Hello folks, and welcome back to Wrong Every Time. Today I’ve got a distinct pep in my step, as my D&D party convened for our first adventure since goddamn November, and exciting adventures were had in my fantastical riff on an SCP containment center. Though things have more or less settled since the apartment fire, having our party split across three apartments instead of one has certainly complicated D&D logistics, so this return to relative normalcy was greatly appreciated. As it turns out, life comes at you fast, and though my plan for a “final month” of sessions has now ballooned into the majority of a year, it seems like we might just conclude my Dalelands campaign after all. That in turn has got me thinking about returning to fiction of my own, and perhaps dusting off those short story-writing muscles and trying to get something published. I’ll attempt to institute some dedicated weekly writing time and get back to you all on that, but for now, let’s run down the week in film!
Fragments of Romance: In the Mood for Love
“I keep what I can of you; split-second glimpses and snapshots and sounds.”
– The National
In the Mood for Love begins with a title card, a tidy explanation of the drama to come. “It is a restless moment,” the film informs us. “She has kept her head lowered to give him a chance to come closer. But he could not, for lack of courage. She turns and walks away.”
It is an odd description of a film narrative, odder still in its inclusion before the film it describes. The words seem to describe a slight, likely inconsequential interaction, a momentary meeting of two bodies in transit. And indeed, attempting to describe the overt drama of In the Mood for Love almost necessarily results in such a dismissive summary, for the film is largely about things that almost happen, futures that might have been. In the Mood for Love is a film of lingering feelings hanging in narrow hallways, of dreams unspoken until their hope of fulfillment has long passed, of words that flash in the eyes but never pass the lips. It is precisely measured in its form, achingly romantic in its substance, and ultimately ephemeral in its passage. It is the essence of love unfulfilled.
Call of the Night – Episode 1
Hello folks, and welcome back to Wrong Every Time. Today we’ll be checking out the very first episode of a new project, as we explore the recent adaptation of Kotoyama’s supernatural romantic comedy Call of the Night. The show got some solid buzz two years ago, with audiences generally praising its strong atmosphere and charmingly silly cast. That sounded about right for me, given my experience with Kotoyama’s previous work Dagashi Kashi. Though Dagashi’s hook is “crazy-eyed girl lustily explains the merits of various snack foods,” the show’s greatest strengths were actually its evocation of small-town boredom and understanding of listless youth – two qualities that I imagine will carry on gracefully into Call of the Night.
As for the anime adaptation, I can’t imagine a better choice of director than Tomoyuki Itamura. After Tatsuya Oishi left the Monogatari TV series to go sculpt Kizumonogatari, it was Itamura who picked up the torch, serving as the series’ primary director from Nisemonogatari all the way through Owarimonogatari Part II. The aesthetic he sculpted in that time was one of lust and austerity and nightmares, featuring a world that felt cold and alien even in broad daylight, one which naturally reflected the preoccupations and emotional tensions of its anxious young occupants. He basically cut his teeth on this era’s premier supernatural romantic drama, making him perfectly suited for a production like Call of the Night. That basically covers my preconceptions, so let’s get on with the dang show!
Yuki Yuna is a Hero – Episode 7
Hello folks, and welcome back to Wrong Every Time. Today seemed like a perfect opportunity to hop back into the drama of Yuki Yuna is a Hero, where we’re currently all scanning the skies and waiting for some kind of celestial second shoe to drop. Having allegedly defeated their enemies and completed their duties as heroes in the fifth episode, the gang are now suffering under mysterious injuries and uncertain expectations, their tight-knit community the only shield against whatever comes next. Though their overseers claim their symptoms will subside, there’s no real indication their contacts even know what’s going on – or if they do, they’re content to keep such secrets from their troops on the ground.
Personally, I couldn’t be more pleased by this intriguing turn of fortunes. The idea of moving on past the standard magical girl paradigm, of accomplishing your grand task and attempting to reintegrate into normal life, seems like a novel and compelling way to explore the true motivations guiding our young heroes. Additionally, their treatment as veterans who’ve been abandoned by their country feels like a natural thematic expansion of Yuki Yuna’s interrogation of genre assumptions, placing our girls within a long and storied tradition of post-war dramas. Let’s see how they’re faring in a fresh episode of Yuki Yuna!
Winter 2024 – Week 3 in Review
Hello folks, and welcome back to Wrong Every Time. Today I am ensconced securely in my bedroom-office, savoring one of the few aspects of winter I actually enjoy: sitting inside while snow falls beyond my window, luxuriating in the fact that I’m in here and all that chilly white stuff is stuck out there. Yes, I will eventually have to go outside and unbury my car and get some goddamn provisions, but for now the snow is just a lovely change of scenery, a shroud concealing the dirt and dead leaves of New England in January. I’m not sure what it says about me that my appreciation for inclement weather depends entirely on the light schadenfreude of reveling in it not being my problem, but I have decided to forgive myself this unkindness, in light of everything else about winter sucking so terribly. And with the outdoors being so hostile, I’ve certainly had plenty of time to watch new movies, at least. Let’s run down a fresh collection of features in a brand-spanking-new Week in Review!
Kaiba – Episode 11
We return to Kaiba in a moment of utter catastrophe. Having journeyed halfway across the universe in pursuit of a love he could barely remember, Kaiba’s dreams have turned to nightmares, his life stolen by the very woman he sought to protect. Through the meddling of Popo and his allies, Neyro was conditioned to see her former love as the enemy, another tyrant who must fall in pursuit of a brighter dawn. Only when the damage was done could our star-crossed lovers recognize each other; only in the ruin of Warp’s empire could their promise be fulfilled. In his pursuit of a world without Warp’s all-consuming tyranny, Popo has sacrificed everything that made that pursuit desirable: the hope of a happier world with his friends beside him, where Neyro and Cheki can live freely, both in body and mind.
Star Driver – Episode 20
Hello folks, and welcome back to Wrong Every Time. Today I’m eager to dive back into Star Driver, and see what those schemers at Kiraboshi have been cooking while Wako enjoys her birthday. Our last episode served as a general referendum on Wako’s tenuous current position: suspended between childhood and adulthood, shrine maiden duties and personal ambitions, the long-destined Sugata and the upstart Takuto. It’s no surprise she’s hesitating; at this point, a step in any direction might close countless doors, resolving a horizon that’s glimmering with potential into one fixed destination.
We all worry about making the wrong choices as adolescents, but for most of us, we have enough room to try and fail, knowing there will be future opportunities ahead of us. For the children of Southern Cross, birth is destiny, and adolescence merely the affirmation of their roles within a society that sees them as tools rather than individuals. It’s little wonder Wako is so hesitant to grow up, but I’m curious as to Sugata’s true feelings; having gained the King’s Pillar but rejected Kiraboshi, he seems the only player with agency within the system, who might claim a destiny of his own without first fleeing the island altogether. As the day of reckoning draws near, let’s return to Star Driver!
BanG Dream! It’s MyGO!!!!! – Episode 9
Hello folks, and welcome back to Wrong Every Time. Today I am eager to return to the apocalyptic high school band theater of MyGO, wherein Soyo most recently had all of her dreams shattered into microscopic pieces. Having spent this entire series so far sculpting a new band purely to entice Sakiko back, she has now received the final word that Sakiko and CRYCHIC are gone for good. No more superficial smiles and steepled fingers; Soyo is now in absolute despair, her treasured dream in ruins, and her only companions now the bandmates she only saw as means to a greater end.
That’s probably for the best, honestly. Anon, Tomori, and Taki have all joined together out of genuine emotional need, finding in their shared performance the community, understanding, and validation that adolescence has otherwise denied them. For Soyo to move forward, she necessarily needed to rip off the band aid of her dependance on Sakiko – and though she’s hurting now, she is surrounded by people who care for her, and who know well the pain of being abandoned. If Soyo can let her shields down and become open to new sources of pride and companionship, she might find in this new group a more lasting, reliable source of identity than Sakiko could ever provide.
Or she might just take the whole band down in flames, letting her personal resentment poison the fragile bonds shared by the others. I’m sure it’ll be a great spectacle either way, so let’s dive right back into MyGO!
Winter 2024 – Week 2 in Review
Hello folks, and welcome the heck back to Wrong Every Time. Today I am laboring under a backlog of would-be essay writing, as my article on Wong Kar-wai’s gorgeous In the Mood for Love is proving itself stubbornly resistant to wrangling. As such, I’ve had to sacrifice some of my weekly film viewing writeup time at the altar of Kar-wai, but never fear – my current film writeup backlog has ballooned to over thirty pages, so the adjustment should be complete without any disruption of service on your end. And professional scrambling aside, my house’s instatement of a daily genre-shifting movie timetable has continued to work wonders for our diversity of features, even if we’re still pulling tricks like “Shaw Brothers movies work for action, foreign films, and pre-80s features, right?” Also Gundam! We’re currently barreling through Zeta Gundam, and I’ll surely have plenty to say about that in short order. But for now, let’s run through a fresh collection of films in this singularly frantic Week in Review!
The Leaf and the Giant: The Astonishing Animation of Akihiro Ota
So, goddamn Wano, huh? It turns out I caught up on One Piece at an exceptionally good time. Over the past several years, the team at Toei have endeavored to make One Piece’s latest arc a landmark in the genre, a towering feat of animation offering film-tier feats of fluidity and scale on a nearly weekly basis. From the moment the Straw Hat crew set foot on Wano’s long-awaited shores, it was clear something was different; the arc immediately dispensed with One Piece’s traditionally thin linework and limited shading, offering instead bold splashes of ink and color emulating audacious works of traditional calligraphy. Yet at the same time, one of my favorite things about Wano is how loosely it treats its new art design mandate; its aesthetic is a suggestion, not a demand, and individual animators frequently stray far beyond the models and linework of Wano’s standard mode.