Friday, December 2, 2011

Quick as Wink

Piccadilly Circus - Victorian Era
Hello all. This is the first chapter of a novel which has been forming in my mind over the recent months. This is still a rough draft, as I scribbled this down over the course of about two hours.

Piccadilly Circus did not boast any high-flying trapeze dancers or dancing elephants (as its name might imply), but with its many shops, bustling ladies and gentlemen, hansoms and cabbies, stomping of cloven hooves and tinkling street carts, Piccadilly could be called nothing less. Comings and Goings bled together in a graceful and distracted dance around the center of the square, a living and breathing carousel of charming advertisements, bleak features and ruffled parasols. Over it all reined Eros, his figure caught forever in mid-leap above the frenzy. His frozen gaze remained blissfully impassive and his last thoughts as he readied his bow to send his wanton arrow deep into the breast of an unsuspecting lover remained lost.
On the north-east side of the Circus on the corner of Shaftesbury Avenue at the London Pavilion Music Hall, a group of men stood gathered around the back of a large wagon filled with crates marked Delectable Museum of Anatomy. One particularly large fellow grasped the rope handles of the closest crate and pulled it toward himself. The raspy sound of wood scraping wood woke an orange tabby from where he had been taking a nap in the far corner of the wagon-bed.

Amber eyes opened slowly and a ponderous yawn followed shortly thereafter. His large eyes assessed his new surroundings lazily. Crates were being pulled from the wagon and carried into the Music Hall; the men muttered to each other and one was humming an Irish ditty. The tabby flicked his tail and uncurled himself languorously. Once on his paws, he shook his head in a way only cats can, and began to clean his face.
                “Oi, Seamus! There’s a puss in ‘ere!”
A young man climbed into the back of the wagon. He began to make as much noise as he could as he pushed the crates aside. The tabby’s ears flattened.

                “Oi, get ou’ o’ ‘ere, ye lazy puss! Who’re you to be takin’ a nap when t’ resto’ us are workin’ ‘isself t’ the bone? SCAT!”
The tabby bolted from the encroaching human-legs and landed gracefully onto the glistening cobblestones below. His pink nose twitched and his hackles rose slightly. London was such a disagreeable place in winter. The sky overhead was grey and cloudless; an occasional gust of winter wind swept across the cobbles underfoot and made the ladies’ hems shiver. The withered, leafy remnants of fall darted in and around the damp stones until they came to rest, pressed and shaking, against the spokes of a courtly carriage.

The bridled equines would stomp their hooves at winter’s unwelcome caress over their sweat-slicked backs. Gusts of steamy breath smelling of hay and oats flared from their warm nostrils; the cat flicked his tail.
Yes, the feeling of wet fur between one’s claws was most uncomfortable, thought the cat as he began to make his away across the cobbled square, effortlessly avoiding the clacking wheels of the coaches, heavy hoof-falls of the equines and the pointy ends of the gentlemen canes as they strode past, self-importantly assured of their top-hat status.

Upon reached the far side of the square, he stopped at a pair of scuffed, black books and many-times-mended mauve hem. The boots and hem belonged to a female who was not still a girl, but not quite a lady. She was short, and held her pale and moon-shaped face proudly.  She had twisted her black hair under her weathered hat to ensure every curl was tucked away.
She stood along the wall leading to a small store which sold men’s fashion, as to be unobtrusive to the constant rush of passersby. This was her first journey into London—she had traveled from her family’s farm in Yorkshire at the urging of her father, who had managed to arrange employment for her at the summer mansion of Lord Edward Croft, Earl of Huntington, who her father served with years earlier in Crimea. The last few months had been a flurry of excitement and anxiety as she adapted to her new roles as a servant to the nobility.

She happened to look down and notice a curiously-eyed cat staring up at her.  
                “Well, good day to you, sir,” she said, bending slightly at the waist to gain a closer look at her new friend.  She did not have a fondness for animals, but she did fancy cats. After tucking her package beneath her right arm, she stooped to run her fingers through the warm fur.
                “Mary!”
She righted herself at the sound of her name and the tabby went on his way. Searching, she found a smile claim her lips as she found him alighting from a nearby carriage—he was not difficult to miss, as he had the most shocking color of blond-red hair she had ever seen. Lord Ian Croft was son to Earl and Lady Edward Croft, and though he was three years older that her, she sometimes wondered if he was three years younger.

Her smile slipped into an expression of shock and amusement; her young lord had mis-buttoned his brocade vest and his collar was clearly lacking starch. He energetically made his way through the crowd until he stood before her.
                “My lord, your vest—”
                “Never mind that! Were you able to find them?” he asked. His cheeks and nose had already turned pink by the turn in weather. He eyed the package under Mary’s arm in excitement.
                “Yes, but—”
                “Excellent!” he exclaimed, as he pulled away the twine. Amidst the paper wrapping laid a pair of fine leather gloves. Ian beamed.
                “It appears your first mission for me was a success!”

Mary smiled and adjusted her hat against the wind.

                “I’m sure your father will be very happy with your gift,” she said encouragingly. She pulled her coat a little tighter around her to ward off a sudden chill and watched Ian as he re-wrapped the gloves and slid them into a pocket inside his overcoat.
                “Why, Mary,” he said suddenly, “I do believe you’re wearing a new hat.”
She colored briefly and dismissed his flattery.
                “It’s not very fancy, but I rather liked the color.” She was not a shy person by nature, but any attention paid to her by Ian Croft was enough to make her pulse stammer. Although he treated her much like he did his younger sister, his doting and kind smiles had unintentionally won the heart of Mary Fields.
                “Well, you look very lady-like,” he said proudly.
                “Thank you,” she replied.
                “Wait here a moment, Mary,” he said, and jogged over to his carriage. He half climbed up the side to have a word with his driver. After a few moments, he jumped down and began his way back to Mary as the coach lurched into movement with the sound of hooves clattering against stone.

                “Do you have other business in the city, my lord?” asked Mary as Ian rejoined her side. 
                “Yes, I do, and I insist you call me Ian.”
                “You may be comfortable with informality, my lord, but as a servant in your father’s household, I must protest at your insistence—”
                “As a servant, I order you to call me Ian,” interrupted Ian.
                “And another thing—it is impolite to interrupt a lady!”
                “So which are you—a lady or a servant?” he asked in mock confusion. She squared her shoulders and adjusted her hat primly.
                “Both, my lord, and good day to you.” She turned and started down the street at a brisk pace.  He stood and watched her go, visibly disturbed that he’d upset her.
                “Mary, please!”  When she refused to acknowledge him, he sighed and started after her. He was tall for his age, and caught up with her quickly. “Mary!”
                “It’s Miss Fields to you, my lord,” she said, stopping and turning briskly to face him. He stumbled slightly as to not bump into her.

                “Why do you make everything so difficult?” he whined.
                “I don’t make anything difficult, you’re the one who—” Her statement was cut short by a long dramatic sigh from Ian.
                “Really now, Miss Fields, I’ve grow weary of this. I merely request your assistance – is it still too much to ask of you?” She gazed at his proffered arm and her jaw fell slack. She thought she must have looked quite silly.
                “Your pardon, my lord? I am but a servant in your father’s estate and—“
                “Yes, yes, we’ve been through all this already. Normally, I would send my butler out for trivial errands such as these, but this year’s Christmastime presents must be kept secret! I cannot risk utilizing anyone close to my parents for fear my plans might be revealed! Hence why I recruited you! Who better to run my secret missions? Why, it was only two months past that you arrived at Nettlewyte!”
                “My Lord—”
                “Naturally, I might have asked one of the daughters of the Marquis or Duke or some-such to accompany me, but then,” he paused to chuckle, “people would talk, of course, and I can’t have that. And on my honor as a gentleman, I would be remiss if misappropriated any young woman’s feelings of affection to attain my own selfish goals—”
                “Master Ian—”   
                “So then an amazing thought crossed my mind. Why not accompany my newly appointed spy?  Exploring London is always such an adventure, and of course, no one would talk about me accompanying a servant. Brilliant thought that.”
                “You are one of the stupidest men I have ever met,” she exclaimed. Her face, previously animated by her smile, hardened in seriousness as she clenched her jaw and gazed levelly at him.
                “Hm?”
                “You should have asked the Marquis’ daughter! Don’t you understand that the sight you and I in London’s most frequented shops at this time of year will cause more tittle-tattle than an outing with the daughter of a Marquis?!  And not only that—look at you! Your hair is a right mess, your collar is curled, your buttons are offset and you forgot your hat!” Ian looked down at his stomach to view the offending buttons.

                “Ah. Well, there’s not much I can do about that now,” he grinned in embarrassment as he nonchalantly pulled his overcoat forward and began to button it across his chest.
                “Tch, you’re getting the buttons wrong again, my lord,” she said softly. Her hands interrupted his and he stood silently as her fingers deftly slipped the embossed brass buttons into their aligned holes.
                “There,” she said. He cleared his throat and laughed lightheartedly.
                “You needn’t worry so much about things,” he said, taking her hand and tucking it in the crook of his arm. “But I’m glad I am attended to by such a gracious lady, servant or no.”

 They left the square and traveled down Shaftesbury Avenue toward Oxford Street.

                “Mary, please try to calm yourself.” He smiled reassuringly at her and she made a conscious effort to relax the muscles in her arm. “I may be the son of an Earl, but I’m not well known. And London is a busy town…too busy to interrupt our afternoon. Today, I am just as any other man.”  
                Only, you’re not, she thought. They walked in silence for some time, pausing only intermittently to gaze into frosted windows filled with wares of the season.
                “Two months, then?” he murmured. “Are you settling comfortably into Nettlewyte?”
                “Yes, my lord. Your family was very kind to offer employment to me. I feel there is so much to learn! My father is very thankful.”
                “No doubt my father is as well.” Ian smiled. “When I was younger, my father regaled me with many tales of the war and his adventures in Crimea. I know he would not have been able to share such vibrant stories had it not been for your father.” He paused for a moment. “I’m glad you’ve joined us at Nettlewyte.”
                “Yes. Me, too.”
                “And I notice your accent is fading.”
                “I am trying to learn the ways of the nobility and London, my lord. I may only be a simple farmer’s daughter, but I am trying to become a lady.” He reached across at gently flicked the brim of her hat.
                “Careful now that you don’t go about giving yourself airs!” She smiled demurely and he chuckled.
                “Do you miss Yorkshire?”
                “Yes, but I enjoy my work at Nettlewyte. And I—”
                “Don’t try to change yourself too greatly, Mary,” he said in sudden seriousness. She laughed lightly.
                “Oh aye, m’laurd, but I thin’ a lass o’ me sor’ wouldna be t’ welcome,” she said lyrically, emphasizing the long, round vowels born from her life in Yorkshire.  Ian laughed.
                “Oh aye,” he replied with a grin, “but I don’t think it would be unwelcome. Rather, I think—Mary?”

She had frozen mid-step and she felt Ian’s concerned glance. She turned her face to his in an attempt to speak, but her gaze remained riveted on a middle-aged gentleman as he stepped from a black carriage in front of Benson Clothiers storefront. 

“What is it?”

He was far enough away that Mary hoped they’d be able to change their direction without his noticing, but as the very thought formed in her mind, the gentleman turned and lifted a hand in greeting. Mary took a hesitant step backward.
                “Do you know him, Mary?” asked Ian, who squinted his green eyes to ascertain the man’s identity. The man’s features remained obscured and overshadowed by the gloom and brim of his hat.
                “Let’s go the other way,” she said hurriedly. She turned away from Ian to return the way they came, but she had only ventured a few steps before a tall, brown-skinned man in a jeweled turban stepped from the side-alley and blocked their path.
                “Hello!” Ian exclaimed under his breath. He regarded the Indian in amazement and did not take notice of Mary’s fingers digging into his arm as she clung to his side. She was nearly overtaken by the intense urge to run, but her desire to protect her lord kept her by his side.
                “Ian, we need to cross the street quickly.” She tugged at his arm and stepped into the gutter as the Indian man moved towards them. A hansom cab ricketed by and splattered her right side with muddy water.

                “Mary!” exclaimed Ian. “What has concerned you? Quit pulling me!”
                “Please, Ian,” she begged as he tried to shake her off. She caught a glimpse of the dark gentleman over Ian’s shoulder as he made his way towards them. She tugged roughly on his arm and he staggered into the gutter to regain his balance.
                “My lord, please--!” She watched in dismay as a pale hand grasped her lord’s shoulder from behind.

© Elise Aydelotte, 2011

Friday, November 25, 2011

Japanimation.

Here in America we view anime and manga as the same thing; however, they are very different. But don't worry! The difference between the two is simple.

Manga is a term used for print comics. Typically, a series is the work of one artist (manga-ka); the story and artwork are their creation. Reading manga is the purest form of enjoying a manga-ka's vision. Their story is usually serialized by chapter in a monthly publication, like Shonen Jump, and later bound in to volumes called takobon to be sold in bookstores. Each manga-ka has a different style of art and storytelling, which makes manga widely varied and refreshingly different to Western audiences. Yuu Watase, the amazing artist behind the incredibly popular Fushigi Yuugi series, loves her characters immensely; I argue that her adoration transfers subliminally through her art and story to the reader. Because manga are drawn to a different audience and standard than their anime counterparts, you'll find characters more detailed and backgrounds exquisitely rendered. Everything is more lovingly drawn because it is done by the creator's own hand.


MANGA: The Suzaku Seven | Fushigi Yuugi | Copyright Yuu Watase
Popular manga series are made into an animated television or theatrical adaption. Anime is almost always far less detailed than the original manga. What makes anime so fun is enjoying the voices for the wide cast of characters and the movement of it all, especially in series like Bleach, which is known for it's highly stylized and intricate battles.

ANIME: The Suzaku Seven | Fushigi Yuugi | Copyright Yuu Watase
Notice how much more detailed the character artwork is in the original manga; although the anime representation is highly simplified, it still carries the "feel" of the characters. But as a devoted fan of Fushigi Yuugi, I must say the original form just looks neater. Notice how Tasuki (redhead) is grossly overdrawn and characterized. He's still fun to watch in the anime, but he's a very different Tasuki than we see in the manga. Watase's work has a very dreamy, oriental and magical feel--qualities that aren't captured in the anime. It's because of this that I enjoy Fushigi Yuugi in manga form. However, I must give the animators of FS credit. Watase's art would be damned near impossible to recreate. Despite the lost "magical" quality, the FS anime series is still great. The emotional depth and richness in story are still there, which made the series enjoyable to watch.

Just as Watase's art is fine and incredibly detailed, other manga-ka styles are already simple before they are made into anime. Take for instance Hiromu Arakawa's FullMetal Alchemist. Her style is simple and straightforward, which I see as a reflection of her main character, Edward Elric, who sees the world in black and white/good and evil. Or rather, Edward Elric is a reflection of her style.

MANGA v ANIME: Edward Elric | FullMetal Alchemist | Copyright Hiromu Arakawa

Ed looks almost exactly the same in a original manga as he does in the anime; I believe that's because Arakara's art style doesn't leave much to be simplified. FMA is a terrific series; please check out my previous post for more about the adventures of Ed and Alphonse.

So, which do I prefer? It really depends. I like anime for the movement and voice acting. I like manga for the superior artwork and the subtle characterization. I like both!

Thanksgiving.

The Aydelotte Family, 2011
It's been a little over a year since I moved to the little town of Newhall, California. I was born and raised in Fresno, California and spent my entire life there until I moved to Orange County after graduation from college. I spent a little over a year in southern California before relocated north to the Santa Clarita Valley in November of 2010.

I am so thankful for my new life here. I have a supportive and loving family, a wonderful job, incredible coworkers, a lovely little home and amazing friends. For the first time in the past three years I feel truly settled.

Equivalent Exchange.

Edward and Alphonse Elric | FullMetal Alchemist | Copyright Hiromu Arakawa
I've yet to find anyone who's given FullMetal Alchemist a real chance that didn't get just as caught up in the wonderful story and personality and heart of the story like I was. It's a story about brothers Edward and Alphonse Elric, who grow up in a pre-WWI version of Germany/Austria. It's difficult to pinpoint anything remotely historical because they live in a very different reality -- one in which there is a hybrid of science and alchemy, the "art" of transmutation and equivalent exchange. The entire world of Edward and Alphonse is built on this Principle of Equivalent Exchange, which is stated as: "To gain, something of equal value must be lost."

There are some rules, however; lead cannot be changed into gold and the dead cannot be brought back to life. In the hands of a gifted alchemist, little else is limited. The Military, instead of relying on tanks and machine guns, rely on State Alchemists, a cross between scientists and soldiers, the deadliest of all weapons of the State. The position of State Alchemist carries wealth, power and prestige within the governmental chambers, but outside they are loathed by most and called "dogs of the military."

Ed and his brother are rather hodge-podge-y. You'll see Ed has "automail," a metal arm and leg. His brother is inside an enormous suit of armor. As boys, their alchemist father left and they grew up in the countryside with their mother until she grew ill and died. Ed and Al, who are geniuses of sorts, make the worst choice out of the worst desperation of all--they try something called Human Transmutation. It is the worst crime an alchemist can commit. Their attempt to resurrect their mother goes horribly wrong, as nothing can be equal in value to their mother's soul. In the fallout, Ed loses his arm and leg and Al loses his entire body. It's Ed's sheer cussedness that manages to trap Al's soul in a suit of armor, instead of losing his brother completely through Equivalent Exchange.

Ed is 11. Al is 10.

But that's all ancient history--the actual narrative story of FMA starts later, when Ed is 15. He's taken his natural propensity for alchemy and passed the State Alchemy exam. He's immediately shunted into the service of Colonel Roy Mustang, the Flame Alchemist, known near and far for his flashy and destructive alchemic attacks. He's also a bit devious and dangerously ambitious--he's also got a nasty habit of stealing his subordinate's girlfriends. It was Mustang who came to Ed and Al's country town to recruit them for the military, (with impeccable timing) after the brothers' catastrophic experiment.

He keeps the secret of Al's body and Ed's automail a secret. Although he "keeps them in line" (i.e. blackmails) by threatening to go to the higher-ups with the information of Ed and Al's Human Transmutation, he looks out for them like no one else and supports their mission: to find the mythical Philosopher's Stone and restore Al's body. Ed's work with the State Military are simply a means to an end; therefore, he makes choices he feels are best for Al and not the highly politicized State. By proxy, his affects his official State missions as well; he has attained unprecedented popularity with the masses as being "for the people."

And of course, the plot always thickens. There are creepy bad guys also after the Philosopher's Stone, the State's corruption goes deeper than anyone could possibly believe, an Eastern prince makes things difficult for our heroes through his search for immortality and a religious zealot/vigilant goes on a killing rampage, etc. And...then there are lot more shenanigans along the way.

Like many of its contemporaries (Bleach, DeathNote, Naruto) FullMetal Alchemist chooses to address many hard-hitting social issues through analogy and symbolism. Most Japanese films and manga I've seen portray war as a horrible, horrible thing which should be avoided at all cost (which I cannot argue with), but the authors/creators do not allow their anti-war sentiment to overpower the opposing, valid argument. I find the unique viewpoint of Japanese-fantasy-allegory rather refreshing.

It's rare I like the main character of a series, anime or otherwise. Very rare. But, I do LOVE Edward Elric. I like his straightforward approach to life--he takes things on and isn't afraid to put himself out here. He's a bit of a wanderer and isn't content staying place in one place for too long. Plus, his maniacal focus is something I can relate with! He's one of those all around good-natured "wild boys" with a strong sense of justice. Plus, it really is nice to have a SHORT hero for once! Really.

And who could forget sweet and wonderful Alphonse? If you watch the anime, you will hear the cutest voice ever coming out of an enormous suit of armor and your heart will fall apart in an effort to keep him happy and pure and wonderful.

Tuesday, November 22, 2011

Well Aged.

It's amazing what one finds while "cleaning out" files on the computer. I stumbled across this little dabble I wrote while bored one afternoon back in 2009.

A group of old folks in a retirement home become convinced one of their own is a vampire stalking them for their extra fine and "aged" blood.

Liam Farrell sat silently down the dim hallway. His silken loafers made no sound as they occasionally slid against the commercial carpet underfoot. He didn’t move as fast as he once had; his movement was impeded by a bad hip and reliance on a cane, which leaned against the side of the armchair he sat in. His white hair hovered around his head like a halo. He stroked his chin and let his mind wander, as it often did.

The man’s left hip had healed crooked after convalescing in an ill-equipped POW infirmary after being shot down by the Germans during World War II. After the war, he’d become a professor of Classical Studies at a California State University. Upon retirement, he traveled with his wife until her sudden death. He lived alone after that. As the years flowed on without him and he grew deeper and deeper into the silence of the forgotten.

His son, with all the best intentions, had suggested moving into a pleasant retirement home. There will be lots of things to do, Dad. Crafts. Oh, look at this. Origami. You’ll like that.

Liam never said he wanted to take a class in paper folding. He didn’t have the patience for that sort of thing. He’d agreed only to make his son happy, and at least he wouldn’t have to worry about doing the yard work.

The people of Smiling Ranch Retirement Home were nice enough.

He had a nice room and his neighbors were welcoming. Myra Croft, who lived to his right, had been born in London. Her husband, Jack, was a retired New York City detective who rarely spoke. He had the eyes of a bloodhound, but the boundless energy of a terrier.

Ichiro Togawa lived to his left. ‘Ichiro-san,’ as he was affectionately called by the nurses, always managed to sweet talk getting “treats,” even when he wasn’t allowed. Only the week before he’d managed to coax one of the staff attendants into bring him some Chinese take-out. He also had the tendency to poke the nurses' behinds with a chopstick during dinner.

In the small community, the four came to rely on each other for conversation, humor, walks and the security a family had neglected.

All four of them were of the opinion that the mysterious person who lived at the end of the hall in Room 46 was “not quite right.”

It was well past midnight and Liam had no intention of returning to his room. He sat in the burgundy armchair in the hallway alcove, watching. He was at the perfect angle to discreetly watch Room 46. He had never seen anyone go in or out. Myra, Jack and Ichiro had never seen anyone, either. They knew the person’s last name was VanGleck; the seat appointed to VanGleck was always sat empty at the meals. The nurses said the mysterious VanGleck was in fragile health and had all meals delivered bedside.

One morning, when Glenda the Nurse knocked on his door to bring him a bouquet of flowers from his son, Liam noticed a strange mark on the young lady’s neck.

“You’ve got something on your neck,” he said as friendly as he could.
“Oh?” she asked, tilting her neck down and casting her eyes downward.
“Yes. Right there. Did something bite you? It looks pretty bad.”
“Oh, it must have been a spider.”
“Better put some ointment on it. I have some if you’d—”
“Oh, don’t bother yourself, Mr. Farrell. Have a nice day!”

to be continued...maybe.

Opera.


There's something so classically intriguing about opera, and I don't quite understand why I haven't made more of an attempt to listen before. The bleeding of the orchestra in and out of the Voice combine in a way which makes my heart quiver by the sheer magnitude of the sound.

I've recently been listening to a soundtrack which highlights more of a modern-mode of opera (it doesn't sound like "high opera" to me), and I must admit it's whet my appetite for more. Only, I don't know where to begin. Perhaps Puccini?

Sunday, November 20, 2011

Dattebayo!

Renny08 @ deviantart.com
I have been journeying through the story of Naruto since the beginning of this year, and I cannot believe how much I've come to adore this story and its characters. I entered the world of manga and "Japanimation" in 2006 through a series called Fruits Basket, a popular "shoujo" (lit. "for girls") manga series by Natsuki Takaya. Fruits Basket still remains the "center" of my fandom; all series I watch and read are compared to Fruits Basket. There isn't even a comparison between Fruits Basket and the somber and psychological Death Note series (for example), but as the first manga I ever read and the first anime I ever watched, Fruits Basket remains my point of reference in an ever expanding universe.

Even when Fruits Basket was the only manga I'd read, I was still aware of Naruto. Naruto was immensely popular and I remember thinking (while looking at the posters at my local Barnes & Noble), "What kind of ninja wears orange?" I even remember looking at a couple volumes, but the bright colors and what I perceived as "campy" art appeared too jarring compared to the soft, flowing lines of Fruits Basket which had become so aesthetically pleasing to me.

This was my first lesson in what I call "viewer's eye." I learned I couldn't look at Naruto with the same eye that I did Fruits Basket. The creators of each series are trying to convey emotion, character and plot through separate, different styles within the same medium. Fruits Basket and Naruto are classic representation of their respective genres: "shoujo" and "shounen" (lit. "for boys").

I avoided Naruto for a long time for several reasons. It appeared too juvenile. It seemed stupid. Immature. Very boyish and so on. In addition, there's something hard-wired into my personality which takes an immediate dislike to super popular trends. I suppose my aversion to "joining the bandwagon" is due to my fear of being labeled as a groupie. Of course, it was fine to be obsessed with Fruits Basket--it was a respectable manga that hadn't quite caught on in America. I was a "hipster" manga fan. If I were to join an established fandom like Naruto, I would become lumped into a larger group known collectively as "Narutards."

Despite my reluctance, 2011 became "The Year of Naruto." What can I say? I figured, why not? I had enjoyed FullMetal Alchemist and Bleach (two highly regarded shounen series) immensely despite their popularity, so I decided to give Naruto a chance. Currently, I've watched every episode of Naruto and Naruto: Shippden (minus a few horrendous filler episodes), and have begun reading the Naruto (vols. 1-27) and Naruto: Shippuden (vols. 28-ongoing) manga concurrently.

I have a few theories as to the infectious popularity of Naruto; they also happen to be some of the reasons why I love this series.

The series of Naruto--the very core if its design--is cliche. It's very much like the plot of Rowling's Harry Potter novels. It's the story of an orphan who, on the surface, doesn't seem particularly unique in any way; but, that child carries hidden talents, a bloodline and a destiny greater than anyone could ever believe. As the Reader, we follow his journey from novice to hero of the free world. We are with him through his triumphs and defeats. We're by his side as he discovers who he is. We're with him as he makes friends and enemies. We're there when he develops his first crush. We're there when he can't stop the death of his dearest friend. By the end, we are so emotionally invested in our hero that we cannot help but cry and laugh and grieve and celebrate alongside Harry...or in this case, Naruto.

We respond to characters like Harry and Naruto. Stories of the underdog resound within us. We feel validated and empowered when the little guy digs deep and finds the strength to overcome unsurmountable odds and crush evil. The story of Harry and Naruto is not new; it's been written over and over again since people started telling stories.

What makes Naruto special is its creator, Masashi Kishimoto, takes those cliches and twists them so that they are completely believable. The characters in Naruto are not caricatures of real people. Sure, they may have supernatural ninja powers, but personality-wise they are very real and believable. We all know Shino. We all know Kakashi, Hinata and all the others. As individuals, we also see bits of ourselves in these characters, as well.

Naruto hosts an extremely large supporting cast--just like the Harry Potter series does. Each supporting character is his or her own person. They all struggle with different and relatable issues. Like Naruto, I struggle to be acknowledged and liked by others. Like Kakashi, I can struggle in placing my trust in others. I've even found myself relating to villains.

...and then there's the character of Naruto himself. He's impossible not to fall in love with. We imagine ninja as silent, disciplined warriors who use incredible stealth. Ninja are supposed to be black-suited warriors who blend with the shadows, strike without warning and leave without a trace. Ninja are not annoying, loud-mouthed, chatterbox brats in a neon-orange jumpsuits. Yes, Naruto may be the most UN-ninja-like character in history. In fact, he is the most UN-ninja-like IDEA in history. In fact, no one in the Naruto universe behaves like a typical ninja, and perhaps that's part of the series' appeal.

The core of Naruto is the emotional depth and relationships of the characters. You wouldn't think Naruto himself is an emotionally deep character, but I'm surprised at how many times I've caught myself taken aback by his simple insight. Throughout the course of the series, he's grown into a wise young man. His wisdom is gained through experience, not through simple knowledge. This journey of self discovery and betterment presents a strong example of the Theme of the entire Naruto series, summarized as: "You cannot change who you were born as, but you can continue to change who you are." Naruto does that.

Just as pivotal in the Naruto series is the theme of redemption. When Naruto's teammate Sasuke defects to join the "bad guys" to realize his quest for power and revenge, Naruto vows to bring him home at any cost. As Sasuke's chosen path descends deeper and deeper into darkness and corruption, Naruto's resolve to rescue him only grows stronger. in his quest to save Sasuke, Naruto redeems many other characters--Konohamaru, Gaara, Neji, Tsunade...the list goes on and on. But the nice twist is that Naruto himself his redeemed through his friendships. He feels he was redeemed from loneliness by Sasuke, which makes Naruto's drive to save his traitorous friend that much more poignant.

With the stable emotional/relational core at it's center, everything else in Naruto falls into place. The battles are more intense because there is emotional stability, future happiness, friendships and lives at risk. Political machinations are that much more diabolical. Double crossed are that much more of a betrayal. Naruto's resolve to rescue Sasuke is that much more hopeless, admirable and bittersweet.

Hence ends my shameless plug for Naruto and Naruto: Shippuden. In you have not read/watched Naruto, I recommend doing so. If you gave up on Naruto, give him another chance. I'm sure he'll manage to worm him way into your cold and cynical heart. Oh dear...have I become a Narutard?

Dattebayo!

This Post, Captivated.


I have recently discovered an interesting little Japanese manga series called Kuroshitsuji (lit. "Black Bulter"). It's a gothic comedy set it a fantasy-Victorian London, and follows the exploits of a young and orphaned Earl as he struggles to uphold his family's royally mandated legacy to govern England's criminal underground. He is accompanied everywhere by Sebastian, who is simply one hell of a butler.

The art is lush and the storytelling is unique, witty and charming, but I find the story's demonic elements disturbing and rather unsettling, namely Sebastian, who I feel I should not be "liking" as much as I do. However, the entire series piques my interest immensely, as it's a fascinating mix of Japanese romanticization of the West and a modern-gothic fairy tale take on Goethe's Faust.

*sigh*

While I remain intrigued by the story and characters, I'm afraid Kuroshitsuji may be too dark for my tastes. I may revisit come time to cosplay (the costumery is so tempting), but I think that when it comes to manga/anime...I'd rather fill my reading hour with an irritable alchemist and a ninja clad in a bright orange jumpsuit.

The Beginning.

Hello, Internet. <3

"The otaku, the passionate obsessive, the information age's embodiment of the connoisseur, more concerned with the accumulation of data than objects, seems a natural crossover figure in today's interface of British and Japanese cultures. I see it in the eyes of the Portobello dealers, and in the eyes of the Japanese collectors: a perfectly calm train-spotter frenzy, murderous and sublime. Understanding the otaku-hood, I think, is one of the keys to understanding the culture of the web. There is something profoundly post-national about it, extra-geographic. We are all curators, in the post-modern world, whether we want to be or not."

--Spook Country, April 2001 edition of The Observer