Pick-a-mix

I had a bunch of things I meant to post yesterday, but ended up getting all political instead. (I am heartened, though, by the news that at least some organizations are seeing a funding surge. And there's at least one doctor advocating for civil disobedience when the law would threaten the rights and well-being of patients.)

But! The point of this is to post the other stuff!

I neglected to mention this on the 16th, but I have my usual post up at SF Novelists, talking about audience expectations, and whether it's better to be wrong or right about where the story is going.

Next, I'd like to point you at a friend's Kickstarter project, for The Urban Tarot Deck. The existing art for this is pretty awesome; I own a print of the Princess of Swords, and kniedzw has the Magician. I've been hoping for years that he'd be able to finish the deck (and must confess to a hope that if this project is a success, he'll finish his Silhouette Tarot, which I like even more). So mosey on over to take a look, and if you like what you see, send a few bucks his way.

(Okay, full truth? I am sorely tempted to shell out silly amounts of money to be on one of the remaining cards. A bunch of the models for the existing cards are friends of ours, and I love what Rob did with them; it would be nifty to see what he'd do with me. But, um. Kind of silly amounts of money, for something I cannot even pretend is a business expense.)

Third, cogent analysis of why John Carter tanked. I confess that if anybody ever makes a movie of my books, I would love to have control over various aspects . . . but then I see what happens when somebody with no distance from the subject gets to run the show, and I reconsider. I'd like to believe I would be sensible enough to listen to other people's advice, but who knows? I might be just as short-sighted and detrimental as Stanton was.

Fourth, fellow geeks of a certain stripe may be interested in the trailer for a live-action Rurouni Kenshin movie. I have to admit, watching it breaks my brain a little; I've been a fan of the anime for (ye gods) nearly half my life, and Suzukaze Mayo is the voice of Himura Kenshin. The guy in the trailer . . . is a guy. (When a friend told me they were filming a live-action movie, I asked, only half-joking, whether they were going to cast a woman as Kenshin.) But there are things flashing by in the trailer that have me bouncing in my seat; does that gatling gun mean we're going to get Aoshi and the Oniwabanshu stuff? I must watch and see. :-)

And, to make five (non-political) things, I leave you with The 25 Most Awkward Cat Sleeping Positions.

Rurouni Kenshin as a Post-Superheroic World

Since multiple people have expressed interest in something I said in the comments of the last post, I figure I'll blow off actual productivity for a while and make a post about how I think the anime Rurouni Kenshin takes place in a post-superheroic world.

Background, for those not familiar: the Meiji Restoration of 1868 ended the long rule of the Tokugawa shogunate and "restored" the Japanese emperor to power (hence the English name, though it was more of a revolution, setting the stage for a period of massive modernization and westernization). It also gets called the Bakumatsu, the "end of the shogunate," and since that's the name that gets used a lot in the series, that's the name I tend to use.

The main character, Himura Kenshin (who is very loosely based on a real person), was one of the top assassins on the side of the "imperialists," the guys overthrowing the shogunate. To the extent that you can break the Bakumatsu down to a binary, that means he was on the side of the good guys; the series makes no bones, though, about the fact that the Meiji side is not wonderful and pure, and there were good people on the Tokugawa side, too. Kenshin believes in what he fought for, but since then he's forsworn his old identity as the "Hitokiri Battousai"*: he's taken a vow not to kill, and instead of a katana, he carries a sakaba-tou (rendered in English as "reverse-blade sword" -- what would normally be the cutting edge is dull, and the blade is sharpened on the inside curve). He's a rurouni, a wandering swordsman, and still fights to protect people, but he does so without killing.

*(Side note on language: I wish the official English release didn't try to translate this. "Hitokiri" can most literally be rendered in English as "manslayer," but that sounds stupid. And they don't bother translating "Battousai," which refers to the fact that Kenshin's fighting technique includes elements of battoujutsu. Leave the whole phrase in Japanese: the audience will pick it up quickly enough. Here endeth the rant.)

A large number of the plots in the series are some variant on "random guy shows up, tries to get Kenshin to be his old self again." Usually these guys have scores to settle with him, dating back to the Bakumatsu, and/or are trying to prove they're the badassest badass ever to walk Japan. To do that, they need to not just defeat Himura Kenshin the pacificistic rurouni; they need to defeat the Hitokiri Battousai. Every so often, for a change of pace, it's somebody from the Meiji government instead; they have somebody who needs killing, and they think Kenshin's the only guy who can do it for them. But one of the central themes in the series is the tension between Kenshin's vow and the need for his abilities: the harder he fights, the more he has to call on his skill and speed and strength to defeat somebody, the more his mind falls into the pattern of the killer he used to be.

So there's your framework. Where does the superhero bit come in?

( Mostly spoiler-free, though I talk a lot about Kyoto-season characters. )

I should note that my comments here are based entirely on the anime, and mostly on the Kyoto season; I've seen the whole thing, and remember the earlier season moderately well, but have almost entirely forgotten the post-Kyoto stuff (somewhat on purpose). I've never read the manga. If you can think of data points elsewhere to contradict this pattern, I'd love to hear them in the comments. But I think there's a strong enough body of evidence to support the general theory. It's the passing of a superheroic world . . . and we shouldn't be sorry to see it go.