#and nagisa has like no shame at least in this regard. i should read some more eden stories from ! era especially

[mirrortouchedsea]

20 ibayuzu or 8 ibanagi please!

oh these are both so good. I'm gonna do the ibanagi right now but feel free to resend the ibayuzu and I'll come back to it when I have better ideas 👀👀

ask game

…in secrecy.

---

Ah, it's late again. He really needs to get better about his time management but he's salaried, so it's not like it matters how many hours he's clocked in for. Ibara shifts in his seat and rubs his eyes under his glasses. For a moment he thinks it would be nice to have an assistant that could help him out but that would never work with the amount of information he has to keep under wraps.

Or maybe having a second person to help would make him less likely to give up that information out of sheer exhaustion. He'll talk to the president about it tomorrow. He should make a note of that before he forgets. He should pack up and go back to his dorm for the day. Ibara lays his head on his desk and closes his eyes, just for a few minutes he tells himself. Just a few minutes of rest and he'll be up and back on his way to the dorm and actually sleep in his own bed.

Someone shakes him awake. It's gentle and Ibara thinks of the kids in those movies Hiyori makes them watch that ask for five more minutes from their parents. He's too dignified to do something like that though.

Someone chuckles and shakes him again and Ibara finally opens his eyes. It's lighter than he remembered it being when he went to...oh. He fell asleep at the office again. He buries his head in his arms, grumbling.

"Ibara." He bolts upright.

"Your Excellency! Why are you here so early in the morning?"

Nagisa laughs. "Someone told me they never saw you leave last night. Is everything okay, Ibara?"

He relaxes and leans back in his chair. God his back hurts but he has another long day at work. He'll make a note of that later.

There's something soft against his cheek. It's a little scratchy but--

"Your Excellency that is entirely--!"

"We're alone in your office Ibara."

He just knows his face is going to be as dark as his hair with how it heats up from the gesture. A kiss, even just on the cheek... He'll deal. He'll deal with it. It's not like it's something he wishes he got more often or anything.

"T-that's besides the point. Don't do it again."

Nagisa chuckles and Ibara resigns himself to spending his day with Eden's leader.

[canmom]

fwiw, i thoroughly enjoyed everything everywhere all at once and would probably consider it one of the best live action films i've seen in recent years (no comment on swiss army man as i haven't seen it); it should be out for streaming in mid-june i think, so i hope you check it out and enjoy it then! it really feels like something genuinely new and monumental (+ emotional wallop!), in spite of its referential nature. not to be THAT person, but smth smth explosive new possibilities for AsAm film

glad to hear! yeah honestly i'm probably gonna go see it in the theatre. i'm glad to have a bit more context on who the Daniels are, and hopefully I can stream it for friends sometime when the time comes!

speaking of which, I really neglected to talk about their short films, but seeing their earlier work, which can all be viewed on their Vimeo page (though you may need an account to see some of it). you see a lot of the same themes of weird body stuff achieved with practical effects, not to mention kind of mopey ostensibly hetero guys getting intimate in various ways that came together in Swiss Army Man. of course, the major one - thanks so much @extractivism-chan for pointing out that I neglected this!! - is the video for Turn Down For What:

...which features Kwan himself in one of the major roles (indeed, they often act in their short films). the floppy penis rig being one of the things they evidently reused in Swiss Army Man.

their early films, such as Pockets, are mostly explorations of a high concept visual gag, but the frenetic pace and tight editing means it packs a huge amount of twists on the premise into its short runtime:

by 2016, when Swiss Army Man comes out, you get longer films like Interesting Ball that go for a broader tone of existentialist absurdity, with a variety of skits all coming together around this theme of infinite absurd possibilities. the skits themselves mostly involve homoeroticism and a certain amount of toilet humour: a roommate disappears up another's butt, a fraternity turn into an elaborate human mecha around one of their own going through a breakup only to end up fucking on the beach, a woman is pursued by her fridge which is speaking in a child's voice, a man violently guns down the rubber ball which had sex with his wife.

and speaking of Swiss Army Man, that was... quite an experience. the trailer really only covers the first third or so of the film - it barely touches on the elaborate crossdressing roleplay that the main guy Hank (Paul Dano) performs with his new best friend Manny's reanimated corpse, still mostly paralysed (Radcliffe), ostensibly to reawaken memories in Manny but really to work through his own social isolation. the tone of the skits really ends up feeling a lot like Nagisa's Death By Hanging, although with a totally different thematic payload lmao.

a lot of it functions as defamiliarising - Hank attempting to explain social mores to Manny, while trying to process his own shames, and Manny responding with a naive hedonist worldview - and there's a huge emphasis on physical intimacy; it comes across as less grossout humour and much more a genuine fascination with all the functions of the body, including the stigmatised ones. which is to say it's a lot of two guys going around, one carrying the other, talking about farting and masturbation, while Radcliffe does an incredible dead-eyed stare into the camera.

so, of course, with so much Gender shit going on, what's the read? it reminds me of something @baeddel was talking about with regard to the construction of sexuality on 4chan: the fact that you go on there to engage in erotic behaviour like sharing porn, playing games like 'you fap you lose', and generally talking constantly about masturbation with posters who are (at least ostensibly) other guys, but everyone has to work very hard to maintain the story that this is all heterosexual.

i think the coolest part of the film is how eagerly it pokes at that tension. Hank and Manny almost kiss during their elaborate larp (complete with facsimiles of a bus, a bar and a movie theatre constructed out of various bits of litter), and later Hank gives Manny a rescue breath underwater that's shot like a kiss. and of course the ending is that Hank comes to accept the aspects of life he finds shameful, like farting, after running away from the normie girl he fantasised about to attempt to escape once again with Manny. it's... interesting all right.

the soundtrack of the film is all clapping and singing, mostly a capella notes. i can see the logic here: all the sounds are produced by the human body, it's all about bodies and physicality. but it also makes it sound like a really annoying twee pop song lmao. i'd be fascinated by an edit of the film without any non-diegetic music. in the end, the film elects to keep the gay as barely-under-the-surface subtext, and Manny sails away on his farts in front of a small crowd, establishing that the events of the film were not figments of Hank's imagination - as much as Manny's feelings are very much projections of what he cannot say.

anyway, when i spoke of the appearance of Youtube martial artists on Everything, Everywhere as part of a general trend of 'mainstream' media turning to lean on the fame of the most successful independent web creators, I didn't realise that the Daniels themselves are an example, since their short films were apparently very popular on Vimeo (for obvious reasons - they're pithy and funny and creative with effects). oddly enough, another such figure shows up credited in visual effects, stop motion animator Kirsten Lepore, whose Hi, Stranger definitely feels like it shares something of an ethos with the Daniels. I'm not exactly sure what Lepore did on this film, but it was interesting to note!

it definitely seems that a lot of industries are starting to reconfigure in this way. the 'positive' spin is that thanks to the abundance of tutorials and free or pirate-able software, it is now possible to make a name for yourself making really sophisticated films, artworks music etc. for free on the internet, and, if you so desire, you can find your way into ~The Industry~ that way. the more realistic spin is that to make it as an independent artist in this way requires you to essentially perform a full-time job on a spec work basis, with very little direct support or guidance, and if you're very lucky and good at playing a readily parsable persona, whatever you're doing will align enough with the tastes of the crowd to let you 'make it'.

which is interesting in a way: because of this filter, the kinds of expression that boil out of the internet may indeed be the vision of a particular artist, but they're as much an expression of the milieu and its tastes. it's all a lot of complicated feedback loops and such. but i should elaborate on that somewhere else.

anyway, this is all mostly unrelated to Everything, Everywhere, but I'm definitely looking forward to seeing how the Daniels' style evolves in this new context, not to mention how Michelle Yeoh handles what sounds like a really cool role. they definitely do have some sort of spark, these guys, even though I think I'd perhaps 'get it' more if I like, was an upper-middle class person in New York lol.

[recentanimenews]

Bookshelf Briefs 7/3/18

Ace of the Diamond, Vol. 12 | By Yuji Terajima | Kodansha Comics (digital only) –Seido had been sure their opponent for the quarter-finals of the East Tokyo qualifying tournament would be Ichidai, but when that team is taken out by Yakushi in a surprise upset, Seido is suddenly facing a team full of fearless batters. In this tense volume, Yakushi fields their fiercest batter first, and I was bracing for Furuya to crumble under the pressure, but instead he has a lot of fun, having faith in his reliable upperclassmen and demonstrating some growth in his fielding capabilities. In an effort to keep Yakushi from becoming accustomed to one pitcher’s style, Sawamura is switched in but before he can do too much, the volume’s over. This is really a series that benefits from being marathoned, for though it’s great fun the way that it is, it’s probably going to be immensely satisfying to binge 40+ volumes back-to-back. – Michelle Smith

After Hours, Vol. 2 | By Yuhta Nishio | Viz Media – This second volume does a nice job alternating between Emi and Kei trying to put on a live event and Emi trying to decide what to do about her relationship, if that’s what it is, with Kei. I was pleased that the manga chose to negotiate a fairly melodramatic path without going overboard—the emotions feel fairly realistic given what Emi is going through, and Kei is not ignored either. There’s also some great scenes of Emi meeting more members of the dance club crew, and making friends and bonding with them. Usually with yuri manga you’re following it for the romance and that’s about it. But this is a more mature yuri title, and that doesn’t just mean sex, it means career motivations and such. A keeper. – Sean Gaffney

Anonymous Noise, Vol. 9 | By Ryoko Fukuyama | VIZ Media –Anonymous Noise, Vol. 9 | By Ryoko Fukuyama | VIZ Media – It took me a long time to get to this point, but I think I’m finally ready to declare Anonymous Noise a keeper. In No Hurry has embarked on their first national tour, which is interesting in and of itself, but it also feels like Fukuyama has achieved a good balance between her characters’ professional growth—Nino’s gotten more experience, Momo has decided that he wants to release music that’s true to who he is—and their personal angst. Yes, the main love triangle is still going, and though Yuzu attempts a few times and Momo declares his intentions, neither boy has made clear their feelings to Nino. But now I at least care a little more about that, while predominantly being excited for what might happen for them career-wise. I’m glad I grew to truly enjoy this series. – Michelle Smith

As Miss Beelzebub Likes, Vol. 2 | By Matoba | Yen Press – It can be difficult when you’re rooting for a cute couple to get together in a series and that series is, at heart, a goofy comedy. It’s a shame, because when the series is focusing on the cute Beelzebub and her secretary Mullin, it’s pretty adorable. But that’s not what the author is here for, really. As such, we get some new characters in this volume, including a shotacon (bleah) and a shota for the shotacon to obsess over (meh). Belphegor’s crush on Azazel is more promising, mostly as there’s a bit less about how nervousness makes her want to pee and more actual affection. This is a cute series, but at heart it’s a comedy, and the comedy is hit-or-miss. It should try to be more of a romance. – Sean Gaffney

Claudine | By Riyoko Ikeda | Seven Seas – For a variety of reasons, one of my most anticipated manga releases of 2018 was Claudine. First of all, it’s by Riyoko Ikeda, one of the Magnificent Forty-Niners, a group of women who were extraordinarily influential to the development of shoujo manga in the 1970s and many of whom continue to create exceptional work. I was also particularly interested in Claudine due to its sympathetic, albeit tragic, portrayal of a transgender man, a rarity in comics of any country or era. First published in 1978, the manga follows the titular Claudine, a young man growing up in France who struggles with the perceptions others hold of him in regards to his gender and sexuality. Claudine repeatedly finds and loses love over the course of the short manga, acceptance and betrayal often following one after the other. Claudine is gorgeously illustrated and heartwrenchingly melodramatic, a beautiful and at times troubling work. – Ash Brown

The Elder Sister-Like One, Vol. 2 | By Iida Pochi | Yen Press – Strangely, given this is still based on a porn doujinshi, the author and editors have done a very good job at making it mainstream while keeping a goodly amount of fanservice. The core relationship between Yuu and his demon sister is familial here, despite the occasional suggestiveness, and the best scenes in the book show off the family connection that he desperately needs. There’s also hints of something darker, and the clever reader will realize this is not a lifestyle that is going to be sustainable for much longer. Something is bound to go wrong. Till then, I’m happy with Yuu’s heart slowly being healed, as long as the creators remember to avoid getting too salacious. – Sean Gaffney

Giant Spider & Me: A Post-Apocalyptic Tale, Vol. 2 | By Kikori Morino | Seven Seas – Despite the attempt of various dramatic events to make us think otherwise, at heart this is a cooking manga, and the core of each chapter shows off the various recipes. We get an addition to the cast of Belle, who is the grumpy snarker that sets off Nagi’s perky optimist nicely, and the two become fast friends. There’s also a stroll into town, which surprised me, and the town reacts to a giant mutant spider about the way you’d expect it to. Fortunately, the giant spider is a sweetie pie, and indeed might be a baby giant spider, which helps to explain why Nagi’s TLC is helping. Of course, there’s another cliffhanger with Nagi being kidnapped, but given how the last cliffhanger resolved, I’m not TOO worried. – Sean Gaffney

Monster Tamer Girls, Vol. 2 | By Mujirushi Shimazaki | Yen Press – As with a lot of series that end after only two or three volumes, there’s a sense of “please wrap this up as quickly as possible” to the ending of the book, but it’s still rather cute and romantic, with Koto and Tsukiko’s relationship getting as close to canonical as a series like this is going to get. I also liked the backstory for Sora, as we see that she was rescued by a monster as a child, and then we see that same monster needing to be “rescued” in a different sense. At heart a series more about building and continuing relationships than about monsters, two volumes was probably about the right length for it. Still a good read if you like cute girls and monsters. – Sean Gaffney

My Monster Secret, Vol. 11 | By Eiji Masuda | Seven Seas – Yes, Asahi and Youko are together, but this series isn’t even half over yet, so don’t expect a lot of dating and holding hands here. Instead it’s more comedy, which is good as My Monster Secret does comedy very well. Even the melodramatic drama is comedy, as Nagisa’s tearful return to her home planet is undercut by a) a running gag of her worried about public spankings, and b) the punchline. There’s also a return of Youko’s hyperprotective father, which leads to an endless string of amusing gags. About the only time that My Monster Secret misses is when the gags it relies on are too tired, such as Akari’s age. This still has the capacity to make me laugh a good deal. – Sean Gaffney

The Troublemakers | By Baron Yoshimoto | Retrofit Comics – Only a few manga have been released by Retrofit Comics, the most recent of which is The Troublemakers, a collection of Baron Yoshimoto’s short manga curated and translated by comics historian Ryan Holmberg. Along with an accompanying essay by Holmberg placing Yoshimoto and his work into historical context, The Troublemakers collects six stories originally published between 1966 and 1974. The volume isn’t necessarily intended to be a “best of” collection. Instead, the manga included are meant to be a representative sample of not only Yoshimoto’s creative output but also of the types of gekiga and seinen manga being published for men in Japan around the 1970s. The stories are engaging and provocative, sex and violence featuring prominently as part of intense and dramatic narratives with protagonists who are frequently society’s outsiders. Based on the manga collected in The Troublemakers, I’m intrigued and certainly interested in reading more work by Yoshimoto. – Ash Brown

By: Michelle Smith