that these two orphans have and how it is tested that is the true conflict of the film, even after quite a lead up to it being a show down between them and the assassins the Yakuza named Snake has sent after them.

White and Black... Fanart. Yeah. http://tribblenuu.deviantart.com/art/tekkonkinkreet-children-of-the-skies-294945949

 

The two orphans are set up as polar opposites of each other. To start with their names are Black and White. Black is the older, serious, unsympathetic, and bascially the darker one of the two. White on the other hand is playful, nice, empathetic, and the more likeable of the two. The two are definitely shown as opposite with the contrast in the visuals of their dream sequences even before the main conflict, with White's being bright and colourful, whereas Black's are dark with deep bellowing sounds. White and Black are even told how the are different by the old man they hang around, their street "Grandfather", who talks to Black as if he is an adult but White as if he is a toddler. Despite being opposites they obviously compliment and need each other. Obviously they fight together and seemingly work together with White distracting people, or rather fitting in, whilst Black pickpockets them. However, throughout the beginning it seems White is more dependent on Black. Black is the one that comes up with the fight plans. Black is the one that goes out at night for money. Black is seemingly protecting White from the harsh reality of the world outside his dreamland. 

Black's darkness is manifest in the Minotaur. http://elliotalfredius.tumblr.com/post/21450702918/its-fan-art-friday-this-week-is-tekkon

The two are bascially shown as Yin and Yang, opposites that depend on each other. The symbol is placed on the back of Black's sweater (at the end) to constantly remind the view of this type of relationship. This Chinese symbol is used in numerous animes and pieces of media generally but I feel as though its use in Tekkon Kinkreet was really nice to see as it was used as the main plot twist it seems. I mean the fact that they are not twins (or even biological brothers) and how this allows for the abandonment of White by Black in the film is even an interesting plot development. But what is of real interest is how it is not until Black is with his inner conflict do we truly realise how White was really protecting Black. We get ideas of it in the film but we at the beginning we are made to believe Black is looking after White, protecting him from the reality outside his dream like world. White is described as remarkable by the old man because he is uncorrupted by Treasure Town and then Black says how he will continue to protect him. However, later on the old man tells Black how White is stronger than he assumes and he is weaker than he thinks. The old man even says that White is the one looking after Black. White also shows he is aware of his role in this when he says to Sawada how he has all the screws Black's heart needs. White also prays for Black. He is Black's spiritual guardian. 

Black and White and yin-yang. http://ehri.deviantart.com/art/Tekkon-Kinkreet-Yin-and-Yang-277357685

Furthermore, Black only calms from his frenzy of killing when he dresses up a doll and fools himself into thinking it is White. When this doll is killed and White is "killed" for a second time Black truly loses it again becoming the Minotaur (I dont think the Minotaur is seperate from Black but an inner personality as it is set up this way by the other kids and by the fact they weld the same weapon). Ths relationship  true when the inner conflict within Black is really a struggle between White and the Minotaur. In fact when Black initially abandons White after the hospital it could be seen as because (not that Black thinks White is necessarily dead) but that during White's sleep the Minotaur within Black was released. This is apparent when Black and the old man are talking about White and although Black cries about White's condition and weakness, he (the Minotaur part of him) also smiles knowing it now has the strength to be set free. It is thus shown and revealed how truly yin-yang this relationship is. 

Again yin-yang fanart. http://lupo-negro.deviantart.com/art/Shiro-Kuro-304610947

Imagery (with things like two cats and the numerous crows vs a lone white dove) are strong in this movie. So this conflict within Black is all the more interesting when thought about inconjuction with the symbolism of flames that is present in the move. The first conversation of the movie presents the idea that people are like flames on a matchstick. Beautiful and caring from a distance but after too long they will show you their true colours and hurt or even kill you. This is of course played out (and then rejected) with the inner conflict of Black, who starts off quite nice to some degree, mainly towards White, but then takes a shift for the worse destroying all in his path. White, in killing the first assassin, also seems to body this idea. When pouring gasoline all over the first assassin he seemingly shows no concern for Black's safety. It is interesting that a flame is again shown to depict how cruel someone (White in this case) can be under their kind exterior. 

Shiro with a flame. This is the black spot in his usually white half of the yin-yang thing. http://jakewyatt.deviantart.com/art/tekkonkinkreet-fanart-198254087

Anyway, I felt the end of the film was the truly rewarding bit as it really showed the twist in the yin-yang relationship and let it sink in fully. At the end of the film White and Black are at peace, on the beach (where they dreamed of being). White makes one last message from Earth to whoever (the audience I am guessing this time) However, now this childlike rambling about keeping the earth at peace, along with his other ones retroactively, are cleverly transformed. They are shown not only to portray the naiveity and innocent playfulness of White himself but also show his awareness of how he is keeping the monster, the minotaur I guess, locked up within Black. It is this change, not necessarily in the relationship itself between the two orphans, but how we view the relationship that is truly great to realise.  love subtle endings like this. Like with Shutter Island where Leonardo Dicaprio's character knows he will get a lobotomy and is happy to do so. These subtle hints are great and although not necessary mind blowing, are very rewarding. It really makes you wonder how uncorrupted White really is. Or how out of tune with the world is he really. 

Another great fanart about the yin-yang relationship. http://pandora-inthesky.deviantart.com/art/TEKKON-KINKREET-35K-Kiriban-90687041

Interestingly, in an interview (see link below), the director said he kept the name Tekkon Kinkreet for western audiences because the name Black and White (by which the manga is known) seemed to imply only contrast and this wasn't what the movie was about. The name however seemed to imply a mess, an intermingling perhaps. In other the relationship between the orphans isn't as black and white as it first appears, it is much more complex, truly a yin-yang relationship. It is this relationship that drives this film, makes the main conflict, and truly makes it an interesting watch because we don't realise how complex their relationship is until the very end.

Links:

http://myanimelist.net/anime/2154/Tekkon_Kinkreet 

http://www.animenewsnetwork.com/encyclopedia/anime.php?id=6531  

http://anidb.net/perl-bin/animedb.pl?show=anime&aid=4054

 

Interview: http://www.superherohype.com/features/94253-excl-tekkonkinkreet-director-michael-arias

A Tale of Two Orphans - Comparing Oseam and Grave of the Fireflies

Recently I have been trying to find Korean animation and in my search I stumbled upon Oseam. It is a movie about two orphans and their struggles. It is very close to one of my favourite animes of all time, Grave of the Fireflies, another movie about the struggle of two orphans. The two share many similiarities but I feel despite this the two give off a much different feeling and due to this different messages for their respective audiences. So if you haven't wacthed either I suggest you do. Don't be put off by Oseam's relative crude animation when compared to Grave of the Fireflies, it is well worth a watch for the story alone, it is definitely a tearjerker as they say. 

Oseam poster with Gilson and his friend. 

Anyway it is probably necessary to say talk about broad the similiarities before we go into the differences. First obviously the two main characters are a pair or orphans, one older, one younger. The older one feels a duty to emotionally protect the younger. In this each pair of orphans tries to seek nothing more than survival and happiness. Also both films end in death, particularly death due to starvation/malnutrion. In other words the skeletons of plot and characterisation are the same or at least very similiar. Also both films use the same sort of techniques to get you to pity the children. We are made to compare them to other children, happier children. The reason of course they are happier is due to the love and protection their parents, mainly their mothers give them. Basically there is more than enough that is similiar to justify a comparison between these two rather emotional animated movies. However, let's get onto the differences for these are far more interesting.

The first difference is the mood presented at the end of the film. Although both end with the death of the younger sibling as well as the discovery and mourning by the older sibling, each has a different feeling. The emotions created in Grave of the Fireflies is one of sadness. This is because throughout the film the siblings lose more and more. At the start they have everything but continue to lose more and more (house, mother and then their already absent father) as the film goes on. On the other hand the siblings of Oseam are already at their lowest points. They have already lost their parents (even if we do discover their mother is actually dead half way through the film to evoke sympathy), their home and Gami has already lost her sight. As the film goes on they gain things, friends/family in the monks and a home in the temple. They have gained some stability and the ability to survive even if they do struggle for happiness at times. However, Gami does usually seem happy with her new home (when not being bullied), even is Gilson is bored and dissatisfied. Seita and Setsuko on the other hand go from their own home, to the abode of their nasty aunty (even though she takes them in she gives them the short straw especially in relation to food), and finally to living on their own. Seita is even pushed so far as to lose his morals and steal. Seita constantly asks for help but is all too often refused. When Gilson asks for help he will receive it, such as with the boiled potatoes (even if he is then bullied he did receive help in the first place). They are not really scolded no matter how much trouble Gilson causes. In other words we feel sad for both sets of siblings but as the film goes on more goes right for Oseam's orphans but it is nothing but downhill for the orphans of Grave of the Fireflies.  

Gilson with his new parental figure. 

This difference of mood is furthered by how the led up to the death is presented. Setsuko's death is a long drawn out process. She is straved, malnutrished and ill for quite some time. She physically changes: the colour goes from her cheeks and from her eyes. She is obviously in pain. She saddingly tries eating rocks and marbles due to ther hunger. She does not even get to enjoy a last meal. In constrast, Gilson's stravation is not long and drawn out. There is only one brief show that he will soon be out of rice to eat. Also the cold winter he is stranded in does not really seem to affect him. In other words the pain in which he would have died in is not emphasised. In fact when he dies he seems to be at peace and realise he is happy with his place in life and his new family (as we can see with the snowman family he has made). Likewise his interactions with the picture of the Goddess of Mercy could imply his pain but the ending turns this into his inner tranquility. It also results in Gami's sight returning, as if Gilson's death is a sort of sacrefice so that his sister can be happy. So again Oseam's mood is generally sad but has definitely more to be happy for than there is in Grave of the Fireflies. As a side note there is little to no humour in Grave of the Fireflies, whereas there is some in Oseam, especially in relation to Gilson and his pet dog.

 

Setsuko and Seita were basically forced to live alone. http://skyfurrow.deviantart.com/art/Fireflies-423638228

So why, why is there such a difference of mood? Well Grave of the Fireflies is set quite obviously during the end of the Second World War. The father is part of the Japanese navy. Seita's and Setsuko's house is lost due to an American bombing. They are forced into stealing because of the regulised ration in place due to the war. Their aunty often scolds them (unjustifiably) for being lazy and worthless in such a time of need. The war is firmly in the background of the film and this is why the film is so negative and sad. It aims to show that war is bad and has many. It doesnot focus on the horrors seen in the trenches but the voiceless victims. The civilian children who do not truly understand what is happening and who have no choice in their circumstances. These are the ones who are really hurt in war and although Grave of the Fireflies is to the extreme, it still shows the victims of war beyond the casualities on the frontline. The fact nothing goes right for Seita and Setsuko shows how selfish and ingenerous people are in war. Now there is some controversy that this comes from a country that realistically lost a war after trying to invade another neutral country (the US) but I don't really want to get into the historical hypocises that could be brought up as the film maker (TERERFE) was not the one deciding to go to war, he is his own man. And so he sharing his antiwar sentiments through this masterpiece of a film.  

The true victims of war are supposedly the children who only have themselves to depend upon. http://orinknight.deviantart.com/art/Grave-of-the-Fireflies-146550966

Oseam, as a movie, on the other hand has no real message for the audience I think, and thus the ending can be happy. In fact I would say it cannot be sad because the story behind Oseam seems to be a fairly traditional one about the transformation and restoration of a Buddhist temple. Interestingly there is a1990 film, live action this time, on the same story. So the story Oseam is based on would promote Buddhism and spirituality. I don't think the director really wants more people to become seriously religious after seeing his movie but the story it is based on would want this. Anyway the traditional tale of Oseam (and so the movie too) definitely shows the value of inner tranquility in a way that makes Gilson's death somewhat acceptable in the scheme of things. Because it is a story of why a temple was made being rebuilt, of course it will have this sort of peaceful, serene and miraclous ending. Why would they build or reconstruct a temple on a cursed ground? Surely if a boy died there and it was not some sort of miraclous and peaceful passing it would not be justifiable to place such a holy and spiritual building in this place. Thus the feeling at the end of the film is what Buddhism is about and so the origin story of a Buddhist temple would have these values.  

At the Buddhist temple.

So there we have it. I hope that it sort of made sense. Again I would urge you to watch both these post haste. Links below:

Grave of the Fireflies:

http://myanimelist.net/anime/578/Hotaru_no_Haka

http://anidb.net/perl-bin/animedb.pl?show=anime&aid=332

http://www.animenewsnetwork.com/encyclopedia/anime.php?id=152

Oseam:

http://myanimelist.net/anime/2141/Oseam

http://anidb.net/perl-bin/animedb.pl?show=anime&aid=1053

http://www.animenewsnetwork.com/encyclopedia/anime.php?id=4495