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.
Some things are more subtle than others. One of them is the use of rainbows, which vary in size, shape, and intensity depending on the scene. The one constant is that it only ever appears during Ash and Eiji scenes. 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”
“The Beautiful and Damned” is a 1922 novel by F. Scott Fitzgerald. Among all its themes, what’s most relevant here is the marriage and the many hardships the couple faces. Curiously enough, it’s also set during the World War I. It’s not the focus, but considering how this episode ends with a declaration of war between Ash and Arthur–and the first few episodes referenced novels that were involved with the world wars in one way or another–it’s still worth to mention.
Episode 11 dedicates a considerable amount of time to show us how Ash and Eiji settle into living alone together. When Max offers to take Eiji away, Ash refuses, and we know that Eiji will be moving in with him in the apartment he buys towards the end of the episode. Continue reading “Banana Fish #11: The Beautiful and Damned”
When I have to describe the nature of Ash and Eiji’s relationship in just a couple of words, what usually comes to mind is “platonic romance.” It might sound like a silly contradiction, but stay with me.
In some ways, Ash and Eiji are unlike anything I’ve seen. In others, they remind of romantic tropes I’ve seen in my years watching and reading (hetero) romances.
Banana Fish is a notable queer shojo classic, however, in some ways–not unlike other queer works–its male leads can be both be a product and fall victims of the time in which they were conceived. For this reason, things like the main character’s sexualities can be a delicate and complicated discussion. Still, Ash and Eiji’s relationship remains remarkably touching… and notably romantic. Continue reading “More than Friends, More than Lovers: Exploring Ash and Eiji’s Love”