Chihayafuru: the need for rivalry

Warning: this time, I’m going to be talking about the most recent chapters of the manga, so please stop here is you don’t want to be spoiled. (^_^)

One thing that many sports series – anime or manga – feature is the ‘rival’. The rival typically takes the form of another person or team whose skills are far above those of the protagonist at the start, an entity that the protagonist aims to compete with and eventually overcome. Given this set-up, one might expect that most stories end sometime after the protagonist passes the rival…but is that really the point of the ‘rival’? Merely to show the growth of the protagonist in the sport in question? Suetsugu Yuki – following in the footsteps of a number of writers before her – begs to differ.

I was here first.

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The Japanese language and the thing called ‘love’

*Sighs* just three more posts and I’d have been able to hold on to my resolution to post more regularly. Ah well…here’s a little interlude. I’d intended to publish it after another post, since it was relevant to the series in question…but I’ll get back to that one in another two weeks.

—–

In the quaint district of Montmartre in Paris lies that which is known as the ‘Wall of Love’. It’s a wall covered with words meaning ‘I love you’ in well over a hundred languages. Some languages are even represented twice – Japanese being one of them.

…though I only just noticed: where’s the て??

The way people use the world ‘love’, in whatever language, is actually quite interesting. Most of us probably say it quite often…but it’s not always about real emotional investment. For example, I can say that I love Sakku, and You-kyan, even though I don’t even know them in person. Similarly, I love anime, photography and travel, even though they’re things that can never love me back.

But even when we’re talking love for other living beings close to you, people have long recognised that there are several forms of love. The Ancient Greeks alone defined no less than four: agápē, érōs, philía and storgē. As that wiki article shows, the distinctions between them can be expressed in English through the use of adjectives such as ‘unconditional’, ‘erotic/romantic’ and ‘familial’, or with slightly more unwieldy descriptions.

I first learned that the Japanese language also had more than one word for ‘love’ a few years ago. It all started with me trying to find out the difference in the uses of 「(dai) suki」 and 「aishiteru」 as ways of saying “I love you”, which involved reading a fair number of analyses by English speakers, with contributions by some Japanese people. The consensus seemed to be that you could use either expression for all kinds of love, including the ‘romantic’ and ‘familial’ kinds. However, 「aishiteru」 is hardly ever used. As an illustration, if you could rate the extent to which you love someone on a scale of 1 (least) to 10 (most), in Japanese, you’d only ever use 「aishiteru」 for the 10, whilst you might use it from 7 upwards in the case of the English “I love you”.

In the course of that research, however, I also realised that Japanese had a specific word for ‘erotic/romantic love’: 「koi」(恋). You can also use 「ai」(愛) in the context of a romantic relationship, but if you ask a Japanese person to explain how they are different, the most widely made response seems to be that 「koi」 is a selfish kind of love that one seeks from others, whereas 「ai」 is about accepting the other for who he/she is, and doing everything you can to make him/her happy. To put it another way, 「koi」 is about receiving, whilst 「ai」 is about giving. However, it is also important to note that 「ai」 is used not just for romantic love, but for the platonic, filial, familial etc forms of love too.

Of course, not knowing this difference probably wouldn’t have much of an impact in most cases. Most relationships in Japanese shows, novels, manga etc are straightforward enough that it’s clear as crystal which kind of ‘love’ exists between any two characters, even without either term being explicitly used. However, you do get the occasional series where knowing the difference can be important, Macross Frontier being one of the best examples.

The clue in this case lies in the way Klan talks about love. When talking to Michel about where his heart lies, Klan uses 「koi」. But guess which term she uses at the end of episode 23, when talking to Alto about his ‘love’…

In my humble opinion, I think that little difference speaks volumes. Wish I’d realised it even one year ago.

p.s. There is also another term used for the early stage in a romantic relationship, the time when the two people involved are still giddy for each other, so-to-speak: 「ren’ai」(恋愛). It’s meaning is very similar to that of 「koi」, and the astute (or Japanese-literate) observer will notice that 「ren’ai」 is in fact made by combining the characters for 「koi」 and 「ai」…

Chihayafuru: the sorrows of solitude

Okay, karuta. Hands up who’s played this game – by which I mean the competitive version where you use the Ogura Hyakunin Isshu (100 Poems by 100 Poets).

Thought so. And no, I haven’t played it either…though I’m game to try, if that’s any reflection of my current obsession with Chihayafuru.

The beauty of words...

Well, at the very least, I want to become friends with the 100 poems myself. They’re really quite fascinating – though I’ll have to thank hyperborealis on the AS forums for those incredible analyses each week!

But enough of tangents and back to the point!

Friends forever...?

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Baccano! and the unfortunate paradox of innovative storytelling

I had planned to write about Chihayafuru for the next two weeks…but the last few chapters of the manga (specifically, 90-92) have thrown a spanner in those works…

Well, that’s one of the reasons I’m tackling Baccano! first – the other being that it’s been on my backlog for way too long. Baccano! had slipped under my radar until I watched the adaptation of creator Narita Ryougo’s other notable series, Durarara!!, whereupon almost everyone who’d seen the former lamented that the latter had not quite lived up to the high standards it had set. And now, more than two years later, I’ve finally sat down to find out why.

"You must throw it away, the illusion that a story must have a beginning and an end."

But where to begin? That is a brilliant question. And one that cannot be answered. As the Gustave Saint Germain intones in the final episode

Stories have no beginning, nor do they have an end. All they have are people connecting with each other, working with each other, affecting each other, and the expansion of those connections throughout the world. Stories must never have an end.

Similarly, there is no main protagonist. Or perhaps, you could say that everyone is potentially the main protagonist, for the perspective of any story changes depending on the the position one views it from.

But let’s give it a shot anyway.

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Contemplating Nisemonogatari: …and the controversial…

Some of the scenes in episode two set off the critics, but it was the fourth installment of Nise that really lit the fireworks. This being the episode where Shinobu, in her 8-year-old form, is shown bathing for a good half of the episode, in Araragi’s presence.

Why is there a Degas picture here, you might ask? Well, read on...

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Contemplating Nisemonogatari: …the bad…

Warning: slight spoilers for Kizumonogatari included…

This scene says it all really...

They say that a picture is worth a thousand words…but I’m not in any way inclined to post screenshots of what I despised about Nisemonogatari. And no, unlike with a number of other fans, it wasn’t actually Shinobu in the 4th episode that offended me – explanation for this coming soon. Rather, it was certain shots of Karen spread over various episodes. If I had to put it into words, ‘the pervertization of the viewer’ might work.

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Contemplating Nisemonogatari: the good…

Back in 2008, Bakemonogatari captured the attention of many fans, probably for a number of reasons. However, the reason you hear bandied about most seems to be the crisp and refreshing dialogue, which has the characters flirting, trading jokes, sprouting their idiosyncratic verbal trademarks, and the occasional thought-provoking way of thinking. Most people who did not spoil themselves with the novels were expecting the same out of Nisemonogatari, its chronological sequel.

This is flirting? Well...yes.

Whilst that expectation wasn’t, IMHO, the smartest thing to take into this series (as I will attempt to discuss over a few more posts), I contend that Nisemonogatari actually one-upped its predecessor in one particular area. By this, of course, I’m referring to the battle of words between Kagenui and Araragi about the value of a fake.

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Bakemonogatari: the core of an obsession

So here’s the first of the two ‘biggies’ that I’ve just never really figured out how to write about. One guy, six girls, two little sisters and some rather disturbing animation in the first episode. I really didn’t expect to fall in love with this series.

I love you.

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Macross Zero: the dawn of a new era

Perhaps fittingly, it’s been 10 years since the first Zero OVA – it was made in celebration of 20 years of Macross after all. A decade of Macross for me…that’s nothing compared to the 20+ years that some of the old hands have enjoyed, endured, and perhaps, slaved – for it is arguably thanks to them that the rest of us are now able to appreciate much of the franchise. If not for them, I may never have come across this OVA, which ended up being my gateway to Macross.

New faces...ably supported by some old hands...

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Finally!! The 6th Seiyuu Awards

I know I’ve noted several times previously that I don’t really care what happens with these awards anymore, primary because of studio-collusion and the rather inane rule that people can’t win the same award twice…

But this time’s special, because Sakurai Takahiro actually being granted an award suggests that, hopefully, something that happened almost 6 years ago is mostly water under the bridge by now. Anime fans who don’t know about that particular scandal – feel free to google if you’re one of them – but who heard Sakku in some of his exemplary roles over the past few years (Oshino, Azuma and Ichi-san, to name just a few), might have been surprised that he was not recognised for any of them. Most seiyuu watchers, both in Japan and elsewhere, have long speculated that it was due to that scandal, so perhaps this is a sign that he’s mostly been forgiven?

Not that it’ll help the ‘Best Actor’ category, methinks, because Sakku doesn’t really score protagonist roles anymore ^^; (Ah, for those who don’t know what I mean by this: the seiyuu awards are such a particular seiyuu isn’t allowed to win the same award twice. Hence, we had the debacle of last year, where no male seiyuu was awarded for a leading role, even though there were a few good performances. There is also, however, something about ‘studios who play the game vs. those that don’t', so yeah…we don’t really care about the awards themselves anymore. Finally, it’s interesting to note that many of the winners didn’t actually attend the awards ceremony – including Sakku and Iguchi Yuka, as they were hosting Comchat Countdown that night!)

Anyways, without further ado, the awards went to…

Best Lead Performances:
Hirata Hiroaki (T&B) and Yuuki Aoi (MadoMagi, amongst others)

Supporting Female: Katou Emiri (Kyuubei etc)
Supporting Male: Miyano Mamoru (…many many roles) and Kimura Ryouhei (Shouma in Penguindrum etc)
Best Female Newcomer: Kayano Ai (Menma, Inori etc) and Mikami Shiori (???)
Best Male Newcomer: Eguchi Takuya (???) and Matsuoka Yoshitsugu (Riku in Housou Musuko; Narumi in Memochou)
Best Song Performance: ST☆RISH (i.e. the Utapuri singers)
Best (Radio) Personality: Iguchi Yuka (Comchat)
Overseas Fan Award: Sakurai Takahiro
Most Votes: Kamiya Hiroshi
Special Merit Award: Kobayashi Shuu, Takiguchi Junpei, Watabe Takeshi
Merit Award: Asou Miyoko, Kimotsuki Kaneta
Series Award: Inazuma Eleven (Takeuchi Junko, Terasaki Yuuka)
Tomiyama Kei Award: Horiuchi Kenyuu
Takahashi Kazue Award: Toda Keiko
Kids/Family Award: Ootani Ikue
Special Award: Yomikikase Caravan Group, Kawakami Tomoko

…rolls eyes at Kamiya Hiroshi…he’s so popular, even though he didn’t really have any roles of note? oh crap, what DID Kamiya do last year again…? I seriously can’t, for the life of me, remember anything that I saw HiroC in besides Sayonara no Tsubasa! *checks year review* oh, one episode of Fractale…ah! Working’!! How could I forget!!

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