Book Review: Unnatural Creatures

UNNATURAL CREATURES: For an anthology, this has very consistent quality

Unnatural Creatures is a collection of stories selected by Neil Gaiman. It features fantastical beings that exist only in the imagination, from the familiar werewolves, mermaids, and unicorns, to the unfamiliar and yet-to-be classified plants, birds, and many other beings that could either fascinate or horrify you -- or both.

I’ve mentioned in my other reviews that anthologies have the tendency to be inconsistent; some stories will turn out to be greater than the others, outshining them. But this is not the case for Unnatural Creatures. I don’t mean that the stories have the same quality. I’m just saying that each of them is good enough not to be left out. Each story has something unique to offer. Each story deserves to be highlighted.

This positive trait seems to be inherent. Since each story is featuring its own unnatural creature, each story feels really different from the others. It’s not like horror anthologies whose array of horrific places, creatures, and themes, is very limited, so the stories therein will have the tendency to feel the same.

Another thing that makes the stories different from each other is the ways they have been written. The stories are from different generations of writers. They range from years mid-1800’s to 2000’s, so there is variety in the writing style and voice.

We have the classical styles in Inksplot, The Sage of Theare, The Flight of the Horse, Prismatica, Or All the Seas with Oysters, and Come Lady Death. We have the contemporary styles in The Cartographer Wasps and The Anarchist Bees, Moveable Beast, The Manticore, the Mermaid, and Me, and The Smile on the Face.

We also have the fairy-tale style, direct storytelling, in The Griffin and the Minor Canon, Ozioma the Wicked, Gabriel-Ernest, and The Cockatoucan; and the comedic styles of Sunbird and The Compleat Werewolf. You could just see the variety in the writing styles!

Another thing that gives variety is the orientation of the stories. Some are very plot-oriented, while some are very character-oriented.

The stories, however, also have their similarities with one another. Aside from the fact that all of them feature an unnatural creature, what unites them all is the surreal impression I’m feeling while reading them. All of them seem to interweave the fantastical with the ordinary, in a way that makes the experience both real and dreamlike. Perhaps the only exception to this is Sunbird, because it’s straight out fantastic because of its pure personifications.

So far, this is the anthology I’ve enjoyed the most, primarily because the stories contained in it are so different and so similar at the same time. What make reading them more worth it are the underlying messages contained in them, which are not blatantly presented but are just there to be interpreted freely. I recommend this book to those who are looking for imaginative creatures who are fed up with the usual vampires, fairies, elves, and goblins. For sure, they’ll find the creatures in this anthology to be Unnatural indeed.

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Book Review: The Ocean at the End of the Lane

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Book Review: The Ocean at the End of the Lane

THE OCEAN AT THE END OF THE LANE: It feels more like a long short-story

The Ocean at the End of the Lane is a 2013 novel written by Neil Gaiman. It tells the story of an unnamed man who returns to his hometown for a funeral. Before he knows it, he finds himself in the old lane where he has spent most of his childhood. There, he remembers his adventures and misadventures with Lettie Hempstock, a girl who has claimed that the pond beyond the lane is actually an ocean.

What I really like about this book is that it doesn’t feel like a novel to me. It feels more like a long short-story, if that makes sense. Gauging from the number of pages, this book has about 40,000 words, but the plot has no intricate elements that could overcomplicate things. This is a good thing by the way. It’s a breath of fresh air. The story is very simple, and it drives to a specific direction in a specific pace.

However, this simplicity doesn’t mean that the story has no deeper level. There are underlying messages in the book. It tackles familial issues and philosophical insights on nature, time, and other fancy concepts.

Another thing that I like about the story is that it doesn’t spoil everything to the readers. There are some plot elements that have remained to be mysteries, even by the end of the book. There are instances where this could be problematic, because this trait could give room for plot holes. But this is not the case for The Ocean at the End of the Lane. If anything, the unexplained plot elements have only given room for the readers’ imagination to wander about. The best example of this is either the Ocean itself and its peculiar nature or the real identity of the Hempstocks themselves.

Now that I’ve mentioned the Hempstocks. Let’s talk about the characters of the book. I admit that the book has an interesting pool of characters. The unnamed boy and her sister have contrasting personalities, which is interesting to read. The Hempstocks are also very distinct that even the way they talk is different. Their dialogue adds to their overall characterization. What I really like about the Hempstocks is their mysterious origins, and their domestic backgrounds just match the mystery. Ursula Monkton is also a fun character. She reminds me of the main antagonist of Coraline. Having an antagonist that is closer than you think has created suspense.

This book reminds me of Coraline by the way, even though I haven’t read that book and have only seen the movie. The two have very similar themes and approaches. I don’t know if this is also the case for Coraline, but The Ocean at the End of the Lane has a very simplistic writing style, simple enough to consider the writing as appropriate for all ages. Its underlying messages of childhood and adulthood have amplified that impression.

Overall, The Ocean at the End of the Lane is a fun read. As I said earlier, it feels more like a long short-story, and that is primarily because of the simplistic plot elements and the way they have been executed. The lessons contained in the fun story also add emotional, even cathartic, value -- and they just make the fun more worth it.

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Anime Review: The Cat Returns

THE CAT RETURNS: This is very different compared to other Studio Ghibli films -- for the better

One day, Haru saves a cat from being hit by a truck. It turns out that the cat is the prince of the Cat Kingdom. On hearing the news of Haru’s heroic deed, the king personally expresses his gratitude by giving her gifts and whatnots. Haru thinks that the cats are going a little overboard. But the king is just too persistent, persistent enough to force her to be the princess.

This is a Studio Ghibli film by Hiroyuki Morita. What I really like about Hiroyuki Morita is that he shows the mundane in everyday things, creating a surreal atmosphere. The overall impression is very different compared to Hayao Miyazaki’s works. This difference is a good thing by the way. It gives variety to Studio Ghibli.

The first half of the film is the best example on how Morita incorporates the weird with the ordinary. We get to see talking cats in the streets, and the people don’t even know that they could talk. The fantasy just blends well with the regular life. The style reminds me of the books by Japanese author Haruki Murakami. The second half of the film gives us a full-on fantasy however.

Comparing it to other Studio Ghibli films, the story structure of The Cat Returns also stands out. It is very direct. The girl saves the prince. The king expresses his gratitude and then goes a little overboard. Then the girl tries to escape. That’s it. It doesn’t have subplots that could drive the story to different directions. I’m not saying that having subplots is bad. I’m just saying that the storytelling of The Cat Returns is very straightforward, and it’s a breath of fresh air after watching Hayao Miyazaki films in a row.

There are a couple of mysteries in the story too, and they add some flavour to the direct storytelling. There are also a few minor conflicts here and there, and they are often associated with comedy; this makes the film a light-hearted one overall.

Another thing I like is the characterization. Each prominent character leaves an impression. Each is very distinct. Haru is your typical, laid-back high school girl. Baron is probably the coolest cat in fiction next to the Cheshire cat. Muta and his grumpiness is also fun to watch.

The art is also admirable. It is not very detailed but not very bland to be considered uninspired either. It’s somewhat similar to The Girl Who Leapt Through Time. Also, the overall colour of the film is a bit washed out, giving it a unique atmosphere. As for the music, I’m afraid I couldn’t remember much about it. I was too entertained with the story, the art, and the characters to give it particular attention. The only vague thing I can assure you is that it’s not bad. I just don’t remember it being good either.

Overall, The Cat Returns is a really good Studio Ghibli film. The storytelling and the art style is very fresh for those who are used to the usual styles of Hayao Miyazaki. The story, even though it’s very direct, also has a deeper level to it. Its underlying messages of ‘being yourself’ is the best proof of that.

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Anime Review: Porco Rosso

PORCO ROSSO: Studio Ghibli really has a knack for aerial themes

An unusual curse has turned Marco Rousolini into an anthropomorphic pig. After leaving the air force, he gains money by hunting down ‘air pirates’.  Donald Curtis, the suitor of his romantic interest Madame Gina, hunts him down, and he has no choice but to return to Milan. However, he is not very welcome in Milan. After all, he has deliberately left the air force because of personal reasons. Now, he has to fight with Donald Curtis while avoiding the Italian air force, but it appears that his greatest enemy is nobody else but himself.

Porco Rosso is another proof that Hayao Miyazaki really has a passion for flying. We have seen the same theme in Nausicaa of the Valley of the Wind and Castle in the Sky.

The story and the world building are not as grand as Studio Ghibli’s fantastical titles. The story is quite straightforward, and the established world is basically of that of historical fiction. But these traits don’t make Porco Rosso a simple watch. It has its own complexities in the plot and dialogues. The predominant symbolism would be that of being a ‘pig’, which could be translated as a ‘filthy human being’ in the context of its presentation in the film.

What I really like about Porco Rosso is the fact that it doesn’t take itself too seriously. This pig metaphor is often times associated with comedic plot elements and dialogue. In a sense, it gives the film a lighter impression. But don’t get me wrong, the film could also be heavy because of its other themes. The film’s violence is more blatant compared to other Studio Ghibli works. It even has hints of sexism in some sequences.

The characters are also quite interesting. Porco Rosso is unusually funny despite his indifferent attitude, and Madame Gina has shown depth even though she has little screen time. There are also a few distinct air pirates that are always fun to watch. The characterization isn’t perfect though. As much as I like Fio Piccolo as a character, I think that young geniuses are overused stereotypes.

As for the animation, I admit that I enjoyed the flying sequences. They give me this sense of action and adventure, the same way as Nausicaa of the Valley of the Wind and Castle in the Sky. The embedded musical soundtracks, even though they aren’t extraordinary, have pumped up the action scenes, rendering them more exciting than ever.

Overall, Porco Rosso is a good film. It is not as groundbreaking as Studio Ghibli’s other works. It doesn’t mean that Porco Rosso should be overlooked. It has its own share of complexities and symbolisms that Hayao Miyazaki is famous for.

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Anime Review: From Up on Poppy Hill

FROM UP ON POPPY HILL: Different storytelling compared to other Studio Ghibli films

Umi Matsuzaki lives in a small district by a seaport. Every morning, she raises a set of signal flags to commemorate her father’s death at sea. One day, the school newspaper president Shun Kazama witnesses the raising of the flags and publishes a poem about it in the school paper. Soon enough, this proves to be the beginning of their friendship and looming romantic interest. However, it’s not that simple, as the story of the death of Umi’s father subtly connects and disconnects them at the same time.

I don’t understand why this Studio Ghibli film is considered mediocre by those who are used to the studio’s works, maybe because this is more of a Slice of Life anime. It lacks the fantastical elements of other Ghibli films. But I don’t think that’s a good enough reason to dismiss it as mediocre. In fact, From Up on Poppy Hill has a storytelling style that, as far as I’ve seen, hasn’t been done by Miyazaki before.

The story has two interweaving plotlines -- the personal lives of Umi and Shun and the seemingly controversial account of the school’s clubhouse. These two stories alternately develop, and there are even instances that both develop at the same time. Take note that neither is a subplot. Both are the backbone of From Up on Poppy Hill.

The clubhouse

Another thing that makes this film different from other Ghibli films is its overall atmosphere. It’s just a feel-good story. But it does completely turn into a rollercoaster ride of emotions halfway through. The point is, it’s not like other Ghibli films that bombard us with symbolism and subtle commentaries. The story is direct, and it doesn’t pretend to be more than that.

But the storytelling is not perfect. The narration at the beginning is unnecessary. It’s a poor attempt at exposition. Show me. Don’t tell me. (I watched the English Dub by the way, and I’m not sure if this narration is also embedded in the original Japanese.) Another problem is the lack of twists and turns. As I said earlier, the story is very direct.

In terms of characterization, there is not much in From Up on Poppy Hill. I’m not saying that they’re bad. None of them just seems to be memorable. Umi and Shun are the only characters that have a good amount of screen time. The others feel more like background characters whose only purpose is to give the impression that Umi and Shun actually live in society. I have no problem with the background characters though, because they’re not relevant to the story the film wants to tell anyway.

It’s also to be expected for the animation to do well, since this film is relatively newer than other Ghibli films. The portrayal of the setting is very admirable. This might sound exaggerated, but I could smell the salty scent of the sea while watching. As for the music, it’s successful on giving this feel-good impression in the first half of the film and emotional impression in the second half. The main theme is also quite catchy.

Overall, I think From Up on Poppy Hill doesn’t deserve to be overlooked as a Studio Ghibli film. Sure, it is very different compared to the studio’s other works. But I don’t think this difference should be translated as mediocrity. If anything, it should be translated as uniqueness.

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Anime Review: Castle in the Sky

LAPUTA: CASTLE IN THE SKY: It’s so full of action, it doesn’t even have time for exposition

Legends tell of a city hidden in the skies, but Pazu thinks that it is not just a mere legend. One night, Pazu sees a girl gradually falling from the heavens. It turns out that this girl, Sheeta, has been held captive by prominent people who believe that she holds the key to the legendary city. The two goes on a journey to flee from their pursuers. Soon enough, they find themselves in Laputa itself, only to find out that it’s not the kind of city that they have expected.

This is definitely the most action-packed story of all of Hayao Miyazaki’s works. The first thirty minutes features Pazu and Sheeta’s attempt to escape from their pursuers. Sure, the chase is very interesting, but the problem is, the story doesn’t give me a reason to care. What is it to me if Sheeta is captured? What is the gravity of her capture anyway? It has been hinted that her crystal necklace is an important factor on why she is being pursued, but there is no solid reason for me to care.

I’m not saying that I’m indifferent in the first thirty minutes of the film. I just find the scenes as lacking in emotional attachment. They are really entertaining though, because of the abundance of action sequences and prominence of good musical scoring.

Further in the film, the plot thickens as we are exposed to the vague royal origins of Sheeta. This is where it gets interesting. Plot elements have been introduced that will lead them to the legendary city. In their journey, there are a few conflicts and character interactions here and there, so the film remains interesting in the micro sense.

Their arrival at Laputa makes the film more interesting. The city itself portrays the negative effects of technology and the hunger for power. It’s proof that the film is one of Hayao Miyazaki’s stories that feature social and political commentaries, along with Princess Mononoke and Nausicaa and the Valley of the Wind.

But again, the anime has its flaws. The vague royal origins of Sheeta are not expanded. I thought they were going to be explained further in the film, so I let them pass when they were just vaguely introduced earlier. But it turned out that they remained vague.

This is not the only vague plot element. The origins of Colonel Muska, the main antagonist, are also not explained. His knowledge about Laputa is too convenient. It’s as if he has gained this knowledge solely for the purpose of moving the plot. It’s just not justifiable. It’s also such a waste that he hasn’t been moulded enough as a character.

Speaking of characters, Laputa: Castle in the Sky has some fairly interesting ones, but nothing outstanding. Perhaps the reason for this is the fact that the film is so plot-oriented that it doesn’t even have the time to thoroughly explore its characters.

The good thing about this plot-orientation is that it has given room for the animation department to stand out. There are just so many action sequences to dazzle the viewers. Not only that, the whole film is also almost consistently embedded with music -- good music at that. Its style of embedding is very similar to modern action films; there is music in almost every scene.

Overall, Laputa: Castle in the Sky is an excellent Studio Ghibli film. The only major problem I have with it is its failure to explain some of the plot elements. But looking at the anime in general, I’d go as far to say that it’s the most entertaining of all of Hayao Miyazaki’s works. The story, the characters, the animation, and the music, just blend well together to create a film that is not just there to entertain, but also to teach us the value of humanity and nature.

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Anime Review: Nausicaa of the Valley of the Wind

NAUSICAA OF THE VALLEY OF THE WIND: As far as I’ve seen, this is the most well-structured story by Hayao Miyazaki

It has been a thousand years since the Seven Days of Fire, the apocalyptic war that destroyed civilization and gave birth to the Toxic Jungles. Small kingdoms and villages are scattered on the lands free from the Toxic Jungles. One of these small settlements is called Valley of the Wind, where Nausicaa is a princess.

Valley of the Wind and the Toxic Jungles

The Valley of the Wind has been drawn to a looming war between the kingdoms of Tolmekia and Pejite, and it seems that these kingdoms have political motivations on destroying the Toxic Jungles. Nausicaa, on discovering that the Toxic Jungles is not what it seems to be, goes on a journey to stop two wars, the war between the two kingdoms, and the war between humanity and nature.

The storytelling in this film is the smoothest I’ve seen in Hayao Miyazaki’s works. The plot is actually developing in every sequence and is driving to a specific direction. It’s not like Hayao Miyazaki’s other works whose juices are the seemingly random everyday things that happen in the protagonist’s life. Nausicaa has a goal, and that is to stop the wars. The story is not just about her going around learning facts about life and herself, which seems to be a recurring technique in Hayao Miyazaki’s works.

It’s also very fast-paced, considering that ‘old’ films tend to be slow because the people back then have longer attention spans. You could just imagine how Nausicaa of the Valley of the Wind could have been a rollercoaster ride for the people back then.

Another thing that I like about the story is its complexity. It is not straightforward. There are subtle plot elements that create mystery. The best example of this is the giant warriors that have been said to cause the Seven Days of Fire. The inclusions of such plot elements make the viewers ask questions, attaching them to the story more.

Nausicaa and Princess Mononoke

The best thing about the story is its subtexts of environmentalism. The fact that it has been released before Princess Mononoke makes me assume that Princess Mononoke is actually based on it. But they are not entirely the same.

Nausicaa of the Valley of the Wind has this post-apocalyptic yet medieval impression, while Princess Mononoke feels more of a sweeping epic. I could also see subtle similarities in characterization. Princess Kushana is strangely similar to Lady Eboshi -- good intentions, evil results. Asbel is also similar to San -- found and befriended in the woods.

Speaking of characters, Nausicaa is probably the most well-made character in all of Hayao Miyazaki’s works. She is very mature, and her actions are very admirable. Her value for humanity and nature is also very noble. What make her more believable are her flaws. She breaks down when her father dies. She loses hope and has self-doubts as well. She has the perfect balance of admirable traits and flawed traits -- just like a real human should be.

This is nothing technical, but just a personal matter. I really don’t like the music of this anime. It sounds like techno or dubstep to me. It doesn’t suit the story at all. It would have been better if it has featured Celtic or orchestral music. There are some orchestral tracks, and they’re good. But that just makes everything more confusing. The composer isn’t very consistent in his themes.

If there’s anything consistent in this film, that would be the incredible portrayal of its setting. The Toxic Jungles, the Valley of the Wind, and even the mere skies in the flying sequences, are brimming with imagination -- especially the jungles, with its mutated insects and natural sceneries.

Overall, Nausicaa of the Valley of the Wind is an excellent Studio Ghibli film. (Yes, I still consider it a Studio Ghibli film even though it has been released prior to the creation of the studio.) The story is riveting, and that has been the result of good story outlining, planning, and structuring.

What makes it more compelling is its underlying message. Again, this is just a personal note, but I think the concept of environmentalism has been portrayed better in this film than in Princess Mononoke. I’m not saying that Nausicaa of the Valley of the Wind is better. In fact, I find it hard to decide which is better. Both are fascinating in their own ways.

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6

Anime Review: Kiki's Delivery Service

KIKI’S DELIVERY SERVICE: A light-hearted story with heavy connotations

As a form of initiation, young witches are tasked to leave their homes and survive in a far-off land for a year. Kiki has finally come to age, and now she goes on a journey with her best friend Jiji, a talking cat. She arrives at Koriko, a port city, where she decides to settle. In order to make a living, she begins a delivery service with the local bakery. There, she exploits her witch powers to accomplish anything she wants, but it turns out that not everything will be as easy as she thought.

Kiki’s Delivery Service doesn’t tackle controversial subjects such as Princess Mononoke’s environmentalism or Wolf Children Ame and Yuki’s social belongingness. It’s a very light-hearted watch. However, it doesn’t mean that it doesn’t teach us anything. It talks about the fine line that divides independence and reliance among the youth. What I really like about this theme is the fact that it doesn’t force itself to the viewers. There are no blatant elements that shout ‘symbolism’ in our faces.

The first half, or perhaps more than the first half, of the film is dedicated to Kiki’s errands as a delivery girl. There are minor conflicts in her deliveries here and there, some of them are even comical, and that makes the film even more entertaining and light-hearted. It does get heavy in the last third of the film or so, wherein Kiki loses her witch powers because of her self-doubts. From there, the film plays with a lot of coming of age concepts. Despite the heaviness of these plot elements, the film somehow manages to give a light-hearted impression that it’s almost a juxtaposition.

From the last paragraph, it’s easy to discern that this anime has the kind of story that has no direct goal. The protagonist doesn’t need to save her country from total destruction, or save her family from a group or bandits, or whatever. The story just focuses on the adventures of Kiki and her cat, and her interactions with the people around her. And since there is no overall goal, some sequences just seem pointless and give the impression that the story isn’t going anywhere.

I’m not saying that her random adventures as a delivery girl are pointless. I’m just saying that the lack of an overall goal tends to be problematic, because it doesn’t give the viewers sufficient attachment to the story. They will have the tendency to be disengaged, especially those that don’t have long attention spans such as children.

However, the story does pick up when a goal has finally been introduced in the later parts of the film, wherein Kiki tries to regain her witch powers.

As for the characters, they are generally a lively bunch, but there is enough contrast among them that counterbalance the liveliness. We have Jiji the grumpy cat to counter Kiki’s fun personality, the ungrateful granddaughter to counter Tombo’s naivety and seeming innocence, and the painter Ursula has opened Kiki to great character development.

The characters of Kiki's Delivery Service

The music is also successful on magnifying the overall light-hearted impression of the film, but I think it’s nothing groundbreaking -- just enough to deliver the proper emotions. The art is actually pretty detailed in terms of background. And the animation is beautiful, particularly in the sequences wherein Kiki is in her flying broom.

Overall, Kiki’s Delivery Service is an enjoyable anime film from Hayao Miyazaki, not that that’s not yet expected for a Studio Ghibli film. It is very light-hearted, but has good lessons for those who are coming of age. But as I said, it does have the tendency to wander around. But who doesn’t want to see Kiki delivering stuff in her flying broom?

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           Anime Review: The Cat Returns

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