haha, just read that Manaka-san who is to become the next Snow Top Musumeyaku is Yumesaki-san's younger sister. funny, I never noticed any resemblance... but even funnier, a 'family business', really
31 July 2012
My humble opinion on 'Victorian Romance Emma' ~ almost 21 years old me
many recent shoujo works I saw/read are all too sweet and... false? imposters? I almost forgot that the genre is not guilty for this fact. 'twas Izumi-san's 'Himegimi no Tsukurikata' described when someone said - 'this is a shoujo manga, but there is no romance in the traditional understanding'. there was no romantic relationship at all in that manga, and this time we do have a romance, but again - not a traditional one. it has all the attributes of a usual shoujo romance - characters loving each other have obstacles, doubt themselves, sacrifice themselves, and so on and so on, but after many days of constant thinking of how to call this work I finally found a good word. 'Emma' is straightforward. sincere and straightforward. yes.
Plot and characters
There are two seasons in this work. And there is a reason why there are two seasons, not one long series. The first one has a bit different feeling from the second one. The first is SLOW, as 'twas created for admiration - of the scenery, of London, of Englishmen of the late 19th century. And one should be prepared before he starts watching it. Well, not he - she, of course. I highly doubt any guy would be happy to watch this work. Still, this is not a shoujo.
The second season is much faster and portrays much more personalities, deepening the ones who were already present in season 1 and introducing new ones. One should be aware of this change. She, not he - and still this is not a shoujo.
If I am in any position to compare, then I know what I want to describe.
Fortunately I was brought up in a family where reading was encouraged. My parents had nice bookshelves full of nice books. Still those were not enough. They purchased a series of books entitled - 'collection for young princesses' or something like this. Among them are books you have hardly ever heard of, but some world-famous masterpieces also - such as 'Little Women' by Louisa May Alcott, 'A Little Princess' and 'The Secret Garden' by Frances Hodgson Burnett, and many others. Well, I could recall reading 'Jane Eyre' as well. The same historical period means the same setting, but also - the same type of the story. 'Emma', being close to the books I mentioned and the likes, is not a 'romance novel for women', 'tis for much younger girls. Why? Well, for me - novels for women contain more of an emphasis on the characters' inner feelings in terms of doubting, mistrust, constant quarrels between the lovers or endless row of misfortunes, and usually the plot never sways from the main 2 characters, as their romance is the most important thing, if not the only reason for the novel to exist. 'Emma' is different, as the other books I mentioned are, it describes the epoch, it describes people and places, and it never crosses the line between the subtle and the vulgar. In the end, I was almost unhappy with the fact that 'Emma' resembles Western books more than a Japanese anime. however, there is no point for been upset. there is a very Japanese idea in it - as long as you do whatever you can, as long as you do your best, with all your might, until the end - there will be people who believe in you, help you and even save you, and those who doubted you can change their mind, and those who wish you evil will be defeated. look how William's brother gave him the list of people to appeal to, how Hakim persuaded a rich gentleman to participate in the project, look how Mrs Molders who had nothing else to wish for in her life listened to Emma when she was too straightforward, notice how the maids and other servants who first disliked Emma finally understood her feelings - 'you have to go, don't you?' says Mrs Wieck, the strict house keeper in the last episode and Nanette adds 'we will cope here, go'
oh, since I mentioned Nanette, there is another important thing. look how everyone is brilliantly portrayed - the servants in Molders estate, every one of them having his special features of character - caring Hans, having an unrequited love Nanette, feeling suspicion and being a bit egoistic Polly, loving Emma with no doubts clumsy Tasha, cold blooded and experienced Adele, young and free boys
Eleanor - an example of a usual 'maiden in love' who dedicates herself completely to the man she chose but who is mistaken in her feeling - she is not forgotten in the end and is hinted to have a chance of finding a person who would truly love her in the future. her maid, who understands everything and understands as well that she cannot do anything but to serve faithfully as before. and Monica, a character with typical features of a comic role, but so very real. her love for her sister never seems hypocritical, and at the same time she is a wayward capricious woman - momentarily fascinated by Hakim's look and starts wearing Indian clothes and smoking hookah. notice how her husband comes to get her home during the last row of images in the last episode - I LOLed
Hakim himself - though not the main character, the story would never be the same without him, combining serious moments with entertaining ones. and of course, his 4 companions - they 'made my day' every day I watched 'Emma' ^.^ I loved them, even though they never uttered a word
remember Al, so supporting and understanding. and of course, Mrs Stownar, strict but caring about Emma and William almost as if they were her own children
William was also an example of combining English with Japanese. while he was a true English gentleman - hard-working, determined and considerate about his nearest and dearest, he didn't fail to reveal what so special there was about him - a thing that most shoujo really lack, where the main heroine's love interest often goes no farther than being attractive and strong. Emma answers properly why she prefers him to anyone else - 'He is not asking me simply 'yes' or 'no' like others do, he only enjoys talking to me'. William is, on the other hand, not a fragile young guy, he never hesitated to take the basket with vegetables out of Emma's hands and walk her home. he never hesitated to stand in front of Emma to protect her when his father approached them hugging and then try to follow her when she run away. his problem was that he stopped every time in the last moment - and that is what Hakim blamed him for, absolutely fair thing. another noticeable thing is that instead of a shy sullen guy with a 'childhood trauma' William is a positive and nice young man, though a bit straightforward. 'I will buy you new spectacles! because, birds are flying, flowers are blooming... and children are falling, isn't that so!'
Emma herself - reserved and emotionless outwardly but sensitive inside, able to have deep feelings, loyal to people who are kind to her, helping and understanding. when she spoke for Nanette asking Mrs Molders to let her stay I was not surprised, but when she rushed after Nanette and saved her I was deeply moved. not that the others didn't care about Nanette, but only Emma was able to feel that Nanette was capable of committing suicide
seiyuus
I don't want to make this post even longer. the seiyuus are all brilliant. this is the case when the seiyuus work not only suits the anime perfectly, but also enchants you so that you cannot tear yourself off the screen and want to hear more lines of that character, and that, and that one too...
probably the middle of 00s was such a wonderful period when the 'elder' seiyuus were still active and the young ones were less simple and more hard-working (than they seem to me nowadays) to make this anime superb
music
the main themes like 'Emma', 'Menuet for Emma', 'Silhouette of a Breeze', 'Rondo of Lilybell' which were used as OPEDs and insert instrumentals are unforgettable, of course, but even minor melodies that weren't constantly repeated are of astonishing good quality. my favourites are 'love at first sight', 'Separation', 'Repose' and 'Purity'. all the melodies are both English and 19-century-ish. a perfect OST which I can name an example of what an anime OST should be. not only it suits the anime itself, 'tis also great to listen separately. one can hardly imagine what it feels like - sitting near the sea and listening to the sounds composed by Kunihiko Ryou-san while looking onto the blue waves and blue summer sky, or sitting near the country house inhaling fresh air and drinking hot tea
graphics
let me be honest, I am not really fond of the way the faces are drawn. on the other hand, I got used to this eventually. the setting is pretty good, buildings and streets are all admirable. the creators really loved what they were doing
my favourite place was, of course, the Crystal Palace. I really admired it, and who wouldn't? not only we see William and Emma enjoying their 'date', but also get to know pretty much about the place, as William tells Emma about it
conclusion
only a week and a half have passed since I finished watching the anime, but it has already stable and 'unerasable' image in my mind. this summer became memorable, not without several animes I watched, and 'Emma' is an essential part of it
Plot and characters
There are two seasons in this work. And there is a reason why there are two seasons, not one long series. The first one has a bit different feeling from the second one. The first is SLOW, as 'twas created for admiration - of the scenery, of London, of Englishmen of the late 19th century. And one should be prepared before he starts watching it. Well, not he - she, of course. I highly doubt any guy would be happy to watch this work. Still, this is not a shoujo.
The second season is much faster and portrays much more personalities, deepening the ones who were already present in season 1 and introducing new ones. One should be aware of this change. She, not he - and still this is not a shoujo.
If I am in any position to compare, then I know what I want to describe.
Fortunately I was brought up in a family where reading was encouraged. My parents had nice bookshelves full of nice books. Still those were not enough. They purchased a series of books entitled - 'collection for young princesses' or something like this. Among them are books you have hardly ever heard of, but some world-famous masterpieces also - such as 'Little Women' by Louisa May Alcott, 'A Little Princess' and 'The Secret Garden' by Frances Hodgson Burnett, and many others. Well, I could recall reading 'Jane Eyre' as well. The same historical period means the same setting, but also - the same type of the story. 'Emma', being close to the books I mentioned and the likes, is not a 'romance novel for women', 'tis for much younger girls. Why? Well, for me - novels for women contain more of an emphasis on the characters' inner feelings in terms of doubting, mistrust, constant quarrels between the lovers or endless row of misfortunes, and usually the plot never sways from the main 2 characters, as their romance is the most important thing, if not the only reason for the novel to exist. 'Emma' is different, as the other books I mentioned are, it describes the epoch, it describes people and places, and it never crosses the line between the subtle and the vulgar. In the end, I was almost unhappy with the fact that 'Emma' resembles Western books more than a Japanese anime. however, there is no point for been upset. there is a very Japanese idea in it - as long as you do whatever you can, as long as you do your best, with all your might, until the end - there will be people who believe in you, help you and even save you, and those who doubted you can change their mind, and those who wish you evil will be defeated. look how William's brother gave him the list of people to appeal to, how Hakim persuaded a rich gentleman to participate in the project, look how Mrs Molders who had nothing else to wish for in her life listened to Emma when she was too straightforward, notice how the maids and other servants who first disliked Emma finally understood her feelings - 'you have to go, don't you?' says Mrs Wieck, the strict house keeper in the last episode and Nanette adds 'we will cope here, go'
oh, since I mentioned Nanette, there is another important thing. look how everyone is brilliantly portrayed - the servants in Molders estate, every one of them having his special features of character - caring Hans, having an unrequited love Nanette, feeling suspicion and being a bit egoistic Polly, loving Emma with no doubts clumsy Tasha, cold blooded and experienced Adele, young and free boys
Eleanor - an example of a usual 'maiden in love' who dedicates herself completely to the man she chose but who is mistaken in her feeling - she is not forgotten in the end and is hinted to have a chance of finding a person who would truly love her in the future. her maid, who understands everything and understands as well that she cannot do anything but to serve faithfully as before. and Monica, a character with typical features of a comic role, but so very real. her love for her sister never seems hypocritical, and at the same time she is a wayward capricious woman - momentarily fascinated by Hakim's look and starts wearing Indian clothes and smoking hookah. notice how her husband comes to get her home during the last row of images in the last episode - I LOLed
Hakim himself - though not the main character, the story would never be the same without him, combining serious moments with entertaining ones. and of course, his 4 companions - they 'made my day' every day I watched 'Emma' ^.^ I loved them, even though they never uttered a word
William was also an example of combining English with Japanese. while he was a true English gentleman - hard-working, determined and considerate about his nearest and dearest, he didn't fail to reveal what so special there was about him - a thing that most shoujo really lack, where the main heroine's love interest often goes no farther than being attractive and strong. Emma answers properly why she prefers him to anyone else - 'He is not asking me simply 'yes' or 'no' like others do, he only enjoys talking to me'. William is, on the other hand, not a fragile young guy, he never hesitated to take the basket with vegetables out of Emma's hands and walk her home. he never hesitated to stand in front of Emma to protect her when his father approached them hugging and then try to follow her when she run away. his problem was that he stopped every time in the last moment - and that is what Hakim blamed him for, absolutely fair thing. another noticeable thing is that instead of a shy sullen guy with a 'childhood trauma' William is a positive and nice young man, though a bit straightforward. 'I will buy you new spectacles! because, birds are flying, flowers are blooming... and children are falling, isn't that so!'
Emma herself - reserved and emotionless outwardly but sensitive inside, able to have deep feelings, loyal to people who are kind to her, helping and understanding. when she spoke for Nanette asking Mrs Molders to let her stay I was not surprised, but when she rushed after Nanette and saved her I was deeply moved. not that the others didn't care about Nanette, but only Emma was able to feel that Nanette was capable of committing suicide
seiyuus
I don't want to make this post even longer. the seiyuus are all brilliant. this is the case when the seiyuus work not only suits the anime perfectly, but also enchants you so that you cannot tear yourself off the screen and want to hear more lines of that character, and that, and that one too...
probably the middle of 00s was such a wonderful period when the 'elder' seiyuus were still active and the young ones were less simple and more hard-working (than they seem to me nowadays) to make this anime superb
music
the main themes like 'Emma', 'Menuet for Emma', 'Silhouette of a Breeze', 'Rondo of Lilybell' which were used as OPEDs and insert instrumentals are unforgettable, of course, but even minor melodies that weren't constantly repeated are of astonishing good quality. my favourites are 'love at first sight', 'Separation', 'Repose' and 'Purity'. all the melodies are both English and 19-century-ish. a perfect OST which I can name an example of what an anime OST should be. not only it suits the anime itself, 'tis also great to listen separately. one can hardly imagine what it feels like - sitting near the sea and listening to the sounds composed by Kunihiko Ryou-san while looking onto the blue waves and blue summer sky, or sitting near the country house inhaling fresh air and drinking hot tea
graphics
let me be honest, I am not really fond of the way the faces are drawn. on the other hand, I got used to this eventually. the setting is pretty good, buildings and streets are all admirable. the creators really loved what they were doing
my favourite place was, of course, the Crystal Palace. I really admired it, and who wouldn't? not only we see William and Emma enjoying their 'date', but also get to know pretty much about the place, as William tells Emma about it
conclusion
only a week and a half have passed since I finished watching the anime, but it has already stable and 'unerasable' image in my mind. this summer became memorable, not without several animes I watched, and 'Emma' is an essential part of it
Russian post ~ thinking aloud
now that I am writing for my dear friend Becca and going to send a letter to her tomorrow with a B-day card, I remembered she told me my New Year card reached her in January. and Takeuchi-san who was looking after me in Toyama also said that the card reached the prefecture office. I actually doubt it really took 2 weeks like everyone says, but they really reached. they weren't lost, and the way I wrote the address seems to be ok
does it mean that the third card also reached the destination...
30 July 2012
link. Sawaki-sama's blog
'tis really funny how I addressed my favourite siennes with -chan every time. now that I mention Sawaki-sama, I cannot possibly name her Rizu-chan anymore. WTF with that -chan??? well, Manaki-sama was -chan earlier because she is about my age, but even she is - to put it mildly - a person far more distinguished and successful then me, eh? to say nothing of Sawaki-sama who already graduated. who am I to call them -chan, in the end?
forgive the silly me from the past. now I think that only amateurs who are not long in the Takarazuka fandom can call any sienne in -chan, or vice versa - experienced fans who are not much younger than the siennes themselves. is this concept ok?
ok, whatever. http://ameblo.jp/rizu-sawaki-1110
actually this is an old news, but one post made me wonder... Sawaki-sama became the host (did I get 司会 right?) for the reserved performance of RomiJuri on the 21st of August. what means being a host apart from being responsible for the tickets? is it a usual thing for a graduate to do things like this? the more I learn something new, the more I understand there are things I have yet to know. a bit discouraging, to tell the truth
suddenly remembered something that bothered me... ~ Zuka makeup limits?
my friend once told me
ну я вот допустим если начинаю слушать персонажей одного и того же сейю внимааательно, чтобы понять где есть сходство в голосах, когда нахожу это сходство у персонажа, которого последнего слушала, начинаю слышать только это сходство и оно мне начинает резать уши. Примерно как когда обращаешь внимаение, как певец набирает воздух в песне и потом слышишь только эти наборы воздуха, вместо исполнения х)
'if I listen to different characters voiced by the same seiyuu attentively in order to understand where the similarity can be noticed, I end up hearing only the similarity after I find it in the voice of the last character I listened to, and this makes me sick to hear the voice. this is the same as when you notice how a singer inhales before starting to sing a phrase and then you end up hearing only those sounds of inhaling instead of enjoying the song'
a wonderful observation, isn't it?
some time ago I read several people claiming that Seijou-san applies too much stage makeup. now every time I look at her I recall that
but hey, isn't it partially caused by her eye shape? and also, she uses more white, blue, and usually sparkling shadows while others may prefer darker and 'calmer' colours. not everyone, though. in comparison with Morie, who is Magee's usual partner, she may look 'too much', but hey, other otokoyaku-san do this too? like, Kouzuki-san's make up here does not seem less bright to me... not to mention the Top Four ^^`
a wonderful observation, isn't it?
some time ago I read several people claiming that Seijou-san applies too much stage makeup. now every time I look at her I recall that
but hey, isn't it partially caused by her eye shape? and also, she uses more white, blue, and usually sparkling shadows while others may prefer darker and 'calmer' colours. not everyone, though. in comparison with Morie, who is Magee's usual partner, she may look 'too much', but hey, other otokoyaku-san do this too? like, Kouzuki-san's make up here does not seem less bright to me... not to mention the Top Four ^^`
my humble opinion on 'Ikoku Meiro no Croisee' ~ deja vu
why deja vu? it reminded me of 'Aria' greatly, that's why. I don't want to say they're alike, the plot is different, and the general idea is different, too. what's alike is the feeling I have - no boredom, but calmness and peace, not emotionless, but not too stirring/confusing/frustrating. a perfect balance. a thing to enjoy
plot and characters
like in Aria, there were moments when I was really moved by what the characters do or say, but this feeling caused no darkness of despair, nor they made me laugh out loud. those were the 'simple truth' turned into words, an ordinary and frequently used idea which was presented so nicely that I could not help but skip a beat
such was the moment when Yune doubted whether to stay with Alice because the latter promised her to give the kimono back for free, as Yune wanted all the best for Claude, while Claude didn't take her back from Alice because he wished the best for Yune. both were wrong - Yune in thinking Claude was not eager to earn money to buy the kimono, and Claude in thinking that Yune would be happier in the rich house, but the final decision was my biggest delight. instead of sacrificing herself in an egoistic manner Yune chose to come back to Claude's. my reaction - ^__^
the 7th episode was almost unbearably filled with touching moments. even if I wanted I could not say the concept was very new and original, or sophisticated, but the setting, the direction of the episode was so... so... T____T I just can't
and you probably understand that one moment like this
or like this
weigh much more that a thousand of 'squeezing the girl to the wall' - a phrase I read in some comment on 'hakushaku' to describe their 'romantic' relationship
apart from the main characters, pay attention to all the others. how realistic and alive they are. Claude's neighbours, farmers from the market. Alan, who only tried to help Yune once, but turned out to be a nice and kind person
every character is memorable. pay attention to Alice's elder sister - Camille - who is loving, caring elder sister who says that she enjoys herself as long as her Alice enjoys herself, and believes in Alice, but also shows her own stance - though she didn't say anything when Alice gave Yune a very bad choice, her glance betrayed her disapproving of what Alice did. note her look when she's told that everyone has high expectation about her, how she reacts when Yune says that a crinoline looks like a bird cage. 'tis not that 'twas unexpected of her, but I was impressed how the authors created such a character. well, on the other hand I was rather irritated with this hinted feeling of Camille for Claude. this has nothing to do with the quality of the plot, just I was really annoyed with it, yep ^^`
and of course, Oscar. a very typical old man for Japanese animes, caring and understanding, but at the same moment - never old in terms of how he feels or behaves. loves tricks and entertainment, tells stories, makes a shadow theatre, and more importantly - helps both Claude and Yune in their hard moments. and - did I say he loves tricks? can creep to Claude from behind and scare him as well, just to have fun. can go for a date with a young mademoiselle. can give 'the water of life' to Yune. nice and funny guy, yep
also, note how every episode has a new image of Yune with a cat - in the middle where the episode is divided into two parts
considering the ending, I would not wish for the better. they did not think of a random scenario of Yune going home ⇒ parting with everyone, and quite opposite, the ending leaves the light feeling of tender happiness - the same one I had after 'Aria' (well I already started comparing, so let me go on). the story of the last episode was pretty simple, but what feelings it conveyed I cannot put into words. 'twas not the same as in 7th episode, the main idea came only during the last minutes, but those feelings were overwhelming. several ideas perfectly fitting the plot, the time, the flow of the story in general and of the episode in particular. feeling useless because you doubt you are helpful to others, feeling frozen because you are unable to save someone, feeling worried that it might happen again, feeling hard because you have to admit all those feelings, and finally - feeling relieved because there are people who are happy with you as you are. and being accepted like this is the greatest happiness, isn't it?
well, in the end I read that Satou Junichi-san helped with the scenario. and he's a master of such works, isn't he?
and of course, Oscar. a very typical old man for Japanese animes, caring and understanding, but at the same moment - never old in terms of how he feels or behaves. loves tricks and entertainment, tells stories, makes a shadow theatre, and more importantly - helps both Claude and Yune in their hard moments. and - did I say he loves tricks? can creep to Claude from behind and scare him as well, just to have fun. can go for a date with a young mademoiselle. can give 'the water of life' to Yune. nice and funny guy, yep
considering the ending, I would not wish for the better. they did not think of a random scenario of Yune going home ⇒ parting with everyone, and quite opposite, the ending leaves the light feeling of tender happiness - the same one I had after 'Aria' (well I already started comparing, so let me go on). the story of the last episode was pretty simple, but what feelings it conveyed I cannot put into words. 'twas not the same as in 7th episode, the main idea came only during the last minutes, but those feelings were overwhelming. several ideas perfectly fitting the plot, the time, the flow of the story in general and of the episode in particular. feeling useless because you doubt you are helpful to others, feeling frozen because you are unable to save someone, feeling worried that it might happen again, feeling hard because you have to admit all those feelings, and finally - feeling relieved because there are people who are happy with you as you are. and being accepted like this is the greatest happiness, isn't it?
well, in the end I read that Satou Junichi-san helped with the scenario. and he's a master of such works, isn't he?
seiyuus
as I said, there were a lot of moments when I literally forgot to breathe. half of the reason was the moment itself, of course, but seiyuus' work contributed greatly to it. in one of the episodes when Claude was worried about Yune Kondo-san's 'ttaku' made me almost choke with the usual feeling I have in special moments, when something grasps your breast for a second almost painfully
Yune-chan's and Alice's seiyuus were perfectly fitting their roles. in order to fully appreciate their work you can listen to the audio dramas, where you can a. hear their usual everyday voices and compare them with the anime ones and b. understand how much they put their heart into what they do. Aoi-san said, if I am not mistaken, 'when I took the audition, I was already thinking like 'as Alice I would like to do this, and say this, and this...' so when I was approved I was so happy!' isn't this one more proof that they are great seiyuus, apart from their splendid work in the series? also, the picture dramas are good if you want to understand the work of seiyuus better. when the video consists of almost motionless pictures the voices of seiyuus become much more distinctive and stressed. all of the seiyuus coped with the task. I especially laughed in the episode where Alice asks Yune-chan about different things in Japan and they use a lot of onomatopoetic words and the stuff like 'wasshoi'. that was LOL
as for other seiyuus, I didn't notice anything too outstanding, but I enjoyed every phrase I heard in the anime. this is the case where the seiyuus' voices are pleasant to hear and the intonations are all 100% right
Yune-chan's and Alice's seiyuus were perfectly fitting their roles. in order to fully appreciate their work you can listen to the audio dramas, where you can a. hear their usual everyday voices and compare them with the anime ones and b. understand how much they put their heart into what they do. Aoi-san said, if I am not mistaken, 'when I took the audition, I was already thinking like 'as Alice I would like to do this, and say this, and this...' so when I was approved I was so happy!' isn't this one more proof that they are great seiyuus, apart from their splendid work in the series? also, the picture dramas are good if you want to understand the work of seiyuus better. when the video consists of almost motionless pictures the voices of seiyuus become much more distinctive and stressed. all of the seiyuus coped with the task. I especially laughed in the episode where Alice asks Yune-chan about different things in Japan and they use a lot of onomatopoetic words and the stuff like 'wasshoi'. that was LOL
as for other seiyuus, I didn't notice anything too outstanding, but I enjoyed every phrase I heard in the anime. this is the case where the seiyuus' voices are pleasant to hear and the intonations are all 100% right
music
I am not wrong for remembering 'Aria' all the way, you know!
first, the OPED songs were of the same style. light, cheerful but calm, positive melody and sonorous vocal of of Youmou-to-Ohana, tender melody and thin voice of Touyama-san perfectly matched the general style
also, if you look at those who are responsible for the OST - ko-ko-ya - myanimelist will tell you - 'Led by Shigeharu Sasago, the guitarist of Choro Club'. heeey, that's almost unfair!
graphics
somehow I watched nothing from Satellight. or almost nothing? well, I knew nothing about the studio - whether 'tis capable of a good picture or not... and I was pleasantly surprised. some shots were created to resemble coloured retro photos
exactly reproducing real places
some brilliantly portrayed objects reflecting the 'time and place'
and some showed great love of the creators towards what they do. otherwise would they care about such tiny details?
conclusion
everybody says this work was 'overlooked' and 'underestimated'. why??? such a brilliant piece. can't find a single bad point in it. well, probably, people who don't care about different characters, their relationships and behaviour, their feelings and deeds, their views of the world, will not be happy with this series. as well as those intolerant to soft kawaii (I would name it 'true kawaii')... actually I would really pity such people
p. s. - what's with Yune-chan's age, in the end? she claims to be 15, but she obviously isn't, as she was drunk. however, she is angry when Claude tells her he thought she was 7 or 8. her anger was probably a real one, so she is a bit older. then, something like 10 to 12?
graphics
somehow I watched nothing from Satellight. or almost nothing? well, I knew nothing about the studio - whether 'tis capable of a good picture or not... and I was pleasantly surprised. some shots were created to resemble coloured retro photos
some brilliantly portrayed objects reflecting the 'time and place'
conclusion
everybody says this work was 'overlooked' and 'underestimated'. why??? such a brilliant piece. can't find a single bad point in it. well, probably, people who don't care about different characters, their relationships and behaviour, their feelings and deeds, their views of the world, will not be happy with this series. as well as those intolerant to soft kawaii (I would name it 'true kawaii')... actually I would really pity such people
p. s. - what's with Yune-chan's age, in the end? she claims to be 15, but she obviously isn't, as she was drunk. however, she is angry when Claude tells her he thought she was 7 or 8. her anger was probably a real one, so she is a bit older. then, something like 10 to 12?
Something I will never scan ~ what and why?
An excuse that comes to mind is - 'hey, I have the right to leave at least something for my exclusive use!' But lying is not a good idea. I am from Alpha quadra, I am an adherent of the idea of universal equality and absolute will. I believe that sharing should come from the heart - no one is forcing you to share what you have, and you should force no one to feel obliged or thankful. Therefore, saying a greedy thing like 'you know, I spent my money and time and efforts on this!' is not for me. The true reason is...
Just for your information - my magazines are if not for 100% then at least 90% (well I hope so) free from scratches and fingerprints. This is reached by me touching them only wearing gloves. Some of the magazines I gave to my friend to look through or the ones I personally opened when I had no gloves at hand may look a bit more 'used', but generally I both provide clean scans and save my own time not spending it on photoshopping those images where some traces are visible (really visible - tiny imperfections inevitably remain).
However, even more than the magazines I cherish those few special things I have. Some of them I scanned - the 2012 calendar with Kiriya-sama and the two posters of Moon, but that was an exception. The others are - a two-side poster from Le Cinq with 'Edward VIII' and 'Misty Station', and graduation photos of KiriMari. All of them are precious to me because they remind me not only of one of the happiest days I have experienced, but also about different things that preceded and followed and divided my life into 'before' and 'after'. I want both the poster and the photos remain as untouched - literally - as 'tis possible. Scanning them means a possibility of unintended scratching or leaving fingerprints, while I wish to see them as if new. Scanning through the protective film is not an option either.
Therefore, please believe my words that those images are beautiful and enlighten my soul every time I look at them.
Now that everything is in the part I feel my seeing the performance was a natural thing. However, if for a moment I imagine I failed to go there... Would I be writing this post now? Oh, and I am NOT speaking of the fact that I would not have the posters, magazines and photos I mentioned.
Just for your information - my magazines are if not for 100% then at least 90% (well I hope so) free from scratches and fingerprints. This is reached by me touching them only wearing gloves. Some of the magazines I gave to my friend to look through or the ones I personally opened when I had no gloves at hand may look a bit more 'used', but generally I both provide clean scans and save my own time not spending it on photoshopping those images where some traces are visible (really visible - tiny imperfections inevitably remain).
However, even more than the magazines I cherish those few special things I have. Some of them I scanned - the 2012 calendar with Kiriya-sama and the two posters of Moon, but that was an exception. The others are - a two-side poster from Le Cinq with 'Edward VIII' and 'Misty Station', and graduation photos of KiriMari. All of them are precious to me because they remind me not only of one of the happiest days I have experienced, but also about different things that preceded and followed and divided my life into 'before' and 'after'. I want both the poster and the photos remain as untouched - literally - as 'tis possible. Scanning them means a possibility of unintended scratching or leaving fingerprints, while I wish to see them as if new. Scanning through the protective film is not an option either.
Therefore, please believe my words that those images are beautiful and enlighten my soul every time I look at them.
Now that everything is in the part I feel my seeing the performance was a natural thing. However, if for a moment I imagine I failed to go there... Would I be writing this post now? Oh, and I am NOT speaking of the fact that I would not have the posters, magazines and photos I mentioned.
26 July 2012
a view from my window ~ red moon
sometimes I really enjoy taking photos with my camera - this time there are several good shots because of the special feature I used. however, focusing in x10 zoom is just AWFUL. hate my camera for this
23 July 2012
link! you never cease to surprise me...
who is responsible for the idea I wonder??? Moonies singing 'waratte ii tomo'... >____< no logic. not that 'tis necessary, though!
link. Kiriya-sama's fanclub
'twas a mere coincidence that I noticed a link to her fanclub. I have no interest in such things, and I have never been in favour of the idea that a true love/admiration/other feelings of a fan need any 'proof' in terms of any official activities. well if I were a Japanese I could become a member easily and gain much more than I can now, but I am not. and I could not care less about such things. my feelings are only mine
however, this fanclub seems really cute. everything is so yellow and bright... in the end, my own image and impression was not that wrong. however gloomy Kiriya-sama might look to somebody in the iride vids
link! excerpt from 'Misty Station'
perfection... perfection, perfection, perfection! Otokoyaku Stair Dance, Top Combi Duet Dance, 'Final Countdown' covered by Ryuu-sama and Kiriya-sama, ’My Way' covered by Kiriya-sama and Sawaki Rizu-chan, and of course - the wonderful orchestra accompanying every move of theirs...
is there anything else on this Earth you could wish for?
I am already hitting the wall with my head. WHERE'S THE REST???
ok I know I just have to purchase a disc myself. but you know, the excerpt exists already! it means that someone should have the whole revue! am I wrong? o.O
http://www.tudou.com/programs/view/1gLpyrL-D0Q/
I just wondered what the old versions sound like. actually Elvis did not impress me much - sorry, fans! Sinatra-san's manner seems just a bit more suitable to me ^^`
I just wondered what the old versions sound like. actually Elvis did not impress me much - sorry, fans! Sinatra-san's manner seems just a bit more suitable to me ^^`
22 July 2012
translation. an article centered on Ryuu-sama in light of coming RomiJuri
my personal recommendation - if you have/want to do something requiring a considerable amount of efforts and energy so that it makes you too lazy and too cunning, I mean, you busy yourself with anything but THAT, there is one option how to make yourself finally finish THAT. you should put yourself into circumstances when you have nothing else to occupy yourself with, but to do THAT
in my case 'twas visiting my Grandparents in small urban village where even talking on the phone is expensive - as 'tis another subject of the federation, to say nothing of web-surfing. so I hoped I would translate and translate and translate - all the free time which was in abundance, because the free time was when I was not eating/sleeping/gathering berries in our 'dacha'
my hopes were in vain. the bunch of articles I took with me still lies untouched. I only managed to translate two articles and started the 3rd one. well partially responsible for that are my Granddad and Granny who took away the table from the living room, so that I had nothing to write upon except for the kitchen table which was not available any time of the day. however, I myself was not too eager, as well. this time I felt again how much satisfaction I feel when finishing one more article, and I vowed again that I would not waste any more time when I come home. I have been giving promises like this to myself dozens of times, you know. will I keep it now?
original article
in my case 'twas visiting my Grandparents in small urban village where even talking on the phone is expensive - as 'tis another subject of the federation, to say nothing of web-surfing. so I hoped I would translate and translate and translate - all the free time which was in abundance, because the free time was when I was not eating/sleeping/gathering berries in our 'dacha'
my hopes were in vain. the bunch of articles I took with me still lies untouched. I only managed to translate two articles and started the 3rd one. well partially responsible for that are my Granddad and Granny who took away the table from the living room, so that I had nothing to write upon except for the kitchen table which was not available any time of the day. however, I myself was not too eager, as well. this time I felt again how much satisfaction I feel when finishing one more article, and I vowed again that I would not waste any more time when I come home. I have been giving promises like this to myself dozens of times, you know. will I keep it now?
original article
New moon troupe Top Star Ryuu Masaki - an exceptional first performance of the new top with switching roles
The new Top Star of Moon Troupe, Ryuu Masaki, is to perform in the musical 'Romeo and Juliet'. This will be an exceptional start, as the main role of Romeo and the villain role of Tybalt will be switching roles for Ryuu and the demi-Top Star Asumi Rio. We asked Ryuu about her feelings before the first performance which is to take place in the Grand Theatre on June 22nd.
The new Top Star of Moon Troupe, Ryuu Masaki, is to perform in the musical 'Romeo and Juliet'. This will be an exceptional start, as the main role of Romeo and the villain role of Tybalt will be switching roles for Ryuu and the demi-Top Star Asumi Rio. We asked Ryuu about her feelings before the first performance which is to take place in the Grand Theatre on June 22nd.
Ryuu was born in Higashiosaka and debuted in 2001. She moved smoothly
through these years and after the previous Top, Kiriya Hiromu, retired,
she was promoted. She is the first actress enrolled in the XXI century
to become a top. 'I am genuinely glad. I am a leading male role player
in the Moon Troupe I was born and grew up in, so I am emotionally
supported by all my comrades. This is the best thing.' - she says.
a paragraph with trivia omitted
Attractive two roles
'I think two roles is an attractive thing. With every day I realize how interesting it is.' - Ryuu says. 'In this performance, you know, the feeling you have after watching it and the feeling you have when you are actually playing in it are different. I thought Romeo is, like, a beautiful dreamer, but I cannot be satisfied only with that. He is stubborn with his own ways, and he is somewhat of a naughty and capricious child with a bit of a wilderness. It will be interesting to see how he changes after he meets Juliet. Unlike him, Tybalt is a role of a hard and violent lover. He is a character I would hardly play as a Top, so there is a feedback. Our characteristics with Asumi are originally different. We both feel the same love in the place of our characters and thus create our roles.' - she explained vigorously.
Considering her partner Manaki Reika she shared her impression - 'Chapi (Manaki's pet name) is cute like a puppy. She is of the youngest underclassmen (enrolled in 2009), so I feel I should bring her up and look after her. I want to see how a puppy grows into a lady, into a woman. A Combi is when two become one, so I want us to be all lovey-dovey.'
Self-awareness as a Top is gradual
About realizing her position as a Top Ryuu said - 'As my words are being listened to attentively, I can feel the self-awareness of my position gradually coming, but I have not realized it fully.' Considering her hopes about leading the new Moon Troupe she said - 'I want become someone like a team-leader, not someone who sits on a high throne. To the merits of performances in a group with solidarity which existed in the times of ms Kiriya, I want to add the variety of everybody's individualities, and run together with everyone. I want to create a troupe which shows with all it's surface how youthful, energetic and powerful it is.'
Ryuu, having a strong concern about growing, having a strong motivation to perform on the stage since her underclassman times. What kind of passionate Romeo will she show us, will she make Tybalt a big role, these are the things to look forward to.
a paragraph with trivia omitted
Attractive two roles
'I think two roles is an attractive thing. With every day I realize how interesting it is.' - Ryuu says. 'In this performance, you know, the feeling you have after watching it and the feeling you have when you are actually playing in it are different. I thought Romeo is, like, a beautiful dreamer, but I cannot be satisfied only with that. He is stubborn with his own ways, and he is somewhat of a naughty and capricious child with a bit of a wilderness. It will be interesting to see how he changes after he meets Juliet. Unlike him, Tybalt is a role of a hard and violent lover. He is a character I would hardly play as a Top, so there is a feedback. Our characteristics with Asumi are originally different. We both feel the same love in the place of our characters and thus create our roles.' - she explained vigorously.
Considering her partner Manaki Reika she shared her impression - 'Chapi (Manaki's pet name) is cute like a puppy. She is of the youngest underclassmen (enrolled in 2009), so I feel I should bring her up and look after her. I want to see how a puppy grows into a lady, into a woman. A Combi is when two become one, so I want us to be all lovey-dovey.'
Self-awareness as a Top is gradual
About realizing her position as a Top Ryuu said - 'As my words are being listened to attentively, I can feel the self-awareness of my position gradually coming, but I have not realized it fully.' Considering her hopes about leading the new Moon Troupe she said - 'I want become someone like a team-leader, not someone who sits on a high throne. To the merits of performances in a group with solidarity which existed in the times of ms Kiriya, I want to add the variety of everybody's individualities, and run together with everyone. I want to create a troupe which shows with all it's surface how youthful, energetic and powerful it is.'
Ryuu, having a strong concern about growing, having a strong motivation to perform on the stage since her underclassman times. What kind of passionate Romeo will she show us, will she make Tybalt a big role, these are the things to look forward to.
_____
remarks
- what did she mean by 手答え? I wonder. I tried many dictionaries including Jap-Rus, Jap-Eng and Jap-Jap ones, but all I get is 'reaction', 'result', 'response', 'resistance' or 'feedback'. in the end, I simply put the words without proper understanding of what I have translated...
- actually I didn't know the word 愛称 (aishou), but I guessed it should mean something like 'nickname' or 'affectionate diminutive'. the Russian translation is also close to what the kanji actually mean - 'love' and 'call/name'. however I checked the jisho.org dictionary and saw another variant - 'pet name'. one could not wish for a more suitable place to use this phrase - the very sentence where Manaki-sama is compared to a puppy
- Ryuu-sama always gave a feeling of an outwardly restrained person to me. I remember her in the Tokyo Eye issue about Takarazuka where she showed an example of the Takarazuka perfection - polite, smiling but discreet, elegant in her looks and her manner of speaking, multiplied by her low calm velvet-like voice. however, the more I see programmes with her and read her interviews etc., the more I understand she's not the 'cool' type. her 'Romio tte utsukushii doriima tte kanji ga shita keredo' instead of 'Romio to iu yaku wa utsukushii doriima no you na kanji ga shimashita ga' or something like this, her 'yancha' and constant ending her sentences with 'ne', these words were actually the biggest gift that I got from this article
- and her attitude towards Manaki-sama... the difference between their age is considerable, and the difference in experience is even more scaring, but it seems, their relationship is establishing in a good way. I hope they won't be too 'rabu-rabu', and I hope their types will not be that of the 'elder brother' and 'younger sister'. if they really become one like Ryuu-sama said, this will be the best thing I could ever wish for, considering my Moon Troupe
My Victorian Summer
Victorian Summer - this is how I called the Windows theme I created myself in July. The reason is that after watching 'Dantalian' I decided to dedicate the rest of my summer to watching anime where everything takes place in Europe of the 19th and early 20th century. On the other hand, the second part of Shin Kyoto Hen comes out in August and I was going to dedicate that month to Suzukaze-sama. Unfortunately, I cannot even fund any of her albums. Even Jpopsuki has nothing.
Highly doubt searching in Japan itself would bring any result.
Guess my expenses rise dramatically. To the huge amount of money necessary for buying Kiriya-sama stuff I need to add some for purchasing Suzukaze-sama CDs, obviously rare - provided I find them...
Despair...
Highly doubt searching in Japan itself would bring any result.
Guess my expenses rise dramatically. To the huge amount of money necessary for buying Kiriya-sama stuff I need to add some for purchasing Suzukaze-sama CDs, obviously rare - provided I find them...
Despair...
translation! an article about RomiJuri in Japan
original article - by some 'veteran journalist' of Sankei News ^.^
For some reason, there is a 'Romeo and Juliet' boom. Following the Takarazuka version, the original French version is to be performed in Japan for the first time.
On June 22nd the Moon Troupe 'Romeo and Juliet' is to begin in Takarazuka Grand Theatre. The Takarazuka version of the world-wide hit created in France was first performed in Japan in 2010 by Star Troupe. Then it was performed last year by Snow Troupe, and will be revived by Moon Troupe this time. Apart from Takarazuka, I also read about the original Japanese version with mixed cast. Finally, the original French version is to be performed in Tokyo and Osaka this autumn, for the first time in Japan. In light of this, the composer and lyricist Gerard Presgurvic and the main cast came to Japan. With the Moon Troupe Top Combi, Ryuu Masaki and Manaki Reika, also participating, a PR event was held.
The famous work about tragic love that shines even nowadays
a paragraph with trivia omitted
In Japan the performances also follow one another
Two years ago the version directed by Koike Shuuichirou was a big hit, and the original French version is to be performed in Japan for the first time. Together with Presgurvic himself, four cast members also came to Japan to participate in a PR event titled 'Romeo and Juliet ~ children of Verona' - Niccolai Cyril who plays Romeo, Esther Joy who plays Juliet, Neville Stephan who plays Benvolio and Eyzen John who plays Mercutio. As special guests, Shirota Yuu from the original Japanese cast attended the event in Tokyo, and the Top Combi of Takarazuka Revue Moon Troupe consisting of Ryuu and Manaki - in Osaka.
In his address Presgurvic said - 'The reason why this musical became a big hit is that the story itself is simple and brilliant. Taking it as a basis I created a performance to make the audience think to themselves whether they could die for the sake of love. I would be happy if the French version would be loved the same as the Japanese one.' As far as I know, he visits Japan for the fourth time and during his previous visit in March last year he faced the great earthquake catastrophe. 'It was my first experience of that kind, and I was very frightened, but at the sane time I could feel keenly that the Japanese are very diligent and hard-working people. I pray for them.'
Nicolai was playing Benvolio during the Asia tour, and playing Romeo in Japan will be the first time for him. 'I am looking forward to seeing what kind of Romeo I will become. In this performance singing is crucial, and I am able to play my character with proper, perfect singing' - he shows his confidence. Esther was selected to play Juliet during the Asia tour and she has played Juliet in Paris 40 times. She expressed her happiness - 'It was Niccolai who told me about the audition for this performance. That's why I am very glad to form a combi with him.' Eyzen also has a rich experience of playing Mercutio - 'I enjoy playing madness', but Neville will play Benvolio in Japan for the first time - 'I think he is a person who lives his life to the fullest', after saying some greetings with a smattering of Japanese they shared their impressions.
Ryuu, who saw the powerful performance of the French cast, said - 'I was deeply moved. Now I want to play Romeo cherishing his dreamer part, but integrating into it an element of his energetic rushing guided by his instinct.' Manaki vowed vigorously - 'When I heard everyone's singing I felt the emotions conveyed with the music. I will do my best, too.'
For some reason, there is a 'Romeo and Juliet' boom now in Japan. The straight play with Satou Ken and Ishihara Satomi has just finished in Tokyo and Osaka. The Takarazuka Moon Troupe performance will last till the 23rd of July in Takarazuka Grand Theatre and then will take place in Tokyo Takarazuka Theatre from the 10th of August till the 9th of September. The French version will be shown in Tokyo in TOKYU THEATRE Orb from the 10th till the 21st of October and then in Osaka in Umeda Arts Theatre Main Hall from the 26th of October till the 4th of November. The boom still seems to be burning for quite a while.
On June 22nd the Moon Troupe 'Romeo and Juliet' is to begin in Takarazuka Grand Theatre. The Takarazuka version of the world-wide hit created in France was first performed in Japan in 2010 by Star Troupe. Then it was performed last year by Snow Troupe, and will be revived by Moon Troupe this time. Apart from Takarazuka, I also read about the original Japanese version with mixed cast. Finally, the original French version is to be performed in Tokyo and Osaka this autumn, for the first time in Japan. In light of this, the composer and lyricist Gerard Presgurvic and the main cast came to Japan. With the Moon Troupe Top Combi, Ryuu Masaki and Manaki Reika, also participating, a PR event was held.
The famous work about tragic love that shines even nowadays
a paragraph with trivia omitted
In Japan the performances also follow one another
Two years ago the version directed by Koike Shuuichirou was a big hit, and the original French version is to be performed in Japan for the first time. Together with Presgurvic himself, four cast members also came to Japan to participate in a PR event titled 'Romeo and Juliet ~ children of Verona' - Niccolai Cyril who plays Romeo, Esther Joy who plays Juliet, Neville Stephan who plays Benvolio and Eyzen John who plays Mercutio. As special guests, Shirota Yuu from the original Japanese cast attended the event in Tokyo, and the Top Combi of Takarazuka Revue Moon Troupe consisting of Ryuu and Manaki - in Osaka.
In his address Presgurvic said - 'The reason why this musical became a big hit is that the story itself is simple and brilliant. Taking it as a basis I created a performance to make the audience think to themselves whether they could die for the sake of love. I would be happy if the French version would be loved the same as the Japanese one.' As far as I know, he visits Japan for the fourth time and during his previous visit in March last year he faced the great earthquake catastrophe. 'It was my first experience of that kind, and I was very frightened, but at the sane time I could feel keenly that the Japanese are very diligent and hard-working people. I pray for them.'
Nicolai was playing Benvolio during the Asia tour, and playing Romeo in Japan will be the first time for him. 'I am looking forward to seeing what kind of Romeo I will become. In this performance singing is crucial, and I am able to play my character with proper, perfect singing' - he shows his confidence. Esther was selected to play Juliet during the Asia tour and she has played Juliet in Paris 40 times. She expressed her happiness - 'It was Niccolai who told me about the audition for this performance. That's why I am very glad to form a combi with him.' Eyzen also has a rich experience of playing Mercutio - 'I enjoy playing madness', but Neville will play Benvolio in Japan for the first time - 'I think he is a person who lives his life to the fullest', after saying some greetings with a smattering of Japanese they shared their impressions.
Ryuu, who saw the powerful performance of the French cast, said - 'I was deeply moved. Now I want to play Romeo cherishing his dreamer part, but integrating into it an element of his energetic rushing guided by his instinct.' Manaki vowed vigorously - 'When I heard everyone's singing I felt the emotions conveyed with the music. I will do my best, too.'
For some reason, there is a 'Romeo and Juliet' boom now in Japan. The straight play with Satou Ken and Ishihara Satomi has just finished in Tokyo and Osaka. The Takarazuka Moon Troupe performance will last till the 23rd of July in Takarazuka Grand Theatre and then will take place in Tokyo Takarazuka Theatre from the 10th of August till the 9th of September. The French version will be shown in Tokyo in TOKYU THEATRE Orb from the 10th till the 21st of October and then in Osaka in Umeda Arts Theatre Main Hall from the 26th of October till the 4th of November. The boom still seems to be burning for quite a while.
15 July 2012
economical Takarazuka management ~ what a waste!
while photoshopping the 'Algiers no Otoko' and 'Dance Romanesque' programme I noticed an interesting photo
well, I do include all the pages which do concern Zuka even a little bit, such as ads with Takarazuka Theatres Buildings, or Nono-san advertising some Ikeda bank deposit (?)... and I do include the pages with performances schedule. so
this is the Top Combi portrait from the 'Kamen no Otoko' section of the schedule
and suddenly I remembered an Aono-sama photo from SP. of course, searching for it in my folder with several thousands images is a waste of time so I made two screenshots myself. unfortunately I failed to capture a moment where the skirt can be seen clearly, but this is enough, I think
the jewelry and the hat (or how is it called in English?) are different
well, usually I am particularly bad at memorizing anything I see, including faces, clothes, etc. - maybe, if not for my love towards SP, I would never notice such a thing. but I did. I am surprised with myself... and even more with Zuka. on the other hand, of course, this dress was only used in one scene, and 'twould be a waste to never use it again since 'tis beautiful. perhaps this is the famous もったいない philosophy which I only support
the only thing bothering me is - did they alter the dress for Yumesaki-san's figure? not that this bothers me much, simply interested a bit
Takarazuka monthly calendars ~ July 2012
I am pretty lazy these days. so I am not going to upload the calendars themselves. here are the links for the left-sided ones
remember that if you want to get the wallpapers, you need click the link, change the date to the current month - in August you will have to change '120715' to '120815', change the letter 'a' to 'b' or vice versa to get both images, change letter 'l' to 'r' or vice versa to get the version with calendar on the right side
11 July 2012
my humble opinion on 'Dance Romanesque' by Moon (2011) ~ my first...
though I mentioned 'Dance Romanesque' several
times (oh, didn't I?), I have never written down all I feel about this
wonderful 'show spectacle'. and I should!
the reason why I watched it again today is that
I stumbled upon an article about 'Algiers' and 'Dance' and translated it. no,
this is not the reason... after translating I decided to check the spelling of
names on TakaWiki, and while doing this - I read that Aono-sama was absent
during one of the scenes in 'Dance'. I have read it for many times, but 'tis
only today that I realized that she was absent exactly when I went to see the
performance. no, better to say, I happened to go there when she was absent, yes
of course I did not notice any change. I didn't
even know that Aono-sama should have been there, eh? whatever
after realizing this fact I decided to check
what scene exactly 'twas. and after checking - I could not stop. I felt really
bad after 'Hakushaku' and I had to allow myself have some medicine to drive
that poison out of my body. therefore I watched the whole revue, yes
the curtain rises. the introduction. Masao
sings. musumeyaku-san dance. Kiriya-sama appears. I see the same setting, the
same dresses, everything is all right. I don't feel anything strange... and
then the music suddenly changes. the rhythm becomes stronger. Kiriya-sama runs
downstage. I recognize the title theme song. otokoyaku-san run up to the stage
心に響け、熱い歌 - ring in the heart, the hot song
and me is already struggling with tears
my love. my first. my Romanesque, that stole my
Takarazuka innocence
心に刻め、その祈り - carve it onto your heart,
that prayer
and those beautiful ladies dance with smiles on
their faces, which almost physically warm me
未来の自分を失わないで - don't lose your future self
the tension rises
この一瞬を永久に変える - this instant is turned into
eternity
and ladies regroup into a triangle lead by
Kiriya-sama
Ah~ - needs no translation
and then...
DANCE!
DANCE!
this revue is, perhaps, created to be the
closest to the mere mortals - I mean, siennes invaded the audience. literally. including the balconies. I can imagine what it feels like when
Aono-sama gives you a 'low five' running across the hall
Kiriya-sama's solo number did not impress me
much, but it had a very typical 'shabadaba' in the end, and of course -
Kiriya-sama winking before she disappears is... *___*
the scene about the '(un)inhabited mansion' is not
among my favourites. a bit boring, I might say, if not for the soft image of
Masao which contrasts a lot with her Jacques
well, lifting Kiriya-sama to the ceiling with
white wings (they were moving, BTW) is a bit too much... too experimental... well,
though this seemed strange to me, I cannot be against it. more diversity is
never to the worse
as the programme says, this scene uses several pieces from 'Mask 41' OST. they are 'Kyoko's Dilemma', 'Cerca De Ti' and 'Fight with Dream'
then, the K-POP scene. guys... where's the K-POP itself? I am no specialist, but I have been told much about K-POP bands and I watched a bit of PVs and concert performances due to several friends and acquaintances of mine being fans of K-POP boys-bands. so, this number is a bit week for me, by the same token the music and the vocals were not really impressing. the dancing is much better, though, combining typical Zuka movements with -POP ones
then, the K-POP scene. guys... where's the K-POP itself? I am no specialist, but I have been told much about K-POP bands and I watched a bit of PVs and concert performances due to several friends and acquaintances of mine being fans of K-POP boys-bands. so, this number is a bit week for me, by the same token the music and the vocals were not really impressing. the dancing is much better, though, combining typical Zuka movements with -POP ones
the next part is a standard Zuka dancing number
which has nothing special about it, but allows the spectators to enjoy some
points that Zuka is famous for. namely - hot Latin background music, Kiriya-sama's singing in the same manner, Aono-sama representing musumeyaku
charm, and a splendid synchronicity of movements which matches the music so
perfectly that you quite forget they are real people dancing on the stage.
also, a good scene for Morie and Magee who were overly cute
the Mirio's cover of 'Puttin' on the Ritz' is
funny. really funny, because of both the music and her Engrish
row cancan rockette dance is very cute. and I consider myself
to be lucky to see it the very first time I watched a Revue
Top Combi dance would be really good... if not
for the fact that I dislike the song 'Sunny' in the original and the
instrumental version is not much better
the all-troupe number is indescribable... I
have no words to express how much I love it. the white costumes, the golden
background, the expressive music, and the general concept were absolutely
perfect and memorable. it might seem stupid, IDK, but I love when there are a
lot of people together. it creates an image of unity and warmness
and this particular jump - to be precise, two
of them - is simply GORGEOUS
the following Masao's song reveals how warm and soft her timbre can be. the dance accompanied by the instrumental version of the song, where musumeyaku-san move as if they were made of water, is also a splendid number. I have watched many revues - of Moon, of course - but I cannot recall anything like this
and then, Stairdance. actually, I have never heard any of Yuzu's songs, though I might have heard their name. still, I wasn't aware of the original song until November when suddenly I saw a trailer of Yuzu's concert on a huge screen on a building somewhere in Shibuya (or I don't remember where), and suddenly I recognized the song. my dear friend, Sae-san, told me - 'you see? 'tis Yuzu'
needless to say, Kiriya-sama's strong low voice is superb, so is the orchestra arrangement. the song is completely different. however, the original is nice, too
the next Top Combi dance is among my favourites. first, I came to realize that this blue suits Aono-sama greatly. second, their movements are perfect. third - I cannot recall what music there was in the original performance. 'twas replaced in the vid, so I am somehow frustrated that I could not memorize this beautiful number to the utmost. I should have. I really should. if not for my poor memory...
at least I should thank TakaWiki again. they wrote a hint that implies that the scene is called 'we're all alone' - am I wrong? well, the scene is not called like this, but the song used was obviously Boz Scaggs' one of this name. I don't know why the Japanese love it so much - it played a big part in Takeuchi Naoko's 'Rain Kiss' and meseems I have heard something about it later. also, this vid is from his concert in Japan. I listened to it then, when I read the manga, and didn't like it at all. can't get what's so special about him
then, the parade
the gorgeous parade starting with beautiful voice of Hazaki Mana-san. her high notes were really impressing, but the following main theme overwhelmed me again...
the curtain falls. in the dancing figures of Moon Troupe members I see the characteristic image of Takarazuka and, strangely, I recall watching 'Sakura Taisen Katsudou Shashin', the full-length movie for the first time
it rings in my head. 'tis carved in my heart. the moment it ended turned into eternity and did not let me lose my future self
oh I should pay more attention to the theme songs lyrics, shouldn't I?
and then, Stairdance. actually, I have never heard any of Yuzu's songs, though I might have heard their name. still, I wasn't aware of the original song until November when suddenly I saw a trailer of Yuzu's concert on a huge screen on a building somewhere in Shibuya (or I don't remember where), and suddenly I recognized the song. my dear friend, Sae-san, told me - 'you see? 'tis Yuzu'
the next Top Combi dance is among my favourites. first, I came to realize that this blue suits Aono-sama greatly. second, their movements are perfect. third - I cannot recall what music there was in the original performance. 'twas replaced in the vid, so I am somehow frustrated that I could not memorize this beautiful number to the utmost. I should have. I really should. if not for my poor memory...
at least I should thank TakaWiki again. they wrote a hint that implies that the scene is called 'we're all alone' - am I wrong? well, the scene is not called like this, but the song used was obviously Boz Scaggs' one of this name. I don't know why the Japanese love it so much - it played a big part in Takeuchi Naoko's 'Rain Kiss' and meseems I have heard something about it later. also, this vid is from his concert in Japan. I listened to it then, when I read the manga, and didn't like it at all. can't get what's so special about him
the curtain falls. in the dancing figures of Moon Troupe members I see the characteristic image of Takarazuka and, strangely, I recall watching 'Sakura Taisen Katsudou Shashin', the full-length movie for the first time
it rings in my head. 'tis carved in my heart. the moment it ended turned into eternity and did not let me lose my future self
oh I should pay more attention to the theme songs lyrics, shouldn't I?
10 July 2012
translation. an article about 'The Man from Algiers' and 'Dance Romanesque'
after watching 'Hakushaku to Yousei' I was pretty sure I better keep a distance from everybody - I was afraid I might kill someone. as I am certainly spitting poison. my whole body is intoxicated with sugarish shoujo. 'tis a rare case for me, to feel THIS bad after shoujo. the last time was, perhaps, when I read Saitou Chiho's and Higuri Yuu's works
I needed something to occupy myself with, and at the same time - something soothing. and what can be better than translating another article about Moon Troupe in such a case?
I needed something to occupy myself with, and at the same time - something soothing. and what can be better than translating another article about Moon Troupe in such a case?
Takarazuka Revue Moon Troupe Performance - 'The Man from Algiers' and 'Dance Romanesque' - first day interview
link
Musical Roman 'The Man from Algiers'
Author: Shibata Yukihiro. Director: Oono Takuji
link
Musical Roman 'The Man from Algiers'
Author: Shibata Yukihiro. Director: Oono Takuji
This is a revival of a play that was first performed in n 1974 with Ootori Ran playing the main role, and performed again in 1983 starring Mine Saori.
It tells us about a young man with ambitions who wants to climb up the road of success so much that he even uses the girls who gave their hearts to him. Youth is only half sparkling, the reverse side of it brings a cruel shadow with it. This performance attracts us to the described man.
Three girls who make their way through a sad destiny. A splendid work that portrays the dramatic lives of young people, burning with hopes.
Show Spectacle 'Dance Romanesque'
Director: Nakamura Satoru
'Romanesque' has a meaning of something like 'with refined taste' and 'passionate'. 'Dance turns a single moment into eternity' - with this theme laid as a basis, the group dancing filled with youthfulness and liveliness, dances with stories, composed of dances of different styles, this show is overflown with passion and energetic movement.
Report
On September 16th, 2011, an opening day interview was held.
Kiriya Hiromu
I am grateful you all gathered here on such a hot day.
As for Moon Troupe, though we have been delivering happy ending stories for a long time, now we offer a very tragic story, but this play is overflown with Shibata Yukihiro's (author) roman, and the show will be refreshing and interesting, so the performance will be a characteristic Takarazuka double feature. We will do our best in delivering it to you until October 16th, so we would like to count on your support.
Aono Yuki
The play will be a tragedy, and the show will be enjoyable. With the present power of Moon Troupe we will put all our might into the performance, so we would like to count on your support.
The impression of members of Moon Troupe energetically dancing from the very beginning of 'The Man from Algiers' to the very end of 'Dance Romanesque' is very strong, but isn't there some scene that you particularly like?
Kiriya Hiromu
The opening of 'The Man from Algiers' is the first modern thing in a long time for Moon Troupe, so we were wearing suits and dresses that are easy to move in, and this is a thing I have done many times in my underclassman era, but this time I play a character who is a glittering with ambition carnivorous man (the words may sound a bit old... *laughs*), which is the first time in a while, and I particularly like the dance in the prologue of the play.
Aono Yuki
There is a very adult-like dance in the show I am honoured to dance, where I wear a white dress with spangles, and since this is the first duet dance with such a feeling, though it is a challenge, I will do my best to cope with it.
Kiriya Hiromu
And there are also different kinds of wigs.
Aono Yuki
I use four kinds of them.
What are the interesting points of the musical in your opinion?
Kiriya Hiromu
The show starts in a very energetic way, with high tension, and then a lot of scenes follow which have a story in them, but I hope the audience will have a feeling of satisfaction after a scene of Notre Dame de Paris, as if they had seen all the acts, and I will be glad if they feel the drama. Though in a show it is always necessary to deliver the dances and the songs with energy, this time we enter the fourth piece, and I hope we can deliver every single scene with its deep contents.
Aono Yuki
In the musical ms Kiriya plays a man overflown with ambitions and all, but there are 3 girls who are involved with him, so the interesting point is that he is such an attractive man...
Kiriya Hiromu
A concealed pressure? (laugs)
Aono Yuki
No, not like that (laughs), just the male roles are greatly portrayed. Also, there is a difference between the scenes in Algiers and in Paris, so I think the audience will be able to feel the image of those days.
_____
notes
It tells us about a young man with ambitions who wants to climb up the road of success so much that he even uses the girls who gave their hearts to him. Youth is only half sparkling, the reverse side of it brings a cruel shadow with it. This performance attracts us to the described man.
Three girls who make their way through a sad destiny. A splendid work that portrays the dramatic lives of young people, burning with hopes.
Show Spectacle 'Dance Romanesque'
Director: Nakamura Satoru
'Romanesque' has a meaning of something like 'with refined taste' and 'passionate'. 'Dance turns a single moment into eternity' - with this theme laid as a basis, the group dancing filled with youthfulness and liveliness, dances with stories, composed of dances of different styles, this show is overflown with passion and energetic movement.
Report
On September 16th, 2011, an opening day interview was held.
Kiriya Hiromu
I am grateful you all gathered here on such a hot day.
As for Moon Troupe, though we have been delivering happy ending stories for a long time, now we offer a very tragic story, but this play is overflown with Shibata Yukihiro's (author) roman, and the show will be refreshing and interesting, so the performance will be a characteristic Takarazuka double feature. We will do our best in delivering it to you until October 16th, so we would like to count on your support.
Aono Yuki
The play will be a tragedy, and the show will be enjoyable. With the present power of Moon Troupe we will put all our might into the performance, so we would like to count on your support.
The impression of members of Moon Troupe energetically dancing from the very beginning of 'The Man from Algiers' to the very end of 'Dance Romanesque' is very strong, but isn't there some scene that you particularly like?
Kiriya Hiromu
The opening of 'The Man from Algiers' is the first modern thing in a long time for Moon Troupe, so we were wearing suits and dresses that are easy to move in, and this is a thing I have done many times in my underclassman era, but this time I play a character who is a glittering with ambition carnivorous man (the words may sound a bit old... *laughs*), which is the first time in a while, and I particularly like the dance in the prologue of the play.
Aono Yuki
There is a very adult-like dance in the show I am honoured to dance, where I wear a white dress with spangles, and since this is the first duet dance with such a feeling, though it is a challenge, I will do my best to cope with it.
Kiriya Hiromu
And there are also different kinds of wigs.
Aono Yuki
I use four kinds of them.
What are the interesting points of the musical in your opinion?
Kiriya Hiromu
The show starts in a very energetic way, with high tension, and then a lot of scenes follow which have a story in them, but I hope the audience will have a feeling of satisfaction after a scene of Notre Dame de Paris, as if they had seen all the acts, and I will be glad if they feel the drama. Though in a show it is always necessary to deliver the dances and the songs with energy, this time we enter the fourth piece, and I hope we can deliver every single scene with its deep contents.
Aono Yuki
In the musical ms Kiriya plays a man overflown with ambitions and all, but there are 3 girls who are involved with him, so the interesting point is that he is such an attractive man...
Kiriya Hiromu
A concealed pressure? (laugs)
Aono Yuki
No, not like that (laughs), just the male roles are greatly portrayed. Also, there is a difference between the scenes in Algiers and in Paris, so I think the audience will be able to feel the image of those days.
_____
notes
- I have no idea what is meant by ４作目 which I translated as 'the fourth piece'. really, who 'we' and what is the fourth? I might be stupid but I am at a loss...
- I want a video of this. guess I have something to occupy myself with from now on... searching for interview videos... MB 'tis in some of the cafe breaks? or something...
my humble opinion on 'Hakushaku to Yousei' ~ why so upset?
I wanted some romance, didn't I? I wanted 19th century, didn't I? so - why am I so upset? perhaps, the reason is that I am writing this post after I only watched half of the first episode?
last time when I was writing a 'review' on 'Dance' I also started writing after watching the beginning of the first episode, but I wasn't upset, no - quite opposite. then, what is the difference? well... perhaps, this?
plot and characters
ADD SUGAR, CAP!
or something like this the fangirls were shouting at the face of the director, screenplay writers, designers, and others - the imaginary fangirls that invaded the minds of those who created this brilliant (in the literary sense) work
oh, I AM a lover of shoujo. I should be happy and all drooling while seeing something like this, eh? the plot only starts, but we already have a mysterious guy who is hinted to be a notorious criminal (and criminals are always sexy dangerous - because they have committed a crime, you know? oh no it does not matter whether he really committed it by his hands or not), who is, BTW, unshaven and shaggy-haired (oh, dear person responsible for the character design, how did you guess that unshaven and shaggy-haired guys are exactly my preference?), hugging from behind (pay your attention, the scene when Lidia's mouth was covered by his hand was really THAT necessary in precisely THOSE circumstances and for precisely THAT long time), hair kissing (every gentleman in England of 19th century does this, don't you read historical books?), and at last - shining and twinkling that follows his every movement
well, of course he got better after changing in the rich clothes, returning to his natural blonde, etc. did this metamorphosis change much? nope
in the end, I cannot help comparing his behaviour with that of Usui from 'maid-sama'. guess who wins in the comparison? while being far more 'perverted alien' by words and actions, which is only natural to be counted an a disadvantage, Usui still seems to be a far stronger character, and a deeper one as well. at least, we can see his feelings and his intentions, unlike Edgar, who never grows to be less shallow than he was in the beginning. walking handsome bishie doll
MORE SUGAR, MOOOORE!!!
still the voice of the target audience is audible enough. and so, another handsome guy is introduced. he has bronze skin and emerald eyes... he speaks in a low voice... what a difference with the first guy! - or something like this the creators thought, and decided that this is what they need to capture the hearts of those young spectators who were not completely bewitched by Edgar. to make sure of their victory over this part of the target audience, they made him criminal as well. you saw this expression in his eyes, didn't you? you heard that line - 'there's no need to kill anyone over such a trifling matter', didn't you? and the last straw - you saw how he scanned her figure from the bottom to the top to prepare a dress for her, didn't you?
ONE MORE sexy DANGEROUS CRIMINAL!!!
or something like this the fangirls were shouting. the imaginary ones
nonetheless, he's not the aggressive type, you know? the victim one, yep!
oh, poor main heroine, I've been ignoring her... shame on me! as my friend told me - 'she is a shoujo heroine, but pays less attention to the main hero than 'tis common for shoujo'. well, I see. he just said almost directly that he is intending to marry her (regardless of what his true intentions could or seemed to be, his words had this meaning), but she is thinking about fairies. oh, this is not called 'she is paying less attention to the main hero', this is called - 'a kind, but a veeeery stupid main heroine'. the phrase is not mine, the credit goes to one of the commentators on world-art, unfortunately I do not remember what comment exactly
another comparison that comes to my mind is that with Ayano of 'Kaze no Stigma'. well, there is a significant difference. while Ayano simply cries 'bakaaaa' when Kazuma does something which is getting on her nerves, Lidia is more sophisticated. she prefers 'that horrible villain'
why again I have been remembering Ayano from the very beginning...
don't you recognize the passionate monologue of Ayano in the last episode? 'what am I to you? a hindrance? a burden? I want you to rely on me, too!' - I wonder if 'tis enough to prove that Lidia is no better than a usual shoujo heroine
oh and BTW, did you know that stumbling upon a safety handrail which is as high as her waist makes a girl fall backwards?
well at least there could be something interesting in the story itself... but there isn't. the story is so boring and plain despite being overburdened with 'un-understandable' and unnecessary details that I almost fall asleep, as I haven't slept much last night. I have to admit there were feeble attempts to introduce some philosophy, but this level of reasoning is too much even for me. like that line of Raven - 'are you able to teach me what's right and wrong and never order me to kill?', and Lidia does not know what to answer... hmmm... so, not ordering to kill is such a hard task, I see? wow. I never knew other people have such problems. this might be such a burden, not ordering to kill
a sudden cry from the darkness - MORE SUGAR, MORE!!!
the fangirls obviously got tired with all that philosophy. 'tis very crucial to introduce a new handsome guy once in a while, you know? otherwise the spectators get booored. BTW this character must be wise enough to 'understand and forgive'... and save them, as well. 'tis MAAAGIIIIC, you know
erm... was, then, 'Dantalian' different?
we see pretty similar setting - England, mystery and magic, and who
would doubt that Huey was created for the delectation of girls' eyes? still... there was something different, something tasting less like sugar
this
very fact - the lack of sugar in 'Dantalian' - made me want something with a more
obvious romance. but you know, I wanted romance, not a candy wrapping
the first episode is finished. I already want to drop so badly... I don't even care for the romance, and even less for the epoch portrayed - the 19th century which I was searching for so thoroughly. why am I watching further? well... because of the cat and the cute little fairies, perhaps?
seiyuus
when I asked my friends about the seiyuus participating in this brilliant work she named me a whole bunch of prominent seiyuus whom I knew and whom I considered to be really outstanding ones among the 'old school' and the 'middle' one - that is, not the most recent ones, but those who emerged in 90s and early 00s. like, Midorikawa Hikaru-san, Koyasu Takehito-san, Oohara Sayaka-san, Chafurin-san and Miyano Mamoru-san. I was expecting to hear something outstanding! and my dreams were shattered - not by the seiyuus themselves, but probably by the genre. well, probably hearing Oohara's low voice was a good experience as I usuallyl heard the higher one
MORE SUGAR, MORE! - this time 'tis the line of the directors who required the male seiyuus all to become as shoujo-ish as they could
female part is different. the main heroine's seiyuu is actually a good training in uttering sighs and inhalations of surprise/shock/admiring/all of them mixed. I hope Mizuki Nana did have a good practice. BWT her new album was widely advertised in Osaka last summer, if I am not mistaken. her very looks did tell me a lot about her, and I was not mistaken when I heard her voice in the anime. perfect! intonations as if not uttered by her, but played from an old gramophone - unchanged since the ancient time, ideal - not close to ideal, but really ideal, because they were simply a copy of a 'shoujo heroine intonations' template, 100% cliche with no imagination at all
may I have your permission to compare this with 'Dantalian' again? listen to Sawashiro-san. her way of pronoucing 'desu' with 'su' not reduced as usual but vice versa - stressed with a raised voice - was getting on my nerves during the first episode, but then I understood that 'twas her way of making herself memorable and original, 'twas her shtick, as well as her 'yyyyes', which I loved by the end of the series, to say nothing of her intonations that remained partially the same as in DGC. or Fujimura-san in 'maid-sama' - I still cannot forget her changing intonations, and especially that of her in a 'drunk' condition
Mizuki-san? nothing like this
graphics
hey, hey, did you see the ball? did you? wasn't it wonderful??? a couple of static pictures simply increased/decreased in size? this is what is called DANCING, yep!
also, notice the disappearing and reappearing on the floor small sack of Lidia in ep. 11 and Ulysses's gloves on his hands in ep. 12
and you know - I can now understand very well that BABY's and ALICE's designers DID a good job in creating clothes for 'Dantalian'. oh yes, I have changed my mind about that fact
music
the main reason my friend liked this anime was its OST. well, perhaps there was some. I don't know, I only noticed a couple of short melodies which were pretty good - but couldn't suit less to the scenes they accompanied
conclusion
MORE SUGAR, MORE!!!
the fangirls were still screaming...
I haven't said anything about the greatest masterpiece in this anime. the ending animation! yep, we believe those naked guys are sleeping. yep, with no other implied meaning!
in the end... there was nothing. so many 'special' situations, and no result. during the last episode I already wanted this to be a plain hentai with Lidia getting what she deserved from every guy in the story. and maybe not only Lidia, you know. and maybe not only the girls, you know
I better stop laughing so hard, or I'll wake up my parents who are already sleeping
09 July 2012
Shimbo Akiyuki-san ~ WTF???
so I read the comments about Gosick in order to understand whether there are some more animes of the same style or some recommendations. and so I read a comment of one person who really thinks that the sophisticated waves and patterns are characteristic of Shimbo-san's works. of course I doubted that Art Nouveau can have some relation to Shimbo-san, but I decided to read the list of his works
and so... Shimbo-san, is this true? that your perfect understanding of the modern anime concept, your image of the society and your strange and fascinating direction are only the recent phenomenon? did you really start with hentai adaptations of hentai games, and hentai adaptations of hentai ideas? did you? well, at least world-art told me so. I really have to check it later, but...
05 July 2012
my humble opinion on 'Dantalian no Shoka'
well... this is Sparta Japan - the clothes design was done by BABY,THE STARS SHINE BRIGHT and ALICE and the PIRATES. what else do we get from Gainax this time? or so I wanted to ask until I realised one thing
plot and characters
this is the type of anime that offers not a life story, really, but a hint of it. I wonder if the original is different. however, if we speak of the anime, we see moving figures, but don't get to see their background. nothing is properly explained about the past, but even the present is moving so fast that we hardly manage to follow. in the end, the aftertaste is somewhat strange. I am really fascinated by the world created, by the characters, and I can see they have their own ideas, their own reasoning etc. - but I feel they are all far from me and I cannot get closer to them, however I struggle. one of the things thoroughly portrayed was, perhaps, Dalian's solitude. if not for her inner monologues about Huey coming to her world and her feelings, I would not be as interested in the story as I am. this is not the usual shoujo romance, but though being pretty simple, some scenes involving Huey and Dalian together with her another self were from time to time creating that particular disturbance in my chest that almost prevents from breathing - which is a sure sign that I am moved and the relationship is deep enough. the monologue of Dalian praying for Huey to come back was equally touching. but well, who of us, girls is not dreaming of a guy who would come to our rescue risking his life, keeping his promise not to leave us alone 'just because'?
and in the end, well, who of us, girls, never dreamed of the past? never read books about different epochs? never imagined herself as a beautiful Greek priestess, Medieval noble dame, Renaissance countess or duchess, or whatever? though the events take place after the World War I, the world of 'Dantalian no Shoka' obviously retain a great deal of the Victorian world. and the late Victorian world gradually evolving into the 20th century modern world, among others, is a special story. it combines some of the modern inventions which makes life less inconvenient than in the previous eras, and the old slow tempo, it adds a nice sweet savour to everything we see - it allows to wear nice feminine dresses, but already gives a hint on women emancipation, it makes men gentlemen, but allows more freedom in relationship, it pictures wonderful mansions with beautiful gardens around them, retro cars and telephones, large libraries with sophisticated furniture, etc., but does not deprive us of the primary conveniences. of course we like 'yankiis' from 'bousouzoku', and we like school soap operas, we like mecha and slice of life, but from time to time we, girls, need to come back to those dear dreams of our young days where everything was so ideal and promising. viewing this half-Victorian decoration as such, 'Dantalian no Shoka' is a great success
perhaps the only spoling element was the strange author's understanding
of justice. all the 'bad guys' were punished, mostly by their own
mistakes and foolishness, and the main characters could not help anyone
or save them. still this leaves an uneasy feeling in me. however, I
cannot be sure in anything because of the perfunctory nature of everything
the same mystery, on the other hand, can be viewed as a perfect
promotion of the manga and ranobe. 'I cannot see you well, I cannot hear you well,
guys!' I cry. 'you need more? you want to know them?' the authors ask
then, with a grin on their faces. 'if so, you are welcome into the world
of ranobe and manga!' - you know, this is not good. an anime based on some source can be far from it or follow it to the letter, but it should not be a
mere shell which only shows the upper part of the iceberg. this is at
least what I think
graphics
since when has Gainax become THIS great in terms of the visual aspect of their works? if there are any shortcomings in the plot, then they are more then compensated for. the beautiful scenery, the buildings which are created by using the real photos and turned into painted pictures, the small details thoroughly drawn, the perfectly symmetric faces and other parts of body, and bright vivid colours coupled with the nice design - as I said, with the help of two very, VERY outstanding brands, for those who understand - this side of anime is unexceptionable. if not for the amount of blood and violence, I could recommend this for children as a pretty fairytale
a separate thanx goes to the those who thoughts of creating episode #9
when I see such kind of graphics with a simple but warm colours, with pencil lines and everything looking so
really handmade, I am relieved about
the future of anime
however, there were some moments when instead of moving video we had to see static pictures. I wonder if 'twas the original idea or a real problem of the artists of the studio
seiyuus
the sole reason for me to download this anime was a handsome blond bishounen (well he is not precisely shounen, but still) voiced by Ono Daisuke, and I became quite determined to watch it when I knew that a cool loli would be voiced by Sawashiro Miyuki. it was particularly funny for me to recognize her signature intonations that have been so peculiar to Puchiko (again - for those who understand)
however, the others did a good job, too. most were very realistic and natural in their roles, so that I wasn't able to notice anything strange, but I was really shocked by the voice of Flamberge whose seiyuu was Kohimizu Ami-san. I did watch CGLR properly, and I don't remember Karen's voice being that interesting. well, if Koshimizu-san is capable of such tricks, then I should pay my respect to her
music
this is the next aspect which redeems for the poor plot. I have been positively fascinated by the OP theme which was created to resemble a Latin (Latin? well, I judge by the name of the creator mentioned in the opening titles) poem or something, laid on a beautiful music by the composer Tsuji You. he is also responsible for the OSTs which are beautiful example of an acoustic accompaniment which contributed to the general mood greatly. orchestra pieces, deep and overwhelming as the sea-waves, light orgel melodies, some instruments solo and many other nice tracks are waiting for me inside the OST albums. the only thing that bothered me was the fact that a lot of variations on this piece were used as instrumental backgrounds. at first I was afraid the composer was not able to create anything else, but then finally another good melodies popped up
Yucca, the singer, was also a veeeery suitable variant. this a rare thing for me - not to skip the opening of every episode. I usually do so in order to avoid getting tired of the song and be able to listen to its full version later separately. however, this time I was not able to skip it. I wanted to listen to it more and more, especially when such a nice row of visual images is present to make your eyes delighted with what they see
the only thing I cannot forgive among the insert themes is the
violin in the 10th episode. am I alone in thinking that the Japanese are
usually not very good at playing violin? they have perfect technique,
but somehow I often feel that their violins are not singing. I feel as
if they applied too much strength when playing and lacked the lightness I am used to. moreover, they even have problems with vibration. I have been always told that vibrating every single note is important, however short the note might be. the same I heard in the numerous concerts and studio recordings. still, the 'Twilight' sonata in the anime is an example of poor vibration. the same is noticeable in Kajiura's works where violin is supposed to have
a really important part but usually fails to impress me, and some other
composers. at the same time, piano etc. never bothered me. am I mistaken? well, at least in the episode about Christabel I could not enjoy violin parts. surprisingly, violin in the theme of Dalian other self world, the Labyrinth Library, was much better! why???
the greatest disappointment, however, was ED theme by maRIONnetTe. while I do acknowledge that the anime had a bit of gothic mood to it, the song and the video which was a real video with real forest, real people, etc. was TOO gothic. it was absolutely not suitable and absolutely boring. as for me, I was not happy with it at all, though the song itself and the vocal were pretty good
conclusion
the only great shortcoming of this anime is its length. it should have been longer at least twice, and reveal more secrets, and be more detailed. my God, why did I watch it now? I don't know how I will survive until August when the OAV is to be released. moreover, I could not find full English translation. meseems, I have to read raws. well, this must start somewhen and with some manga, eh?
p. s. why Dalian? her name could be spelled like Dahlian or in many other ways. does it have some sort of trick?
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