One of the things that I’ve continuously wanted to write about, that I’ve struggled to write about, that appears to keep coming up in whatever I’m reading is the distance between people. One of the shows that recurs among these thoughts is Kimi to Boku. In particular, the unfortunate non-romances of the twins. Continue reading
Upon being elected Prime Minister, Gel Sadra begins a set of massive changes to reform. He (probably through influential means, rather than political or legal) causes the resignations of all politicians (and subsequent dismantling of Japanese parliament), as well as the removal of political bureaucratic heads to handle everything on his own. Except for policy making, which he imposes the most extreme of progressive electoral reform, democratic decision-making on all issues using GALAX. The internet application was now more than just a tool, but the Athenian ecclesia¹.
The first season of Gatchaman Crowds revolved around using social media to start a revolution – Rui had created a new system to change the world. Insight has all the characters drawing away from that sort of digital democratic uprising. Instead, all of the characters have embedded themselves within the system.
The Gatchaman and Rui had all originally been secretive, external powers trying to affect society as a whole in their own ways. But now Jou and Sugane are working for the government, O.D. has a TV show, and Paiman has a daycare. The Gatchaman themselves are well-known and regularly participate in publicity and media events. They are not just an external force, but, once outsiders, they’re now insiders, though the effects of these activities may be small. The grand acts of heroism now secondary, relegated to showmanship. The Gatchaman now emulate Hajime’s model – organizing community members, volunteering, and using the Gatcha equivalent of Niconico.
While writer’s block is awful, in the midst of everything, I constantly want to come back to Yuyushiki. There’s a number of reasons, but mostly because it is set up on two levels. There’s the subtle, emotive nature of it that Emily and I wrote about multiple times when it was airing (and a little after). And that it’s pretty funny and always leaves me with a smile. As is her destiny, Minami Tsuda handles Yui, the straight man character. Alongside her is Risa Taneda’s Yukari – a little ditzy, airheaded, and willing go along with anything that sounds fun. That is, Yui is Azusa and Yukari is Yui, more or less. Lastly there’s Yuzuko, whose primary characteristic is that she spends most of her time intentionally trying to be funny, not just to the audience, but to her friends.
If the Cinderella Girls Producer were your boyfriend, he would say “I would ask anything of the idols that I wouldn’t do myself” when asked about his work. People would challenge him on it and he would ask you to drop a beat, and then perform any song at and dance requested, very roughly. This is a ruse the two of you have developed to show off your elite beat-boxing skills. Continue reading
“Why did you take me as a student?”
“Because I thought it would give Kousei something.”
Something other than sorrow. He’s had enough of sorrow. I want Kousei to become a happy pianist.
Kousei Arima is surrounded by women trying to save him. Kaori Miyazono, the girlfriend of his best friend, tries to make him love music again and to play with feeling. Tsubaki Sawabe, his childhood friend, has spent her life caring and protecting him, enough that she wants to continue doing so in high school. Emi Igawa, a rival pianists, performs with hopes that Kousei would return to the person who inspired her, His abusive mother was so in order to make sure he can fend for himself after she soon would pass. And Kousei’s piano teacher, Hiroko Seto, wants to minimize the sadness in his life, and make him a happy pianist – where Nagi Aiza is his student, giving him another reason to keep playing, to keep feeling, to keep living. Continue reading
Happy Valentine’s Day! Here’s a little short story about Kaname and Sayu. As always, if there’s an issue with my translation, please let me know. This one is in two parts, one from Kaname’s perspective, and one from Sayu’s. Here are the original tweets: