Christmas party escapade

From our office Christmas party, I arrived some half an hour before midnight at a favorite meet-up place and decided to text some friends for a bite or whatever since I didn't want to go home yet. Only one of them was up for a late night so we decided to go to a coffee shop for supposedly a quick chat.

The Queen of England bought tea while I had hot chocolate. From 12mn to 6am, we talked about life and Game of Thrones and Ricky Lee and people and other stuff. And she told me some more things about her recent writing stint, her one tricky pool of complicated ideas, the people at the office, plans for the future (or lack thereof). I told her of my personal woes, my first Sandman volume!, my restlessness about my career (or lack thereof), my longing for a familiar company.

You'd think not being with each other would have made us run out of things to talk about. But I guess it's the way with friends like her I've come to make and keep. I (and thankfully they do, too) always take the effort to see each other together, whether for a movie, a thrift bookstore date or just random meet-ups over coffee and tea. Yeah, I might have missed out on some things from the party, but it's something I would gladly trade for another six-hour senseless banter with a kindred (ghei) soul who knows what makes me tick, and whose quirks I have loved dearly for the past couple of years.

The part that insists, the part that persists

I'm 22 now, and all I could think of is, "Am I supposed to be here? Shouldn't I be out there, somewhere?"

This lack of drive and sense of purpose is so unnerving. But there's something tugging at the back of my head. Maybe I need to take heed, if only I know what it says and wants me to do, and how.

Les Misérables - International Trailer

When I finally got to see the full international trailer for Les Misérables, I watched the two-and-a-half video with bated breath, not quite understanding what's going on. As is wont to happen when I'm overcome with emotions, I squealed and ajklsdfhaasdjkldg;1!asfbaergsd;' my way through my microblogging entries.

I think what happened was my brain was slow on the uptake in comprehending the massiveness of scope and sheer visual magnitude of the film. The gorgeous sets, the resounding orchestra, the poignant lyrics of the songs, the costumes--everything was grandiose as befit the musical phenomenon inspired by Victor Hugo's chef d'oeuvre.

However, I think I was more overwhelmed with the beauty of the dynamic between Valjean and Cosette shown in the trailer. It was the central point of the book for me, and I find it quite lacking in the musical. By lacking I mean it was there but not just magnified and given focus (and quite understandable because of the many story lines that need to be simplified). When Valjean (Hugh Jackman) called Cosette (Isabelle Allen) and addressed her as Mademoiselle, I actually teared up. Here is an ex-convict who had almost given up from the hateful world, showing affection to a girl who has equally been devoid of receiving care and love. And when they found each other, it was so glorious.

Of course, the trailer also has many other amazing factors. The overture truly exudes in me feelings of anticipation and wonder. Boublil and Schönberg's music is really awe-inspiring. We also finally got to see the Thénardiers! (Can I just say that HBC is so goddamn sassy in that two seconds during "Master of the House"?) The barricades were enormous and seeing it in whole really gave goose prickles, not to mention the galleys and the chain gang. It also helps (or maybe it does not) my fangirl heart to see the West End Les Miserables actors and actresses I have come to love and adore. (Oh, Samantha! Allistair! Hadley! Killian! Jamie! And I really hoped to see Colm Wilkinson here. But I guess that could wait. Hihi.)

But really, I simply just can't put into words how this movie is going to be so beautiful and heartbreaking. As I might have said before, excitement is an understatement for the feelings I have regarding this film.

Winter has come

These past few months have seen me wallowing in emotions and journeying through the fantastic lands of Ice and Fire. I first encountered this world through the HBO series "Game of Thrones." And though I'm quite wont to reproaching myself for having discovered it just now instead of years and years earlier, I am still glad to know, experience and learn more about the exquisite and vivid world crafted by George R. R. Martin. In the shuttle on the way to work, during lunch breaks, while waiting in line, before going to sleep, and basically whenever I had free (and actually not-so-free) time, I found myself reading each of the current five books of the saga "A Song of Ice and Fire." All of them are almost a thousand page apiece and all of them gripping, intriguing and... addicting.

"'The north remembers, Lord Davos. The north remembers, and the mummer's farce is almost done. My son is home.' Something about the way Lord Wyman said that chilled Davos to the bone."

The line is from "A Dance with Dragons," the fifth book from the saga. And all the five books are filled with such breath-stealing moments and utterly captivating plot lines that flow seamlessly through the pages. I did feel cold fingers down my back when I read that line spoken by Lord Wyman Manderly, even before I got to the part about Lord Davos. "The north remembers" resonate so well to us readers who have journeyed and empathized with the northern men, and the sequence of the dialogues in this part just set the delivery of the line at its most affecting. 

"I think it passing odd that I am loved by one for a kindness I never did, and reviled by so many for my finest act." 

-- "A Clash of Kings" (Book II)

It has been known that the dynamic in "A Song of Ice and Fire" is not the usual good versus bad. In this land of continuous power struggle and betrayal and personal ambitions, every single character is capable of fighting his way through the labyrinthine quasi-medieval society of Westeros and the lands beyond the Narrow Sea. Each book in the series is bursting with action and twists that don't let go, and the high fantasy elements of dragons, skinchangers, and prophecies add more fervor in the events that transpired. 

In stories of the scale such as "A Song of Ice and Fire," there are bound to be a dazzling array of characters--from knights to sorcerers, from bards to sellswords, from kings to slaves, from bastards to lords, I have met their kinds. And what's so addicting about GRRM's world is that every single character he cared to introduce ends up being a personality that sticks in the mind even if his/her appearances in the books are hundreds of pages in between. It's easy to get lost in the tangled plot and subplots set in many wondrous places. But when a character you thought you don't exactly know or care about appears again, something clicks in your head and everything amazingly snaps into place... and you're just... awed. It's such a thrilling experience and one I can't get enough of, honestly.

"'You lie,' (the kindly old man) said. 'All men lie when they are afraid. Some tell many lies, some but a few. Some have only one great lie they tell so often that they almost come to believe it... though some small part of them will always know it is still a lie, and that will show upon their faces.'"  

-- "A Feast for Crows" (Book IV)

I know I'm not really an expert reader to generalize literary expositions, but another thing I liked about "A Song of Ice and Fire" is that GRRM seemingly deconstructs the ideological foundations of the character tropes. Knights and princesses, mothers and kings--they're not always what we might know them to be. Suddenly the soiled fighter is actually a man of honor, a woman becomes more of a knight than any anointed ser in the kingdom, the child soldier transforms into a vengeful and dark warrior, the domestic ladies find strength in their grief and are actually able to wield more power than their male counterparts. Every character is so well-made for me, and it's really thrilling to watch them struggle to achieve what they want or battle it out against one another.

Another thing I liked about GRRM's chef-d'œuvre is the exquisite imagery of places and people, of culture and myths, of the lands' own histories and heroes. I find it really amazing how fluid the ideas flow from one to another. I have probably said this, but I love how unapologetic GRRM is in his writing. The chapters are filled to the brim with tales from this fictional world so vividly written I can't help but feel it's real. The symbols are so deftly constructed, the ideologies (be it religion or other societal norms) so innate in every character you end up reasoning with yourself defending and contending their actions. 

"She loved the sea. She liked the sharp salty smell of the air, the vastness of horizons bounded only by a vault of azure sky above. It made her feel small, but free as well. She liked the dolphins that sometimes swam along beside Balerion, slicing through the waves like silvery spears, and the flying fish they glimpsed now and again. She even liked the sailors, with all their songs and stories."  

--"A Storm of Swords" (Book III)

I have never been this obsessed in a fantasy series, or any material for that matter, before. I thought maybe it's because I'm older when I started being enthusiastic about it (contrary to, say, being obsessed years ago with "Harry Potter") and that I am more capable to act upon this fascination. (I actually actively searched for fanfictions because I. Just. Can't. Get. Enough. Of my favorite characters.) I also thought maybe it's because I have friends I could fangirl with over the books. I also thought maybe because "A Song of Ice and Fire" is so different from anything I have encountered yet, that even the languages used fascinate me. And I have never felt this attached to this many characters. GRRM has a gut-wrenching way of dealing with characters and their fates (and deaths), and as a reader, the emotional torture can sometimes be quite disconcerting. But in a sick way, you can't really stop and give up, can you?

"A craven can be as brave as any man, when there is nothing to fear. And we all do our duty, when there is no cost to it. How easy it seems then, to walk the path of honor. Yet soon or late in every man's life comes a day when he must choose." 

-- "A Game of Thrones" (Book I)

More than anything though, I think I'm so deeply obsessed because the whole saga is a really rich narrative that saying it's a complicated tale is an understatement. Every reading, every character you root for, every chapter makes you think. GRRM's world is so convoluted it leaves so much room for discovery. And it's exhilarating to analyze things you might have missed the first time, and realize its effect to the whole story. I think it's one of the irresistible factor of the series--you're never ever sure so you have to keep reading (or wait for the succeeding books and discuss theories with fellow fans while at it).

Honestly, I didn't know what I have signed up for when I began my journey first in Winterfell, beyond the Wall, and then through Westeros and then father away into the lands beyond the Narrow Sea and in the Free Cities. My thoughts are a train-wreck for weeks now because of "A Song of Ice and Fire" and gods know what I'm supposed to do with my life while waiting for the sixth book "The Winds of Winter."

Currently the most beloved pieces in my book collection. :))

Untitled [03]

i marvel at how
the light from the lamppost
casts shadow
upon your face,
how your eyes
get cloaked
and your cheeks become pools
of orange and gray.

midnights and
distant murmurs
of words unspoken
lead us on
as the world sleeps
while we parry and walk
upon pavements cold
and aglimmer.

i marvel at how
content i have become
in this silence
our silence
enveloped by the shy
glow from the lamppost,
in this transience and
sporadic shimmer

woven in the night
gone come dawn.

Bye, Phantom in Manila and Bona!

Unless a miracle happens, looks like I wouldn't be able to re-watch The Phantom of the Opera at the CCP again. It makes me unbelievably sad because I have not been able to make the most out of the show we saw. True, we got really really great seats, but we were clueless about the stage door procedures so we were never able to meet the amazing cast after the show. And Jonathan Roxmouth (the Phantom) seems like a really great person, so gracious with fans both in person and online. I wish I was able to take a picture with/of him, as well as the rest of the cast.

Furthermore, my friends and I weren't able to watch PETA's Bona, too. We are unfortunately too preoccupied and penniless currently.  I truly wished to see the play featuring Eugene Domingo in the remake of one of Nora Aunor's acclaimed films. I could only hope it will be re-staged.

So much to see, but so little time and money. Oh, woe to us! XD

Gendrya at work

Last September 30, I wrote in a note on my phone that all I could think of for almost a week now (back then) were the A Song of Ice and Fire characters Arya Stark and Gendry Waters and that I couldn't even be bothered by the fact that I was about to start at my first full-time job on the next day. Complete with keyboard smashing, I wrote that after smiling and sighing and silently squealing the whole day. My jaws seriously began to ache from days of suppressing grins whenever I remember moments involving these two adorable and ass-kicking kid warriors.

So, despite my jitters and fears and uncertainties during my first day of work, I managed to get by. The week drained me still though, because I was still fumbling my way around the tasks I'm set out to do, because I can't help but think if this kind of job is really for me, because I am so awkward with new workmates, because I've been used to the ease of commuting during the night than during the rush hour in the morning, because I am simply so bad at beginnings.

But it's the weekend now and I am filled with thoughts of rainbows and sunshine and utter excitement because I am about to start reading "A Dance with Dragons," fervently hoping to satiate my Gendrya feelings. (I could do with just Arya feelings, too, if that's the case for now. With GRRM, you can't be too hopeful.)

Actually, I don't know if I'm talking about my work or Gendrya. Both have occupied huge amount of space in my thoughts recently. Maybe I really need to sort out my priorities?

Now let me tell you about that scene at Acorn Hall...

Sticking to Stargirl

It's so easy to say that being different from the rest of the crowd is liberating and a cause for exultation. That we must always embrace our uniqueness. That being normal is simply too boring.

Basically and as of now, I have no problem being "weird" and having extremely different tastes and habits from most of the people my age I know. And so one friend's reflections on being "tired" of being singled out her entire life because of her "weirdness" kind of unnerved me. Easily one of the biggest non-conformists I know, she is a kindred spirit when it comes to disdaining mainstream pop crap, social stereotypes, and all that jazz. And yet that day, she admitted that she wished she was more "normal."

I think it's about this innate desire to be with people. Humans are conditioned to be social animals. Despite preferring solitude over personal social interaction, I do recognize that being with people is a need. And I think, whether we are deemed "normal" or not by the society, we do wish we could just fit in, somewhat somehow.

But then, over my bowl of teriyaki, her plate of spaghetti and roast chicken, and the sound of a furious rainfall, I said I don't think it's wise to wish to be someone you're not. Nor will it be any better to change just to fit some people's expectations. So what if someone doesn't "get" you? There are people who would and who already like you as you are--complete with all your quirks and varying levels of sanity.

Wasn't it Leo's loss that Stargirl was Stargirl and not Susan?

A debut party for twins

My aunts and uncles chided me because I opted not to bring Kazu to take photos of the debut party of my lovely twin cousins last Saturday. I didn't want to embarrass myself by bringing the camera and not taking photos worthy of being taken by such a camera. Haha. So I made do with my tito's pink point-and-shoot one. Hehe.

I thought the twins, who both have Bea in their names, truly deserved such a celebration--both are talented, God-fearing, dutiful daughters and good girls. And I'm glad I decided to come. Not only did I become a witness of the celebration of their 18 colorful years, but the event was fun because most of our other cousins were there, too. Raucous boys they always were, it was fun being in their midst again--just like when we were kids. 

Instead of the traditional 18 candles or wine, they had 18 chocolates and 18 shoes and dresses. If I would actually care to have had such a celebration for myself, I would have requested guests to give 18 books instead. My sister said, "I'd rather have them give me 18 gadgets." My other sister supplied, "I want 18 merch--albums, posters, and concert tickets." Haha.

And there were lots of pastries made by my aunt, the mother of the debutantes herself. You can never have too much blueberry cheesecake, butterscotch and chocolate tarts in life, you know. 

On that day, that not so distant day~

I can't believe I've finally got to see "The Phantom of the Opera" live and I was so near I could touch Messieurs André and Firmin and La Carlotta and Christine and... and The Phantom of course. I even felt the heat from the fire and blastings during "Bravo, Monsieur!" on my face. It felt so surreal--I kept telling myself that it's The Phantom in the flesh that I was seeing and not a screen projection. Oh my God. It happened. It actually happened, a dream come true.

I believe it was folly on my part that I have literally memorized the filmed 25th Anniversary Performance at the Royal Albert Hall. Throughout the show last night I can't help but compare almost every scene. The element of surprise was almost lost on me--"Oh, Raoul will come from that side," "Piangi wil say this," "I know what's under Firmin's cloak," "Phantom will do such and such," "'Christine, I love you...'"

 And yet I have been entranced to a whole new level by this World Tour production. The Christine (Emilie Lynn) was as beautiful as she was amazing. There was youthfulness in her expressions and yet her strength reverberated in her scenes opppsite Raoul (Anthony Downing) and the Phantom (Jonathan Roxmouth). I was looking for more... angst, perhaps, in her Wishing You Were Somehow Here again. But it's a tiny concern really. (It's probably only because I kept thinking of Sierra Boggess.) Now the Phantom is another thing. Roxmouth was utterly awesome! His is the voice that brings chill to one's spines right at the very first note. I kept comparing him to Ramin Karimloo but Roxmouth was so different in many ways. I can't decide if it was the physical grit of Phantom's raw energy that we felt or his overflowing frustration and anger and passion gushing forth all at the same time. His would prolly be on of the best Phantoms I'd ever hear and see (and I've seen a handful of videos and seriously plan to see a lot more live). I didn't cry during The Final Lair scene (I truly thought I would, prolly my tears had dried up with the many many times I've watched the 25th anniversary performance), but Christine and Phantom's final encounter was as heartwrenching as it could be.

The CCP's main theater was tranformed into the Opera Populaire and the way every bit of space was utilized truly amazed me. One special trick during the Apollo's Lyre scene had me gaping at the stage muttering, "U...so! Uso! Uso deshou?!" Yes, the whole performance was the spectacle it was promised to be. It was all I could do not to take my phone out and take photos of Christine in her Hannibal costume or The Phantom in his lair beyond the lake or glorious masquerade ball at the grand staircase or the Don Juan Triumphant montage or... all of it really.

I know it's the way of theater productions but I wish recordings and photos of that night would be available. What a waste to leave everything to the fragile storekeeper that is memory. Still, I think it's what makes theater extraordinary--the transience and uniqueness of each and every performance. And that night of September 20th in the CCP was ours and ours alone. Seriously, it was worth all the months of anticipation and saving up, and the planning and the queasy feeling that we won't be able to make it and the wishing for a perfect weather that day and the pagluwas pa-Maynila.

The Phantom's fans since circa 2006. XD

One down, five, perhaps six, more in my musicals-to-watch list. Next stop: West End.

Masquerade! Paper faces on parade.
Masquerade! Hide your face so the world will never find you.

The sure-fire way to making me happy

A day before my friend and I trooped to the Mall of Asia for the 33rd Manila International Book Fair (MIBF), I bought myself a copy of J.R.R. Tolkien's "The Children of Hùrin" from the bookstore in the mall nearest to where I live. It shames me to admit that despite a handful of tries to get through "The Lord of the Rings," I never got to finish the books, although I loved the films. However, I couldn't just leave the copy of "The Children of Hùrin" in the bookshop. I bought it even if I still haven't read the series it was derived from because I was not able to resist the relatively cheap price and the perfect condition (and stunning cover) of the copy.

And the next day, to MIBF we go!

Because I was kind of restricting myself on spending, the book fair was such a treat and torture. The walls and the aisles were filled with books, and my friend and I were beside ourselves from all the choices available. I believe almost everything there were marked down, but the limited amount I had in my pockets then left me helpless.

I saw one of the books my cousin illustrated! *proud*

I had to settle with Ramon Bautista's debut book (with free "artista notebook") and his autograph (which took us almost three hours on the line to get and terribly reminded us of our "training" for patience during  long lines, i.e. our enrollment process at the University especially for prerog for PE and other highly in-demand subjects). 

Three loops of this is the line for the booth where Tado Jimenez, Stanley Chi, and Ramon Bautista were holding their books' launch and signing event

With most of our afternoon spent at the book-signing event, my friend and I had at most a couple of hours left to wander and visit the rest of the booths. The venue was big, so we just chose one bookstore to scour, and there we meandered and searched for titles we wanted to buy.

The "A Song of Ice and Fire" series on display seemed to mock me and Claire, saying "Come get me if you can."

I decided to buy George R.R. Martin's "A Dance of Dragons," the fifth and latest in the series "A Song of Ice and Fire." My friend, on the other hand, bought the first ("A Game of Thrones"), and the second ("A Clash of Kings"). I think it's odd that it's the fifth book that I decided to buy, instead of the first book or the third one which is what I'm reading at the present. My reason was that I needed the map, because I only have the e-books currently and the maps don't show properly, and the illustrations on the fifth book are more comprehensive than the others'. Either way, we both decided that sooner rather than later, we would be able to complete our copies of the series. Because Winter is Coming.

So here goes the latest addition to my books. (RB's book cover is superb and panalo. XD)

I have heard of MIBF only last year, and was not able to attend then because of school and work. This year, I was not able to prepare so I only had a couple of take-home volumes and the new experience of attending such a huge event made for the love of books. Nonetheless, MIBF made the bookworm in me truly happy. Next year, though, I swear my haul will be definitely bigger.

And finally, some words of wisdom from Ramon "The Dragon" Bautista himself. :))

Wagas

One morning, I saw my photojournalism professor on TV. The program's segment was about the trade of sports photography and a couple of the photographers who made their mark in the field. Sir Dennis, my prof, gave an advice to the aspiring photographers:

"Basta gawin niyo ng mahusay. Kungbaga kay Goku, ilabas niyo na ang isandaang porsyento niyo."

I muttered to myself then, "Sir! Nakalimutan mo na ba? Si Taguro yung naglalabas ng isandaang porsyento. Energy ball ang ginamit ni Goku."

That brief feature on Sir reminded me of one of the best courses I took in college. The weekly meetings were something I had always looked forward to because Sir Dennis is a very engaging teacher and downright hilarious in his lectures inside and outside the classroom. Every week, we were given a subject to take photos of, and we would present them in class for Sir's evaluations and tips. And every week, the subject got more and more difficult to accomplish. Not only did we learn how to operate our cameras and know the correct settings, we also learned to push our limits and be determined to accomplish the task given to us--be it from convincing models to pose nude to pushing our way in a frenzied crowd for some shots of the action happening. We were made to see the potential of photography as a vital instrument for social development, and the camera as both an artistic and scientific tool for information and expression.

I learned to appreciate the craft and understand the ethics and principles in the discipline, largely due to the guidance and funny anecdotes from Sir. I think it's one of the perks of studying in the State U--not only do we have the opportunity to be under the tutelage of the nation's best in the academe, we also get taught and trained by the top-calibre practitioners themselves. These anecdotes were mostly from his years and years worth of experience as a seasoned and renowned photojournalist. These stories of shutterbugging across the globe he willingly shared and I could see that each one of us in the class hung on to every word Sir said. I could say his method of teaching is not one that I encountered often; his rapport with us failed to fall into the teacher-student category. However, extremely close to his students he might be, I could still feel overflowing respect for him, and I know my classmates do, too, for his sheer excellence and laudable desire to impart knowledge.

My photojournalism class was exciting and taxing, but also truly inspiring. I have experienced and tried so many new things in my quest to be even just a beginner in photography. Sir, despite his seemingly carefree and comic disposition, taught me that anything can be possible if you have the guts to push forward and set aside any form of hesitation. He kept reminding us to just love the craft, and while taking things seriously could well put you ahead of the game, we still have to make sure to enjoy what we're doing. Otherwise, photography (or anything else we cared to to do) will just end up being a troublesome burden we would have to carry. "Third World na nga tayo, magpapakalungkot pa kayo? Enjoy niyo lang," I remember him telling us more than once.

I know I have a lot to learn still, and I am glad to have a head start courtesy of the awesomeness of Sir Dennis, amid his jokes, taunts and wagas na kapilyuhan.

Past the point of no return!

My former officemate and I decided to catch up on each other's lives and watch free films courtesy of Cine Europa screening at the Shangri-La Plaza while we're at it. We were able to see the Belgian film "Turquaze" and the Austrian family drama "Atmen (Breathing)."  I met up again on another day with another friend and was able to catch the Dutch movie, "Hæven (In a Better World)." All three movies were vastly different from the ones I'm used to seeing, and events like Cine Europa really help raise awareness both on the aesthetics of these foreign cinemas as well as the social realities and ways of living of the European people.

I also finally got to by our tickets for "The Phantom of the Opera." I would be going with my senpai and her friend, and a couple of my friends from high school.Eight days to go, and I couldn't wait. It's what I've been saving up for for the past months and it's finally coming true! I had told myself that there won't be another chance. The next time would be on London's West End. Hehe.

Breathing new lives to stories, taking them life-sized

Much has been said about anime and manga being worlds more beyond kiddie cartoon shows and comic books. Being two of Japan's more popular cultural products, anime and manga were able to create a niche of their own. With unique plot devices and their own creative traditions, these two became a rich source of new materials that can be crafted and used as content for a traditional medium--film, sometimes even television. Recently, I saw myself watching (and/or re-watching) live film adaptations of well-loved anime/manga franchise, and then reminded that while different in approach from their original, the universality of plots and characters, and the aesthetic and technical aspects of film-making, give these stories a fresh yet familiar vibe. 

I find it really hard to convince myself to disregard any preconceived notions and expectations when I watch these adaptations. But watching movie after movie of such kinds, I get to grasp the idea that this one and that one are different, and let the audio-visual experience do the judging for me. 

Kimi ni Todoke The Movie (2010)

(君に届け, Reaching You)

© 2010 Nippon Television/ Toho/ Kimi ni Todoke The Movie Film Partners

Kimi ni Todoke is originally a manga by Karuho Shina, and made to an anime series by Production I.G. I only got to watch the two seasons of the anime and can say that while it is indeed a teen romance story (shoujo to the core), the story of timid Kuronuma Sawako and good-natured Kazehaya Shota, along with their friends and schoolmates make up for a very light and likeable show. 

While the anime is made of bright colors and helter-skelter animations, Kimi ni Todoke The Movie made use of a somber color palate--brown seifuku, quiet rural neighborhood, grassy fields and autumnal surroundings. The movie, directed by Kumazawa Naoto, managed to put into the screen the calmness of the pace of the story as well as the dynamics of a budding romance between two high school students. 

Tabe Mikako as Kuronuma Sawako and Miura Haruma as Kazehaya Shota, as well as the rest of the cast, embodied the youthfulness and (and sometimes extreme) innocence of the characters. Thoroughly wholesome and cute, and at times funny, the movie gives way for subplots that enabled the each of them, including the seemingly vicious Ume Kurumizawa (Kiritani Mirei), to establish their motives and develop their personalities. 

With a tranquil setting, fluid camerawork, and characters whose energy and emotions are distinctive of people their age, the movie recognizes the clichés the material is made of yet manages to package the story in a way that is, though not strictly inventive, smooth and satisfying. 

[With Haruma (and everything that he is XD) as Kazehaya in his trademark fur coat, and adorable Yano-chin and Chizu-chan and Ryuu, how can I not like this?]

Usagi Drop Live (2011)

(うさぎドロップ, Bunny Drop)

© 2011/ Showgate/ Usagi Drop Live Film Partners

Based on the manga by Unita Yumi and produced as an anime series by Production I.G, Usagi Drop has been recommended to me by a friend last year because she said the live-action film looked promising. I have always admired Matsuyama Ken'ichi's ability to get cast in many iconic characters from anime/manga franchise, and his brilliance in giving these well-loved characters justice. In Usagi Drop, MatsuKen plays the role of Daikichi, an average 30 year-old man who suddenly finds himself the steward of his late grandfather's illegitimate daughter, Rin, played by the adorable Mana Ashida.

Daikichi's struggle with the responsibility he had taken for himself was given  enough weight, from managing his time and resources to take care of the six-year old girl, to dealing with people who have looked at Rin with disdain. Not having the same ample time as the anime series to develop such conflicts, the film used montages of parallel situations, as well as new characters to establish the progress of the two main characters. At the same time, the movie, directed by Sabu (Tanaka Hiroyuki), also allowed for more heart-warming scenes between Daikichi and Rin, showcasing him as changing from a directionless bachelor to an inspired guardian for Rin. 

Daikichi angers, mellows, and becomes resolute in a realistic pace, and also allowing for some of MatsuKen quirkiness to surface. Mana Ashida is such a precious child actress, her cuteness never once got overboard, and Rin's more-matured-than-most-children-her-age personality from the anime makes for a delightful live portrayal. One of the greatest strengths of the film for me was the endearing rapport between Daikichi and Rin, and MatsuKen and Mana Ashida defintely nailed it. 

Using the familiar tokens and symbols from the anime to recognize the franchise's fans as well as using new storytelling techniques and characterizations (those magazines coming to life were really fun), Usagi Drop Live is a quiet and endearing film that can be as easily enjoyed as its anime series version. 

Honey and Clover (2006)

© 2006 Asmik Ace Entertainment, Inc./ SHUEISHA Inc./ J Storm Inc./ DENTSU Inc./ Honey and Clover Film Partners

Some three years ago, there was a time when no parental advice, no visit to the guidance counsellor, nor encouragements from friends could've helped me make a big decision. It was Honey and Clover that got me through it. I first encountered HachiKuro as an anime series, and then as a 2008 television series (which up until today is hands-down one of my two all-time favorites). 

Chika Umino's story of five art university students drawn together by a shared dorm and their charismatic professor had probably always been universal in its appeal to the young adult audience. Dealing with budding and lost loves, relationships, reaching for goals and dreams, this coming-of-age story makes for a somber yet hopeful exposition. Although, literally speaking, the anime and the subsequent adaptations couldn't be any less somber visually--the colors and set, the costumes and character designs are all but descriptive of the environment and the dispositions the characters are in.

The 2006 Masahiro Takata film, starring Sakurai Sho as the forlorn architecture student Takemoto Yuuta (the main main reason of my existence XD I finally decided to watch this), Aoi Yuu as the petite painting prodigy Hanamoto Hagumi, Yusuke Iseya as the exceptionally talented but carefree sculpture student Shinobu Morita, Kase Ryo as the hopelessly inlove architecture senior Mayama Takumi, and Seki Megumi as the strong-willed pottery major Yamada Ayumi, is wrought with vernal meanderings and self-imposed reproaches.

Utilizing Western songs and irregular string melodies for background, as well as hand-held (thus shaky) and wide camera angles more often than not, the film capitalized on the bohemian vibe of the characters and the story itself. Youthful to the core, the emotions portrayed in the film go through irregular wave patterns, no hint of stabilizing until the credits roled. 

I'd still prefer the 2008 television series if I had to choose. However, I think this film serves well as a quick telling of the unbelievably painful, fun, emotional, inspiring, and altogether existentialist tale of the five art university students facing their lives' crossroads.

When three nerds try to cook...

Or at least try to make decent rice balls, the kitchen explodes. 

Using these frames and filters make me feel so creative... not! XD

Still, after hours of struggle, we're proud to have made our finished products passably looking like actual onigiri and maki, however improvised the ingredients were.

And we swore this kitchen adventure won't be the last. :))

'Throughout life's battles thick and thin~'

What makes (my) high school never-ending is perhaps the proximity of everybody's house to each other. Unlike in college, we could easily text one another and expect the group to turn up in a mere hour or two (or maybe three, as is the case for the perennially late friend).

To celebrate the birthday of one of our friends and the new job of another, the two invited us to a libre--a night of karaoke and food and kwentuhan and tunog-tao jamming session. Despite the lateness of the hour, the night-out pushed through and we were loathe for it to end.

When we arrived, the first song we looked for was "anything Arashi." There were songs in other languages, after all. Unfortunately, none of them were the ones we (my fellow Japanophile friends) know, and no Arashi either. So I settled at watching them sing their hearts out despite not knowing more than half of the songs they chose. My cluelessness of the current mainstream music scene made me think of re-aligning my priorities when it comes to music, to be honest.

With food enough for ten people included in the package (we were seven), it was "Happy birthday, Carlo!" indeed. And when our time was over, my pop-stars-in-the-making-slash-marching-band-members-wannabe friends made impromptu performances of the songs they were not able to sing, as well as special renditions of a song that is "beloved" for all of us. My instinct as the secretary of the group kicked in and I had to record the performances while trying to stifle my laughter at their silliness. When we watched the videos later, all of us were clutching our sides--sobrang sabaw lang talaga.

Since we don't want to part yet (haha), we stayed in a nearby coffee shop and talked and laughed the rest of the night, a couple were even so groggy they slept on the table while the rest of us discussed life and prospective carreers, and even planned our upcoming trips--from Palawan to Davao to Paris to London.

I find it really amazing we're still marching forward with each other for company. When I entered college I was warned that the longest time one's friends from high school will remain to be his/her companions will be three years. After that, I was told, everybody would drift farther and farther away. I'm glad it's still with these ridiculous people I share plans for the future with, and the same ones I would go on my out-of-town trips with in the coming months.

Hi, gheis <3

My Eiga Sai '12

As of today, I was able to watch three out of the ten films featured in this year's Eiga Sai, the Japanese Film Festival in commemoration of Philippines-Japan Friendship month, but I plan to watch more in the coming days. I was first introduced to this annual event three or four years ago at the UP Film Institute, and being a self-proclaimed Japanophile, I made a point to watch as many as I could every year.

One particular film in this year's line-up made it definite that I attend the film fest. It was the 2011 film In His Chart, and stars Sakurai Sho and Miyazaki Aoi, directed by Fukagawa Yoshihiro. Being a huge Sakurai Sho stan fan, I have been meaning to obtain a copy of this movie since the start of the year. And with amazing timeliness, I got to watch it in the big screen, no less. My friends and I did not even wait for the film fest to arrive at the UPFI this August, we instead trooped to Shang Cineplex last July 11 to make sure we would be able to watch it at least once.

In His Chart follows the story of the young doctor Ichito and the choices he has to make on his way to defining the purpose of his career in medicine. With his supportive photographer wife, Haruna (Miyazaki Aoi), Ichito learns valuable lessons in life from his friends, his colleagues in the hospital, his patients, his wife, and even from the wisdom of Soseki Natsume. Soseki's writings figure in the film, as well as the breathtaking vistas of mountains, woods, and traditional Japanese dwellings.

Sho and Aoi would have been reason enough to watch and like this film, but In His Chart proved to be a beautifully crafted story. Sho as the awkward but compassionate doctor was such a hit among the audience, and Ichito's amusing communication dilemmas even drew the occasional laughter from the viewers.  Multi-layered and brilliantly acted, In His Chart is a touching tale of selflessness and redefinition of the social norms people today have to contend with. Set in a tranquil and quiet atmosphere, it was truly a visual treat for me. AND MY SETSUME-SAN AND VERY NADEGATA IS NOW A BRILLIANT CURLY-HAIRED DOCTOR WHO HAS MIYAZAKI AOI FOR HIS WIFE. THIS FILM MAKES ME SO HAPPY.

Yesterday, the second day of the film fest at the UPFI, my friends and I watched Takashi Miike's Ninja Kids. Featuring young kids training in the Ninja Academy, the film was slapstick comedy in its cutest, led by the adorable Rantaro (Kato Seishiro), and his friends and fellow first graders Shinbei (Kimura Futa) and Kirimaru (Hayahi Roi). With striking and bright costumes, make-up and set, as well  as over-the-top and quirky characters, Ninja Kids is easily enjoyable and hilarious. It does not take itself seriously, and is unabashed in recognizing the sillyness of the premise of the conflicts and their subsequent resolutions.

The second film on that day (and my third) was Tomorrow's Joe, featuring Yamashita Tomohisa/Yamapi as Yabuki Joe, the plebeian waif who found his calling in the world of boxing, guided by the former boxer Tange Danpei (Kagawa Teruyuki). In the  ring he faced Rikiishi Toru (Iseya Yusuke), and the two would end up each other's ultimate rivals. The film, directed by Sori Fumihiko, utilized various camera speeds and odd angles to paint the grit and the raw energy possessed by and surrounding the two fighters. I find it amusing that Yamapi got to be as unglamourous as he did in this film, the popular idol that he is. Both the performances of Yamapi and Iseya, as well as Kagawa as the supportive trainer Tange-sensei, were remarkable as characters wrought in a story that not only deals with the rivalry of two equally able men but also of pressing issues of the socety they were living in.

The Japan Foundation of Manila made it possible to showcase the above quality films, some even featuring popular (and mainstream) actors. In the years I've attended the event, I noticed the growing interest for Japanese films (and Asian films, in general). Sure, enthusiasts can obtain these copies over the Internet, but there really is nothing like watching on the big screen surrounded with other fellow spectators, being enveloped by the sounds and images from the film, and surrendering the senses to the story being told.

I am hopeful that I could watch more during the remaining days of the festival. I was not able to re-watch In His Chart because my companions weren't as eager as I was to repeat the film we've already seen. But I guess seeing my husband Sho on the big screen once should suffice. I am excited for the remaining films I've yet to see, and for next year's, too.

This Vicious Cabaret

This Vicious Cabaret

Lyrics and score by Alan Moore, from the graphic novel V for Vendetta
Performed by David J.


They say that there's a broken light for every heart on Broadway.
They say that life's a game, then they take the board away.
They give you masks and costumes and an outline of the story
Then leave you all to improvise their vicious cabaret...

In no-longer-pretty cities there are fingers in kitties.
There are warrants, forms, and chitties and a jackboot on the stair.
Sex and death and human grime, in monochrome for one thin dime,
But at least the trains all run on time but they don't go anywhere.
Facing their Responsibilities either on their backs or on their knees
There are ladies who just simply freeze and dare not turn away
And the widows who refuse to cry will be dressed in garter and bow-tie
And be taught to kick their legs up high in this vicious cabaret.

At last! The 1998 Show!
The ballet on the burning stage.
The documentary see
Upon the fractured screen
The dreadful poem scrwled upon the crumpled page...

There's a policeman with an honest soul that has seen whose head is on the pole
And he grunts and fills his briar bowl with a feeling of unease.
But he briskly frisks the torn remains for a fingerprint or crimson stains
And endevours to ignore the chins that he walks in to his knees.
while his master in the dark nearby inspects the hands, with a brutal eye,
That have never brushed a lover's thigh but have squeezed a nation's threat.
But he hungers in his secret dreams for the harsh embrace of cruel machines
But his lover is not what she seems and she will not leave a note.

At last! The 1998 Show!
The Situation Tragedy
Grand Opera slick with soap
Cliffhangers with no hope
The water-colour in the flooded gallery...

There's a girl who'll push but not shove and is desperate for her father's love
She believes the hand beneath the glove maybe one she needs to hold.
Though she doubts her hosts moralities she decides she is more at ease
In the Land Of Doing What You Please than outside in the cold.
But the backdrop's peel and the sets give way and the cast gets eaten by the play
There's a murderer at the Matinee, there are dead men in the aisles
And the patrons and actors too are uncertain if the show is through
And with side-long looks await their cue but the frozen mask just smiles.

At last! The 1998 Show!
The torch-song no one ever sings
The curfew chorus line
The comedy divine
The bulging eyes of puppets strangled by their strings

There's thrills and chills and girls galore, sing-songs and surprises
There's something hear for everyone, (reserve your seat today)
There's mischief and malarkies but no queers or yids or darkies
Wwithin this bastard's carnival, this vicious cabaret.

(c) 1982-89/V for Vendetta--Story by Alan Moore, Art by David Lloyd/Vertigo Comics/ V for Vendetta partners

-------

I've always wondered how this song would sound when I first read the words and saw the score on my copy of V for Vendetta. As expected, everything V is pure awesome.

Of fliggers and balimbing and national identity

Ilustrado (Miguel Syjuco, 2008)

The back cover of the book says:

"To understand the death (of his teacher, Crispin Salvador), Miguel scours his teacher's life, piercing together Salvador's story through his poetry, interviews, novels, polemics, and memoirs. The result is a rich and dramatic family saga of four generations, tracing 150 years of Philippine history forged under the Spanish, the Americans, and the Filipinos themselves. Finally, we are suprised to learn that this story belongs to Miguel as much as to his lost mentor, and we are treated to an unhindered view of a society caught between reckless decay and hopeful progress."

Miguel (in the story) patches up the life story of his mentor, his own, and of his Motherland, while Ilustrado tries to unravel and solve the enigma that is the Philippines--the Philippine literature and all its potential, the Filipino people themselves, and the despondent country that holds them together.

The mere premise of Syjuco's debut novel excited me but I wasn't honestly prepared for the awe-inspiring story it truly is. It is wrought with themes adeptly ingrained, thoroughly witty, and possesses a pleasant brand of humour that takes the reader by surpise at times. With a host of narrative devices and techniques, with brilliant use of language, Ilustrado sets out to be a work of fiction that is both complex and aggressive. A truly remarkable and splendid read crafted by an undeniable lit virtuoso.

The ultimate E/C conclusion

Love Never Dies (2012)

(c) 2012 Andrew Lloyd Webber/ The Really Useful Theater Group/ Love Never Dies Film partners

Ten years had transpired since the "strange affair of the Phantom of the Opera," a decade since the prima donna Christine Daaé and the Vicomte Raoul de Chagny met their fate at the lair of the Opera Ghost at the bottom of the Opera Populaire in Paris. Christine, by then a popular diva in Paris, receives an invitation for a performance by a mysterious impressario, and needing the money to pay the debts of her now-alcoholic husband Vicomte de Chagny, she travels to America and arrives at the lively and bustling entertainment center of Coney Island with her husband and her ten year-old son, Gustave. In the shores of this island, Christine is reunited with her old friends and the Phantom himself. What follows is a whirlwind of events that puts Christine once more in a situation where her choice would affect lives and lost loves.

Love Never Dies is Andrew Lloyd Webber's sequel to his immensely popular musical The Phantom of the Opera. The DVD features the show's Australian production, and begins with The Phantom (Ben Lewis) singing "Til I Hear You Sing," professing his longing for his love, Christine Daaé (Anna O'Byrne). The montage that follows establishes Phantasma, the flamboyant amusement park in Coney Island owned by an anonymous Mr. Y. Christine, along with Raoul (Simon Gleeson) and son Gustave (Jack Lyall), soon finds herself once more in the center of The Phantom's lair, and meets her friends from Paris Opera, Madame Giry (Maria Mercedes) and Meg Giry (Sharon Millerchip).

(c) 2012 Andrew Lloyd Webber/ The Really Useful Theater Group/ Love Never Dies Film partners 

With lavish staging, lights and costumes for the fanfare of Phantasma, revolving sets for the plush hotel rooms for rendez-vous, grandiose cellars and make-believe world of dreams, Love Never Dies does not lack anything visually. The Sydney stage deserves the accolades it received for the re-establishment of The Phantom's world of gothic beauty and mystery. Webber's music seamlessly floats through the story as well, with new haunting melodies, from operatic arias (the title song "Love Never Dies") and upbeat vaudevillian euphonies (such as "Bathing Beauty") to melancholic duets ("Once Upon Another Time") and heart-racing quartets ("Devil Take the Hindmost"). The show also features reprisals of familiar tunes from The Phantom of the Opera, a few lines and melodies here and there, such as "All I Ask of You," "Stranger Than You Dreamt It," and "Twisted Every Way."

Some of the lyrics, however, seem to border on the trite. And though truly well-acted, especially O'Byrne as the beautiful, maternal and affectionate Christine, and Lewis as the malefic, desperate yet tender Phantom, the story as a whole turned into a melodrama of a love triangle. Furthermore, I find the characterizations, particularly of Meg Giry and the Vicomte de Chagny, stretched a bit too far, turning them into (perhaps unnecessary) villains. I am also a little piqued by the Phantom's often-sardonic intonations, although the presence and voice of Gustave adds a little mellowing to the overall sharpness of everybody else. 

Love Never Dies indeed tried to offer a plausible end to the fateful story of Christine and the Phantom, but it engendered loss of the appeal of the classic novel it was derived from. I think the story was trivialized, although I could always use some of the more beautiful tracks (and renditions) from the show. 

Confessions of an Arashic: The fan in me in retrospect

There was a time when what I wanted to be the most  was to be someone involved in a television show production. Not somebody seen on cam, but one who remains behind the scene. But it has to be in a Japanese television network.

I didn't care what I'd be--a scriptwriter, a voice-over, a cameraman, a researcher of those weird ideas that make up Japanese variety shows, a production assistant, a proofreader  for their English texts (I keep seeing their need for one), a gaffer--I didn't care. I just wanted to be there. It was the only way, I thought, that I could get as close to Arashi as possible.

For the past few days, this wish is being rekindled. After my preoccupations on various things such as graduating, pondering on the direction my life will take, the gloriousness of the West End musical theater, the epicness that is Middle-Earth, and the two seasons of the US television series Game of Thrones, it is Arashi that I came back to. Once again, I am grinning ear to ear and laughing along the almost always childish antics of Ohno Satoshi, Sakurai Sho, Aiba Masaki, Ninomiya Kazunari, and Matsumoto Jun.

I'd like to believe I'm not one to get enthused by pop and dance music, but this... this boyband... is the exemption I have to this rule.

Raw photo (c) 2006 Arashi/J-Strom Inc./Johnny and Associates/ "ARASHIC" Album Partners

But then, it is more than their music that I've come to appreciate. Maybe it was their acting prowess in some of the series I've seen them in. Maybe it's Riida's exceptional dancing skills and awe-inspiring artworks, or his goofiness when surrounded by the other younger four's bullying. Maybe it's Nino's evident musical giftedness, be it on the guitar, on the piano, on songwriting, or maybe his stubbornness and bratiness that is oddly endearing. Maybe it's Aiba's humility despite his status, or his unfaltering sportiveness, and all the things that only he can do. Maybe it's Jun's Shin, Momo, and Domyouji that would always stick in my mind, or his unmistakable connection to the others disguised in cockiness. Maybe it's Sho-kun's eminent intelligence and his distinct manner of taking the lead, or his Sakurap. Or his chipmunk smile. Or his sloping shoulders.

Maybe it's their genuine friendship that resonates in the things they do, or the fact that unlike other groups, nobody in Arashi takes all the limelight while the others would fade into the background. Maybe the campiness of their performances serves as a break for me from the dreariness of life. (Their costumes are beyond belief, mind--some so baggy they're twice their body sizes, some so skimpy they make these males in their late 20's look like pubescent boys, while some glitter like there's no tomorrow, still others look like different scraps of cloth with odd prints sewn together. And don't get me started on their dance routines.)

Raw photos (c) 2010 Arashi/J-Storm Inc./Johnny and Associates/ "Boku no Miteiru Fuukei" Album Partners

Maybe it's their unabashed display of their imperfections that gets to me. I don't think it's such a surprise if it became known that these squeaky clean "Faces of Japan" are not all the goody two-shoes they appear to be--what with smoking and anti-fan issues, and other scandals that pop here and there about them. Maybe what I know of them is merely what I see of them on-screen and what they and the bigshots behind them would want viewers to believe, but their unmistakable chemistry and personalities that complement one another speak otherwise. And if ever what they have been showing are simply facades just so people would continue being invested on them, then they would have my respect still. Twelve years is no joke and all those times they have strived to build up an image just so they could go on and entertain people even though they have to wear masks as they do so. 

But then again, maybe I really don't need to justify why I like them at all. So until I have other reasons to outweigh that fact, I would keep supporting them, always taking the side of my imperfect and ridiculous boys who has never failed to make me laugh and brighten things up.

And maybe one day, hopefully soon enough, I would get to meet them and learn the reason that made them take me by storm. :3

La derniere jour du juin

Last Saturday night was my last day in the part-time job I've had for a little more than two years. And good bye's were said to the team mates I've had for so long.

Truth be told, I'm not much of a presence in such a company of raucous and often-conflicting personalities. The dynamics of the team was like the Internet connection at the office--kailangang pagtiyagaan, minsan hindi okay, minsan naman maayos at nakikisama, minsan "Tara, TK!"

Despite the effort of keeping a professional distance, I couldn't take those two years of togetherness lightly, especially since I used to be with them almost every night. I'd definitely miss those evenings of stress, WTF moments, snideness and conspiracies, stories, laughter, and huge appetite for pizza (or any kind of food for that matter). I'll miss the sharing/common pool of tons of movies and series, and those late-night Maginahawa St. escapades for our dose of milk tea, among other gustatory cravings.

It was the first work I've ever had and despite it being more of a routinary job, I have learned a lot--both from the work itself and beyond. I got to meet people who became my friends, and I hope would remain my good friends even after I have left.

Swords, dragons, and politics

HBO's Game of Thrones (Season 1: 2011; Season 2: 2012)

I have heard of the television series Game of Thrones late last year. With so much raves and recommendations about it, both on the cyberspace and real life word-of-mouth, I finally decided to give it a try. It's only the second US-based show that I've seen in its entirety, and after finishing the two seasons in a little over a week, I cannot wait for the next.

Lord Jon Arryn, the Hand of the King, died of a mysterious illness and the King, Robert Baratheon (Mark Addy), sought the service of his friend and fellow warrior, Lord Eddard Stark of Winterfell (Sean Bean) to serve as the new Hand. Despite placing his family at risk in the face of unknown enemies, among the other dangers it posed, Lord Stark journeyed from the northern winter walls to the humid and lavish lands in the south,to the seat of the Seven Kingdoms. On the journey and upon arriving at Kingslanding, Stark tried to keep holding the realm together while discovering the mysteries and deceit that plagued the court and the kingdom. Meanwhile in the lands far from Kingslanding, from the free city of Pentos where the children of the ousted and slewn King Aerys Targaryen continued to live (and plot to reclaim the Iron Throne), to the wild winter lands north of the Wall, dark forces within and without continue to hasten, putting the whole of the realm and beyond in peril.

(c) 2011-2012/ HBO/ George R. R. Martin/ David Benioff D.B. Weiss/ Game of Thrones partners

Based on the book series A Song of Ice and Fire by George R. R. Martin, Game of Thrones (which is also the title of the first book in the series) is a complex medieval story set in a host of kingdoms, cities and holdings, islands, and desert wastelands as vividly imagined as they were different from one another. The story spurred forward with various characters as distinct as the lands they came from--from kings (and false kings) to knights and sellswords, from ladies and princesses to bastards and savage war lords.

This series constantly reminds me of JRR Tolkien's The Lord of the Rings with its vastness and depth of scope. And while risking that such complexities and intricate details would make viewers lose interest, Game of Thrones achieves the exact opposite, making them hang on with the story, with its brilliantly acted characters, befitting use (and creation) of language, breathtaking sceneries and costumes, and complicated plots and subplots.

What totally pulled me in, I guess, is the visual aspect of the show. I had to pause and stare at many a frame and mutter to myself, "Look at that! Just look at that." From lush royal gardens and deary winterlands to gritty tribal camps and  sunny bustling city isles, Game of Thrones is nothing short of a spectacle, an epic brought to life. Added to these visual treats is the brilliant musical score to accompany the pulse-racing cavalry battles and sorties, the haphazard tribal dances of the Dothraki, the (faux) serenity of the capital city.

(c) 2011-2012/ HBO/ George R. R. Martin/ David Benioff D.B. Weiss/ Game of Thrones partners 

The series also tends to be a tad risqué in my opinion. I am not sure of the standards in late-night American television, but a few sex scenes are very much a part of this series. Although I could assume that the purpose of these is to appeal to a relatively male (and perhaps more mature) audience, quite a number of backstories and character developments happen during these scenes. 

And perhaps what makes the whole franchise so immensely appealing and interesting is the ability of the creators to maim the pre-conceived notions of good and evil. The characters have no defined roles as protagonists or villains. Instead they are humans with family backgrounds, ideals, loyalties, honor (or lack thereof), ambitions and desires. Each one is capable of riddles and banters and threats and deception and willpower to fight their way through. Their actions, lives, and even deaths, are so deftly established in the events that transpired, it would be quite hard to have a permanent view of a character throughout. 

Immensely inventive, dazzling, and intriguing, Game of Thrones makes for a sumptuous high fantasy treat. 

Untitled [02]

Goodbye to the one
that never was.
Today is the day
I'll be seeing you last.

Il pleut. Il pleut fort.

Describe the rain, I told myself as I tried to sleep at almost five in the morning, describe that heavy rain pouring right now as it has never been described before.

I knew it was futile to vie for originality. I was stuck for a long time and I got disheartened when I thought that if this or that writer were to do something similar, s/he would have an awesome answer in just a few seconds.

Maybe the rain drops pelting on the roof are the water balls that two warring tribes of cloud sprites hurtle towards one another. Or perhaps they are the molten slivers of icestones used for building ice castles in the sky.

Perhaps the heavy rain is the sigh of relief you cannot take, every drop that reaches you pushes you further into the skin you long to escape from.

Maybe he pattering of the rain is the only thing offering a symmetry, a balance, amid the discord inside your mind. The rain coming drop after drop against the roof, you listen and you savor the rhythmic sound, the imagined smell, willing it not to end so soon.

Meh. XD