The Scoreboard: A Sign of Affection

As everybody else on this planet, I have an opinion. As many people do too, I like to write about it. Share it generously. And I am excellent at keeping score (mentally), so I will try tallying up my fondness of things according to balance.

A Sign of Affection

Love is one of the most universal topics and I am a sucker for a sweet romance. This anime has heaps of sugar, many pastel-colored backgrounds, twinkling eyes, but it somehow manages to not go totally overboard with its elements.

The main character is Yuki, a sweet, timid deaf girl who’s just entered college. By the way, I am also a sucker for college romance. My very first anime series and one of my all time favorites is Honey and Clover, set in an art college. This college is more nondescript, but it is always nice to have more mature characters at the heart of a story.

Yuki takes the train one day and is asked something out of the blue by an enthusiastic stranger. She signs that she cannot hear, but he does not seem to notice. Before things get too awkward though, a young man gently intervenes and helps the stranger out.

It is a typical meet cute, heroine gets rescued by her hero. And for a series so romance-focused, things happen surprisingly drama-free. For the main romance, that is a good thing since it shows Yuki building trust with Itsuomi, him being fortright about putting effort into learning sign language for her sake, and both clearing up misunderstandings swiftly and enjoying to spend time together.

There is a bit more drama involved with the secondary characters, especially Yuki’s overbearing and overprotective childhood friend Oushi and Itsuomi’s high school friends/love triangle Shin and Emma. Although this provides some meat to the plot, and in Oushi’s case some actual growth, Shin and Emma’s case ties up a bit too quickly for all the setup that was done.

The other romance between Yuki’s friend Rin and Itsuomi’s cousin Kyoya also does not really get enough time to fully flesh out the development from friendship to romance. Both are nice characters, feeling are involved, but there is no episode reserved for their plotline.it honestly feels like a missed opportunity because Rin as a popular girl and Kyoya as a weary date-avoidant guy seem to have some interesting backstories.

Although I really enjoyed the series as is, I do think it would have benefitted from some extra episodes. Not only because the main couple is hella cute and it would surely be enjoyable to spend more time with them, possibly allowing for Yuki to be less tense with Itsuomi as well (yes I love me some smut), not only to flesh out the secondary characters more, but to also highlight Yuki’s experience as a deaf person in Japanese society more. We do not see her taking any classes, she does not reminisce a lot about the past, we do not know a lot about her fanily or why they did not learn sign language and although she gets a part-time job, we never see how it goes for her. These would all have been very relevant topics that could also naturally develop the bond between Yuki and Itsuomi.

Although it may seem the series came up short, I would say that is only the case since it was so enjoyable. I wanted to explore, learn and see more. Alas, maybe I will pick up the manga or a second season could be made.

I rate it very sweet and nice, good to watch if you want to reminisce about your first, current or future lover.

The Scoreboard: Suzume

Suzume no Tojimari

There are not a lot of directors that I have seen all works from. Obviously, this is a bit easier the shorter the list gets, and Makoto Shinkai is one that does not constantly churn out new films. Still, I have not seen all of his films but definitely the majority of it. And like most other people, I was really touched by Your Name. But I also remember really liking 5 Centimeters per Second and Voices from a Distant Star.

His stories often focus on couples, in the prime of their teenage years, juggling change and difficult decisions. His visuals also have a very particular, crisp and bright look about them. They have the digital enhancement and cleanliness to them, without losing character.

For the most part, Suzume looks gorgeous as well. The landscapes are vibrant and dynamic, and places recognizable, especially as she moves throughout the country. However, I tend to not really like too much spunk in my heroines, and especially at the beginning Suzume exhibits quite a bit of it. It is a bit at odd as well with her stoicness and distant friendliness to her aunt. Also, although the boy is gorgeous, the love story feels a bit shoehorned in. It is the traditional love at first sight from her end, and even though they end up travelling together and getting to know each other quite a bit, it feels weird when a college student seems to get a crush on a high school girl.

Another thing this film suffers from, is the density of its lore. The world is fleshed out quite quickly, there are doors to other dimensions that need to be closed in order to let the worms under Japan not consume the country, but not much is told otherwise. Not about the family line of Souta that has closed doors since ancient times. Not about the escape and wish of the cat who served as the keystone to keep the door closed. Not really about Suzume’s family history beyond her mother tragically dying during an earthquake and her aunt not getting through to her. Not about the magic that turns Souta into a chair and almost prevents him from returning back to his human self. There is so much more to explore which could have helped take the story to another level.

As it stands, there is still a lot to enjoy but I felt myself wanting more when watching it. Because the premise is so intriguing and the basic worldbuilding done quite well, I wanted to delve more into the characters, their motivations and backgrounds. Also, the gimmick of seeing Suzume walk around with a broken chair is quite funny, but gets a bit stale by the end. And Souta is very handsome of course, so I would not have minded seeing more of his face as well.

I rate it nice and heartfelt, lacking a bit to give it that extra punch.

Praise for pragmatic fictional characters

Sometimes, I think about how it would be if someone like me would be the main character in a high school anime. Some of the standard highlights, would certainly play out a bit differently I imagine.

Beach episode: I do not really care for the beach. My swimming is quite below average, I wear glasses and cannot really see stuff without them, am bad at ball games which seem to be involved in most beach games. However, I would absolutely kill at the watermelon game. Although I always find it a bit of a waste, since much juice will probably be lost, it is a combination of many things I like. Burst of targeted violence and food. A beach episode would probably just involve getting a few watermelons and a few heads smashed.

Summer festival: although I am capable of wearing long clothes during summer, searing sun beams have made me appreciate extra protection instead of the limited cooling bareness provides, I am not good with clothes that limit my mobility. Although I have excellent mental self-control, my physical self-control is less strict. Especially my legs that preferably have some space between each other, but also to allow me to easily move around on my bike or walk the stairs. The games are also not really my thing. They are either rigged, involve skills I do not have sufficiently or involve too many others around me, especially kids. I do like the food part and the fireworks though, I could easily just fill an episode eating at all the stalls.

Cultural festival: teamwork at a large scale is not really my thing. I would probably do my job, be present, participate and stay in the background.

Sports competition: these really combine two opposites for me, at least when I see them in an anime. On the one hand it is about teamwork, on the other hand it is about winning. I am very much about winning, going all out, amazing everybody. But only if I am good at the thing. The sports I have seen featured in anime often involve a team and hand-eye coordination. Bad combination for me. But the drama created by me not doing my best and being passive-agressive about it, could be entertaining. Possibly.

Valentine’s Day: I do not like baking. I find it a lot of hassle for only part of a meal. I would probably be too nervous to give chocolate anyway if I had a crush, so it would end up being a store-bought bar to a friend or something.

Christmas: as a Dutchie, I am more attached to Saint Nicholas than Santa Claus. However, I do like the idea of a sleigh with reindeer in the air. On the other hand, having KFC or fastfood for Christmas does not attract me too much. Also, the emphasis on romance would probably kill me.

New Year’s Eve and Day: temple visit sounds fun! Praying, fortune telling is always more fun if you only do it on special occasions. Also, I would be dying to have a new year’s dream featured and possible interpretations offered. And of course food and money! A perfect combination.

School trip: I expect to not be late or miss the bus for any of this. I would probably have stuff in my mind that I want to do, see or visit at the destination, but I could be too shy to speak up. That could lead to some nice drama and heightened emotions.

Film rewriting: Maboroshi

Mari Okada can pull some heartstrings. The last film I watched of hers (Maquia: When the Promised Flower blooms) is a feast for the eyes and had me bawling them out half of the time. I think its sadness is up there with Grave of the Fireflies and that episode of Violet Evergarden. Regardless, she tends to have an interesting and quite unique way of viewing things and putting it together so I was quite excited to watch this one of hers.

The synopsis of the film on imdb is:

“Following an explosion at a factory that mysteriously freezes a town in time, two students encounter a mysterious feral child, spurring an impulse of love fueled by the frustration of their daily lives that begins to upend their world.”

I also read another review that was quite positive about it, and although I like the concept and ideas, parts of the execution fell flat for me. I think the despair and dread of being frozen in a particular moment and how different people react to it is depicted well. I also think she shows interesting choices some characters make to change the present based on how they think there will or will not be an ‘actual’ future to look forward to. And upping the stakes by creating a way for characters to disappear is always a surefire way to create some intense moments. But there are some other things I think could have been left out or executed differently.

I feel the orignal mystery about the factory causing the town to freeze in time could be explored further. As it stands now, this is just a fact and everyone accepts it, although clearly some characters have more whacky ideas about why it happened than others. Besides discovering the ‘feral child’ at the factory, the characters do not spend a lot of time uncovering anything about the explosion, where the smoke comes from, why it happened to them. Even if this was just a fully random thing happening to them, that would be interesting to explore and see if it throws some characters further into despair. As it is, the visuals are very striking but I am left wanting more information.
The romance seems to not get enough room to be fully fleshed out. It is a very interesting concept to know that somewhere else you are leading your own future life but you will never get to experience it in your own reality. However, I felt the connection between the two main characters was disturbed in an unfulfilling manner because they get shoehorned in a weird love triangle. One that also has a bit too much of an incestual tone for my taste.
We do not see a lot of the side characters except for short bursts that show pivotal moments but because they are not shown in many other situations, it is not as meaningful as it could have been. If we would see more glimpses of these characters’ past, hopes and dreams then it would hit a lot harder to see some of the arbitrary decisions being made or sympathize more with their feelings

All in all, the film did hit quite some spots but it was not as gut-wrenching as I expected it to be. The concepts and perspectives that were shown are still quite powerful, but the execution left a bit to be desired.

Film rewriting: The Boy and the Heron

Ghibli films are among my favorites. I think that tends to be quite the favorable opinion, but I remember when I watched Spirited Away at 16 being utterly amazed at the perfect combination of story, folklore, visuals and atmosphere. And finding out afterwards that this was not just contained in a single film, but ranged further across their productions was marvelous. It was like all of my enthusiasm that I never really had for the Disney classics (I refused watching Lion King more than once since I found it too scarring) suddenly came out at a belated moment for the Ghibli universe.

With animation being less and less put in the children’s corner, it seems that almost everyone was excited for this new Ghibli release by master Hayao Miyazaki. Hardly any news emerged before its actual realization although it seemed to combine many familiar elements often founded in Ghibli and Miyazaki films. A headstrong main character that is slightly egocentric but earnest, peculiar magical creatures that seem to be as helpful as they are antagonistic, competent and capable side characters that teach the main character important lessons. And most importantly, beautiful visuals and fantastical landscapes.

On imdb the synopsis of the film is:

“A young boy named Mahito yearning for his mother ventures into a world shared by the living and the dead. There, death comes to an end, and life finds a new beginning.”

I was quite excited to go into the film since it should be a wonderful time. But I came out of the theater feeling a little bit empty. It was not entirely up to the standards that I felt they set before. Especially for a Miyazaki. And of course all the reviews I scrolled pas were jubilant about the film. I did still really enjoy it, but I also saw some missed opportunities.

I found the family dynamic somewhat lacking. Although I think all characters were well-defined in their own rights, I feel there was not enough attention paid to them through the main arc. The father starts as a very direct personality who is very jovial but also slightly manipulative. I thought there would be a moment where he realized how his behavior influences his son, especially at such a vulnerable moment after losing his mother and moving to a new place, but it seems like he is not going through any kind of realization even when his son and second wife fully disappear.

Mahito’s ‘new’ mother also does not really have any development to her story. Although she is in a way the catalyst for everything that happens, she is oddly passive in the whole process and does not seem to have changed at any moment. When we first see her, she is very actively trying to show Mahito, the main guy, that she will be a good mother to him. Her depression is also not unimaginable since she is pregnant and turns out to not be able to prevent Mahito from getting hurt. But after he finds her in the dream world, there does not seem to be a clear reason for her to suddenly want to return.

Lastly, the main character Mahito’s conflict is also not resolved very satisfyingly. His reasoning is not made very clear, why does he suddenly think of his father’s new wife as his mother? Why does meeting his mother in the dream world not shake him more or implore him to further explore his relationship with her? How does he decide to make connections with his environment and what influence does moving away again at the end have on his mental well-being? There are just a lot of aspects that go a little bit too unexplored for my taste.
Why do the important side characters not get further fleshed out? There are a few important side characters that all suddenly appear and then disappear again. First, there is of course the Heron. The visual is very striking, especially at the beginning where the man in the costume is not fully revealing himself yet. But it remained unclear to me exactly what role he played and what his motivations were. He seems to be in the service of the tower master, but at the same time he makes his own decisions throughout the film. He is a magical creature, but does not lose his magic in the real world. He accompanies Mahito on part of the way, but it seems unclear why he is not there for the full way.

Then there is Etsuko, the old maiden whose younger self Mahito meets in the dream world. She is such an interesting character that seems very underused. At the beginning, the maidens are not very explicitly introduced which is not that problematic, but would have given them some more weight instead of just seeming comic relief. Etsuko does get some extra screentime to showcase her warm grumpiness and bartering personality. In the dream world she is a strong and independent woman, taking care of others, but she does not really seem to teach Mahito any lessons, except for letting him do some harder labor. It would have been nice to also see some more interactions between Etsuko and the other creatures or Himi who she seems to revere. It is fine to not know her full backstory, but her actions do not show us much beyond her capabilities and generally there tends to be more of an emotional aspect to interactions with these characters.

Himi also seems surprisingly twodimensional as Mahito’s younger mother. It is especially a missed opportunity to not have her reminisce about her younger sister, Mahito’s new mother, with her suddenly being in the world and what it means. When she sends Mahito off to actually meet his new mother in the world, her saying she cannot go in seems more than a copout than an actual inability. And even if she seems to know the future and says she does not mind dying because she will be so happy with Mahito, there is not a lot of showing of this love she has for him. Her role as a bargaining chip also feels a bit flat since this conflict is not very well fleshed out.

The tower master is a confusing figure since he seems to be a typical antagonistic character, but then remains invisible for most of the film. Judging by the fact that he is in a sense at the core of everything, I would have expected to see more of his behavior, musing about the tower and power, plotting more to get Mahito to certain places or do specific things. His quest for a heir seems to come out of nowhere, as does his fight with another group of creatures. His whole purpose and background is just very vague, which makes it difficult to feel anything but confusion when he is on the screen.
Although it is beautifully rendered, the dream world made me very confused. I get the idea that it is supposed to be an in-between realm merging the living and the dead, but there are basically no rules set at all which makes it difficult to get a grasp on things. New creatures with their own motivations and settings appear all the time, but they seem to be separate vignettes instead of forming a coherent backdrop for the story. Since the storyline is also not very linear, this makes it seem gamelike in a certain way where you are just shown a different world and discussing it, all the while wondering how you will accomplish your quest.

Although there are a lot of points mentioned above that I found unsatisfying, that is not to say I did not like it. Ghibli is still one of the best if it is about immersion. The characters, even if they may fall flat sometimes, still captivate your attention and I did not feel a second of boredom. However, I came out feeling more confused than expected and surprised that my expectations were not fully met. And that is just a shame, but I will still be looking forward to the next Ghibli film, and otherwise there is enough in their backcatalog to not make me complain.

It is the second new year of the year!

Living in China has its advantages. You can eat 24 hours a day, you can cycle pretty much wherever you want, you can spit on the streets or pretty much everywhere (not that I do so of course, I am a proper educated lady) and you get to celebrate new year twice!

Granted, the first new year celebrations are quite anticlimactic. People do wish each other happy new year, there are parties, drinks and get-togethers but it is not the same. There are no fireworks, many people simply go to bed before 12 and the atmosphere is not there. No holidays, tomorrow is just another day, except with a few number changes.

For the real festivities, you need to look at the Lunar New Year (based on the Lunar calendar, of which I do not understand anything either). It generally takes place somewhere end of January-end of February-ish (wish it was one month!) and lasts about 7-10 days officially.

So what happens? The usual, millions of people are on the move, villages are (or should be) flooded with people, an amount of food and alcohol is consumed that reaches to the heaven, praying to the heavens by going to the temple, general happiness, joy and good quality family time (possibly with the added bonus of being pressured by family members to settle and get married).

You probably get the general idea, but how does it actually feel? I have no clue. I have no Chinese family I know and the previous times with Chinese New Year I was on an airport in Shenzhen (watching the KFC employees having hotpot at around 3AM and contemplating who had the saddest New Year) and afterwards in Taiwan (where there were temple festivities, but also mainly very quiet); and last year I was in Japan where I did go to Yokohama (the Chinatown of Tokyo so to say) but it is of course not the same. Oh yeah, and Chinese New Year celebrations in the Netherlands, which enlightened me that this existed at all.

But this year is different! I will be in Beijing! what to expect? Well, eating and making dumplings, most things in general to be closed, very empty streets, hopefully some fresh air, half the days off that the usual Chinese get (although we do not have to compensate) and a lot of noise (so perhaps a stressed kitten will get added to the mix). I actually thought of making new year’s resolutions again this morning. But then I did not really make any for the Western new year either. Except subconsciously to really stop with biting my nails (improving!), to write more (improving!) and to stay positive (improving!).

So I guess the only thing left to write is ‘Happy New Year!’ and keep on going in the year of the rooster!

Guidelines for working in a Chinese Japanese restaurant

Welcome, glad to have you with us!

Please view below steps for proper conduct at our Chinese Japanese restaurant.

Terms: Chinese Japanese restaurant, a.k.a. a Japanese restaurant in China, not a Chinese-Japanese restaurant. You know right?

Positions these guidelines apply to: Waiter/waitress

Please follow the rules mentioned below. It is of utmost importance to follow these guidelines exactly as they are written!

When a customer (but honestly anyone) enters, be sure to say ‘WELCOME’ in Japanese (Irasshaimase (いらっしゃいませ) ). However, to not let customers be confused that they are in Japan, two important rules must be followed.
a. Be sure to pronounce Welcome unclearly and incorrect. ‘WECO’, ‘WLCM’, ‘WLECMOE’ are all acceptable. In (Chinese) Japanese it should sound something like ‘Ilashaima’, ‘Irashamse’, ‘Irashase’.
b. Volume is more important than looks. So be sure to say it in a loud voice (scream if necessary), then you can have any expression on your face that you would like.
Once a customer has entered, be sure that at least two of you talk to her/him.
Guide the customer to a seat first. If the customer is hesitant to sit down on the spot, mention that any of the available seats can actually be taken. If necessary, walk around for a few minutes.
When the customer is seated, be sure to look at her/him for a period of time until it gets awkward. Wait with going away anyway until the customer says you can do so.
If the customer wants to order, be sure to avoid her/his gaze for a while. You might want to chat with your colleagues (of whom at least two should be free at the same time), look at your phone, clean a specific spot with a dirty cloth etc. to make sure you are not looking at her/him immediately. When you are ready, go to the customer for her/his order.
While food is being prepared for the customer, feel free to loiter around, chat with colleagues, look at your phone or pick your nose. For the last activity, try to make sure as much as possible that nobody sees you. If they do, wipe it on your clothes.
Once food is there, be sure to help the customer eat it (mix food, turn food, cut food, put on a stove etc.) so that you do not have nothing to do all the time.
When the customer wants to pay, make sure there is another colleague at the cash desk, so she/he has something to do as well.
As the customer is leaving, scream/shout something like ‘TNAK YO’ or ‘ALIAGTO GOSAIMA’.

If you follow all of these rules, you should be able to deliver service perfectly compliant with our standards. And remember the most important rule of all:

We are a Japanese restaurant in China. We do not solely copy, but add our own Chinese flavor to the service. That is what makes us special.