Hatsune Miku, the famous virtual idol that took the world by storm now featured in this video as singing robot. Pretty freaky if you ask me, to be honest. This is another video of her development history from her makers.
What's next? Saber?
Friday, October 9
Hatsune Miku the singing robot
Hatsune Miku, the famous virtual idol that took the world by storm now featured in this video as singing robot. Pretty freaky if you ask me, to be honest. This is another video of her development history from her makers.
What's next? Saber?
Thursday, October 8
More on final scene of Phantom Requiem.
The theme of series is all about karma (The 1st OP is pretty big hint), you got what you deserve for what you have done is the crux of the story here. That what makes the ending so emotional and beautiful, it gives so much meaning to the conclusion. Just like Homer's Odyssey is awesome because the characters died a tragic poetry like Achilles for example. I would consider Reiji is like Achilles, a supreme warrior that inhuman in his rampage at first but ultimately humbled by his own flaws as a human and die for it, since he already found it in the end. A meaningful and powerful pathos. The writer(s) nail it perfectly, much to my satisfaction.
Elen/Ein has no reason to go rampage since she is satisfied with new found her identity and memories thanks to humane Reiji. She is content to live her life quietly or wait for retribution for her history as Phantom which shown in the end where she lie dead on the quiet plains of Mongolia, staring at sunset with small smile on her lips forever. She found her peace within herself and willing to face death for her past deeds. That is pretty brave of her, to be honest. Perhaps too, it would explain why she is giggling in the end.
What an awesome and emotional ending.
Cosmology of Miyazaki Movies part 2
Continuing from Part 1 of the cosmology of Miyazaki movies using Mononoke Hime and Tonari no Totoro as examples.
The element of fire in Totoro is small, nurturing even unusually serve as binding glue of family bonds with the presence of water. The hot bath scene of Kusakabe sisters and their father is heartwarming and friendly, they enjoy the heat of the water boiled in slow, placid fire which seem did not have a care of the world, fits the movie somehow. Perhaps it is a throwback to ancient times where people gather around small fire which leads to fostering of family.
Water is source of life, and in Totoro it has that role. In the bath scene again, it is a rejuvenating and refreshing element, enabling a playful atmosphere which brings joy and happiness to the family. In other significant scene that uses water as narrative prop, Mei was waiting under an umbrella in the broken bus stop, suddenly spotted King Totoro standing beside her holding a flimsy plant to shield himself from the roaring rain, illuminated by soft light. The sound of the rain hitting on both of them is somewhat resembled a musical encore to new discovery and adventure, Mei decided to pass her umbrella to King Totoro which the spirit reciprocated by letting her on the grinning Cheshire catbus which leads to exhilarating adventure for Mei. It can construed as lively encounter between both characters prompted by water since water is source and beginning of all life.
Princess Mononoke used these 2 elements as symbol of power and conflict, not surprisingly. Fire is the main element needed to mold iron into workable weapons, and Lady Eboshi townsfolk were armed to the teeth with rudimentary firearms to defend upcoming government army that is coming to claim her domain while she is busy hunting down the Shishigami at the end of the movie. During the massive conflict against the spirits, the humans employed massive use of man made fire to stop the attack, here fire is destroyer and taker, merciless and unforgiving at that.
To make weapons from iron, water is also needed for cooling process, again, underscores the symbolism of 2 elements as confrontational and angry aspect. In twisted sense, when Ashitaka was ushered into factory, he could see womenfolk of the town was pumping water which leads to gender flirtation between both of parties and bonding, not unlike the familial bathing scene in Totoro. For a brief moment, water serves as glue for human interaction and friendship but ultimate purpose is unmistakable, it is to create more implements of war on behest of the "benevolent" Lady Eboshi.
The first encounter between San and Ashitaka is again involved heavy use of water element, he spotted her tending to Moro's wound near a stream; to jump start a relationship that would later bloom into romantic mode. Water is a giver and progenitor of life; Miyazaki uses it to canvas the bonding and encounter scenes for a more environmentally calm feel. But unmistakably, the scene also uses water as barrier between humans, a borderline between 2 unrelenting forces that is hellbent on destruction of each other. It is notable that San regarded him with contempt in this scene then rides away with Moro.
Final Part 3 will be here soon.
The element of fire in Totoro is small, nurturing even unusually serve as binding glue of family bonds with the presence of water. The hot bath scene of Kusakabe sisters and their father is heartwarming and friendly, they enjoy the heat of the water boiled in slow, placid fire which seem did not have a care of the world, fits the movie somehow. Perhaps it is a throwback to ancient times where people gather around small fire which leads to fostering of family.
Water is source of life, and in Totoro it has that role. In the bath scene again, it is a rejuvenating and refreshing element, enabling a playful atmosphere which brings joy and happiness to the family. In other significant scene that uses water as narrative prop, Mei was waiting under an umbrella in the broken bus stop, suddenly spotted King Totoro standing beside her holding a flimsy plant to shield himself from the roaring rain, illuminated by soft light. The sound of the rain hitting on both of them is somewhat resembled a musical encore to new discovery and adventure, Mei decided to pass her umbrella to King Totoro which the spirit reciprocated by letting her on the grinning Cheshire catbus which leads to exhilarating adventure for Mei. It can construed as lively encounter between both characters prompted by water since water is source and beginning of all life.
Princess Mononoke used these 2 elements as symbol of power and conflict, not surprisingly. Fire is the main element needed to mold iron into workable weapons, and Lady Eboshi townsfolk were armed to the teeth with rudimentary firearms to defend upcoming government army that is coming to claim her domain while she is busy hunting down the Shishigami at the end of the movie. During the massive conflict against the spirits, the humans employed massive use of man made fire to stop the attack, here fire is destroyer and taker, merciless and unforgiving at that.
To make weapons from iron, water is also needed for cooling process, again, underscores the symbolism of 2 elements as confrontational and angry aspect. In twisted sense, when Ashitaka was ushered into factory, he could see womenfolk of the town was pumping water which leads to gender flirtation between both of parties and bonding, not unlike the familial bathing scene in Totoro. For a brief moment, water serves as glue for human interaction and friendship but ultimate purpose is unmistakable, it is to create more implements of war on behest of the "benevolent" Lady Eboshi.
The first encounter between San and Ashitaka is again involved heavy use of water element, he spotted her tending to Moro's wound near a stream; to jump start a relationship that would later bloom into romantic mode. Water is a giver and progenitor of life; Miyazaki uses it to canvas the bonding and encounter scenes for a more environmentally calm feel. But unmistakably, the scene also uses water as barrier between humans, a borderline between 2 unrelenting forces that is hellbent on destruction of each other. It is notable that San regarded him with contempt in this scene then rides away with Moro.
Final Part 3 will be here soon.
Saturday, October 3
Kyoto Animation Award
Hmmmmmm
Considered as one of the most beloved anime studio by anime fans worldwide for their faithful adaptation of source materials (Clannad, Kanon for example), Kyoto Animation is organizing a competition for original submission of story (all formats are accepted). The prize is not much but it will be animated by the studio themselves which will automatically send any orgasmic joy to all budding anime creators out there. What's more, no restriction on genre, age, sex, professional or amateur is placed. Dateline is 15th Jan 2010.
Now I tempted to ask why the studio is harvesting non mainstream sources. Are they running out of ideas? Or they decided to play cheap, looking at current climate of industry? Some cynics might point out their colossal creative mistake of doing Endless Eight is major indication that they need to change.
Anyway....So anyone willing to try for it? Good luck!
Main Site
Tuesday, September 29
Cosmology of Miyazaki movies part 1
Hayao Miyazaki, the anime maestro who is responsible for some of the most famous anime movies, incorporating all elements of nature as storytelling tool to give mood to his movies. In fact some remarked that his movies is not meant to be seen but to be felt. He uses fire, wind/air, water, wood, metal and earth as believed by East Asian mythos as 6 basic elements of nature to tell the story. Here 2 of his best known movies; Totoro (1988) and Princess Mononoke (1997) will be used to examine the use of these elements.
Trees played a major role in these 2 movies; Totoro and Mononoke Hime but in very opposing manner and symbolically incompatible with each other. The gentle sways of tree is beckoning and warm in Totoro, persuading Mei and Satsuki to explore their mystical world which appears to be benevolent and beckoning manner. The synthesis of wind and trees swaying in “happy” tone while accompanied by cheery soundtrack in Totoro made it look like have a dance fiesta, a party to welcome the guests into their midst. Unsurprisingly the sisters have their own version of good time in their own backyard with King Totoro as their bored and indifferent guide. This is Miyazaki's vision of nature as good force of mankind, nurturing and kind yet shy to be approached by easily corrupted humans.
It is noteworthy that Totoros can only be seen by certain people who did not have any expectations or common flaws that is associated with adult failings in modern world. Perhaps the forest itself carries the meaning of innocence and free from world failings, will open to anyone who has similar minds. The scene where Mei decided to go to hospital in search for their sick mother and subsequent rescue effort by Mei is accompanied by calming yet urgent breezy wind with the trees swaying at the same time to cheer them on. It is as if “they” are consoling the sister over their anxiety and urge them to go to see their mother instead of playing around with them.
Princess Mononoke however displayed more sinister aspect of the tree and wind elements, the former is dark and foreboding whereas the wind is there to as sign of troubled times, dark tidings ahead in the narrative. Ashitaka first encounter with demon form is fought in a stern, silent yet creepy terrain of big, tall trees. It is interesting to note when the scenes cuts into revelation of what is hiding the trees, Mononoke is a visceral and aggressive instead of friendly atmosphere as seen in Totoro. The swaying of branches in Mononoke maybe suggesting urgency and action instead of placid and relaxing aspect in Totoro, as if the trees are harbinger and silent witness of upcoming war between mankind and nature.
In one scene to illustrate this feel, the trees in concert with the gust of wind, sways around like an angry mob accusing all living things around it which accentuated by monkey spirits who were demanding the flesh of unconscious Ashitaka which San resisted their demand with her wolf god, Moro. If Totoro has a lot of life and vibrancy of the trees, in Mononoke, their actual death can be seen in form of chopped woods as the residents of Lady Eboshi's city use it indiscriminately. The indictment of mankind, gearing themselves for war in Mononoke, consuming resources is clearly shown in barren wasteland around the city while workers and lumberjacks patiently processing the trees to be transported into the city. There is also not much wind breeze in the city scenes, the viewers can see huge smog of industrial waste being pumped into the air from iron factories which an analogy of tools of deadly force (the weapons) bring the taint of death and anthropy to its surrounding (lack of wind and barren landscape). The air is dead and being “consumed” by the industrial smoke, sucking the life out of it which manifests in a lack of breeze.
Will be back soon with part 2.
Cheers.
Trees played a major role in these 2 movies; Totoro and Mononoke Hime but in very opposing manner and symbolically incompatible with each other. The gentle sways of tree is beckoning and warm in Totoro, persuading Mei and Satsuki to explore their mystical world which appears to be benevolent and beckoning manner. The synthesis of wind and trees swaying in “happy” tone while accompanied by cheery soundtrack in Totoro made it look like have a dance fiesta, a party to welcome the guests into their midst. Unsurprisingly the sisters have their own version of good time in their own backyard with King Totoro as their bored and indifferent guide. This is Miyazaki's vision of nature as good force of mankind, nurturing and kind yet shy to be approached by easily corrupted humans.
It is noteworthy that Totoros can only be seen by certain people who did not have any expectations or common flaws that is associated with adult failings in modern world. Perhaps the forest itself carries the meaning of innocence and free from world failings, will open to anyone who has similar minds. The scene where Mei decided to go to hospital in search for their sick mother and subsequent rescue effort by Mei is accompanied by calming yet urgent breezy wind with the trees swaying at the same time to cheer them on. It is as if “they” are consoling the sister over their anxiety and urge them to go to see their mother instead of playing around with them.
Princess Mononoke however displayed more sinister aspect of the tree and wind elements, the former is dark and foreboding whereas the wind is there to as sign of troubled times, dark tidings ahead in the narrative. Ashitaka first encounter with demon form is fought in a stern, silent yet creepy terrain of big, tall trees. It is interesting to note when the scenes cuts into revelation of what is hiding the trees, Mononoke is a visceral and aggressive instead of friendly atmosphere as seen in Totoro. The swaying of branches in Mononoke maybe suggesting urgency and action instead of placid and relaxing aspect in Totoro, as if the trees are harbinger and silent witness of upcoming war between mankind and nature.
In one scene to illustrate this feel, the trees in concert with the gust of wind, sways around like an angry mob accusing all living things around it which accentuated by monkey spirits who were demanding the flesh of unconscious Ashitaka which San resisted their demand with her wolf god, Moro. If Totoro has a lot of life and vibrancy of the trees, in Mononoke, their actual death can be seen in form of chopped woods as the residents of Lady Eboshi's city use it indiscriminately. The indictment of mankind, gearing themselves for war in Mononoke, consuming resources is clearly shown in barren wasteland around the city while workers and lumberjacks patiently processing the trees to be transported into the city. There is also not much wind breeze in the city scenes, the viewers can see huge smog of industrial waste being pumped into the air from iron factories which an analogy of tools of deadly force (the weapons) bring the taint of death and anthropy to its surrounding (lack of wind and barren landscape). The air is dead and being “consumed” by the industrial smoke, sucking the life out of it which manifests in a lack of breeze.
Will be back soon with part 2.
Cheers.
Monday, September 28
Phantom Requiem ending: My thoughts on it
I played the VN hence my disdain when I found out Bee Train (no thanks to their inept Blade of the Immortal series) is animating this series. Since I knew the story will be based on Ein/Elen's ending, I did not watch the series until the conclusion where there is little twist in the end, Reiji was shot by INFERNO assassin in the back while he is watching Elen admiring the skies of Mongolia like the ending of the route. I was pleasantly surprised by it, the ending fits the theme of the story, IMHO.
Cal story is she "born" with tainted hands of Reiji and by his hand she will "return" to him. Despite his grief, Reiji conscience is somewhat eased with knowledge that Cal will not go on killing and lived his erstwhile empty life during his time in Inferno. Her death is not in vain, she is free from path of no return and served as closure to Reiji's deep anguish as much as her's.
The theme of this story always revolves around there is always a consequence for any path despite who you are, Cal and anime unique Reiji's tragic last exit meant to show this.
Reiji succeed in saving Elen so his "debt" to her is done. But he can't escape his past so the last bullet is his absolution for his other horrible deeds. He is free but at the cost of his life.
After all, there is no more purpose of living for Cal and Reiji, to be honest. In VN where Cal is the focus, they both still living the path of blood in the end, becoming a modern version of Bonnie and Clyde which I don't consider as quality living.
However, I must add, the anime ending is bit ambigious; some people think Reiji is wounded whereas I think he is dead. Different strokes for different folks.
The ED song is lovely, KOKIA gave a sorrowful and fitting end to the story by her sad lullaby.
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