Couchbound/Continued #370 - Gargantia on the Verdurous Planet: Episode 1, "Some people say 'Déjà Vu.' Others, 'SS;DD.'"

I might be suffering some form of entertainment burnout.

There comes a point in time in any rabid couch potato's life, make that several times, when they (namely me) reach a saturation point and begin to feel like they've seen everything a soap or procedural or genre series can offer, that it's all been done before with only minor variations in era, themes, or conceptualization.

Gargantia is kind of like that.

From the very moment I started watching this first episode, I instantly had visions of Martian Successor Nadesico, Vandread, and so many others. Giant robots piloted by teens in space, fighting an alien menace that has a vaguely familiar look but is definitely non-human until, oh no, maybe that's just a misdirect and they're really human after all. Gasp!

I have no idea if that's the case here, as I have no clue to the overall plot of the series, but it would not at all surprise me, based on the space combat shenanigans that take up the first half of this series opener. It just bears all the hallmarks of a generic mech actioner. Extremely dedicated child soldier amping up his heroics but thrust into an unwinnable situation, incomprehensible technobabble jargon thrown out left and right, the sacrifice of a superior for the greater good and a cliffhanger that leads directly into part B.

And, from there, it just gets even more generic. Insert landing in a salvage yard on Earth that is populated by buxom stereotypes, dudes with pompadours, and a cute flying squirrel pet with obvious intelligence. Seriously it's like watching Nadia crossed with Eureka 7. The squirrel even chirps like it's talking (I'm having Samurai Champloo flashbacks here, just without the cool music and style). Oiy.

Still, that said, it's pretty gorgeous, so far. While I'm not a huge fan of the mech design, the human ships and their strange weapons (especially that pinwheel thing) and the vague references we get to their space-faring society are engaging, once you get past the jargon and obvious jingoism. Plus, the one glimpse we get of the floating salvage yard at the end of the episode is pretty tantalizing. I just wish the character designs weren't so clean and Ghibli-riffic.


Honestly, I think I would prefer to have seen a full episode establishing Avalon instead of having its sole mentions be those of propaganda and the like... but I understand that the point of the episode is to establish a fish out of water story on Earth, not go into depth on a place we'll probably never see. I also really like that, even though main character Ledo comes from an obviously fascist society, he cares quite a bit about both his comrades and the potential innocent humans of this strange place he's trapped in. Sure, he takes a girl hostage to put off direct attacks against him, but no one is ever in any real danger as he uses avoidance and intimidation instead of force to get these humans he cannot communicate with to back off, however temporarily.

I think I'm going to give Gargantia a couple of episodes to prove itself, despite my initial reservations concerning its predictability. One of my favorite authors has very blatantly pointed out in his own works that there are no new stories under the sun. The least I can do is see which particular rabbit hole this one will lead me down, especially since it has some decent merits right out of the gate.

Until later, Potatoes~



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Gargantia on the Verdurous Planet, Season 1 is available on Netflix as of this posting.

Couchbound/Continued #369 - M*A*S*H: Season 1, Episode 23, "For Auld Lang Syne."

There's something about MASH that is simultaneously both infuriating and comforting.

Running eleven years, much longer than the war that inspired the novel that inspired the movie that inspired the television series, MASH is probably one of the best examples of the sitcom that most telephiles remember fondly to this day. It can also be infuriatingly dull and predictable. We forgive that though, thanks to the suave charm of Alan Alda's Hawkeye and how comically easy it is to hate perpetual heel Frank Burns (at least in those early seasons).

This particular episode is doomed from the start. Everyone and their mother knows that the rumored ceasefire is a wash, if for no other reason than there's more show to be had. There are moments of overly-saccharine honesty from pretty much everyone... and even a lot of prevarication... but overall it just feels like a filler episode because there is no possible way that Trapper is wrong and the whole thing is a wash.

It just feels anticlimactic to watch Hawkeye run through his string of nurses, giving each the brush-off (or vice versa) like the womanizing cad he is, claiming to be married when he's anything but so as to remain single... and it's really rather boring to see Frank and Hoolihan commiserate over his very real marriage and the fact that they would necessarily be over.

Honestly, there isn't a tender moment for any of them... except, maybe, for a brief second between Radar and Henry. While they never really play it up too much in the rest of the show, having Radar being more the overly competent and underappreciated aide-de-camp than anything else, in this one scene over his going away scrapbook, Gary Burghoff emotes a softness that is really rather heartbreaking, especially when Blake quickly backs off the whole father/son angle when he realizes how series Radar takes the bond.

And that's the paradox of MASH, I think. There are these wonderfully heartbreaking moments peppered through the series that keep you coming back despite the rote writing and lack of proper character arc. There are tiny messages of humanity sprinkled throughout the series. Often enough, they come through in the artsy episodes, but every once in a while, one of the 9-to-5 jobbers like this one can really kick you in the gut. Making fun of Burns and Hotlips and watching Hawkeye crash and burn is a dime-a-dozen affair, but Radar and Henry having a moment? Kinda priceless.

Until later, Potatoes~

Couchbound/Continued #368 - Ore Monogatari/My Love Story, Episode 4, "Through the Fire and Flames!"

I'm going to get this out of the way right now... not all anime is deep. In fact, the grand majority of anime is LCD fluff. Everything from Naruto to GoLion to Fate/stay night is pretty shallow fare. Sure, there might be some feels and pseudo-philosophical ranting at some point, but for the most part, it's all about the widest spread of merchandising appeal.

Ore Monogatari/My Love Story isn't really an exception. Where OM/MLS stands out from the crowd is that it's telling an atypical story using a familiar rubric... or, rather, it's telling the same old anime love story with an atypical lead.

Most romance anime which focus on a boy falling in love usually fall into one of two sub-genres, a harem anime where one less-than-ideal guy (an otaku or loner of some stripe) somehow inexplicably garners the attention of a bevy of beautiful ladies... or a sappy coming of age romance where a seemingly unobtrusive but unique character leads a rose-colored life. OM/MLS is the latter.

A big, brutish, somewhat dim guy with a heart of gold constantly gets crushes on girls who are only interested in his handsome but standoffish friend... until one day he saves a cute girl who goes to a neighboring all girls school from a molester on the train. She falls for him, he can't believe it, cue  a plethora of moe feels.

It should be boring. It should be a one and done affair, but I can't stop watching. There's no complexity, the message is hammy and the delivery is predictable as all get out, but it has just the right amount of schmaltz to reel me in. It's manga was the same way... and I can't help but wondering if I'm biased towards the anime because I enjoyed its print version, because I honestly can't say if there's enough to the anime to justify a recommendation.

Ninety percent of the time, the art is cheap and shoddy. To pad their shots, MADHOUSE makes use of gratuitous pans every chance they get. Instead of being an homage to the framing of the comic panels, most of the time it looks like a budget piece from the 90's. Only a few shots really shine when it comes to dynamic movement, framing, and color... and one of those shots is the climax moment of this episode, where Takeo makes an insane leap from a burning building. Very reminiscent of the buff guy action archetype that he's a send-up to. Additionally, MADHOUSE skimps on detail at key moments while overcompensating on background art at the wrong times. Very distracting.

Still... watching Takeo waffle between falling in love with a cute girl and trying to do what he thinks is the right thing (Takeo encouraging his love interest to go after his friend since he cannot fathom her liking an ogre like him) is oddly endearing. Sure, it's not a series I'm going to return to all that often. It doesn't have the graphical excellence or emotional resonance of top shelf productions like Hyouka or the like, but it also isn't necessarily a guilty pleasure anime either.

In this episode, we get to watch two young (and innocent) lovers be cutesy, suffer backlash from friends, and weather the very real (but so conveniently staged) threat of possible tragedy. It's predictable, it's corny, it's... okay. I'd say stay for the sappiness and put it in the back of your mind never to need visiting again.

Until later, Potatoes~

Day Three Hundred - Ghostbusters, "I believe it's Magic... Magic...."

If memory serves me there was one VHS tape that my family borrowed from the base library quite a bit. That tape was The Neverending Story, which my parents probably thought was a more wholesome pick than a movie that had a simulated ghost fellatio scene. Still, Ghostbusters was probably a close second due to the fact that, besides a few fleeting expletives and the aforementioned "spirit suck" (which was really just a dream sequence), it was a pretty safe horror movie to watch... more comedy than anything else.

When it was re-released in theaters two years ago, for one night only, my friends and I were almost first in the queue to see it once again on the big screen (sadly, no vintage trailers went with it). It was a gloriously nostalgic experience. It's been close to forty years since VCRs and DVD players made re-releasing films in theaters a novelty at best as who would want to go out and pay theater prices when they can watch it in the comfort of their own homes. Personally, I'm on the fence. I love Netflix and my DVD/BluRay collection, but sometimes it's nice to see an old favorite on a 50'x20' screen.

In any case, no theater release for Ghostbusters this Halloween season, but we're lucky enough to have it on the Instant Stream just in time for our last Weekend Spooktacular Flick. Maybe it's the nostalgia or maybe I'm on a weird Ernie Hudson binge (as he was also in yesterday's The Crow), but I was definitely in the mood for a supernatural film that was more fun than frightening.

Ghostbusters definitely delivers.

Made in the mid-80's in the height of Bill, Dan, and Harold's careers, Ghostbusters tells the story of three paranormal psychologists and engineers who are thrown out of their university positions just when they find proof of real, honest to deadness ghosts! Being the enterprising Americans that they are, they decided to go into hock and start their own ghost extermination business and, after a slow start, business booms.

Along the way, they begin investigating the haunting of a young musician (Sigourney Weaver) who is being occasionally tormented by a demon dog named Zuul and constantly hit on by the smarmy leader of the Ghostbusters, Peter (Bill Murray).

Anyways, long story short, great mystical convergence, possible apocalypse, and harassment and interference by the EPA. I mean, really... the EPA? Well, it was the 80's.

As far as the film goes, it definitely shows its age via its dated effects, but they still hold up pretty well and were actually groundbreaking for the time. Yes, it's mostly matte and miniatures work, but there are still plenty of fun practical effects like the shooting card catalogs and floating books (which still give me mild chills to this very day).

While I'm never scared like I was as a child with this film, getting more from the laughs than the jump moments (that chase through Central Park with Rick Moranis definitely freaked me out more then than now), I think that I enjoy Ghostbusters more this way, as an adult. It's just so much better when you catch things like Venkman's not so subtle come-ons towards Dana or the previously noted supernatural sex act. It's also better when you see Ernie Hudson's Winston as more than just a second act add-on and instead see him as a contrast to the bookish scientists of the team. Winston adds an everyman dynamic to the team that grounds them instead of allowing them to remain aloof as experts among plebeians.

For my last Spooktacular horror flick, I probably could have chosen something more creepy and scare worthy, but I'm actually pretty happy with Ghostbusters. It's a nice nod to both nostalgia and the softball fun of the holiday. Sure, I could freak myself out with other films... but this is better... for me, anyway.

Now... let's see if I can power through the final five episodes of Twin Peaks and survive.

Until tomorrow, Potatoes~

Welcome to Couchbound's Halloween Spooktacular!

It's been a while since we did a special event (*cough*80's Week*cough*) and I've been feeling the need to go completionist on a series. As such, for the entire month of October, we're going to do something different. Instead of a random smattering of movies and series, like always, we're going to instill some order and actually watch an entire spooky series during October's weekdays and save the weekends for horror/thriller/weird films (so we don't burn out or get boring).

What series, you ask, has the honors of dominating so much of Couchbound's time and energy? Why it's none other than David Lynch's ode to noir detective series, Twin Peaks!

Filled with monsters, ghosts, and otherworldly demons... not to mention backwards speaking oracles, quirky townsfolk, and damned fine cups of coffee... Twin Peaks was the Lost of its day, and paved the way for so much more weirdness to come. Why, if it weren't for Twin Peaks, I doubt we'd have The X-Files, Lost, Fringe (whose entire run is now on Netflix), or Pushing Daisies.

Coming in at 30 Episodes (31 if you count the 90-minute pilot as two), it would almost be perfect to watch an episode a day and call it good, but that can get a little stale... and I think we're already going to be pushing it just doing a single series on weekdays for an entire month.

With only 23 weekdays in said month, we're going to have quite a few days that are pulling two episodes at a time, but we've done that before. Just don't expect them to increase word count all that startlingly, is what I'm saying. :)

And I think that about covers it!

Hope you'll enjoy the coming weeks of chills and thrills and just random weirdness (oh, David... your mind is a creepy, creepy puzzle) and come join us later today for the pilot episode of Twin Peaks.