The first thing we see in given is a dark room, with barely a little ray of light entering through an unseen window. A quiet, somber boy picks up a guitar, pats his dog–whose happiness and enthusiasm contrasts both his mood and the atmosphere–and leaves his apartment, keeping his sad gaze down. Continue reading “given: A heart can be a beautiful retro Gibson guitar”
This post contains heavy spoilers for the first episode of the show.
From the start of the first episode, we can see that something is wrong. We see three little kids facing us from behind of the bars that keeps them caged, wondering what’s in the outside world. “I wonder what this gate is protecting us from,” asks Norman, grabbing the bars with his little hands. It’s in that same place where they get an answer a few years later, igniting the desire to escape inside of them. Continue reading “Time, Innocence & Illusions in The Promised Neverland”
Here it is, a post no one asked for but I wrote anyway because it was quick, easy, and this is how I have fun! (I already had this documented!)
Banana Fish does interesting things with lighting–like providing Ash shadows to hide when he wants to, framing Eiji as the light in Ash’s life or some Cain Blood’s scenes with lighting (and tones) that pays attention to black skin. Continue reading “Finding the rainbow–or every Ash & Eiji scene with gay ass lighting”
Few series have made me feel as much and as strongly as Banana Fish–a work that’s full of things I love dearly, just as it has things that I either dislike or downright hate. It can be described as an action thriller, a crime drama, a story of cultural connections, abandoned children and new-found families, and many things more. At its heart, there’s a love story. Continue reading “Banana Fish: the negotiations of a show, a love story & things that hurt”
Not talking about the direction Banana Fish‘s going right now is honestly just self-care. Ash and Eiji never fail to bring me joy though, so!… Let’s talk about love instead.
Whenever Eiji tells Ash that he wants to be with him, there’s a constant: Ash’s shock. It’s there as a close-up when Eiji tells Ash he’ll “stay by his side” (if he doesn’t mind) or that he’ll “go crazy if he loses him too” (after what happened with Shorter). It’s also there in Ash’s shielded eyes and the way he pauses when Eiji asks him to come back safely, and that “he’ll wait forever” for him. Continue reading “Eiji’s the sun: staying by his side”
One of the most interesting things in Banana Fish to me is how it plays with “traditional gender roles” in fiction. I’ve talked about some of the ways this is done with Eiji before, like how he’s equated to a past female love interest in a situation where Eiji’s role would usually go to a girl. In recent episodes, we also see him in “damsel in distress” situations, like when Ash’s rescues him while escaping Dino’s mansion, or when Yut-lung captures him because of his connection to Ash. However, Eiji’s not the only boy who gets roles that usually goes to women. Continue reading “The Moon & The Lynx: playing with gendered character archetypes”
Perhaps the best way to start this is by saying that it all began forty-two years ago. It was 1976 when mangaka Suzue Miuchi started serializing what would become her life’s work: Glass Mask. This classic shojo bestseller survived a defunct magazine and inspired countless adaptations, including two tv anime series, a tv drama, and a three-episode OVA. The manga it’s still running to this day. Continue reading “Passion & Talent in Glass Mask”
I usually start these posts mentioning the novel the episode’s title reference with the possible connection it could have with the episode in question. However, Ash already explained that better than I ever could. In fact, most of the episode is very straightforward with a special focus on action–showing two gangs briefly side with Ash for the first time and culminating in the death of one of the main antagonists–so this post will be shorter than usual.
Hemingway’s “The Snows of Kilimanjaro” (1936) is one of the most prominent literary references in the original material. I’ve been including the publishing dates of all the novels the show has referenced thus far because I suspect the staff might have picked them with this (among other things) in mind. After all, most episodes reference either Hemingway or Fitzgerald. As contemporaries, both have quite a history of friendship and rivalry, but I digress. Continue reading “Banana Fish #13: The Snows of Kilimanjaro”