Zany to the Max

I’ve been stuck in the 1990’s this summer. :)

I’ve fallen head over heels in love with Yu-Gi-Oh! (classic 1990’s anime) and the show has prompted many sweet memories of elementary school afternoons sitting in front of the TV watching Batman Beyond, Static Shock and Animaniacs. With the magic of YouTube and Hulu, I’ve been rediscovering old childhood favorites and those happy hours watching make my weekends a dreamy stroll through nostalgia.

To start off, I feel I need to say that I’ve never been a fan of Warner Bros cartoons. I really don’t get the appeal of "Tiny Toons," Bugs Bunny, Tweety Bird and Porky Pig, mostly because I don’t feel I can connect with the characters on an emotional level, unlike other animation studios (namely Disney, and to a lesser degree Dreamworks) who endeavor to make their characters hilariously funny (and often downright campy) while maintaining an emotional sincerity that fits the viewer’s understanding of the character.

That being said, I absolutely adore Warner Bros’ Animaniacs, which was an after-school cartoon staple in the mid-1990s. And it remains, without a doubt, my favorite weekly cartoon series. The voice acting is varied and enjoyable to listen to, the episodes are unique and witty and THE MUSIC is only what I can describe as classically comical.

The biggest reason I adore Animaniacs is because of the musical score that accompanies the animated antics of the characters. It is so incredibly expressive and imaginative in the way it  captures movement (running, jumping) along with sounds, laughter, emotion and the entire range of a story within its notes. The music tells the story on its own, so much so that you could close your eyes and know what’s happening simply be listening to the movement of the music.

One of my favorite episodes from Animaniacs is “Piano Rag,” an episode from the First Season of the series which features Yakko, Wakko and Dot hiding in the audience of a piano concert while on the run from Doctor Scratchensniff, Hello Nurse and Ralph the Guard. The entire episode is a perfect example of musical characterization, but it gets particularly good around 6:30.

The other thing I appreciate about Animaniacs is its subtle ability to introduce culture, literature, science and art into its skits. This may have been Warner Bros tactic to make Animaniacs more palatable to the entire family, but I think it casually introduces ideas, themes, people and just a broad view of the American experience. My case in point is the episode “HMS Yakko,” which is a Gilbert & Sullivan parody. Most elementary school kids aren’t going to know or care that the series is making fun of a “grown up” thing like Gilbert & Sullivan musicals, but the music is fun and it has pirates!

(The other fun part about this episode is the “Water Tower Escape” opening. Nearly every episode showcases a quick clip of the Animaniacs escaping their WB Water Tower prison, but this opening to this episode exhibits rare artistic flair.)

The series also features a dash of education, and the best example of this is “Wakko’s 50 State Capitols,” in which he sings out all 50 states and their capitols. I remember several classmates (including me) who saw this episode and wanted to memorize it “because it was cool.” Oh, Warner Bros, you sneaky devils…teaching kids that learning the states and capitols is cool!

 

Another great feature of the show is the interaction the Animaniacs have with historical figures and celebrities. Thanks to the Animaniacs, Beethoven is inspired to compose his 5^th Symphony, Picasso is inspired to create abstract and cubist pieces and Michelangelo is able to complete his Sistine Chapel masterpiece.

Animaniacs has a way of poking fun at the Warner Bros Studio and gives an entertaining look at a creative look at what it would be like to live and work in a production studio. Comedian Jerry Lewis is one of the recurring gags and victims of the show. He is probably one of the only characters the Animaniacs loathe, yet they find him easy to mentally unhinge and poor Jerry is usually driven insane/crushed by falling anvils by Yakko, Wakko and Dot’s unceasing energy and knack for comical conniving.  

The episode “Hello Nice Warners” not only parodies Jerry Lewis’ unique comedy style, but also exhibits Jerry Lewis cameo-ing in various classic screen role, like Old Yeller and Indiana Jones, which adds another level to the parody and makes it more enjoyable. I also love the "The Hills are Quite Full of Big Rock and Boulders" opening as the not-so-sublte jab at The Sound of Music.

You also get the feeling that the voice actors enjoyed their work and the character(s) they portrayed, which I feel adds a delightful freshness to the series and you can’t help but fall in love with these quirky little characters.

All in all, Animaniacs remains a wonderful blend of slapstick comedy that hearkens back to the early days of animantion, cultural cameos and parodies, light and fun education and an optimistic art and color style that reflects the decade.


FABOO!

Anime and Christianity

I found a neat little blog this week. They have taken a refreshing and very real look at Japanese anime/manga and how it relates with Christianity, which is absolutely needed at a time when American youth are falling head over heels into the world of Japanese anime without the knowledge to avoid inappropriate sub-genres of the industry that have been slowly seeping their influence into mainstream series.

As with any genre of entertainment, there are anime and manga series that, while not produced from a Christian mind-set or world view, present a well-developed and intelligent story with unique, relatable characters. And then there are series that present an amazing story and vibrant characters... along with themes, scenes or images that are not wholesome or are completely a-moral, as is the case with many, many anime series. It’s a constant battle for the Christian viewer to be discerning.

http://beneaththetangles.wordpress.com/

On Being Spirited Away

Oh, how I love this movie. I have fallen absolutely head over heels in love with all of Miyazaki’s films and The Walt Disney Company’s wonderful “re-capturing” of these stories in English; and while all are masterfully well done, I feel Spirited Away is the figurehead for a new and vibrant form of storytelling which presents a new way of portraying and connecting with children through the art of a cross-cultural imagination. And I find it so exciting and fulfilling to see Studio Ghibli and The Walt Disney Company walking hand-in-hand with a dream to share such beautiful stories with the wider world.

Spirited Away is a film which is so nostalgically and magically Japanese, and while the story and characters may seem strange to Western audiences, I willingly let myself fall head-first into the magical and frightening world of Chihiro. Watching Spirited Away for the first time was like having a small child tug on the hem of my skirt to present a closed fist, which when opened tenderly, revealed the glow of a lightning bug or other wondrous treasure, which illuminated my face with its strange beauty and lit in my soul a passion for the culture that nurtured such a visionary artist and storyteller.

Chihiro

Miyazaki’s tale begins with Chihiro, a spoiled and apathetic young girl. She’s travelling with her parents to their new home when they lose their way and end up in what her father believes is an abandoned and overgrown theme park nestled somewhere in the foothills outside their town. Curiosity gets the better of the small family, and they decide to explore; little do they know that they’ve crossed into the realm of the spirits. As the sun sets, Chihiro’s parents are turned into gigantic pigs as they gorge themselves on spirit-food and a horrified Chihiro watches the “abandoned” amusement park come to life and realizes she is alone in a twilight-world of magic, strange shadows, spirits, witches and dragons.

Chihiro must adapt to survive in this ancient and magical world in order to save her parents, and through her personal journey of self-discovery, reliance and growth into a kind and confident young woman she becomes the impetus of hope, love and redemption within a highly structured and secret world. 

By drawing on motifs present in Japanese legend and folklore, Miyazaki creates a world that, while entirely his own, has all the realism and wonder of actual myths and the harsher truths an relatability of our own reality. These little nuances, such as Chihiro's need to consume food from the "spirit" world, her need to work to keep her place and the necessity of a test to acquire the object of her quest, are cleverly employed and give Spirited Away a realistic structure present in only a handful of other movies I've seen.

The Bath House of the Spirits

Spirited Away is filled with a very colorful cast of supporting characters. My favorite is Haku, the mysterious boy who first comes to Chihiro's aid, saying he has known her since she was a small child, and instructs her to seek a job in the bath-house. He protects her from the watchful eye of his Master and tells her that only if she is given a job will she be allowed to stay; otherwise, she’ll also turn into a pig like her unfortunate parents.
Haku is voiced by Jason Marsden, who I had no knowledge of until I watched Spirited Away. I almost can’t watch the original version of Spirited Away, if only because of the voice of Haku. For some reason, Haku elicited a strong emotional response from me – he is definitely my favorite character of the film. I enjoyed the mysterious aspects of his character, and how I could never really understand why he decided to help Chihiro. He tells her he remembered her from the past, but Yubaba had laid claim to so many of his memories that he couldn’t remember why he remembered her. And really, beneath everything…he is a little soul lost in the world, and perhaps he felt he could save himself if he helped another lost soul. Marsden’s voice captured the strength, irritation and aloofness of Haku’s character, but also his tenderness and kind heart.

Haku rescuing Chichiro

Haku sends Chihiro to Kamaji, the Boiler-Man, who is voiced by David Ogden-Stiers. Ogden-Stiers is part of my childhood—he’s been the amazing voice actor behind so many delightful characters and his performance as Kamaji is both frightening and loveable. Oh, he’s terrific! Unfortunately, Kamaji has no need of human help, but for some reason Chihiro’s resolve wins him over and he convinces another bath-house servant girl named Rin to take Chihiro to Yubaba, the powerful witch that runs the bath-house.
The film's villain, the witch Yubaba is, quite frankly, one of the creepiest animated villains I have ever laid eyes on. Oh, I really don’t like her. I do, however, ADORE how masterfully Suzanne Plechette voiced such depth and a comic likability into such a strange character. I’m not sure who Disney has on their team when they approach the project of dubbing a Miyazaki film, but they just “get it.” They understand how to accurately re-form these characters purely in voice, and they’re successful in communicating that to the actors they include in the project. Props, ladies and gentlemen!

Kamaji, the Boiler Man

Yubaba

Despite her repulsive character, she claims she’s actually a nice person and concedes to Chihiro’s request for a job in the bath-house. In exchange for her new Job, Yubaba takes Chihiro’s name away from her and renames her “Sen.” Haku warns Chihiro that Yubaba controls her servants by taking their names, and that Chihiro and her parents will be trapped forever in the spirit world if she forgets her name.
The "remember your name" plot device fits so perfectly with the feel of Spirited Away, and carries the theme of self-discovery in a subtle, poignant way. Also, it should be noted that while Yubaba is the "villain," she doesn't see herself as evil...probably because she really isn't. She isn't a Jafar (from "Aladdin") or Ursula (from "The Little Mermaid"); she is trying to run a business and is tired of humans wasting her time.

So, Sen begins her new life in the bath-house serving the various gods and spirits found in Japanese fairy tales and mythology. For the first time in her life, Sen must get her hands dirty and work hard to keep her place. And for the first time, Sen’s parents are relying on her. She works under Rin, the servant-girl who originally took her to Yubaba. Rin is voiced by Megan Egan, who’s voiced many Disney characters, namely Megara from Hercules and she brings an excellent edgy and lyrical tone to the cast, which I feel works very well against Daveigh Chase’s shriller performance as Chihiro/Sen.

While working, Sen sees a Masked Spirit standing alone out in the rain, and taking pity on him, invites him into the bath-house. Shortly after, what appears to be a very large “stink spirit” enters the bath-house, and what follows is one of the most entertaining scenes of the entire film, mostly because the characters react so comically and strongly to the overwhelming stench of the “Stink Spirit” and Sen (being lowest on the staff “totem pole”) is tasked with serving him. He smells so terribly that food rots as he passes. Sen manages to clean him, revealing him to be a sacred, ancient spirit of a polluted river. In return for restoring his health, the river spirit gives Sen a magic dumpling.

This scene is classic Miyazaki, with the "OMG HE STINKS" expressions displayed by the characters, the wonderful accompanying score and the restoring of polluted/abused nature.

A classic "Show, don't Tell" moment. :D

Sen and the Stink Spirit

The next afternoon, Sen is wondering about Haku, and the rumors that he works for Yubaba and is a friend she should not have made. Gazing out from her room, she sees a dragon being attacked by shikigami* (in Spirited Away, the shikigami are paper-birds), and she realizes that the injured dragon is actually Haku.
The combination of animation and musical score in this scene is breathtaking. I particularly loved the fluidity of Haku's movements (as if he's swimming through the air) and the menacing fluttering of a thousand paper birds.

Later, the Masked Spirit reveals his true nature and evolves into a horrendous monster called "No-Face". It swallows one of the servants in order to speak, and offers gold to the staff in exchange for huge quantities of food. No-Face eats and grows dramatically in size, also swallowing several other employees. He demands to see Sen, and when she is brought before him, he offers her heaps of gold. He seems infatuated with the young girl and years for her approval and love. When she rejects his offers of gold, he grows angry and threatens to devour her. She gives No-Face the remainder of the magic dumpling, causing the monster to violently regurgitate everything and everyone it has eaten.

Refuing No-Face

This was such a strange scene that was both disgusting and cleansing, as Sen frees No-Face from his greed and gluttony. In his own way, No-Face can be seen as a symbol for Sen's journey. He has no identity, and relys on others to communicate. He bribes and commands to be loved because he is lonely and therefore deserves to be loved, not because he has opened his heart and yearns for true friendship. Sen recognizes this (though it's unspoken, as many deep emotional connections are left unsaid in Japanese anime/manga), and she is able to redeem him by extending true friendship.
The following scene with Sen and No-Face on the train is such a poignant cinematic moment. It’s a very quiet and introspective moment filled with slow, dreamy movements and a simple, beautiful overture which creates a bit of a respite for both the characters and the viewer. One particular moment has always haunted me, as I could not figure out what Miyazaki was trying to communicate. All the other figures riding the train appear only as shadows, and the train passes a station, Sen notices the form of a shadow-girl, who gazes longingly at the passengers in the train.

The train ride to see Zeniba

My favorite scene in the film is one of the very last ones, where Sen suddenly remembers a memory from her childhood caused by the sensation of the wind in her hair as she rides on Haku’s back. She had fallen into the Kohaku River as a child and Sen realizes that Haku is the spirit of that river and the one who saved her as a child.

"I knew you were good!"

Reunited at last with his true name, Haku is freed from Yubaba's spell. He is suddenly released from his dragon form an the two freefall hand-in-hand as Haku laughs and Chihiro cries and oh my heavens it makes me cry in joy every time.
Chihiro is offered a final test: she has to guess which pigs are her parents out of a farmhouse full of them. She correctly answers that her parents are not among the pigs, whereupon her friends (Kamaji, Rin, Boh and others) leap and jump in celebration.

Passing the Test

While the performances of the voice actors in the English dubbed version capture the depth and emotion of character required in a Miyazaki film, the translation itself weakens the film in a number of ways. This is not a stab at Disney; it's just the sad reality on how certain aspects of Miyazaki’s films (and to be fair, Japanese films in general) are simply lost in cultural and literal translation. English adaptions must often add (sometimes unnecessary) explanations and localize the vibrancy of the original to accommodate Western audiences, but this results in a few parts in the film coming across as a little silly. But, the film is a fantasy, so it's not too difficult to let minor inconsistencies slide by.
In the Japanese original, Yubaba states she must give Chihiro the final test because she is also bound by the rules of her world, and that she cannot break the spell the girl's parents are under because she wishes to. In the English version, Yubaba insists upon giving the test simply because she that was the deal she had struck with Chihiro (or rather, Haku). The folkloric motif of requiring a test to break a spell is sacrificed for the weaker contractual obligation, and one that does not even make sense, given that Yubaba does not seemed compelled to make Chihiro undergo the test in either the English or the Japanese version.

Haku takes her hand and leads her towards the entrance of the park. He promises they will see each other again, but warns her not to look back until she and her parents cross back over the river.

A promise

Chihiro reunites with her parents, who do not recall anything of their experiences, and the family leaves. Before they drive away, Chihiro casts once final glance over her shoulder and her expression is of a young woman who has become confident, strong, self-reliant and assured in her identity. But there’s the lingering thought that perhaps Chihiro has forgotten her experiences, too.
All these elements are able to captivate the viewer within the world of Spirited Away. The film evokes a sense of awe, an the magic the the existance of another profound and ancient world hidden just behind the veil of our own ordinary reality, and Chihiro's encounters with the beings of this spirit realm consistently impress me with the power and mystery of such ancient and comical little characters. Chihiro's bravery in facing this world of awesome power (a world that is not evil, but remains dangerous) is a sublt commentary on the journey of a young girl towards womanhood. In fact, these three emotions, heroic bravery, personal growth and awe, are effectively combined and balanced by Miyazaki so that each complements the others and all contribute to the film's overall effect.

The ending to Spirited Away is a perfectly bitter-sweet one. It is a simple, compelling and brilliant way to close the story and finish the take, but I felt there was just something left hanging. But in no way am I saying I’d like to see a sequel to the movie, as that would ruin the sweetness of Haku’s parting.

But unfortunately for Haku, I keep looking back and looking back and looking back to this jewel of a film and I suppose I’m forever lost in the world of the spirits.

 *Shikigami are said to be invisible most time, but they can be made visible by banning them into small, folded and artfully cut paper manikins. There are also shikigami that can show themselves as animals or birds. They must be conjured during a complex ceremony and their power is connected to the spiritual force of their master. If the evoker is well introduced and has lots of experience, his Shiki can possess animals and even people and manipulate them. But if the evoker is careless, his shikigami may get out of control in time, gaining its own will and consciousness. In this case the shikigami will raid its own master and kill him in revenge. Normally shikigami are conjured to exercise risky orders for their masters, such as spying around, stealing and enemy tracking. (from Wikipedia)

Characterizing Anime

     Characters are as varied and as the series I’ve read. I’ve found there is a certain type of character I gravitate towards, but of course, I’ve found myself liking characters further and further away from my typical “likes,” such as Ikkaku Madarame , who I mentioned in the previous article. 
     Just as in American literature and film, there are character stereotypes in Japanese anime and manga. Most come in different variations and degrees of some sort, but the core of the stereotype is there. Here’s a run-down of the most common stereotypes and manga and anime characters.

The Bishounen: 
     The “Prince” is a staple of the shojo genre and is typically the love interest of the heroine. While this character may seem “super cool” and “distant,” his true gentleness is shown through some hobby, like gardening or rescuing stray kittens. The Prince can have varying levels of “princeliness” ranging from rich, reserved aristocrat to overdramatic, spoiled playboy.   
     He’ll take your heart whether you like it or not! Most popular examples are Yuki Sohma from Fruits Basket, Hotohori from Fushigi Yuugi, Tamaki Suoh from Ouran High School Host Club and Yusei Fudo from Yu-Gi-Oh! 5D's 

The Princely Type

The Megane (Eyeglass): 

     There is always a Megane-type. Typically, Megane characters are serious, logical people who provide a foil to the much more animated (pardon the pun) lead characters. Perhaps it’s because of the glasses, but it’s an unspoken truth that Meganes are fastidious students. Male Megane are usually sleek in appearance, sharp dressers and wear their hair black and straight. Female Megane are usually unkempt in some way; most have ruffled hair from sitting up all night reading. 

     The lead character often relies on the Megane character for tactical, as the lead character is most prone to “blinding rushing” into a situation. The Megane is the Mr. Spock to the Main Protagonist’s (who is typically a Princely or Hot-Head Type) Captain Kirk. Watch out for the dangerous sheen reflecting off that polished glass! Most popular examples are Uryu Ishida from Bleach, Kyouya Ootori from Ouran High School Host Club and Chezka from FullMetal Alchemist

The Megane Type

The Silent Type: 

     Only male characters are “silent types.” As a rule, these characters are taller than all the other characters and amazingly strong. However, these characters are also shy and gentle. Due to lack of speaking lines, these characters aren’t usually well liked and are seen as unlikeable. 
     They are usually paired with a “chibi” character, or a smaller, comical character, which in turn changes an unlikeable character into a character who is mature and reserved…and much more likeable! Popular examples are Takashi Morinosuka from Ouran High School Host Club and Scar from FullMetal Alchemist. 

The Silent Type

The Trickster: 
     This character is very popular in both shojo and shonen manga. Usually these characters manipulate and needle the serious or excitable characters. While a certain trickster may be temporarily aligned with the hero or villain, they seem to be on no one’s side but their own. Their devious friendliness makes Tricksters a gamble to ally with. 
     They are very political minded and seem to be fulfilling some secret plot. Tricksters are also the source of double entendres and ‘potty humor’ in a series and they usually have a slanted view of reality and are adept at masking their manipulative tendencies beneath a goofy expression and quick laugh. Tricksters are usually very handsome and use it as a tool to manipulate others, particularly women. Friend or foe? You’ll probably find out the hard way. Popular examples are: Gin Ichimaru from Bleach, Shigure Sohma from Fruits Basket, Kisuke Urahara from Bleach 

The Trickster Type

The Genius: 

     This is one of my favorite “types.” Generally, genius-types are cold, calculating and absolutely brilliant at maneuvering themselves politically and achieving their ambitions. The biggest weakness for genius-types is “miscalculating their calculations,” as well as becoming intoxicated on their own pride and self-appreciation, which inhibits them to be strictly logical. 
     Typically, these characters are high-functioning sociopaths who descend further and further into madness as their power grows; in addition, most genius-types are presented initially as the series’ protagonist, but end up as the series’ main antagonist before the end. Popular examples: Light Yagami from DeathNote, Lelouch vi Britannia from Code Geass

The Genius Type

The Anti-Hero: 

     This is more of a sub-type, but I feel it’s necessary to bring up because it’s re-trending. The anti-hero is NOT a villain; they simply have different views and beliefs than the main protagonist, which prevents them from becoming allies and pits them against each other. A classic example is Mycroft Holmes from the BBC’s recent adaption of Conan Doyle’s Sherlock. 
     Usually these characters have some close relation to the main character(s), but operate independently. In some ways, they are viewed as a Neutral-Evil or Neutral-Good. Classic anime examples: Sesshoumaru from InuYasha, Uchiha Sasuke from Naruto and Seto Kaiba from Yu-Gi-Oh! 

The Anti-Hero Type

The Bachelor: 

     Another extremely popular character-type in both shonen and shojo series. The Bachelor is normally related to one of the main characters and is several years older than the median age of the characters. Generally the Bachelor is established, respected and handsome. While he may seem initially distant and cold, he is usually a warm and passionate person. 
     Often these characters have undergone some trauma, usually the death of a lover, which causes their withdrawal from society. As such, they only interact with the main characters when necessity dictates it. Basically, Bachelor characters are Japanese reincarnations of the classic Mr. Darcy. Marry me! Popular examples: Hatori Sohma from Fruits Basket, Kakashi Hatake from Naruto, Captain Byakuya Kuchiki from Bleach and Col. Roy Mustang from FullMetal Alchemist 

The Bachelor Type

The Hot-Head: 

     I love these characters. Many male leads in anime and manga are hot-heads. These characters are brash, often inconsiderate and lack refined manners. Most are warriors, or wanna-be warriors; they strive to be the best at something. They have a strong sense of justice and an internal drive to stop at nothing to achieve their goal. It’s their energy that propels the rest of the characters. 
     Hot-Heads also have a tendency to speak whatever is on their mind---it’s not in their nature to be dishonest, or to hide their true feelings behind social expectations and niceties. Notable Hot-Heads include: InuYasha from Inuyasha, Ichigo Kurosaki from Bleach,  Edward Elric from FullMetal Alchemist and Naruto Uzumaki from Naruto. Notice the red/blonde hair—it’s a tell-tale sign! 

The Hot-Head Type

The Narcissist: 

     Narcissist characters can be male or female, but it seems I’ve come across more male narcissists in the series I’ve read. I’d say narcissist characters are still 50/50 in terms of being a protagonist or antagonist. Most are loveable and are enamored with themselves for good reason; others are humorously narcissistic and their quips are a running gag throughout the series and few elevate themselves to the point that they view others as lesser beings.  
     Are they gay? Are they not? No one knows! Popular examples are Ayasana Umichika from Bleach, Ayame Sohma from Fruits Basket and Maximillion Pegasus from Yu-Gi-Oh! On a side note: I just realized that narcissists typically have white hair? Fascinating! 

The Narcissist Type

The Rogue: 

     Every series has its rebel, its non-conformist, its ace in the hole. I would definitely place Ikkaku Madarame in this category. The Rogue is the guy you want fighting with you. While you would not want to be on their bad side, to their friends they are protecting and friendly. 
     Typically, the Rogue is cocky and loves to greet others with the trademark sideways smirk. We love to cheer them on! Other popular examples: Renji Abarai from Bleach, General Olivia Armstrong from FullMetal Alchemist and Hatsuharu Sohma from Fruits Basket 

The Rogue Type

The Enigma: 
     The Enigma-type is just that—a mystery! He or she will appear at varying times in the series, normally to foretell some terrible fate the hero must endure.  Protagonist-enigmas remain shrouded in mystery for most of the series, yet remain an invaluable asset, companion or ally of the main character. Antagonist-enigmas work in the shadows.
     The subtle journey of discovering the mysteries of who exactly that character is keeps viewers returning. Notable enigmas include: Yami/The Pharaoh from Yu-Gi-Oh! (<- this series has Enigma-types in spades!), Nagato/Pein from Naruto, “L” from Death Note.

The Enigma Type

The Sweetheart: 

     Sweethearts are the characters you want to spend a lazy Saturday afternoon with. In manga and anime, these are characters easily brought to tears (joy, sadness, anger) and would willingly sacrifice themselves for their friends. They tend to avoid battle and focus their strength as peacemakers. They have a gift of connecting with the most disagreeable characters and lighten the mood of more intense series with their optimistic world view. 
     Popular examples: Alphonse Elric from FullMetal Alchemist, Inoue Orihime from Bleach, Jaden Yuki from Yu-Gi-Oh! GX and Tohru Honda from Fruits Basket 

The Sweetheart Type

     Of course, few characters fall into simply one category; there are often “blends” of two or three stereotypes, like hot-headed meganes, trickster narcissists or princely rogues. After a character is created and given “life” as it were, a voice is needed to complete the emotional depth of the character. 

To Be Continued…

Into the Forest...

     This past week I watched Snow White and The Huntsman with a dear friend. I found myself really looking forward to this film; even though I am not a fan of Kristen Stewart or Chris Hemsworth, I adore the story of Snow White, no doubt brought on by my love for Walt Disney’s classic interpretation of the Grimm’s fairy tale.
     Kristen Stewart is such a strange little actress. I find her approach to acting very stale, shallow and her interpretation of character lacks emotional depth. I feel no love for her characters—and there’s something lacking when the viewer doesn’t care if a character dies or not, but THAT’S another blog altogether. J I will say that she is a wonderfully physical actress—I enjoyed and was impressed by her action-orientated scenes, particularly the scene in which she escapes from the castle and flees into the Dark Forest. The sweeping camera lines, disjointed close-ups and Stewart’s physicality made for a very enjoying scene in the movie where I felt pure anxiety, exhilaration and excitement.
     One of the most visually stirring and just simply beautiful scenes in the film is when Snow White and the Huntsman are taken to the Fairy Sanctuary by the dwarves. The Sanctuary is located deep in the darkest part of the Dark Forest—the sacred home of nature incarnate and far beyond the touch of humans and the evil reign of the Queen. If the Queen represents death, then Snow White is life itself and while hiding in the glen, she encounters the King of the Wood, the mythical White Hart who bows to her and in so doing blesses her and charges her with the fate to bring rebirth to a dying world. 

     It’s a beautiful and stirring scene that presents many intricate and subtle layers with no attempt at explanation. And no explanation is needed or desired, because it would ruin the mystery and beauty of the emotional core of the scene.
     At least, it WOULD have been beautiful and stirring if it hadn’t already been done before.
     This pivotal scene from Snow White and The Huntsman is almost directly stolen from a VASTLY superior film—Hayao Miyazaki’s Mononoke-Hime (Princess Mononoke). I felt slightly affronted when watching that scene, especially since it seems to be the one that “everyone” is talking about.

"The Fairies' Sanctuary and The White Hart" / Snow White and The Huntsman / (c) Universal Studios

TOP: Realm of the Forest Spirit / from Mononoke Hime / (c) Artimis07
BOTTOM: Shishigami's Glen / Mononoke Hime / (c) Studio Ghibli

     Notice the sacred island with a large tree in the center of a small lake? Notice how the other animals do not approach the center of the lake? Only the chosen (Snow White/Ashitaka/San) can approach the sacred dwelling place of the Forest Spirit without perishing.
     Snow White receives the blessing of the White Hart because she deserves it--she's pure and innocent and destined to heal the world. Ashitaka receives his blessing because he is unworthy; he is cursed by his human foils of hate, pride and ambition, yet the Shishigami sees his noble heart and yearnings for peace, compromise and understanding, and so chooses him to be the guardian and future of the human world.

Shishigami, Ashitaka and San / Mononoke Hime / (c) Studio Ghibli

Snow White and The White Hart / Snow White and The Huntsman / (c) Universal Studios

     It makes me wonder if true invention and creativity exist anymore, especially in film, which has become so stale, trite, shallow and just plain tired. To manufacture a cheap imitation of such a beautiful and complex film ruffled my feathers. Ashitaka and the Princess Mononoke (San) herself were exceedingly more developed and interesting that the characters of Snow White and the Huntsman combined. It’s strange, but it’s like those little animated character have souls—souls that are deep and lush and very real. Is it odd that their human counterparts cannot compare? That...kind of makes me sad.
     Even the respective symbolisms in Snow White and THe Huntsman align with similar settings and characters in Princess Mononoke...except they just come across as cheap knockoffs. Off the top of my head: The Dark Forest and the Forest of the Shishigami, (humans are terrified of it and will not enter), Faries and Kodama, The White Hart and the Shishigami...and then there are the overarching themes of life conquering death, nature overtaking industry/lifelessness, the weak finding their strength, redemption (The Boar King and Queen Ravenna), and so on. Even the curious and mischievous fairies are reminiscent of Miyazaki’s kodama (“tree spirits”).

Faeries / Snow White and The Huntsman / (c) Universal Studios

Kodama ("Tree Spirits") / Mononoke Hime / (c) Studio Ghibli

     The relationship between Ashitaka, San and the Spirit of the Forest is at times antagonistic, neutral and respectful and this complex relationship is communicated with absolutely no words at all. The Spirit of the Forest is more than just a personification of nature to bless man (which seems a little arrogant on man’s behalf); he is the personification of a world that has given live to, blessed and tormented man, and man has repaid him in reverence and destruction.
     Oh, the cultural symbolism (Japanese and world) in Princess Mononoke is so rich and thick I could devote a whole book to it. Even the hero’s name, Ashitaka, isn’t an actual Japanese name. It’s actually read as Ashita-ka, which literally translates to “tomorrow?” or “Is this our future?” And when I watch a movie like Snow White and The Huntsman I wonder about the future of fantasy cinema: the good, the bad and the ripped-off.

Japanese VS English Voice-Acting

Despite the popularity of Japanese animation, which is lovingly referred to by fans as “Japanimation,” it still remains a strange and confusing medium to Western audiences. In the face of this lingering mistrust (or perhaps the pure strangeness) of Japanese entertainment, there has been an explosion of artistic appreciation and interest among young Westerners.

I’m a purist; I prefer to watch foreign films in the original language. Believe me when I say that in many ways the Japanese have us beat when it comes to voice acting. I am constantly amazed at how strongly these little animated characters emote –and how human they are! I would venture to state that 90% of a character’s self and core comes from their voice. Japanese animation can be very static, in which two characters stand opposite each other and speak with only their mouths moving. As a result, the emotion and gravitas behind the scene MUST come from the voice of the character. The voice carries the character and the Japanese have perfected this union; the ability to meld these two lies in the cultural foundation of the anime, as well as a solution born of necessity in the creation and production of anime itself.

So much emotion is communicated through music and eyes, which I think is one reason why anime-characters have such enormous eyes. But I digress…

One does not simply dub a Japanese anime. Blockbuster stars assigned to dub certain roles do not result in a successful dub. On the contrary, the film/series will be ruined. Japanese voice acting is so subtle, so nuanced and so tender in parts that is causes your heart to wrench. The cultural backdrop paired with subtlety of tone, inflection and emotion are usually lost when a series is re-dubbed in English. Japanese cartoons and American cartoon are produced from very different cultures and created for very different audiences. I believe Americans think animated series should be campy, slapstick or something reminiscent of The Simpsons. Americans are also uncomfortable with having a real (and often strong) emotional response to something so foreign and strange looking, which is a great little talent anime has. Americans are not used to seeing serious dramas or such real, visceral emotion from such a strange, static anime…so we tweak it to make it more palatable to our tastes.
This truly makes the series RIDICULOUS. CHEEZY. CAMPY. JUST PLAIN STUPID. And it reinforces the stereotype that anime is full of nothing more than weird, muscled guys with spiky hair who shout cheesy lines at each other.

I really don’t think studios mean to “ruin” anime when they set out to dub them; they’re trying to localize it to the target audience so it’s enjoyable while making the studio money. But I feel that reduces the impact of the anime. Anime should be what it is.

It would be like adding a modern aspect—like an iPod—to DaVinci’s “Mona Lisa” for no other reason than to make a piece of art deemed “dated” or “foreign” more palatable and relatable to the modern viewer. Not only does this ruin and cheapen the original vision of the creator and artist, it infers that the “Average Joe” isn’t intelligent enough to look beyond their own experience or approach art in other forms with an open mind. Furthermore, it insinuated that Americans don’t have the desire or capacity to learn about other cultures, because WE can make it better. It’s incredible myopic and so horribly backwards, especially for young people studying, working and living is a very global world!
As an American, I don’t want “Americanized” foreign films. I want to enjoy the film or series the way the home country and creator intended, even if it’s strange and confusing and I don’t understand it at first. I like that! Films are a universal medium that bridges all cultures. We can share ideas and catalogue the relationships, and beauty, and the emotion and all the things we as humans build our lives on and share, regardless of whether we were born in America or Japan.
On the other hard, there are broadcast requirements. Many Japanese anime shows designated for children contain blood, swearing, guns and violence. Granted, it's not gratuitous or anything, but these are not things an American production studio can push past censors simply for the sake of art. Certain series were hacked and mangled almost beyond recognition (namely One Piece and Yu-Gi-Oh!),which caused a massive  fan backlash against the American studios who dubbed the original series, but in it's own way, I think we owe companies like 4Kids, Funimation and VIZ a debt of graditude for bringing these shows to the US, when otherwise we would have never see them.

<END RANT>

ANYWAY. :)

One of my favorite anime series is Naruto. I wrote an extensive blog about it earlier last year, and it is a series I can only watch in Japanese. Even though both voice actors for Naruto are female, the English voice actor makes Naruto sound stock, stale and many fans have pointed out that his hoarse voice is similar to that of chain-smokers’…which has actually become a running gag in fan-made spoofs and parodies of the series. But Naruto, despite his hyperactivity, mischief-making and rudeness, is really a sweet and sensitive little guy, and the English voice actor does not infuse her performance with this aspect of his character.  She ruins it and her performance reduces the character of Naruto to half of what he could have been.

(c) Masashi Kishimoto / Shonen Jump / Sunrise / VIZ Media

Bleach is wildly popular and is a series I can watch in either English or Japanese. Like Naruto, Bleach has an enormous cast, and each character has a very distinct vocal personality. The English voices for lead and comic characters fit very well (!), but other supporting characters fall flat. I feel that the Japanese voice actors are pouring their souls into the performance of their character, which is maybe why the English version feels empty.

(c) Tite Kubo / Shonen Jump / Studio Pierrot / VIZ Media

Despite claiming to be a purist, there are a few series (and movies) I prefer to watch in English, because I feel the English actors—or the team behind the dub—truly understood the context and culture the art was produced from, as well as the subtle non-Western characterization. They were able to meld all these little nuances together to create a tremendously well-done dub.

InuYasha is one of the only anime series in which I prefer the English dub over the original Japanese. I felt the English voice actors had the same tonal quality of their Japanese counterparts and that they treated their roles seriously. InuYasha is a petty campy anime and a little over the top, but you coul feel the passion and love the English voice actors had for their characters and it worked. It really, really worked. Richard Cox, who voiced InuYasha, understood his character, his motivations, his nuances and the voice was perfect. To me, there is no other InuYasha except Richard Cox.

So, those are a few thoughts I thought I'd share. :)

Card Games Are Serious Business!

     I always say my passion for “Japanimation” began in college (2006), when I discovered the Natsuki Takaya’s Fruits Basket. I’ve always credited this series as my “first,” in terms of it being the first manga I read and the first anime series I watched. I’ve also attributed by enduring love of Japanese anime and manga to this series, as it sparked my imagination in a way no other series had before.
     But I got to thinking the other day and realized…the very first anime I ever watched was Yu-Gi-Oh! I was probably in the 5th or 6th grade when iIstarted to watch the original Yu-Gi-Oh! series on KidsWB. At this time, Pokemon was extremely popular with my male classmates, so I was already vaguely aware of the almost frantic obsession with Japanese card games.
     I remember watching Yu-Gi-Oh! secretly; I knew my mom didn’t approve of the weird characters (Yugi’s pink and gold spiky hair didn’t help much!), creepy monsters and the slightly occultish “heart of the cards,” so I remember switching the channel whenever I heard her coming to check on my siblings and I during our after-school cartoon watching.

     Even though it was years ago, I still remember how the storyline of Yu-Gi-Oh! fascinated me—I’d never seen anything like it. I loved the psychological interplay between the duelists and trying to figure out how Yugi was going to win his matches against seemingly overwhelming odds. And then there was the mysteries that envelop the series…
     
     Who is the mysterious “Yami” who only manifests himself during the heat of battle?
     What is behind Pegasus’ obsession with the Millennium Items?
     Just how do the Millennium Items and Ancient Egypt tie into a modern card game?

     The very first season of Yu-Gi-Oh! centers around the titular character, Yugi Moto, and his friends as they compete in the Duelist Kingdom Tournament to rescue Yugi’s grandfather from Maximillion Pegasus, the creator (or rather, re-inventor) of the Duel Monsters Card Came and the first villain of the series.
     There are episodes from this first season that I still remember vividly to this day – like Joey and Yugi battling against the rhyming duelist brothers Para and Dox in their underground labyrinth, Yugi battling against Seto Kaiba’s Blue Eyes Ultimate Dragon and Yugi’s brilliant defense behind the seemingly worthless Kuriboh and Yugi’s epic duel and victory against Pegasus’ garishly creepy cartoon-themed card deck and mind-reading abilities.
     But the fondest memory I have from Yu-Gi-Oh! is how it changed my perceptions about villains and the roles they in a story. Pegasus is so evil, so manipulative and so downright cruel that you absolutely DESPISE him by the time he and Yugi duel. After his defeat, we are given a pretty insightful look into his past, and I remember (even back then) suddenly pitying him…and dare I say, almost liking him. He is a truly tragic character and driven in his deep grief to restore the vast void left by his beloved late wife through any means necessary.  Severely weakened by his duel against Yugi, he is attacked by another character and stripped of his power and pride.
     He was the first villain who challenged his role in my eyes—I wasn’t sure who or what he was at that point in the series. Was he truly the villain anymore…or was he more of an anti-hero like Seto Kaiba?

     So anyway, when I saw Yu-Gi-Oh! on Hulu.com, I decided to re-watch the first season this past weekend simply for nostalgia’s sake. And oh, am I glad I did! Watching the characters exchange their painfully cheesy English lines was so painful and yet so intensely entertaining. It brought back good memories of afternoons full of 90’s goodness—Animaniacs, Pinky & The Brain, Batman Beyond and...

Yu-Gi-Oh!