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branchandroot: oak against sky (Default)
Okay, so… I’m not promising anything, here, but the bunnies for today, my day off, have been tugging me back to my Tenipuri Nationals re-write. And I think I know why I stalled so hard on this one. It was trying too hard to keep the relatively decent parts of Nationals canon. Which, to be honest, /don’t fit/ after you’ve fixed all the howling moments of WTF.  So, now I’m doing another editing sweep to refamiliarize myself which what I actually did, and contemplating the possibility of, um, Seigaku losing. I mean, everything else I could fit in reasonably well! But let’s face it, Konomi did not make a good narrative case for Seigaku being able to actually win against Rikkai, not with Yukimura at even half-strength. *frowns at the story* If they do win, the momentum to that point nearly demands that it be, essentially, by luck. Which is fine, but /that/ demands a follow-up, and oh god I don’t know if I’m up to re-writing the Invitational arc. 

Eh, for now, let’s just look at the next bit. Which is Atobe’s arc! And Atobe is /always/ fun to write, especially when he gets into it with Sanada. 

from Tumblr http://ift.tt/2yFtWuQ
branchandroot: blowing dandelion (dandelion blowing)
This is half writing notes for the PoT Nationals rewrite that I am totally not doing. The other half is plain exasperation.

Prospective captains.

Seigaku (this is one I really disagree with) )

Hyoutei )

Rikkai )

Shitenhouji )

Fudoumine )

Rokkaku )

Yamabuki )

St. Rudolph )

One of the (very very) few things that gratifies me to see in Shin is a few of the teams actually giving some thought and preparation to handing the clubs off to the second years, because goodness knows there was no sign of it during PoT proper. It's one of the things I think made a lot of the later games so bloody boring--no sense of development or passage of time or change on the horizon, except very briefly for Hyoutei before it was rolled back.
branchandroot: Hiruma saying ... (Hiruma ...)
Okay, I've finally overcome my aversion and skimmed the new PoT issues. Conclusion: we are heading rapidly into Dragonball land, wherein reality takes a distinct and lasting second place to increasing power-ups and disbelief is not just suspended but hung by the neck until dead. Not really surprising.

spoilers, of course )

Of course, this means we'll probably be rehashing advances that Kirihara has already made in the Regionals arc goddamn it, and I still haven't forgiven Konomi for rolling back that advancement. But as long as we get there, okay, fine, whatever.
branchandroot: blowing dandelion (dandelion blowing)
I have a new favorite Tenipuri song: "Baby Knows" off Yukimura's album.

*dances between the office and kitchen*


Nov. 3rd, 2008 01:45 pm
branchandroot: oak against sky (Default)

The problem with writing Leorio and Kurapika h/c is that Kurapika is consistently shown to be brisk and capable in an emergency and that doesn’t lend itself  to fluff; and given Leorio’s dedication to the medical profession I can’t believe his professionalism wouldn’t completely take over if it was the other way around.

*sighs*  One more bunny that’s not going anywhere.

On the topic of problematic things, though, the whole notion of tenipuri continuing is making me cringe in anticipation.  Because I remember the bit of gossip, way back, about how Konomi wanted to write them on in high school, and I’m dreadfully afraid that’s what he’s going to do.

And it won’t work.

The thing about shounen sports is that it is, by dramatic necessity, limited to one season unless downright heroic measures are taken to alter the venue and cast.  One season tends to exhaust the dramatic tension.  The progress has been made, the goal has been met, the crown has been won; going another round to do it over just doesn’t work.

Not that Konomi has ever really known how to do dramatic tension, witness the fact that the hero team failed to lose the penultimate climax (aka Regionals).  Losing an important one like that isn’t a genre convention just for the sake of convention; it’s a tried and true way to provide motivation, pathos that helps the readers identify with the heros, and (all together now) dramatic tension to keep the readers engaged.

For an example of how this can be done superbly, over and over, without becoming stale, read Eyeshield 21.

Back to the continuation, though.  What can possibly be left to accomplish? Fuji has started playing for real, Tezuka has taken his team to a Nationals win, Takashi has completed his third year with his friends and has an honorable win as proof of his strength, Echizen has found True Tennis… so what are they supposed to do to keep our interest now?  What goals can they strive toward in high school?

And even if Konomi does the sensible thing and shifts the venue to professional tennis, how can the characters possibly get any stronger?  After the disco ball lights and the two-places-at-once and the floating crack fairies, I’m really a little afraid to ask.

branchandroot: oak against sky (Default)

*has just watched the anime match between Sanada and Tezuka*

*is outraged beyond the capacity of words to fully express*

They gutted it! One of the only really good matches of the whole Nationals arc and they gutted it! There’s no byplay, there’s almost no flashback, there’s no mental game between them, there’s no wonderfully dramatic conclusion with post-coital expressions, it was all squashed down small and it doesn’t mean anything anymore!

*sputtering with fury*

Fuck all this! The later anime is as dead to me! Nothing exists past the midpoint of Regionals!

I had to go re-read the manga version of this match to take the nasty taste out of my mouth. Of course, this means that now my Yukimura muse is rubbing his forehead and muttering things like “Strategy, Sanada! Honestly, sometimes I just despair.” This soothes me slightly.

Not a lot, but slightly.

branchandroot: oak against sky (Default)

I was probably asking for trouble, when I started considering all the ways in which Echizen does not, as initially indicated by the early story, seem to find a tennis that is not a copy of Nanjirou’s. Now my Echizen-muse is insisting that I figure out what his own tennis would look like and write it.

Incidentally, spoilers ahead.

So let us meditate on this. The last reference point we have in the original “become not-Nanjirou” trajectory is the Regional finals. There we see a move of Echizen’s own invention, Cool Drive. It’s a move born of necessity, of needing to get up high enough to smash back a ball with the right spin and of figuring out exactly how to do that, however it takes–by climbing the referee, in the event. This move comes after Echizen has already pretty much burned himself out of muga no kyouchi, and it is, as Sanada notes after, a gamble. Using it gives Echizen an even chance of returning a shot he has no other way of getting, and he takes it without hesitation.

And then, of course, the story shears off into Nationals and the internal AU and focuses on muga’s “three doors”. And Echizen achieves the third, which no one but Nanjirou previously had, and thereby alters the progression of his skill from “finding himself” to “finding True Tennis is his father’s footsteps”.

Bah, I say; that isn’t nearly as interesting. Let us, therefore, take muga in its initial, less fantasy-esque, application, as a state of heightened awareness or response and leave it at that. What interests me more are the implications of Cool Drive.

For one, developing it shows that Echizen has started thinking in terms of evolving his own game. That’s a major hurdle right there, and indicates to me that he’s already reached beyond simply perfecting and reflecting back everything Nanjirou does to actively striving to find new ways to do things for himself. The alphabet drives in general show that, and the way we see him working on Cool Drive shows the importance he’s started to give the project (before Konomi lost his mind, anyway).

For another, the shape of the move shows something about Echizen’s approach. He doesn’t bother with conventional wisdom, which might be to work on strengthening his legs enough to jump for the height required. He also doesn’t choose to cultivate the strengths of his own body type, which might result in working on his ground speed to catch high shots when they come down and apply a different spin on return. Instead he takes all shots head on, and finds a way to meet and return them directly. And then he takes that way despite it being a risk and a gamble.

From this I take the conclusion that Echizen’s tennis doesn’t have a reverse gear. It doesn’t even really have brakes. He will just keep moving forward, believing that the skill and strength he has will find a way, and taking whatever way presents itself.

Really, it’s no wonder he does so well at Seigaku.

Echizen throws himself into the breach. Translated into actual martial arts, I might say that his style is purely aggressive, moving straight in and directly blocking rather than diverting or avoiding counterstrikes. He’s a stubborn little cuss.

So, for all his penchant for adopting everyone else’s moves, I don’t think he will ever use things like the Tezuka Zone or Fuji’s Triple (and counting) Counters very much. They’re not his own style. And, as he moves away from copying his father, I think the modality of copying in general may become a secondary rather than a primary tool for him. I don’t doubt he’ll use whatever move he knows that will do the job to win whatever game he’s in. But his own game, the moves he develops on his own, those I think will mostly be drives.

So I think what I would expect to see, in the future that is not a cracked canon-AU, is Echizen working to develop more such moves and using them with determination and forward momentum. Damn the torpedos and full steam ahead.

branchandroot: oak against sky (Default)

Not the musicals, but the music–the characters songs.  It’s a totally separate continuity, in tenipuri, it really is. Characters who are presented as (mostly, allegedly) straight sing love duets with each other. Characters known for their reserve and stoicism sing really silly songs. Some of the character songs fit in with either the anime or the manga continuity, especially the Best Riva/Best Player songs, but a lot of them, especially the ones produced for the more popular characters, form a continuity of their own with a whole different set of characterizations that are, by and large, pure fanservice.

This is, to be sure, complicated by the occasional descent of both anime and manga canon into similar fanservice, anime moreso than manga. The continuities have even crossed, as for example the ‘talent night’ thing in the Senbatsu arc. And then there are the music video things, which appear to have some crossover with other parts of the music continuity, especially in the formation and naming of discrete groups.

In short, the whole notion of “continuity” in tenipuri is vastly complicated and a huge mishmash, but I’d still say it’s possible to count the music itself as at least one and quite possibly two or three totally separate continuities.

In case anyone wondered, these reflections are the direct result of Kirihara’s latest single.  That seems more a seiyuu character song than a character character song, really.

branchandroot: oak against sky (Default)

So I’m rewatching the Fudoumine matches again, and listening, as opposed to reading the initial translations, a few things catch my attention.

One is that Nanjirou is referred to as “flawless” or “perfect”, that is ten’i muhou, repeatedly.

The other is that, at this point, both Nanjirou and Tezuka state that Ryouma will have to move beyond merely copying his father if he wants to progress in his spiritual journey tennis.

So… how, again, is it moving beyond merely copying his father if Ryouma’s Final Ultimate Supercalafragalistic move is Ten’i Muhou no Kiwami?

I do not expect this to be answered, having long since concluded that if Konomi ever had a clear idea of how he wanted to conclude this story he lost it round about the time he started the National arc.  But, as a fic writer who wishes to make some little sense out of canon for my own nefarious purposes, I fret.

I also note that, right from the first, there’s this pattern of players being willing to injure themselves to secure a team win.  Kawamura doesn’t notice what he did to himself immediately, but Ishida is knowingly courting injury after being told it could permanently impair him to use Hadoukyuu too often. I could see this being a commentary on the way it twists the game to play it for nothing but victory, if I believed that was Konomi’s moral from the start, except… Ryouma does it too, when his eyelid is cut.  And we’ve just been told, repeatedly, that he’s exactly like Nanjirou, our exemplar of Pure and Innocent Tennis, so that determination being negative doesn’t fit in nicely.  This is especially so seeing as Ryouma’s stubbornness is the occasion for a heart warming round of team bonding and mutual support, as per standard shounen sports practice.

So I suppose I will just continue to consider canon Nationals some kind of strange AU and accept the pre-Nationals story trends.  There’s more of them anyway.

branchandroot: oak against sky (Default)

So I finally got around to watching the last few eps of the Prince of Tennis semifinals OVA, and, seeing it all in one shot, suddenly something makes more sense.

(Not about Akaya, because nothing could make that make sense, Konomi, you bum.)

I’ve felt from the first reading of the last issue that the series’ “moral” was bizarrely out of place.  The whole notion that Fun Tennis Rules Them All seemed utterly unsupported in any part of the foregoing series.

And it is utterly unsupported… except for Kintarou.  Kintarou is the epitome of playing tennis for the sheer, crazy fun of it and, because of that innocence and purity, being the strongest thing on earth.

If we recall that Kin-chan was originally supposed to be the hero, all this starts to make a bit more sense.

Konomi let Ryouma have a draw because, well, Ryouma is the hero.  And then Kin-chan gets trounced by Yukimura, which completely undercuts the notion that Fun Tennis is the strongest. But Kintarou’s moral is still the one that wins, having been transplanted to Ryouma.  Ryouma even gets a dose of Kintarou’s innocence, via the go-round with amnesia.

This does not make the ending actually make sense inside the story-world.  This is an explanation we can only reach from outside.  But it does give me slightly more hope that Konomi was not actually hallucinating while he drew the whole Nationals arc.

Memory loss or sheer, howling, culpable carelessness in ignoring his own story to date, that he’s still tarred with.  But I no longer feel the serious urge to inquire about the contents of his medicine cabinet.

branchandroot: oak against sky (Default)

So, I finally got around to reading the full translation of Yukimura’s 40.5 profile (*tips hat to Ai*), and the tarot reading at the end caught my attention.

For one thing, as divinations go, it was considerably less corny than most of what shows up in these profiles.

Over and above that, though, I found this bit absolutely fascinating. It really looks like either Konomi is a tarot geek with a complex conception of Yukimura’s character (and just can’t translate that into narrative to save his soul), or else got really lucky.

Disclaimer: I had to make some assumptions about which spread Konomi was basing this on; there are dozens of different ways to interpret which card falls where and how they relate. Since this was divination for Yukimura’s profile, though, and since there are only the five cards, I assumed it was a fairly standard “who is this person and what are their circumstances” reading.

So let's take a look at this )

It's a complex reading. Me, I just wish Konomi had put all this into the story instead of stuffing it into a profile offstage.
branchandroot: oak against sky (Default)

Hang on. Wait just one minute.

So, the bit about Sanada telling Yukimura about the Kantou results.

One, hasn’t Yukimura just finished having surgery? Where is he getting all that liveliness from?

And two... )

Konomi, can't you write a consistent storyline to save your soul? *disgusted* It's true, you know. The whole Nationals arc is a freaking AU.
branchandroot: oak against sky (Default)

Well, the break seems to have made for some nice turning points.

Bleach 206 and 7 )

Eyeshield 21 265 and 6 )

Prince of Tennis 373 and 4 )

And as for Tsubasa... *makes disgusted hand-waving gestures* Yeah, whatever.
branchandroot: oak against sky (Default)

I’m really starting to think that Echizen’s catch phrase, mada mada da ne, is being done a disservice by always being translated “You’ve still got a lot more to work on”. To be sure, that’s the English translation Konomi used on the one occasion it was translated to English in the text. But Japanese, being the highly context-dependent language it is, that’s no guarantee that the same translation will be appropriate to the next use.

Consider, for example, the word amai. The concept behind the word is more or less “interdependence”, but it takes on very different senses depending on how and where it’s used. When used in a discussion of what makes a good doubles pair, it means teamwork, trust, relying on your partner. When yelled at the opponent across the net, it means something approximating “too naive” or “too easy”. In the second context, it becomes a sort of chastisement for ‘depending’ on the enemy.

Similarly, mada mada means, more or less, “mediocre” or “not sufficient/complete”. When used to an opponent you have just put something by, it would indeed mean something like “you are mediocre/not there yet”. When used to an opponent who has just kicked your ass all over the court, on the other hand…

Spoilerific example from recent issues )

branchandroot: oak against sky (Default)

Once more, because it seems to bear repeating, we cannot gauge the strength of shounen sports characters by comparing their performance in matches if there has been any time at all between the matches in question. The name of the game, whatever game it may be, is “evolution”.

ES21 and PoT manga spoilers ensue )

A big part of keeping shounen from being deathly boring depends on that passionate motivation of the characters to advance over the course of the story (and, in extreme cases, over the course of days or hours) and keep the balance of power uncertain.
branchandroot: oak against sky (Default)
*rubbing forehead* Konomi, you worthless hack, how am I supposed to make a coherent character for Kirihara out of this? This isn't a plot twist, it's a freaking mobius strip. I mean, the GB fixed by surgery was bad enough.

But this is just pitiful. )

Or maybe he's just decided to finish the manga by destroying /all/ of the teams, one way or another. He's certainly well on his way to destroying Echizen with sheer ridiculousness. At this rate, I'm kind of hoping he never /does/ get around to Yukimura's match, because god only knows what he'll do to that.

So when I get this far in the Translated arc, I'm rewriting the matches. In some way that does not pretend all the development of Regionals has somehow vanished into the ether.
branchandroot: oak against sky (Default)
We already know my opinion on TRC is "will you get /on/ with it already!". Moving on.

ES21 242 )

PoT 351 )

Naruto 263 )
branchandroot: oak against sky (Default)
Note to self, re last mangapuri issue: The audience is calling Akaya "demon", which, to those of us not hopelessly contaminated by the anime crack and fanon!Akaya, should instantly call to mind the cognomen of Yukimura, Sanada and Yanagi, especially as first introduced to Akaya and as Akaya refers to them, the Three Demons.

It took me almost a week; I think that counts as moderately contaminated. *sighs*
branchandroot: oak against sky (Default)
Sakuno is much more of a normal girl and much less of a ditzy jellyfish, in the manga. She takes Echizen's advice and immediately starts applying what she can. She does /not/ run out onto the court and interfere when he's injured. She bounces and smiles on the sidelines and isn't nearly as self-effacing.

What the hell did the ani-writers think they were doing?

Aside from stuffing her into the girl-who-doesn't-understand-sports role, of course, that being the opposite of the girl-who-does-understand-sports, in a sports series, which, as we have repeatedly observed, tenipuri is really not. *sighs*
branchandroot: oak against sky (Default)
You know, I have to wonder whether there's been a serious disjuncture all along, between Konomi's attitudes toward violence/injury and the attitudes of a) the ani-writers and b) the US fans.

Right from the get-go, there are players losing their tempers and taking swings at each other right and left. With racquets. Serious attacks that, if they connected, would cause serious injury. Shinji, when Kuki insults Fudoumine. Kaidou, when Kamio rags on him about his nickname. Hell, even Echizen drives Sasabe-tou, knowing he hasn't warmed up, and when the idiot pulls a muscle merely points out it's his own fault for not warming up. When Akutsu and Echizen are actively and avowedly trying to hit each other with the ball, the ref doesn't stop them. Neither do their teams.

ETA: Echizen also nails Sengoku with that ball-onna-string and leaves him out cold in the dust.

Now, clearly, it isn't really acceptable to do things like that. Tachibana stops Shinji and Tezuka stops Kaidou. Everyone yells about how it's playing dirty for Atobe and Kirihara to deliberately play so as to injure the opponent... or, more precisely, the non-Regulars yell. The Regulars don't.

The thing is, it's never grounds for disqualification or even punishment within the team. Including within Seigaku. It seems, more or less, to be the price of doing business. Expected. More acceptable, in fact, to do within the context of an actual game than outside of it--it's people trying to concuss each other with racquets that get yelled at. Atobe's and Kirihara's playing styles are dangerous, perhaps shady--but just another playing style. Not cheating. Even Akutsu doesn't cross anyone's line until he does it off the court.

Yet this is not how the fans generally read it. Nor, I would say, is it really how the anime writers rendered it. And I have to wonder whether, myriad lovingly detailed panels of tennis-boy-ass aside, that's what keeps the manga in a shounen weekly.

February 2019

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