#but I’ve had already 2/3 people claiming a deeper bond of friendship with me than I feel towards them and I’m always like. aight. I can go | Explore Tumblr Posts and Blogs

possiblyimbiassed · 3 years

Text

The lying liars who lie

Years and years late to the party, I’ve finally gotten my hands on all the DVDs of BBC Sherlock, and I thought it would be fun to watch the extra material carefully, one piece after another, and also listen to at least some of the show makers’ commentary of the episodes. But at this point, after S4 where DVDs seemed to be a constant lying device in general, I tend to look at them with a bit more suspicious eyes...

I still love the show of course, but now that I’ve taken this deep dive into all the special features, I find them a truly hard thing to try to wrap my head around. Even this long after the fact, I’m amazed by the amount of shameless, self-congratulatory BS in the DVDs, where the people involved can’t have enough of complimenting each other and their show, while they skillfully avoid to discuss anything actually meaningful about the plot line. ;) For example, Moffat claims in the S2 DVD that “In fact, you’ll never see a more obsessively authentic version of Sherlock Holmes than this one”. But if we follow their light-hearted commentary, which basically takes the show at face value, I’d call that not just hyperbole, but an outright lie. If you want to see the ‘authentic’ stories from ACD’s work in this show, you’ll definitely need to go much deeper into the subtext and meta levels - neither of which are mentioned on these DVDs of course. Here’s my own (rather subjective) ‘review’ of the whole thing, trying to pinpoint why I view most of the commentary of the show from its own makers as an advanced art of deception.

(My musings under the cut)

Series 1 - a wealth of extra material

First of all - as many of you probably knew already - the whole of the Unaired Pilot is added to the DVD of S1. In the extra material about the making of the series, they (Sue Vertue, Mofftiss and others) talk about what things they changed between the Pilot and ASiP, claiming that many changes were necessary improvements once they knew that they had a whole series and a lot more time at their disposal.

Which I can perfectly understand and agree with in general. But I think what’s missing in their discussions is more interesting than what’s actually there (”Mind the gap” ;) ). Things that I would expect from the show makers when they go to the trouble of comparing the pilot version with the aired product. There’s not a word, for example, about the fact that they added both Mycroft and Moriarty to the story in ASiP - two characters who later turn out to play major roles and appear in almost every other episode until the end of TFP. Or about the choice that one of the screenwriters would play Mycroft.

Neither do they discuss why they chose to relocate the place where Sherlock was challenged by the cabbie from 221B to Roland Kerr’s School of Further Education. Instead they focus on the details, like for example the new design of the interior of 221B.

Not to mention the fact that almost every scene in the Pilot is mirrored in ASiP (as pointed out long ago by @kateis-cakeis X), but at Angelo’s in the Pilot Sherlock follows the events with the cabbie while looking in an actual mirror. I even noticed that in the Pilot the cabbie is offering Sherlock dark-coloured bottles with the pills in them, while in ASiP those bottles are transparent, as if the cabbie is offering Sherlock to play Black or White in the chess game that he is simulating. What’s with all these mirrors, though? Not a word on the DVD... ;)

Now, even though these rather remarkable choices are neglected together with a great bunch of minor ones, I still think that the most interesting fact about all this is that they actually included the whole pilot version within this DVD, which is sold by the franchise. Why even do this, when it raises far more questions than it answers? The only logical reason I can come up with is that they’re laying out a track of little hints that anyone with a deep enough interest in the show to actually buy the DVDs can try to follow. And it seems to me that lying by omission is one of the first steps in the long line of cryptic and misleading author comments on this show. But at the same time, they clearly want the fans to have access to it all, even the abandoned version.

Moving on to Series 2, time for bigger lies

In the extra material of this DVD Benedict himself describes how his character "faces one of his deadliest enemies in the shape of Love, and it comes in the form of Irene Adler, who is this extraordinary dominatrix [insert here a bunch of superlatives regarding Adler]...”. And then we see how Adler whips Sherlock with a riding crop (without any kind of consent, I have to add) while he’s lying on the floor, and we have Lara Pulver telling us how it was to have a go at Benedict on set. So Holmes whips dead bodies and Adler whips living; seems like a match made in hell! :))

Gatiss claims, grinning with his whole face, that “they’re clearly, absolutely made for each other”. OK, so I think we can see Sherlock being intellectually impressed by Adler, and even trying to protect her from Mycroft, and we can see John acting jealously. We can also see her being dressed and styled as a perfect, female mirror of Sherlock. But I’m still at a loss what all this has to do with love on Sherlock’s part? Especially since he’s not even responding in any fashion to her various attempts at seducing him.

And there’s more: Paul McGuigan, the director of ASiB, claims that the scene where Sherlock has a conversation with Adler inside his Mind Palace about the crime case with the car that backfires "is a part of a kind of love story, if you like...” No, I don’t. Maybe it’s just me, but if their aim really was to convey to their audience a love story between Sherlock and The Woman, I think they failed miserably. All I see is a guy ’mansplaining’ to a clever woman how to use her brain, while she’s trying to flirt with him by expressing her admiration (to no avail, though) and make deductions at the same time. Nothing new under the sun, really. John did the same thing repeatedly in ASiP (without making own deductions) and got far more attention from Sherlock, but I’ve never heard any of the show makers call that ”a love story”. But by ’lie-splaining’ the scene with Irene to the audience, they try to manipulate us all to see it as such...

In all the direct commentary of this episode, where Steven, Mark, Sue, Benedict and Lara are present, I get the impression that every time they even touch on the relationship between Sherlock and John, they hurry to add the term “friendship” or “man love” or similar words in case they forgot them at first, avoiding even the tiniest possibility that there could be anything more going on between them. They even explain that when Irene calls them “a couple” she does not mean anything romantic. This whole approach feels almost paranoic in the midst of all the laid-back jokes and light-hearted talk about the filming. It’s as if a sort of restrictive, heteronormative filter or blanket is being constantly applied, to teach the audience the ‘no homo’ lesson of it all. And the more I listen to this, the more tiresome it becomes.

In the commentary Moffat does reveal an interesting detail, though: that the ‘Flight of the Dead’ in ASiB was inspired by a cut out scene in the Bond movie On Her Majesty's Secret Service. To me this is just one more reason to question the ‘authentic’ quality of this scene, as opposed to possibly taking place in Sherlock’s Mind Palace. But I digress...

Listening to the commentary in general, it’s like it’s aimed to distract the attention from what’s going on at the screen rather than highlight it and try to explain their intentions. They do mention that Irene didn’t actually ‘beat’ Sherlock in the end of ASiB, but there’s no explanation of this obvious deviation from canon, where Adler does indeed fool Holmes, taking advantage of his prejudices.

The rest of the extra material of S2 is mostly about technical stuff, special effects and such, and also about filming techniques and Benedict’s delivery of fast deductions. But the part I really do love is the one where Andrew Scott talks about how much he enjoyed playing the scene where Moriarty dances before breaking into the Crown Jewels. That’s one of my favorite scenes of he whole show. :) Also, the takeaway message from this DVD is Moffat’s words at the end:

“These are still the formative years of Sherlock Holmes, and the most important thing about this series is not that it’s updated; it’s the fact that those two men are still young and they’re still at the beginning of what they don’t yet know is gonna be a lifelong partnership”.

And then comes Series 3...

...and its extra material, with the most blatant attempts at deception so far, I believe. At this point Sherlock is called a “psychopath” by both the show’s characters, John’s blog, Benedict Cumberbatch and Martin Freeman as if it were true, which is a big deviation from ACD canon. That simply doesn’t happen there; while Holmes is sometimes described as eccentric, no one in the books is ever claiming that Sherlock Holmes has some kind of mental illness leaning towards cruelty and egotism - not even his enemies say this about him. In the show, however, they begin in ASiP with making him torture a dying man for information (something that is not included in the Pilot). And in S3, where they avoid discussing the reason why they turned Mary Morstan into a ruthless assassin, this major shift is glossed over by the fact that in the same episode (HLV) they also turn Sherlock into a murderer, who cold-bloodedly blows the brains out of a blackmailer for threatening to make said assassin’s crimes public.

But without ever getting into the “why” of it all, the cast and crew seem overly happy and smiling describing these rather morbid choices as something positive; “fantastic”, "fresh and new” and "amazing” are their choice of words. Benedict claims that Mary, who has literally shot and almost killed Sherlock in HLV, is now "a new best friend of Sherlock’s”. Amanda claims that Mary “is protecting John” when she shoots Sherlock in the chest. Now they’re both psychopaths, and poor little John is forced to stomach them both because he’s addicted to danger. In Amanda’s words, Mary also “kind of gets in between the two of them, but she wants them to be together as well”. Which is a load of BS considering that Mary tries to kill the protagonist of the story.

Lars Mikkelsen thinks it’s “such a good script” because “you’re mislead as an audience”. But he never gets the chance to expand on what the misleading actually contains, because then Mofftiss cut in to express how much they love playing with “what ifs”. As if this whole mega-budget project of a show were just a big experimental playground without any actual story to tell.

Benedict repeats his line from HLV that Magnussen “preys on people who are different” and Moffat also says he “exploits people who are different”. Which is really confusing, considering what we can see Magnussen actually do in the show. Lady Smallwood and John Garvie are two well-established, powerful governmental politicians whom Magnussen blackmails by finding their respective pressure points. In Garvie’s case his pressure point seems to be alcohol problems in his past, but according to media he’s later arrested on charges of corruption. Lady Smallwood is blackmailed on the basis of her husband having sent compromising letters to a minor many years ago, in spite of later claiming that he thought she was older and stopped when he found out the truth. And then Magnussen is blackmailing an assassin who recently threatened to execute him but shot Sherlock Holmes instead, in order to try to get at Sherlock’s brother Mycroft, another powerful governmental figure.

But what does media seeking out dirt on certain people in power and their families have to do with “people who are different”? Despicable as the method may be, isn’t this unfortunately how political power play usually works in our society? Or are TPTB somehow a repressed minority group now? Unless this whole “people who are different” accusation is actually about something entirely different, something that none of the show makers even cares to mention... ;)

In these DVDs, none of the involved persons is ever discussing the change of roles with regards to canon, though, or the (lack of) logics in this turn of events, or even a hint about the narrative motivation behind them. It’s all about the great Drama, the extraordinary visual effects and the aim to endlessly “surprise the audience”. Which is fine by me to a certain extent, but when this is all that’s being said, it feels extremely superficial, as if the audience is merely seen as a bunch of consumers that have to be triggered more and more by horror, special effects and cliff hangers to be able to appreciate the show. (“Warm paste” indeed, like Gatiss has later criticized some viewers of wanting...) While the "why”; the idea behind this surrealistic adaptation, made by self-proclaimed fanboys of ACD, is not even touched upon. Around this, the silence is total and therefore totally confusing.

Maybe I shouldn’t even go into Series 4...

...but why not, since I’ve already started? :)

First of all, there’s a lot of extra material on this DVD and I particularly love the parts about the music and composing and Arwel Wyn Jones’ work with the design and build-up of John’s and Mary’s flat and the interior of 221B. Those bits are truly enjoyable. What I could live without, though, is the leading commentary that kind of instructs us, the audience, how we should interpret the show.

Benedict is on it again on this DVD, telling us that in TST they picked up where they left off in S3 and “It’s a very happy unit of three people that then become four.” Why does he feel the need to make this statement, considering how S3 ended? Actually, if there’s anything I totally fail to see in S4, it’s happiness. The banter between the three of them may seem entertaining for a while, but who could have a relaxed, warm relationship with someone who tried and almost succeeded to kill you less than a year ago? Without any sign of remorse? Now there’s a dark tone of discomfort and mean jokes that feels forced and not even a bit happy to me.

But Martin tells us how excited John and Mary are about starting a family and Amanda mentions how much they’re looking forward to the baby. Again and again it’s repeated, as though trying to rub it in: “they’re in a good place, they’re a loving, married couple”. Yeah, right - a child that (judging by TSoT) wasn’t at all planned and now with an assassin for a mother... Twice we see the new parents complain that their daughter has the mark of Satan on her forehead and debate which horror movie she’s from. The clichéd hypocrisy of it all is sickening, and I’m willing to bet that it’s really meant to be. ;)

But Gatiss chimes in, deciding for us all that the christening of Rosie is “a funny scene” and “they’re enjoying each other, enjoying being on adventures as a three”.

An interesting detail is that Gatiss also tells us that the working name of this episode was “The Adventure of the Melting power Ranger”. So this little blue guy was that important? :) And - even more interesting - is when he says: “Cake is now the code for violent death”. So how should we interpret Sherlock, John and Molly going out to have cake in TLD then, on Sherlock’s (supposed) birthday?

These might be jokes, though, but when they tell us that Sue cries every time she sees Mary’s death I strongly believe they must be joking. How could anyone feel truly moved by this overly sentimental long monologue where far more efforts are put into reacting to Mary’s speech than saving her life? And John’s mooing like a cow, is that also moving? :)

One thing Martin says about TLD that actually disgusts me is regarding the morgue scene where John assaults Sherlock and Sherlock lets it happen: “From there, really, their relationship can only sort of rebuild, that’s the absolute worst it can get”. As if outright physical abuse would be something that makes you want to rebuild a relationship? Wow - just wow... How far can they go with this crap?

Anyway, when we finally arrive at the absurdity of TFP and Sherlock’s ‘secret sister’, everything is of course discussed as if she actually does exist on the given premises, and everything she does is ‘real’, no matter how impossible it would be in real life. The abandonment of any attempt to have the story line make logical sense is skillfully covered up by more distraction with fascinating technicalities of the film making process. This is where Gatiss makes his now almost classic statement that after Sherlock and John jump out of the window at 221B when a grenade explodes there, it’s just “Boop! And they’re fine.”

Of course there’s no serious attempt at explaining this logically. Except perhaps Gatiss claiming that they both landed on Speedy’s awning - whatever good that would do to them, since the awning is leaning downwards, but never mind... But we never even saw that happen, did we? A great deal of time is then dedicated to show all the precautions to have Martin and Ben jumping safely at low level onto a madras supported by empty cardboard boxes.

Sian Brooke did say something interesting about Sherrinford, however, that got me thinking. She said that Eurus “wants revenge for the years and years that she has been held captive” there, isolated, and that in TFP the Holmes children are now “lab rats” and “it’s an experiment”. On a meta level, I think we can indeed see this episode - and maybe the whole show - as a kind of experiment, but maybe we, the audience, are also lab rats? Since Sherrinford is slightly shaped like a film camera (not commented in the extra material, of course), it leads my thought to all the adaptations through the years and years where Holmes and Watson have not been allowed to be together. A whole century when Sherlock Holmes has been held captive, restricted by the very same sort of heteronormative filter that all this extra material imposes; it’s like Sherrinford, isn’t it? Which gives all the more meaning to Moriarty’s arrival to the island, accompanied by Freddy Mercury’s “I want to break free”...

I think I’ll let the final words in this little exposé come from Mark Gatiss in The Writers’ Chat (my bolding):

“Moriarty is a fascinating thing in that in our sea of ongoing lies, one thing we’ve genuinely been completely consistent about is telling people he’s dead. But no-one believes it! And it’s a rather brilliant thing.” Again - self-congratulatory statements. But instead of providing some actual evidence of the death of this character, who has kept popping up in almost every episode since his supposed demise, they think that the more a confirmed liar repeats something, the truer it gets? And the more we’re supposed to believe them? Well, all we can do is wait and see. :)

Tagging some people who might be interested:

@raggedyblue @ebaeschnbliah @sarahthecoat @gosherlocked @lukessense @sagestreet @thepersianslipper

My earlier meta on a similar topic (X)

#bbc sherlock dvds #Deception in BBC Sherlock

225 notes · View notes

sparkleywonderful · 6 years

Text

The Prince of Ice: Ch.24.4

Part 24.4 of The Prince of Ice series, a retelling of Heir of Fire from Rowan’s point of view.

The Prince of Ice Parts [ 1 ] [ 2 ] [ 3 ] [ 4 ] [ 5 ] [ 6 ] [ 7 ] [ 8 ] [ 9 ] [ 10 ] [ 11 ] [ 12 ] [ 13 ] [ 14 ] [ 14.5 ] [ 15 ] [ 16 ] [ 17 ] [ 18 ] [ 19 ] [ 20 ] [ 21 ] [ 22 ] [ 23 ] [ 24.1 ] [ 24.2 ] [ 24.3 ] [ 24.4 ] [ 24.5 ] [ 24.6 ] [ 24.7 ] [ AO3 ]

A/N: I have been dying to write this chapter, just dying. It was so much fun to write and I always felt that this exclusive belonged in the book. Although we all filled in the gaps, it is the first time you truly see the friendship that is growing between Rowan and Aelin. For tumblr, I will be braking this apart into seven sections for your viewing pleasure.

Gratitude goes to @bookofademigod and @themaasofwar for posting the target exclusive. Without this I would have never been able to write this very important POV.

- - - - - - -

Months before Aelin reclaimed her identity as the long-lost Queen of Terrasen, she still called herself Celaena Sardothien - and was trained to wield her rekindled magic by a Fae Prince in a mountain fortress of Wendlyn… Despite their rough beginning, Aelin and Rowan have finally formed a solid friendship, based on mutual respect, trust, and more than a bit of banter. But just when their bond begins to shift into something neither of them quite anticipates - something far deeper - the fortress of Mistward receives a visit from three Fae nobles. And one of them claims some very, very personal ties to Rowan himself. Read on for an exclusive deleted scene from Heir of Fire, in which Aelin gets her first glimpse of the Fae nobility of Doranelle, and a bit more of Rowan’s history is revealed to her … with fiery consequences.

- - - - - - -

He paced his rooms after Remelle left. The raging anger refusing to diminish. He shifted in the hope that a flight would clear the emotions coursing through him. Not surprising he perched outside the kitchen, ensuring that Remelle did not find her blood scattered throughout the kitchen.

Aelin did indeed go to the kitchen, where she helped Emrys prepare the meal. Luca was there, prattling away, but the chatter stopped mid-sentence. He had no idea how she could stand his constant prattling.

Essar was standing at the foot of the stairs, smiling faintly.

“Dinner won’t be ready for another twenty minutes,” Aelin said, wiping her hands on a dishcloth before approaching the lady. Luca was practically gaping at the small beauty, but Essar gave him a polite smile and he immediately found himself interested in whatever he was doing with a hint of a blush. “I can show you to the dining hall, if you’d like to wait there.”

“Oh, no. Benson’s in there already, and he … I think I’d have more fun in here.”

“It can be chaotic and loud and messy in here—”

“I know how a kitchen operates,” Essar said. “Just tell me what work needs to be done, and I’ll do it.”

Aelin looked to Emrys, who bowed and introduced himself and Luca—whose blush went beet red at the attention. Aelin stood chopping vegetables beside the Essar. He should fly away, but a small part of him was curious with what Essar would see in Aelin. Her gift of fire was nothing compared to Aelin’s, her true gift he was coming to realize was reading people.

Aelin broke the silence,“So, you’re just … travelling around?”

“Maeve gave us a task, which I’m not supposed to talk about, but yes—it involved us travelling for a bit. We’re on our way back to Doranelle though—thank the Bright Lady.”

Aelin raised a brow. ‘Mala?”

Essar lifted a hand, and flames danced on her fingertips. “Not much of a gift, but it kept us warm on the road at least.”

He watched as Aelin swallowed. He knew that she’d never met another fire-wielder. “Is it hard—to master the fire?”

He was not surprised that Aelin continued to hide her gift. It was then that he realized there was a secondary reason for Maeve sending Esaar on this task.

Essar shrugged. “I was very young when my training began, and I’ve had about two centuries to master what little power I have. Aside from a few burns and blisters, I’ve never really been able to do much harm, or impress anyone, really. Remelle’s got the more interesting gift—her magic lends itself toward mastering any language she hears, no matter how briefly. It’s why Maeve likes to send her around to places. And Benson’s got a knack for becoming invisible whenever he wants to, which …” Essar winced.

“Makes him a good listener,” Aelin finished finished for her.

Essar responded wanting to move from talking of the others,“You must have impressive gifts if Prince Rowan is training you.”

“I—”

“Those vegetables done?” Emrys asked, he was once again reminded how astute the demi-Fae male was.

Essar said casually, “I can’t imagine Rowan is as easy teacher.”

“You could say that.”

“But they’re all like that—Rowan and his companions who serve the queen.”

“You know them?”

Essar blushed. “I was involved with Lorcan, their leader, for a time. But—his lifestyle and mine are very different.”

“And what is Lorcan like?”

“A demi-Fae, like you.”

Aelin masked her surprise. Essar went on, “He has had to prove himself every single day, every hour, since he was born. Even though his power isn’t challenged—by anyone other than Rowan that is—he … Lorcan is not an easy male to be around. Some days, I’m surprised he has friends.”

“And Rowan is his friend?”

Essar gave Aelin an amused smile. “In a way. They frighten even us, you know. Especially when they’re together. When Rowan and Lorcan are together in a room … Let’s just say that they sometimes do not leave that room intact by the time they depart. Or the city for that matter.”

True, Essar had even seen that there was little friendship between him and Lorcan, more of a common goal and the ability to destroy anything that stood in their way or Maeve’s way. Though the destruction came from different places and needs within each of them.

“And yet Maeve lets them work together?”

“She would be a fool to let either of them go—which is why she bound them to her with the blood oath. They’ve levelled cities for her before.”

“Actually levelled cities?”

Essar nodded gravely. “And yet Remelle thinks she can control Rowan—wants to possess him.”

“She’s an idiot.”

“Indeed. But power is power, and since Remelle can’t look past Lorcan’s mixed bloodline, Rowan is her only other option.”

“Would—would their children also belong to Maeve, the way Rowan does?”

Essar cocked her head. “I don’t know. None of his companions have sired offspring, so there’s no way of telling what Maeve would do.”

He could see Aelin’s shudder, “You don’t seem to speak as reverently as the others do about her.”

“Not all Fae are her willing slaves, you know. And part of—part of why my relationship with Lorcan fell apart was due to that. He is blood-sworn to her, and no matter how I cared for him, I am most certainly not. Nor will I ever swear such an oath.”

“Why are you telling me this?”

“Because you are training with the most dangerous pure-blooded Fae male in the world, and yet he treats you as an equal. He presented you as his equal.”

He did not realize he had done such an innate action in front of the nobles. Even he was just realizing and coming to terms with the fact that Aelin was his equal and if given the chance he knew that she would surpass him. He had to remember to mask himself, that action was dangerous both for Aelin and himself.

“I think Rowan just didn’t feel like dealing with Remelle alone.”

“Probably. But he’s also dealt with her on his own plenty. And since Rowan’s not one to show off a new companion just to spite an old lover …”

“I’m not sure I follow what you’re getting at.”

“I find it all very interesting.”

“I think you’re reading a bit into it.”

But Essar only gave her a soft smile. “I’m sure I am.”

He had been fighting for weeks this connection between them. The likelihood that they were Carranam. As he flew off, it unsettled him a bit that Essar could see the bond that they were beginning to form. Such a bond was dangerous not only because he was blood sworn to Maeve, but a bond like this could destroy him or the princess. A bond that Essar felt she needed to warn Aelin of.

#The Prince of Ice #Prince of Ice #rowan whitethorn #rowan pov #heir of fire #aelin ashryver galathynius #sparkleywonderful

25 notes · View notes

gingerxxale · 6 years

Text

Nakama & Shame

I think anime kinda made me disillusioned to friendships. To those who already watch anime often, I think you may already know what I’m alluding to – the unearthly dedication and support to one’s friends (sometimes even enemies) because you believe in the good and growth in them. The incessant self-sacrifice in order to induce safety and/or happiness for a loved one; someone cherished so innocently, so purely, that there is no romantic tie. Just an unpolluted friendship, a bond that is so strong, all the evils of the world – EVEN DEATH – cannot break you apart.

But maybe this perspective isn’t exclusive to anime; maybe it’s even a character trait embedded in Japanese culture.

I walked into a ramen shop in Boston about a month ago and saw this written in huge, white letters upon the burgundy wall over my head:

NAKAMA [n.] A person that shares your destiny for whom you would sacrifice your life; Its meaning is too entangled to be “friend” but it is also too deep to be just “companion.”

If there’s an entire country who really embodies this notion (no matter how small or large), that’s pretty awesome.

Under the font, were drawings of manga-esque characters with their backs turned to the customers but their fists in the air. As usual, upon seeing these kinds of images, I had an immediate feeling of camaraderie and hospitality – inspiration even.

So I was curious.

After researching a bit online (for about five minutes), nakama may actually just be a fictional trope in Japanese television – actually given its deeper meaning from the legendary anime One Piece – but Japan is famously known for its low crime rate, its unarmed officers, its friendly strangers who will fasten a young man’s tie because it’s undone and he’s headed for an interview, and they want him to succeed! So will gladly aid in his looking sharp without needing to be related to this person in any way. Then they’ll wish him the best of luck and pray he gets the job! As if they knew him. As if they were family. So even if nakama is a fictional concept, it seems there is an innate goodness instilled in the Japanese people that obviously gave root to the concept of nakama. An innate, unrelated goodness we haven’t really grasped anywhere else (that I’ve been exposed to at least).

And whether it be instilled in Japanese tradition or simply an injection to their entertainment, I love that I grew up with this idea of nakama. Though this mentality has (I’ll be perfectly honest) made me lose a few friendships here and there, it’s definitely kept the right ones closer and stronger for longer than I expected or felt I deserved. My most valuable friends have respected and even reflected my personalized form of nakama because of the familial relationship it had inevitably created between us.

I was exposed to anime at quite a young age, and I was re-exposed to anime at the crack of dawn of every morning as my brother snuck out of our bedroom to watch reruns of Dragon Ball on the Cartoon Network; the early hours were a safe haven for a relatively violent and bloody show of foreign origins despised by most parents but loved by some teensy children (such as ourselves). He used to take out our most recently purchased bag of pita bread and pack of American cheese from the fridge and would nibble his way through the end of each – until we had nothing left to use for our family breakfasts during the weekends (reflecting on this now, I’m sure this drove both my mom and dad a little crazy).

Now, I often credit my having an older brother for a lot of my toughness and a lot of my disconnect with the common American young lady – my best friends in school were mostly boys. We were always playing Pretend. Dreaming we were magical creatures climbing trees and burning down buildings was a lot more fun than being a part of the local girl-gang in my opinion (which I was also a part of. But I picked my shifts). I owed this early exposure and exercising of a speedily-expanding imagination to my older brother and to the shows he didn’t let me watch.

The shows I only watched while hiding behind the couch and peering over the cushions with my little fingers hinged on the edges of suspense. Clawing through the fabric – just to watch Dragon Ball without him knowing; without him catching me and demanding that I leave (because apparently I was deemed too young for such mature content). Despite him being only two years older than me and like… eight. If he ever did spot me, I’d have to not only be yelled at (mind you, while my parents were sleeping in our tiny apartment in Los Angeles which struck a whole other type of fear through my 3-foot-frame) but I would also have to sink to the floor and stare at the wall for the next two hours – behind the couch, listening to the show instead. Painting the scenes in my head as I had to imagine they were on the TV screen because my evil, older brother claimed I was too immature to see it.

* I will have you know, this was the final power trip I allowed him to have over me. The future was bleak for my older brother, but bright for my unrelenting defiance and eventual overthrow of his tyrannous nature. Bullies are not to be tolerated. *

But I was just so damn curious. Like what could be so amazing, so interesting, that it pulled my brother out of his bed at 5 am every morning like clockwork to eat cold bread and cheese and sit two inches away from the TV screen for the next two/three hours??

It had to be thee coolest thing ever.

So I risked it all. I risked the deportation back to my bedroom, the hellish fire that could awaken my sleeping parents, their hellish fire after being woken by their son’s hellish fire which would then be redirected to me as the source of his hellish fire that had woken them up in the first place.

It all didn’t seem worth it. (But it was).

I couldn’t wake up as early as him every day, but I always made it out to see at least the concluding hour of Dragon Ball/Dragon Ball Z those mornings. I did it so often, that eventually, my brother refrained from fending me off with a foam baseball bat or a stick. Maybe he understood that I was his little sponge whom he could influence and make awesome, rather than the rabid gerbil he made me out to be that ejected out of our mother’s womb for the sole purpose of ruining his life. My seat placement beside him was a promotion. I had graduated to soft-plaything; something that could still be tormented and abused, but should no longer be feared.

I didn’t understand why he liked cold pita bread and American cheese so much, but that seemed to be the Snack of Kings. And I had just been promoted. Beggars can’t be choosey, y’know?

This development in our sibling relationship was also when I discovered my severe case of lactose-intolerance. So in a way, anime’s role in my life was more than just a didactic ruling of friendship and sibling-warfare, but also a court hearing for prospective-allergies.

After discovering my intolerance of yellow-American cheese, my mom introduced my small intestine to goat milk, goat cheese, and an array of goat-rather-than-cow related products; it was a comparatively smelly alternative lifestyle-change that I remember enjoying. I also was not a very picky kid – but again, I saw myself as a trampled vagabond of the streets – so I took what was give to me without question.

But I was a sanctified vagabond. I had made my way from the nosebleeds to the courtside all on my own, a product of my own resilience and ambition. And I thought I was incredible. Like… I wasn’t even old enough for this show. My older brother said I wasn’t allowed to watch these things, and yet here I was… him petting my head and eating cheese while I ogled skyward toward a sizzling, 90s, television filled with awkward screaming, high-voltage blasts and decapitated heads. I was taking it all in and I was loving it.

And one of the reasons I loved it was because Goku (who’s literal growth we have avidly followed from Dragon Ball to DBZ and onward) had a son that he fought alongside. Like how cool would that be?! His son, Gohan, was around my brother’s/my age, depending on the episode, and was being taken out on missions?! Like what?! The amount of TRUST that Goku not only had in his son but in his comrades taking care of his son was powerful. He had enough faith that his son could help him – the greatest Super Saiyan in the world – “fight crime,” defeat enemies, purge the universe of evil!

But also knew when to tell Gohan to like back the f*ck up cause he was 6 and had little to no training. And that was dope.

I was six. I could be great. I could have friends bigger and better than me (which I already did ‘cause I was the shortest kid in my class and still am at the bold age of 22) but friends who still believed in me in spite of that! I could be everyone’s equal. The grown-ups would see my latent potential, the bold energy I harbored, and pay no mind to my age. They would look at me and expect greatness; not because my father was their friend nor because my father was great, but because I was their friend and I was great.

They would do anything for me. Even give up their life for me? Whoa.

The episode that is engrained in my memory most was my brother’s favorite – we re-watched this scene countless times once YouTube became a thing on the internet and a mighty weapon for internet babies like us to digest.

Gohan turning Super Saiyan 2 for the first time.

Mostly I just remember Android 16’s head bouncing around on the dirt, and his dreary eyes looking up as he drawled… “Gooooohaaaaaaan. Let it gooo…” in this deep, robot voice – but let’s remember why 16’s head was rolling around at everyone’s feet. Because he had just pounced on Cell’s back with the belief that he still had a bomb lodged inside his body and was ready to self-destruct – to sacrifice his own life in order to save his comrades. Comrades now, but enemies not so long ago. Hell, Android 18 was going around bustin’ everyone’s asses and suddenly she’s marrying Krillin – goes to show that bad guys have can have a lot of good inside them (and if you’re marrying Krillin… you have a lot of good inside you).

But alas, 16 no longer had a bomb inside his body, and therefore Cell blasted him to bits and kicked his skull aside like it was the neighbor-kid’s deflated soccer ball. This is where 16 recites his epic speech of encouragement:

“It is not a sin to fight for the right cause… It is because you cherish life that you must protect it… I know how you feel, Gohan.” Despite being an android.

And then Cell stepped on his face and his head exploded – but! With all the coils, gadgets, chips, and metal – out came a lot of blood; and that was very humanizing to me. That things that bleed – animals, humans, and apparently androids – we all have a quality that bonds us, a frailty and an appreciation for life that unifies us. We are all unified by the blood in our veins. Despite being just an android! Gohan was right! 16 did love life, and he gave it up because he loved his friends even more and wanted them to enjoy the rest of their existences. It’s an abrasive scene, but thanks to my older brother, Andrew, one I’ve seen a million times nonetheless.

And due to the power of emotions! Gohan crosses the threshold and reaches Super Saiyan 2.

With glistening tears in his eyes.

It reminded me of the samurai – avenging the death of a loved one. Pride. Brotherhood. Bonds. Protection. Justice. Self-sacrifice… Nakama.

And then came Naruto.

This could easily mark the end of my existence. I lost my youth at the mere age of 12. Cause if Naruto doesn’t traumatize you for life, then bless your soul – nothing else can, my child.

Masahi Kishimoto intended the first arc of Naruto Uzumaki’s adventures to be his last as well. That single manga was illustrated for the notoriously heart-wrenching plot movement of Squad 7 facing Zabuza, Demon of the Hidden Mist, and the orphan Haku. (Let’s not get too into this though cause that’ll just tear me up in seconds).

Transformed into an anime, this plot movement was the first for many of us to watch. And very quickly were we faced with the complex of sympathizing for the enemy, maybe a little too much.

Zabuza Momochi, a rogue Shinobi of the Village Hidden in the Mist is known as one of the most dangerous ninjas of the land. Very unexpectedly, we learn he also practically raised an orphan child named Haku on his own, training him as a swordsman to defend himself. Haku has a special ability that people in his village feared; therefore, people like Haku and Haku’s mother were summarily executed. So Haku’s mother taught him to keep his ability a secret – until her own spouse discovered their secret and murdered her. Haku lost control in response to this, kills his own father and the rest of his village and is then found by Zabuza Momochi…

In this first arc, Zabuza is hired as an assassin that inevitably clashes with Squad 7 (our protagonists), and we’re obviously rooting for Squad 7 to survive! We want them to win. The lead character, Naruto is in Squad 7! Clearly we like them the most. Then why is it that every fan of the show immortalizes Zabuza and Haku?

Because we see a bond between Zabuza and Haku. When Haku appears in the mist to sacrifice his safety in order to keep his caretaker safe – that act changes everything.

As of yet – there is no strong bond holding together Squad 7. Yeah, Naruto and his comrades fight their hardest, and one of them almost to the death; they have to utilize the teamwork they’d been avoiding for so long – but that’s not nakama. The bond of love between an assassin and his conditioned apprentice, though? THAT was nakama.

You see that moment, that presentation of empathy, love, and care for something other than themselves made those characters greater – unselfish, forgiving, merciful and kind to someone outside of them – making them stronger than any of the adored members of our beloved Squad 7. Their pasts, their wrongdoings, their sins I won’t say meant nothing… but they suddenly meant much less. Because we just witnessed their humanity, and much more than their humanity – selflessness.

In fiction – we frequently equate the enemy with negative qualities. They are the enemy, therefore they must carry no virtue. They are all evil.

But a person who steals bread, inspired by the love for their starving children… A person is risking their life, reputation, and future with an evil act in order to protect/save others.

Self-sacrifice is the greatest sacrifice is it not? And great self-sacrifice I imagine should be the hardest decision to make. The amount of bravery and inner-peace needed to execute such a choice… is impressive. I am grateful to have never been placed in the predicament where I must choose between my life and another’s. Would I have the strength to give up everything for someone I love? Could I make that decision? I have no idea, but I can tell you that when I see a mother sacrifice herself for her child, or any adult jump in front of a child they are unrelated to who is in harm… there’s something magical behind that choice. There’s a passion, a power of emotion that exceeds the brain and is pure heart – which may be stupid – but it’s selfless. And altruism is admirable if not the most admirable.

Nakama is a purely altruistic act, and though I cannot say I’ve ever felt that I would give my life for my friends in a moment (which seems like nakama-extremism), I know I sacrifice a lot for my loved ones, even when we are not blood related. I donate a lot, I believe in people a lot, I offer plenty of my time which in my opinion… is giving my life.

But a lot of people do not understand this idea of nakama and are very quick to judge it, if not feel unsettled by it; it is not clinginess, it is not desperation; it is just empathy, faith, and affection but it does not take away for someone’s love for themselves – at least it shouldn’t. It is there only to make you stronger.

So maybe that’s why some of our most evil characters in popular culture are incredibly strong. Enemies in fiction aren’t always 100% made out of Satan-Squeeze. We do see some humanity in our antagonists here and there. But there’s a weird, religious, consecration when a bad guy “sees the light” and decides to suddenly “go green and be good.” So it almost seems like… there really is no adversary… cause… in an instant, they’re absolutely cleansed. So… if everyone can be saved, than that means everyone is made of goodness. And then what a relief that is! What a belief that is! Ahhhh what a happy, spiritually satisfying ending ☺.

This brings up the complicated character development between Naruto Uzumaki and Sasuke Uchiha. (We’re diving into murky waters, my friends).

Sasuke Uchiha was my favorite character from the moment I laid eyes on him, but he has probably one of the most tragic pasts I’ve ever had the honor of absorbing. Born of the Uchiha Clan, Sasuke was raised among some of the most intelligent, perceptive, and valuable ninja-warriors of Konoha. Their trademark is the Sharingan – a powerful dōjutsu (an eye technique) that augments a ninja’s insight and hypnotism against their rival… basically. Sasuke lives a pretty normal and happy childhood, constantly idolizing his older brother Itachi and striving to be just as strong and helpful to the community as his brother has been. Then we discover Itachi has had undisclosed motives for a long time. Abruptly, he unleashes… going on a rampage, slaughtering the whole entire Uchiha clan, including his and Sasuke’s parents… but leaves Sasuke alive and alone.

So Sasuke’s mission practically from birth becomes to avenge his clan, locate, and defeat his brother.

But then he meets Naruto Uzumaki and Sakura Haruno who seem to veer him from the path of self-destruction and revenge. He finds a family he once lost amongst Squad 7 and its hilarious but unsurpassable sensei, The Copy Ninja, Kakashi Hatake (who, for lengthy reasons, also attains an eye with the clan’s Sharingan). There is a bond growing between all four of these characters, an empathy, a pure caretaking quality that was not there when they were up against Zabuza and Haku.

But inescapably… we lose Sasuke to the dark side (and let’s just leave it at that for now).

One of the worst things that can probably happen to you as a human being (aside from an audience member) is seeing your favorite character go bad. Yeah sure it’s kinda cool and they become even edgier than they once were, but there’s nothing cool about seeing someone you believed to be your best friend go rogue and forsake the home you built together because suddenly you and your friendship mean absolutely nothing to them… That always sucks.

But according to nakama, you have an unbreakable bond… yet you see the goodness being sucked out of your nakama’s soul… does that mean that you give up on the friend who has given up on you? Do you turn your back on the criminal your best friend has now become?

One of my dad’s favorite movies is Seabiscuit. He’s definitely a big fan of the comeback-kid and always tended to root for the underdog. His favorite quote in the film became one to live by in our household. It was when Chris Cooper’s character was asked why he kept trying to fix this horse that had injured its ankle. It was a racehorse. With an injured ankle it had become useless. And to that he responded,

“You don’t throw a whole life away just because it’s banged up a little.” Beautiful.

So when your BFF goes all homicidal on the townspeople… what do you do? Well, because of anime, I don’t think I’d ever be able to completely hate them. Even if I had the responsibility of killing them… the nakama between us would still exist despite their death and my being the cause of their death.

I am not quite sure that this is a good thing. You see… sometimes… I do believe we need to lose friends, and we shouldn’t keep raising excuses for why it’s okay that they’ve truly begun to suck as people. It is their fault. You have tried. You’re now beginning to work yourself to the bone defending an ego that apparently doesn’t even want your defending.

The fatal flaw of nakama: difficulty knowing when to let go.

But the problem that I feel most people face, is letting others go too easily. I watch my acquaintances releasing friends like breath out of their lungs sometimes, and the stories I hear of them being suddenly dropped from a friendship are staggering… I think people have forgotten how to be brave, and forgotten how to be there for our buddies when they need us the most and evidentially become the most difficult versions of themselves to deal with. It is hard being a good friend – if anyone tells you otherwise I can confidently state that they are wrong and probably have a lot of interpersonal issues as well. But it is hard being there when someone needs you, especially when they need you more than that one time when they got the news.

I credit this rude awakening to my emotional intelligence, my time spent being introspective and aware of the people and the world around me – to my understanding and my empathy. Because I know I’ve “strayed-from-the-path” before, I know I’ve hit concrete walls and sulked in the pitfalls of depression, and more often than not was abandoned by my friends rather than finding them waiting for me to wake up on the other side as a new person. And I’ll tell you what – I got used to the abandonment, but I never accepted it as a viable approach. So every time a friend of mine hit the concrete walls or were in the jaws of anxiety and stress, I was always sitting cross-legged with my head cocked to the side, my ears wide-awake, and a smile in my pocket for when they were ready. ‘Cause I knew that’s what could’ve helped me. I knew that support meant something to people. I was showing my friends in pain that they had a cheerleader, and I was going to be rooting for them until they’d come back to Earth. And did I learn this from the air? Did I think of this approach by myself? Ruminating on it, anime and manga trained me to be a good friend before I even had a friend to be good to.

But what about when they don’t come back to Earth? And what if it’s because they refuse to? When do you let go, and does letting go mean ‘stop loving?’

That’s when things get complicated.

But nakama still doesn’t lose its value.

My BFF is a homicidal freak now, right? Okay. So it appears that I’m head of the defense force that is meant to take my ex-BFF DOWN TO THE GROUND… those characters that suddenly just flip the switch and delete every memory they have had with that person… that’s great and all, and I’m sure a useful tool when you’re in the business of saving lives (you’ve essentially deleted your bias towards a person who is now your enemy) but that doesn’t feel very human to me. Like we just discussed above, you’ve also given up on someone. And the idea of giving up on someone does not exist in anime. Unless it’s a supporting-role who had a hand in poorly raised one of our vindictive protagonists. But they always feel shame in the end anyway, and the protagonist has the inner peace to forgive them because of their understanding, their love, and at the root of it – nakama.

So how and why did nakama appear in manga and anime? Where did it come from and why is it still so prevalent in Japanese culture? Could it be a reaction to something rather than an intrinsic value?

What if nakama was in some way a response to shame? That if you did not behave this way towards your comrades (for example fellow samurai) you would then be identified as a coward, unwilling to risk your life for your brethren. Therefore you have brought dishonor to you family. Dishonor on your cow! (as per Mushu) and shame upon your head. An ultimate, sin according to the ancient culture, inducing suicides throughout the empire.

So could the innocent idea of nakama have been born from the embarrassment of shame? And is that why western society does not grasp this value… as a value? /how do we experience shame and do we value it?

What is our idea of shame? I’ll tell ya, it usually doesn’t stem from how we treat other people:

Someone cheated on their spouse? Yeah well it happens.

Someone keeps cheated on their math tests? Shame.

A person is corrupt in the workplace? It’s terrible, we hate it but… what’re we gonna do, it happens.

A person comes out as gay. Shame.

A human who likes a unique style of music. Shame.

A human who was raped. Shame.

A teenager who isn’t athletic like their parents. SHAAAME.

You see, we treat shame as a form of social acceptance, and by that I mean, if you do not meet the criteria of the put-together citizen, you should be ashamed of yourself! During the Edo Period of Premodern Japan, if you were a Samurai and could not uphold Bushido; “the way of the warrior,” the moral code of that culture; shame was brought upon you. But their moral code was often in the pursuit of benefitting other people.

The eight rules of bushido code are as follows:

Righteousness Heroic Courage Benevolence/Compassion Respect Integrity Honor Duty and Loyalty Self-Control

These laws outline the responsibilities of samurai; to be deeply honest with yourself and your neighbor, to not only find opportunities to help your neighbor but to create those opportunities when they do not arise. Understanding that true strength does not come in proving your strength. Staying true to your word and being aware that you are the judgment you sleep with at night. Decisions you make and how these decisions are carried out are a reflection of who you truly are.

For, “you cannot hide from yourself.”

But it appears that our in-vogue moral code dictates that you must hide from yourself because if you are different… you are a deviant. Its standing does not rely on our treatment of others but more on our ability to conform to a certain standard of acceptable normalcy. Not too weird but not too common. So our code just seems to be self-imposed and self-inflicted. We don’t seem to really value how we treat one another but how well we mold to one another. I think the last time I was taught that being kind to others was a code to live by was in kindergarten, when I learned, “Do unto others as you would have them do unto you.” Pretty much, treat people how you’d wanna be treated. And then of course “keep your hands to yourself.” * thumbs up *

But after that… I dunno… there wasn’t much stress on the ethical upbringing of our population, of our citizens. Do we really not care that much? Yeah sure, I took ethics in college, I took several courses in Sociology and Philosophy and studied the Ethics of Documentary Filmmaking… Literature can often times be a nice bridge into empathy as well… but these were all choices. I was not obligated to take any of these classes… which means… a lot of people don’t. And won’t. And even if they did/do, college may have been a late start to have these discussions.

We are raising a population of Narutos that will not chase after their Sasukes. Generations of children that believe hurting someone is an okay practice if that person hurt them first and feel no shame afterwards. That reflecting fire proves your strength rather than dousing it and turning your cheek and being a bigger person. The way we’re going, everyone is going to want their fire to be larger and brighter than their enemies’ and their friends,’ igniting an egotistical flame that’ll just burn down city hall… thanks guys.

Hot-heads are generally looked down upon in Japanese entertainment. They’re a source of humor and the butt of everybody’s jokes because they’re assumed to be quite immature and stupid. They are nothing like their leaders; they lack self-control and respect, empathy, and awareness. In these shows, characters have certain codes to live by that are very similar to the samurai’s bushido, and if you’re not striving for that admirable way of life… something seems to be wrong with you:

The way of the ninja in Naruto.

Saiyan Culture’s emphasis on pride, honor, strength, and honesty.

And even in shōjo manga like Mermaid Melody and Special A, there is a camaraderie between our main characters that is so strong, any outside force cannot defeat it. You see these stories do not have to revolve around intense, dramatic plots entrenched in suspense and guided by their twists and turns. The characters set in a village ravaged by demons are quite the same as characters trying to survive high school. They are inspired by their peers; peers who neglect them, hate them, terrorize them, love them… they want to grow and become stronger because of their peers.

There is a constant theme in anime about weakness and how weakness is looked down upon, but not in the overtly-masculine way that you may think. It is not that weakness itself is shameful, but that one’s inability to protect their loved ones is shameful. Characters are often tormented by their guilt for feeling like deadweight, like an anchor, being incapable of protecting their best friends and their families. So they are motivated by their pain, their rivals, their nakama all in order to evolve and grow into someone stronger – and a character’s strength is measured by how well they can protect other’s.

What an incredible notion. Measuring strength based on your selflessness and your ability to love.

If I have to lose friends because they do not understand nakama… because they find weakness in it, they’re missing out on a tool that builds up only the toughest and the bravest. It hurts, but it must be endured and it must be accepted by people like myself. Those friends I will lose are luckily few, and are not guided by the same light that guides the characters I’ve admired since my childhood. And people like that cannot inspire themselves, nor will they be able to inspire others.

I am an endless fire lit in perpetuity by the sensation of my nakama, and I will continue to be fueled by this heat, inspired by every day and every night, because I have people I care for and people to live for. My ability to love can break the bank – and I can thank my evil, big brother for that.

- Ashley Beroukhim

11.24.17

2 notes · View notes