The Infinite Zenith

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Tag Archives: live-action

Little Forest: Considering Insights into Life Decisions, A Movie Review and Recommendation

“Komori is a small settlement in a village somewhere in the Tohoku region. There aren’t any stores here, but if you have a little shopping to do, there’s a small farmer’s co-op supermarket and some other stores in the the village centre, where the town hall is. The way there is mostly downhill, so that takes about half an hour, but I’m not too sure how long the trip back takes.” —Ichiko

After encountering considerable difficulties with life in the city, Ichiko moves back home to Komori, a small rural village in Tōhoku. Far removed from the hustle and bustle of the city, Ichiko farms the land and makes the most of each season, using her knowledge of the land and local ingredients create simple but tasty dishes. Ichiko recalls stories of her mother in her childhood, who had left one day. The seasons pass in Komori, and Ichiko receives a letter from her mother. Deciding that living in Komori was equivalent to running away from her problems, Ichiko moves back to the city, but later returns to Komori permanently as a farmer upon realising that she’s come to love the way of life in rural Japan. The original manga was written and illustrated by Daisuke Igarashi; running between 2002 and 2005, it received a two-part live-action theatrical adaptation that was released in August 2014 and February 2015. A Korean adaptation loosely follows the structure of Little Forest and screened in 2018. The Japanese film will be the focus of this post: Ichiko is played by Ai Hashimoto, who delivers a very matter-of-fact performance in Ichiko’s everyday life in the country. Facets of life, from the preparation of foodstuffs, to subtle details in each season, are outlined in a manner reminiscent to Rena Nōnen’s performance as In This Corner of The World‘s Suzu Hojo (née Urano). Little Forest presents rural life as being very idyllic, slow-paced and earnest: one of Ichiko’s friends, Yūta, remarks that he’s fond of the country life and cannot stand urbanites because they are untruthful, whereas in the countryside, people are more honest and doers rather than talkers. The film is an ode to simpler living, in a world far removed from the connectivity and pressure of a scheduled, digital world; in a manner of speaking, Little Forest is a Japanese interpretation of J.R.R. Tolkien’s Shire; the Hobbits of the Shire live a very simple life, treasuring good food, a warm heath and all of the comforts of home above treasures and power. However, while one cannot be blamed for wanting to return to a simpler life, Little Forest also raises the question of whether or not escaping from the more complex, ever-changing world is the right way to handle one’s problems.

During her days in the country, Ichiko demonstrates a strong knowledge of the land and resourcefulness, looking after her crops and crafting meals with whatever is available to her. Her monologues show someone who is deeply entrenched in the land, and that she is someone who is definitely at home in the countryside. From simple bread, to the preparation of fried trout, duck, onigiri and home-made jam, Ichiko uses a combination of her mother’s knowledge and own discoveries to create simple but delicious meals. The past and present come together as she cooks; the passage of time infuses new knowledge into old dishes, suggesting that change is inevitable but gradual in all things. How much of Ichiko’s mother’s stories are genuine, then, becomes largely irrelevant, as she takes what is true and then combines it with her experiences to make her dishes work. The focus of Little Forest is in the realm of cooking, how recipes might change over time and imbibe the characteristics of the individual cooking them. While family recipes are often thought of as being immutable, a taste of an older time, the reality is that every cook will apply their own styles to it and create something slightly different. In this way, a particular dish can be thought of as ever-changing, for no two individuals will prepare a dish in precisely the same way. Change is then thought of as inevitable, applying not just to food, but to one’s life, as well; no two individuals will handle their problems in the same way, and ultimately, it is up to the individual to seek out and execute solutions to the challenges that they might come across within their lives.

While Little Forest presents Ichiko’s days of cooking and tending the farm as idyllic, her monologues are interspersed with thoughts of her past. It turns out that Ichiko’s had a rough time in the city; between a failing relationship and difficulties at work, Ichiko succumbed to pressure and decided to leave, regrouping in the countryside. While life back in her old home is peaceful, there are a unique set of challenges, as well; there are bears in the area, and insects get into the crops. Furthermore, her friends in the countryside occasionally remark that she’s running away from her problems in the city, retreating to Komori when her work and relationship takes a hit. This is true, and presents the audiences with a dilemma: if Ichiko returns to the city to face her challenges, then she’s suggesting that a simpler life in the countryside might not be as idyllic as one might imagine. Conversely, staying in Komori would signal to viewers that it’s okay to escape one’s problems. Ichiko’s final decision, to return to Komori after attempting to make life in the city work once more, neatly addresses Little Forest‘s theme: Ichiko does make another (presumably honest and whole-hearted) attempt to make her situation work out, returning to face her problems, and then with the knowledge of which life she feels that she could put a more complete effort towards, makes the choice to return to Komori. In the end, the simpler life prevails, but only after Ichiko has had a proper opportunity to face her problems once more. Having said that she has honestly made an effort to see if she could have made life in the city work, Ichiko’s return to Komori is not running away, but stems from a conscious decision that this life is what she desires.

Screenshots and Commentary

  • Known for its scenery and climate, the Tohoku region occupies the northeastern side of Honshu and has a comparatively lower development level compared to the rest of Japan. Little Forest was filmed in the Iwate prefecture, which has the lowest population density of anywhere in Japan save for Hokkaido. The area has a hot-summer humid continental climate, and Ichiko opens by saying that the area is very humid in the summer, with the heat sticking to one.

  • With its low population and relative seclusion relative to the remainder of Japan, Iwate is the perfect place to go to get away from the hustle and bustle of the city. Lacking the same melancholy as Inao in Nagano, where Please Teacher and Ano Natsu de Matteru is set, the rural setting for Little Forest is cozy, inviting and very laid-back even during the hottest days of the summer.

  • The first dish that Ichiko creates is a stove bread: before we delve further into this discussion, I remark that my cooking skills are rudimentary at best. I have basic knowledge in food preparation and baking to the extent where I can prepare edible food that passes for a meal, but the more advanced techniques, I am less versed. The most complex dish I’ve made in recent memory was a sirloin-and-pepper stir fry with Dijon-mushroom sauce.

  • While life in the countryside, the inaka, is very slow-paced for us urban-dwellers, Little Forest shows audiences that there is a completely different set of things that folks in the rural areas do during their day. Where we commute to work and sit in an office for a day, those in agriculture tend to their crops, maintain their equipment and spend plenty of time cooking, making use of their ingredients to make hand-made meals that city folk may not have the time to make.

  • Ichiko recounts how her mother fabricated all sorts of tall tales during her youth. Her introspection of these memories suggests a bit of surprise when the truth came out, but otherwise does not convey any other emotion. The frequency that Ichiko brings up these stories suggests that despite her distance with her mother, she’s definitely appreciative of the effort her mother took in raising her, and indeed, the memories that audiences see from Ichiko’s childhood are simple, but warm.

  • Ichiko lives in her mother’s old house, a rickety wooden building that nonetheless is very inviting. Having lived here for most of her life, Ichiko is familiar with the ins and outs of the countryside: by summer, all sorts of things come to life during the night, including various insects, owls and even bears. I am spoiled by the fact that urban dwellings are relatively free of unwanted visitors, and the thought of insects marching through my room while I sleep is a bit of a scary one.

  • Besides tending to her crops, Ichiko also helps out around the village: as a part of a smaller community, everyone knows everyone, and form a close-knit group that is very friendly amongst one another. Here, Ichiko helps Yūta with moving trout around from their hatchery to a larger pond. The trout that are seen in Little Forest differ from the trout that I’ve had in the past year: during a business trip to Winnipeg, I had Steelhead Trout, which is characterised by its orange flesh and a more oily flavour: while not quite as distinct as salmon, it’s still quite salmon-like and is very tasty.

  • Roasting fish on a skewer over an open fire is something I’ve seen in many series, whether its Les Stroud’s Survivorman or other anime. After the intestines and other inedible parts of the fish are removed, they are cooked over flame before being served. Little Forest has Yūta and Ichiko discarding the heart and liver from the fish, but these are edible and provide additional nutrients; Les Stroud eats those in addition to the fish during his survival trips.

  • Yūta’s remarks about what makes people genuine struck a chord with me: he believes that people who are worth respecting are those speak from experience, who’ve done things rather than merely talk about doing them. Especially in the age of the internet, people often over-estimate the scope of their knowledge and make like they know more than they do. Fortunately, it is quite easy to spot when this is occurring: a few well-placed questions are often enough to determine if someone genuinely knows their stuff, or if they’re bluffing. For my part, I try to speak (and write) within the realm of what I know.

  • For me, food is grown in the great plains surrounding my home city or else imported, and then it’s something I pick up at the supermarket. However, this is not something to be taken for granted; much like how it takes a considerable effort to make even a simple app work, the process of growing food is a very extensive one, and those in agriculture have my utmost respect. The Chinese have a saying: 飲水思源 (jyutping jam2 seoi2 si1 jyun4, literally “when drinking water, think of its source”): I am ever mindful of what it takes to grow the food on my table and strive to make sure no food goes to waste.

  • I love tomatoes: refreshing and delicious, they are a fantastic food that are classified as a berry but utilised as a vegetable. The longstanding debate of whether or not a tomato is a fruit or vegetable is the subject of no small debate, but for me, tomatoes are a fruit hands down: science wins every time. I take tomatoes wherever I can get them; they are delicious in sandwiches, and the smaller cherry tomatoes are delicious on their own, packing a stronger flavour than standard tomatoes.

  • The passage of the seasons runs throughout Little Forest – each of summer, autumn, winter and spring brings with it a different set of ingredients that Ichiko has to work with. As the trees yellow during autumn, Ichiko prepares her harvest and also picks chestnuts from the area nearby.

  • The process of food preparation can take a good bit of time, and having tried my hand at cooking, I can honestly say that it can be a fun process during which time flies by. The night I prepared the sirloin and pepper stir-fry, it took four hours from opening the packages of meat and washing the vegetables, to enjoying said meal and then washing the dishes. Similarly, I tried my hand at making a chicken and broccoli dish that turned out to be delicious, as well.

  • One of the things I likely won’t do for the short term, regardless of how delicious the outcome is, is frying battered meat in an oil using a pan at home. This is in the interest of preserving the air quality in wherever I am: the process produces a great deal of greasy smoke that clings to the air if done improperly (e.g. if the type of oil is poorly picked), so I would sooner learn to make other things, before attempting something like this.

  • Sharing meals or snacks together with a dose of conversation may seem quaint for us city folk, but as it turns out, gathering to talk and eat is both superbly relaxing (a world apart from staring into the screen of a smartphone), and a great way to pass time. During the hot pot on Sunday leading up to the New Year’s, I spent upwards of 90 minutes with family, putting various meats and vegetables while sharing conversation, and during New Year’s Eve, conversation spanned two hours after the last of the cheesecake and flan were had.

  • At home, Ichiko’s recollections often have her telling stories of her mother’s own recipes for common condiments and spreads, like Nutella and Worcestershire sauce. Her mother’s recipes yield a product different in taste than those of the commercial ones, and Ichiko is often surprised at the fact that these recipes are not original to her mother. As a side note, the original Worcestershire sauce from Lea and Perrins is a British invention, being used to season salads, soups and is a component of the Bloody Mary cocktail. However, it also goes great with the steamed meatballs served in dim sum.

  • One part of Little Forest that really puts the perspective on fresh meat is when Ichiko is shown looking after ducklings that later mature into ducks; she states that ducks are useful around the farm, aerating the paddies and also consume any insects that may harm the rice plants. Audiences get to see the ducklings; their fluffiness and small size make them absolutely adorable, and one’s mind should be quite far removed from thoughts of eating them. However, as the ducklings mature into ducks, Ichiko takes the knife to one and carves one for dinner, roasting it over a fire.

  • Meat cooking over a fire is a very inviting image for me, and the ethics of eating meat is not something I personally partake in debating – from a biological perspective, humans evolved bigger brains precisely from our transition to a diet with meat in it. The nutrients in meat contributes to the synthesis of materials involved in the brain, and in conjunction with cooking, we could now spend less time eating. The reduction in jaw muscles changed our skull morphology and also accommodates for increased brain size. Our evolutionary origins live on in me: when at home and meat-on-the-bone is on the table, I will take the time to gnaw any meat off the bones. Just yesterday, we had roast lamb on the bone to celebrate New Year’s Eve, and later today, a dijon-honey-mustard ham is on the table.

  • Komori is a fictional town, but the locations are real, and the scenery of rural Japan is very beautiful. The open spaces between mountains are captivating, and for me, hold a certain appeal because they are a sight I do not often see. By comparison, the majesty of the Canadian Rockies are a familiar sight, and while certainly scenic, is not quite so special for me because I see them often. From the opposite viewpoint, the Japanese find their rural villages to be quite ordinary, and see our mountains as breathtaking; Japanese tourists in the Canadian Rockies are so common that our stores offer Japanese signs, books and menus for travellers to accommodate them.

  • Everything that I know about cooking, I learned from either my mom or through courses I took during school. Things picked up from home tend to endure as a family tradition, and the one thing that I learned from home that schools will never teach is the proper process of de-veining shrimp. Most procedures will say that it is sufficient to make an incision into the shrimp from its dorsal side and then use a knife to pry the intestine out, but there is a hind gut containing stuff that one would rather not eat. Extending the dorsal incision into the tail allows for this hind gut to be removed, as well.

  • One aspect of Little Forest that was particularly standout for me were the use of frames and cutouts as transitions. They give the movie a very modern, elegant feel that stands in contrast with the decidedly more rustic lifestyle being portrayed within the movie. Clever use of these allow the film to illustrate Ichiko cooking from different angles, reminding viewers that cooking and preparing ingredients is a very dynamic process.

  • The soundtrack in Little Forest is very minimalist; this is an appropriate choice given the film’s composition. The whole of Little Forest can be summed up as “a girl returns to countryside and cooks various dishes using local ingredients”, but outside of a short blurb, the movie is an excellent example of where less is more. Because Little Forest only gives a few explicit details, the remainder are implicit and so, leaves audiences to connect to the film in their own manner of choosing.

  • A few of Ichiko’s conflicts are shown, whether they be with her friends or other farmers, but for the most part, Ichiko gets along very well with those around her. Scattered throughout Little Forest, they show that Ichiko is not entirely free of her worries and troubles when living in Komori, but the fact that Ichiko can handle them (whereas she ended up leaving the city because she was overwhelmed with troubles) foreshadows that Ichiko is at home in the countryside.

  • Whether or not the foreigner that visits Ichiko and her mother was a real memory or not is ambiguous, but he is shown as having a fun character, playing with the younger Ichiko. Ichiko recalls her mother’s recipe for a Christmas cake here and notes that while they never really celebrated Christmas, the tradition of making a cake during the winter endured. In Japan, Christmas is celebrated with a different set of traditions; for one, KFC is the preferred bird of choice over turkey.

  • Ichiko inspects some dried persimmons that she’d previously prepared. These fruits have a wide range of culinary uses, and can be eaten as-is; I’ve never actually had the dried variety before, but fresh ones are quite tasty.

  • Winter in Komori is characterised with snowfall: winters in the inland portions of Iwate are very cold, and can be quite snowy, as well. When a fresh snowfall blankets Komori, the landscape is transformed into a winter wonderland resembling those seen in Canadian photobooks. Winter in Canada varies greatly owing to the sheer size of the country, and in the prairie provinces, winters are usually bitterly cold with some snowfall.

  • Besides cooking, Ichiko also covers nuances about agriculture and harvesting, mentioning the details of looking after crops. One criticism of Little Forest was that the challenging side of agriculture, from pests to undesirable weather, that impact yields, are not shown. Little Forest is not a movie about farming, it is a story of discovery, and so, I would consider this to be nit-picking, since failing crops would not contribute to the narrative in a meaningful way.

  • At this time of year, Alberta is typically quite cold and snowy, but the weather of late has been contrary to expectations, being quite warm and dry. Meteorologists are predicting that winter across the prairies will be warmer and drier than usual, but there could be some periods of extreme cold. With the winter holidays now past, the most miserable time of year is upon us as winter truly sets in, but fortunately, with no shortage of things to do, winter should pass by fairly quickly.

  • Curry is a mainstay of Japanese cuisine; introduced into the Japanese Navy by the British as a means of combating beriberi, Japanese curry is much milder than its Indian counterpart and goes great with rice. Here, Ichiko shares curry and flatbread with Kikko, her best friend. The two get along as peas in a pod, and while they occasionally have their differences, always work things out.

  • Rediscovery is also a theme explored in Little Forest, using cooking of greens as a metaphor. Ichiko initially wonders why her greens never have quite the same texture as those her mother made, being much stringy and fibrous in comparison despite being prepared with the exact same technique, using the same ingredients. She attempts a variety of cooking methods, but then figures out that removing the tougher fibres from the greens before cooking them results in a dish that tastes identical to those her mother made.

  • Little Forest is made up of two separate films, each of which have two acts: there are a total of four acts, one for each season, and at the conclusion of each, FLOWER FLOWER performs an ending song. Of the ending songs, I’m most fond of Natsu: it’s a very happy, bouncy song whose personality reminds me of a friend of old. Each ending is accompanied with scenery in and around Komori.

  • Tempura made from greens and vegetables is very delicious: last year, I had vegetable tempura made from things as diverse as broccoli, onions, yams and even pumpkin. During my visit to Japan, I was able to try both bakke and Fiddlehead tempura at an onsen buffet. I typically eat my vegetables steamed or stir-fried, since that’s the quickest way of preparing them, and so, whenever vegetable tempura is available, I savour it.

  • A fresh snowfall is a double-edged sword for me. On one hand, there is no denying the beauty of a landscape blanketed in snow, silencing everything, but on the other hand, snow corresponds with traffic delays and either frustration in negotiating with poor road conditions or waiting long periods in the frigid weather for a bus to show up. Having said this, I accept that snowfall means soil moisture come spring, and so, I begrudgingly accept the inconveniences of winter for the most part.

  • For the most part, the vegetables one can buy from the store are quite clean and free of bugs, so rinsing them in cold, fresh water to remove any chemical residues is often sufficient. Spinach and watercress can be a bit messier; a trick for cleaning watercress (which we use in a pork bone soup) is to soak it in salt water for a bit, and then rinsing the salt water off. The salt in water causes water to leach from the bugs, dehydrating and killing them.

  • Noodles are a fantastic standby, being relatively simple to make and is very much delicious when one has extra ingredients. After our hot pot on New Year’s Eve, we ended up making yi mein ramen with shrimp and fish-balls, with a generous helping of hot sauce. As spring rolls in, Ichiko and Kikko sort out various greens, and make spaghetti with the extras. Grilling sea trout and mixing it in, Ichiko cooks a simple but tasty trout spaghetti for the two to enjoy. After watching Little Forest, I took a look at the original manga, and remark that the films are quite faithful to the source. Little Forest could have easily been adapted into an anime and still have carried its impact, but the choice to adapt it as a live-action film worked very well, especially with all of the closeups of the food that Ichiko cooks.

  • The question of why I chose Little Forest for a New Year’s Day post was primarily because the movie does deal with new beginnings and choices. I originally watched the first part back in October during the Thanksgiving long weekend, and then finished the second part after my trip to Salmon Arm a province over. This was the low point in my year, when I was working on a project that was seemingly going nowhere. The combination of a weekend off and watching Little Forest made me realise that I would need to actively shape my future to pull myself out of this nose-dive.

  • Two months of time spent reviewing data structures, design patterns and more details about the Swift language, resume updates and the sending out of cover letters later, a new opportunity had arisen right here in my home town, and I seized it. Like Ichiko, who struggles between leaving Komori to pursue her career and staying behind, I’ve become quite attached to Heart of the New West and was conflicted in moving elsewhere for work versus staying where I am. For now, this decisions been made, and I intend to put in my fullest and best efforts for my work.

  • Where Ichiko’s mother went remains a bit of a mystery, and in Little Forest, Ichiko does not make a greater effort to visit, suggesting that a distance does exist between the two. The letter appears to be her reason for going back to the city and giving things one final shot, but Ichiko winds up moving back to Komori permanently. Little Forest has Ichiko return to the city to show that now that she knows both perspectives, and has put in the effort to make life in the city work, she can return back home having said that this was a measured decision, rather than because she was running away.

  • With my first proper post of the new year nearly in the books, I look into the near future and consider what I will be writing; while a new job and the attendant new schedule means considerably less time (and resolve) to blog, this blog isn’t quite dead yet (sorry to those who were hoping otherwise!). I intend to wrap up my thoughts on Anima Yell! and also take a look at Battlefield V‘s Tides of War after a full month of experiences in it. Finally, January means that I will be returning to CLANNAD ~After Story~ and continue with my revisitation.

  • It is not my modus operandi to grade live-action films the same way I do for anime, but I can and will recommend this movie to anyone looking for something that is highly relaxing, part cooking show and part life lesson. I would also like to thank The Moyatorium for recommending Little Forest to me. She was watching this film on a flight and recounted her experiences of the film to me, piquing my interest. As it turns out, Little Forest was exactly what I needed to gain some perspective and regroup during a tougher spot this year.

Little Forest seems a well-picked movie to watch for motivating a start to the New Year; the movie was particularly enjoyable for me because at the time of watching, I was going through a rough spot. As tempting as it is to retreat to the countryside and live there, this is not feasible for me: agriculture is a dedicated profession with its own skill set and challenges. As such, my only option would have been to face my challenge head on and make the most of things. This effort to handle the problem was met with an opportunity, and so, I am glad to have taken this approach. Aside from themes surrounding life, of dealing with problems and making life decisions in a measured manner, Little Forest excels with its general presentation of cooking and food: the movie is simple to the point of excellence, succeeding in captivating viewers despite being little more than a cooking show with elements from everyday life interspersed throughout the film. It is definitely worth a watch, and for folks who may have been going through a rougher patch, this film is something to consider, providing a perspective on what it means to regroup, recover and get back up to face a challenge. It helps that Little Forest embodies catharsis: watching Ichiko cook is superbly relaxing, and the film does offer interesting insight into Japanese cooking well beyond things like sushiomurice and other foods more commonly presented in fiction.

Captain America: Civil War, On Striking A Balance Between Focus and Comedy, and Parallels In Harukana Receive

“If we sign these, we surrender our right to choose. What if this panel sends us somewhere we don’t think we should go? What if there’s somewhere we need to go, and they don’t let us? We may not be perfect, but the safest hands are still our own.”
“If we don’t do this now, it’s gonna be done to us later. That’s a fact. That won’t be pretty.”

–Steve Rogers and Tony Stark, Captain America: Civil War

2016’s Captain America: Civil War (Civil War for brevity) is the thirteenth movie and the first part of phase three, dealing with Steve Rogers and Tony Stark as they become divided after the Avenger’s actions at Sokovia and the events of Age of Ultron. Collateral destruction prompts the United Nations to pass the Sokovia Accords, which places the Avengers under UN management. After seeing the destruction that he feels responsible for, Stark agrees to the Accords, feeling that it would be useful to have government oversight, while Steve Rogers believes in his own judgement, having grown disillusioned with authority after his experiences with SHIELD and a mission that sees Natasha Romanov sneak off to accomplish a secondary mission. Prior to the conference to ratify the Accords, Helmut Zemo activates Bucky Barnes, who appears and bombs the conference, killing T’Challa’s father, the King of Wakanda. Barnes is brought in, along with Rogers, T’Challa and Sam Wilson, but Barnes manages to escape. They prepare to apprehend Zemo, but are declared Rogue; Stark assembles a team to take Rogers in, although Rogers manages to escape with Barnes. Arriving at a remote Hydra facility in Siberia, Barnes and Rogers learns that Stark followed them, seeking a truce, but when he learns that Barnes had killed his parents and Rogers withheld this from him, he engages them in combat. T’Challa also appears, confronting Zemo, who lost his family in Sokovia and sought revenge against the Avengers: stopping Zemo from committing suicide, T’Challa captures him. Civil War was one of the biggest movies of 2016, and in keeping with films of the Marvel Cinematic Universe, is a highly engaging film that packages thrilling combat sequences, top-notch humour and a meaningful theme into one experience. Marvel Cinematic Universe films typically manage to strike a balance between the serious and humourous: there are plenty of moments worth reflecting on, but frequent jokes remind audiences that the films are intended to be fun, first and foremost.

The balance is something that Manga Time Kirara anime similarly capture to showcase that life is a very dynamic, varied experience: the latest manga to be adapted into an anime is Harukana Receive, and similar to its ilk, Harukana Receive has strong messages of sportsmanship, friendship and personal growth. Comedy is present to create a light-hearted, easygoing atmosphere, reminding viewers that the anime is not meant to be taken entirely seriously. Similar to Civil War, jokes are placed in Harukana Receive to break up serious moments – besides creating breaks in emotionally tense moments, humour also humanises all of the characters, making them more relatable. In Civil War, the crux of the conflict is a simple but effective one, presenting a juxtaposition between regulation and doing what one feels to be right. Both Stark and Rogers’ perspective have their merits, and which perspective is more appropriate will largely depend on one’s experiences and beliefs: some people gravitate towards having other bodies creating rules one can be held accountable to, while others will put faith in their own judgement. Neither extreme is viable, and this is the point that Civil War aims to make. However, in spite of these serious matters, however, Civil War also has its share of comedy, and nowhere is this more apparent than the airport scene – beside’s Scott Lang’s hilarious transformation and Peter Parker’s quips during battle, various moments break the emotional intensity of this battle and turns it into a competitive bout between teammates. However, just because Civil War has humour does not mean it cannot be serious: the final battle between Stark, Rogers and Barnes is an emotionally charged one, with Stark trying to avenge his parents while Rogers strives to defend his best friend. All parties have their reasons for fighting, and it’s a suspenseful fight, far removed from the hilarious and competition-like airport fight. In being able to balance both the serious moments, Civil War demonstrates that films can succeed in saying something interesting even if comedy is visibly present, and need not be all-serious in order to entertain viewers.

Screenshots and Commentary

  • Before readers tear me a new one, I note that this post was really born of a positive response from my Twitter readers to see if I could take two prima facie completely unrelated matters and see if I can say something about how they might relate. In other words, this exercise is to see how well I can bullshit, and whether or not I’ve succeeded, I leave it to the reader to decide. It’s been a while since I’ve done a talk with screenshots from a live-action movie, and immediately, I recall why this is the case: motion blur makes it tricky to capture the best moments in stills, unlike anime, which are easier to write for. I’ve been itching to do a talk on Civil War for quite some time, having first heard that it was a fun film. This talk, however, is not a review for Civil War: I deal primarily with how humour in Civil War increases the strength of the narrative, rather than detracts from it.

  • The same holds true for Harukana Receive: I’ve long felt that people are taking the show far too seriously. Yes, there is a major character growth component, but when people, ostensibly adults with a nontrivial amount of life experience, being talking down on fictional characters, I invariably wonder what about shows like Harukana Receive (or most anything to do with Manga Time Kirara) merit rigourous analysis. I am open to hearing reasons advocating this position in the comments below.

  • My first experience with the Marvel Cinematic Universe (MCU) was in 2012, with The Avengers. My first impressions were that it was a fun film, although at the time, having not seen Thor, I felt Loki’s motivations to be a little lacking. I’ve since gone back and watched all of the Marvel Cinematic Universe movies, and my appreciation for The Avengers has increased, now that I understand both Loki’s reasons for leading the Chitarui to Earth and how this sets in motion the events leading up to Infinity War.

  • 2012 also saw The Dark Knight Rises screened in theatres: Christopher Nolan’s Dark Knight trilogy is far removed from the comedic, colourful nature of the MCU, being much more grounded, focused on psychology and fundamental conflicts of the mind. Themes of recovery are central in the film, and while having the most outlandish narrative of the Dark Knight trilogy, The Dark Knight Rises still remains faithful to the atmosphere and setting of Nolan’s earlier Batman films.

  • After watching the Dark Knight trilogy and The Avengers, I decided to give Iron Man 3 a whirl and was immediately disappointed: the villians were weakly motivated, and the extremis seemed quite unrealistic. However, on my run through the MCU, which I started after watching Infinity War, my second impressions of Iron Man 3 were much more positive.

  • One recurring element I’ve come to love about the MCU is its colourful cast of superheroes: the number of films shows that the MCU is serious about giving their heroes proper exposure, and so, while the films might be enjoyable on their own, watching all of them and seeing where the different pieces come together is where the real joys are. Here, T’Challa fights Barnes on the rooftops following a pursuit: T’Challa holds Barnes responsible for his father’s death, but since the events of The Winter Soldier, Barnes has been struggling to get past his programming.

  • Because every character in the MCU has a detailed background, watching some of the films out of order mean that references to earlier films might be missed. However, one strength about the MCU is that even standalone, the films are quite enjoyable in their own right; right up until Infinity War, I had watched only a handful of the MCU films. The question of whether or not I review the others will strictly be a matter of reader choice: I’ve heard that folks prefer my anime discussions over every other kind of talk I have.

  • If this were to be a conventional review of Civil War, I would have taken additional time to explore all of the different scenes, and perhaps make a few witty quips about them in my usual manner. I would further go on to give the film a strong recommendation, because the film deals with interesting topics, has many entertaining moments that vary from keeping one on the edge of their seat, to those that are downright hilarious.

  • For the record, the only thing that was CGI in this scene was the background. The rest of it is all real, including Chris Evan’s arms. I imagine that, for some of my readers, who have grown weary of me posting various screenshots of Haruka and Kanata doing various things, from a variety of angles, on a beach volleyball court, this moment comes as a bit of a respite. Those who watched this film could not stop marveling at this moment, which has become quite iconic in its own right, to an even greater extent than what Harukana Receive has.

  • I’ve heard that Natasha Romanoff will be getting a movie of her own in 2020: this is going to be a welcome one to see, and I’m betting it will occur prior to the events of Infinity War. In The Avengers, it was stated that she was an assassin prior to working under SHIELD, and made her share of mistakes. With an interesting background and Scarlett Johansson’s excellent portrayal of Romanoff , I am excited to see where this one goes.

  • Tom Holland’s portrayal of Peter Parker in Civil War‘s presentation is the best I’ve seen; this incarnation of Parker is an energetic, excitable and naïve one, whose lack of experienced is offset by his enthusiasm and propensity to make random various jokes even mid-battle. He is so wordy that Sam Wilson asks if Peter’s ever been in a real fight before, and at the airport, manages to fight both Barnes and Wilson to a standstill.

  • So, here we are at last, the infamous airport scene, featuring #TeamCap. Shortly after Girls und Panzer Der Film came out, I supposed that it must’ve been similar to Civil War for being a bombastic summer film that was big on scale and effects even if the plot was a little lighter. At the time, I’d not seen Civil War yet, and in retrospect, Civil War offers its characters a much more substantial reason for fighting compared to Girls und Panzer Der Film: highly enjoyable the film was, repeating the notion of Ooarai closing a second time was quite jejune.

  • In the other corner is #TeamIronMan. It’s quite impressive as to how much detailed is paid to the progression of the Iron Man suits throughout the MCU: slow to don and somewhat clumsy early on, each iteration has improved to the point that by Infinity War, Stark’s suit uses nanotechnology to pull off some extraordinary feats. One of the things I’ve come to coherently spell out, through watching MCU films, is that not everything has to be entirely logical or through-provoking to be good.

  • The airport fights has some of the best humour in the MCU outside of Thor Ragnarok and the Guardians of the Galaxy films: while fighting one another, Romanoff asks Barton if they’ll still be friends after all this, to which he responds that it depends on how hard she hits him. The dynamic between Romanoff and Barton has always been a good one to watch: while lacking the superhuman abilities of their peers, both are highly trained combatants whose fights with one another are as intense as their friendship is deep.

  • The point of this post, was really to spell out that just because a show has prominent comedic elements and then switches over to a serious mood, does not mean that the comedic parts were in any way unnecessary or pointless. I’ve never really understood why darker or serious is better, especially in the context of shows like Harukana Receive: the whole point of the lighthearted moments in anime are largely to show audiences that the everyday moments are as important to personal growth as the moments doing more focused things.

  • So, by drawing the comparison between Civil War and Harukana Receive, I aim to show how despite the vast differences in themes, narrative, setting and conflicts, that both works uses humour to remind audiences that their characters are human, not wholly focused on their objectives and goals at the expense of others. Because the work itself makes this clear, then I find that it is unwise to adopt an all-serious stance as far as discussing the work goes. This is why I’ve found discussion on Kanata’s use of pokies, or whether or not high-fives occur in beach volleyball after every point, to be an utter waste of time.

  • When Lang uses the Antman suit to grow to gargantuan proportions, an irate Stark asks if anyone on his side has any abilities they’d like to make use of now. Even during such moments, the MCU reminds viewers to just accept things as they happen: Stark’s first reaction when seeing the Chitauri army in The Avengers was “seeing, still working on believing”. The whole point of fiction is to create a compelling story, and I am more than willing to accept liberties taken provided that they advance the story. With this being said, everyone may approach fiction differently.

  • When I was watching the airport fight in Civil War, I was all smiles; more than a deadly-serious battle, the mood was that of a competition of sorts. The characters constantly make use of disabling, non-lethal moves during the fight, as their goal is to impede rather than harm: the whole airport fight occurs because Stark is trying to stop Rogers from taking off and pursuing a mission of his own.

  • During the course of the battle, it is mentioned that in order to win this fight, some will have to lose. Those on Rogers’ side are buying enough time for Rogers and Barnes to fly out, choosing to stay behind. The stakes are never far from the forefront of discussion even during the airport fight, but in spite of the comedy, or perhaps because of it, the scene has quickly become my favourite: in particular, Parker’s quips during battle, ranging from his conversation with Rogers, to suggesting using a move from The Empire Strikes Back to disable Lang, served to lighten the mood considerably.

  • Anime often faithfully replicate real-world locations, and impressed viewers travel to these locations to walk the same paths as seen in their shows. The airport fight of Civil War was filmed at Germany’s Leipzig/Halle Airport, which is Germany’s thirteenth largest and handled 2.3 million passengers in 2017. Filming at the airport was a challenge; crews described going through security, getting a small section of tarmac to work with and was permitted to shut down one terminal during filming. In conjunction with solid directing and high-tech camera set ups, plus plenty of effort from actors and crews, there is no denying the results were worth it.

  • The airport fight is fun and games until Rhodes takes a hit and injures his legs in a fall, rendering him a paraplegic. The mood in Civil War shifts here to a darker one, rather similar to how Harukana Receive‘s mood becomes much more intense once Harukana face Éclair. It is actually a little surprising to be drawing parallels between Civil War and Harukana Receive, but given expectations that Harukana Receive faithfully depict beach volleyball, I feel it necessary to bring in one of the MCU’s strongest instalments as an example of why Harukana Receive should not be treated as requiring strict adherence to beach volleyball rules and mechanics of the real world.

  • Civil War was described by critics as being best suited for MCU fans, and the film’s success comes from not trying to be something it is not. This is an appropriate assessment: the motivations that drive the film might permit for interesting conversation, but at the end of the day, the film is intended to entertain, rather than instruct. This is also why Girls und Panzer Der Film ended up being so enjoyable: both Girls und Panzer Der Film and Civil War use a weak rationale to drive the conflict seen in the film, and the conflict itself ends up being captivating to watch.

  • This entire post has consisted of me saying one controversial thing after another, so I’ll add oil to the fire with the following remark: since my experiences with anime viewers who demand for intellectually stimulating series during the days of the K-On! Movie, I’ve felt that those who hold such expectations are likely those who feel a need to justify their interests to others.

  • The climatic battle of Civil War is a no-nonsense fight to the death after Stark learns of how his parents died. Furious that Rogers withheld this from him, he engages the two in a battle and abjectly refuses to stand down. Driven by pure emotion, he brawls on with the aim of avenging his parents. Against Rogers, however, he utilises a variety of non-lethal means to keep him out of the fight.

  • While somewhat disjointed if taken as a standalone film, Civil War‘s contributions in the MCU are much more substantial when considered in conjunction with the other films. By this point in time, Rogers has become much more disillusioned with regulatory systems and organisations, having seen the truth that SHIELD was really another iteration of HYDRA. No longer trusting organisations, he prefers to count on his own judgement. By comparison, Stark’s arrogant and independent mannerisms gradually give way to understanding that he is responsible for his actions and that the universe is much bigger than himself. His fear of the unknown led him to create Ultron, but when this backfired, Stark realises that it would be useful to have someone oversee them to prevent disaster.

  • Changing character traits over time is the great strength about the MCU, and over time, some of the antagonists fighting the protagonists turn around and join the Avengers. Character development is one of the main reasons why I partake in fiction: watching people learn and grow over time, and seeing the applicability towards reality is something I’ve long enjoyed.

  • Ever since The Avengers, folks have wondered what it would be like if Captain America went up against Iron Man following a buildup of tensions on board SHIELD’s heli-carrier. Civil War is the logical culmination of the conflict between the two: anger and his suits’ technological capabilities allow Stark to dictate the pace of the battle early on, but Rogers’ determination to save his friend proves stronger. As the battle wears on, Rogers gains the upper hand over Stark.

  • Helmut Zemo is the real antagonist of Civil War, seeking revenge against the Avengers for allowing his family to die during the Sokovia incident. With the Avengers in disarray, he prepares to commit suicide, but T’Challa stops him. Zemo’s motivations are quite weak and drive the events of Civil War about as well as Ooarai closing a second time, but the events of both Civil War and Girls und Panzer Der Film are well-executed and engaging. Looking back, I find that this comparison, between Civil War and Girls und Panzer, also holds true.

  • Robert Downey Jr. perfectly captures the fear going through Stark as Rogers pummels him; Rogers does not kill Stark, and Stark is fully aware of this, as well as what he’d come close to doing. With his arc reactor disabled, the fight comes to an end. Rogers and Barnes prepares to leave. The events of Civil War separate the Avengers, and by the time of Infinity War, Stark and Rogers have yet to reconcile in person, although Stark does understand the importance of Rogers and asks Bruce Banner to contact him, before going after one of Thanos’ Q-ships.

  • Barnes is later seen at a Wakandan facility undergoing de-programming. In Infinity War, he is firmly in the good guys’ camp again. Here, I apologise to readers looking for a full review of Civil War: this post cannot be considered to be a review of the movie, but rather, an exploratory piece on how the things that made Civil War enjoyable can also be applied to something like Harukana Receive. The timing of this post is deliberate, coming out ahead of the finale: there is a reason to why I’ve not expected, and will not be expecting, a more serious focus on beach volleyball and psychology from Harukana Receive.

In Harukana Receive, the stakes and environment are radically different than those of Civil War, but the presence of humour serves a similar purpose: breaking up the serious moments to humanise the characters. Harukana Receive may have beach volleyball in the foreground, but its goal is to portray matters of friendship, sportsmanship and self-discovery rather than specifics behind psychology and beach volleyball. Light-hearted moments are present in Harukana Receive because the series is about people, rather than sport, the same way that Civil War is about a disparate group of people and their conviction in opposite systems, rather than being a thriller akin to Christopher Nolan’s Dark Knight. Dark Knight is a fine example of a film that is very serious and humanises Bruce Wayne by forcing him to struggle with difficult decisions in his pursuit of the Joker, and while Civil War takes a very different approach towards presenting conflict, it remains successful. Similarly, Harukana Receive can tell a strong story without a focus on drama and technical detail: the more ordinary experiences that slowly help the characters mature, and the current match between Éclaire and Harukana is meant to be viewed as less of a beach volleyball match, and more of a contest of the wills, one that would hold the same emotional weight if the mode of competition were to be different. Consequently, it is quite disappointing that there is an insistence that Harukana Receive must be treated as a sports series, and subsequent discussion focuses entirely on the plausibility, mechanics and adherence to rules behind what is seen in Harukana receive. Approaching Harukana Receive as a sports series is akin to entering Civil War with the expectation that it covers themes the same way Dark Knight did will invariably leads to disappointment: at its heart, Harukana Receive is ultimately about people, rather than the sport, and the presence of comedy serves to reinforce this notion strongly, akin to how light-hearted moments humanise the characters in Civil War and strengthens the weight of their conflict to enhance the film’s impact on audiences without strictly following the all-serious approach seen in the equally thought-provoking and thrilling Dark Knight.

The Hunt For Red October: Review and Reflection

“Once more, we play our dangerous game, a game of chess against our old adversary — the American Navy. For forty years, your fathers before you, and your older brothers played this game, and played it well. But today the game is different; we have the advantage.” —Captain Marko Ramius

Dubbed by Ronald Reagan as the “perfect yarn”, Tom Clancy’s The Hunt For Red October (1984) began his career as a techno-thriller novelist and was adapted into a movie starring Sean Connery and Alec Baldwin in 1990. While some minor differences arise between the film and novel, the general plot in the film is consistent with its novel counterpart. Soviet submarine captain Marko Ramius (Connery) plots a defection from the Soviet Union while commanding the Red October, a Typhoon-class equipped with a revolutionary magnetohydrodynamic drive that renders it nearly silent to sonar. CIA analyst Jack Ryan (Baldwin) successfully deduces Ramius’ intentions and struggles to convince his superiors that Ramius is planning to defect before the American and Soviet forces engage one another in combat. The Hunt For Red October was a superb novel, characterised by its matter-of-fact writing style and incredibly detailed explanations of some of the technologies utilised on board submarines. The film, although different from the novel in some places, manages to capture the atmosphere and technical details of the novel: despite the plot’s slower progression compared to contemporary movies, all of the moments are integrated well with one another to create an ever-present sense of suspense that would doubtlessly permeate submarine operations.

Tom Clancy’s The Hunt For Red October marks the beginning of the Jack Ryan universe, and my first Tom Clancy novel was Threat Vector: by this time, Jack Ryan Sr. is the President of the United States, having defeated Ed Keatly in elections. However, in The Hunt For Red October, Ryan is a CIA analyst working in London. While Ryan has training as a marine, he is not a sailor and therefore finds himself uncomfortable at sea once he is tasked to prove that his theory holds true. Throughout The Hunt For Red October, Ryan is presented as a dedicated academic in search of the truth with the aim of halting a war. By comparison, the government and military officers are more set in their ways, and find themselves bemused by Ryan’s tenacity. However, even then, there are exceptions: sonar technician Petty Officer Jones of the USS Dallas is a bright mind, devising a clever means of tracking the Red October: his actions are instrumental in helping Ryan locate the Red October and convince his superiors that Ramius is indeed planning to defect. Through Ryan and Jones, Clancy suggests that the military’s capabilities are closely tied to the quality of the intelligence that they receive. While Ryan encounters some resistance to his theory from senior US officials, Commander Mancuso of the USS Dallas is willing to take a chance on Jones’ ideas. It is therefore unsurprising that the USS Dallas does manage to find the Red October, while Ryan is given limited help to demonstrate that Ramius is defecting until he boards the Dallas. This contrast suggests that unorthodox conclusions can still have some relevance, and that solid intelligence is necessary for a plan to execute well: in general, Tom Clancy held the view that the worth of good intelligence acquisition and analysis should never be underestimated, and this theme returns in his novels quite frequently.

A superb movie on all counts, The Hunt For Red October is also said to have inspired for some of the events seen in Hai-Furi. This led some viewers to develop unrealistic expectations for Hai-Furi, and some individuals spent the anime’s entire run complaining about every conceivable element when their expectations were not fulfilled. According to the staff, Reiko Yoshida drew elements from The Hunt For Red October to guide some of the narrative elements seen in Hai-Furi. While long-held to be significant amongst those who watched Hai-Furi, it should be abundantly clear that The Hunt For Red October and Hai-Furi share only similarity in the fact that it is set on the high seas: there are no strong indicators that specifics from the former’s narrative entered the latter. The Hunt For Red October is firmly guided by the narrative, whereas the flow of events is much looser in Hai-Furi. While The Hunt For Red October deals with Jack Ryan’s adventures to prove that Ramius is defecting, Hai-Furi is about the growth the the Harekaze’s crew as they encounter one misadventure after another. The former places a great deal of emphasis on technical accuracy and even allows the military hardware to shine ahead of the cast on some occasions, whereas Hai-Furi was first and foremost about Akeno and her crew. Similarly, there is a very real suspense and sense of urgency in The Hunt For Red October: had Ryan and the USS Dallas failed, hostilities between the United States and the Soviet Union may have resulted in a shooting war. In Hai-Furi, limited world-building prevents the implications of the Totalitarian Virus from being a true threat; this was acceptable in Hai-Furi for the reason that the anime never was intended about a larger perspective about the dynamics between two superpowers. Taken together, while Yoshida and the remainder of Hai-Furi‘s staff may have watched The Hunt For Red October as a reference for Hai-Furi, the similarities between these two disparate works remains superficial at best, and consequently, I hold that it is unreasonable to approach Hai-Furi with the same mindset and expect that the anime satisfy the requirements that made The Hunt For Red October such an enjoyable film.

Screenshots and Commentary

  • Sean Connery is Marko Ramius, a Lithuanian submarine commander whose father was a high ranking Soviet officer. A highly competent strategist, Ramius is highly adaptive to situations and is counted as one of the USSR’s best minds on submarine warfare, having written the Soviet doctrine on it in-universe. I remark that the screenshots in this post are of an unusual aspect ratio owing to the original: my image capture software crops out letterboxes automatically, resulting in narrower images.

  • In The Hunt For Red October, Jack Ryan is portrayed by Alec Baldwin: this role goes to Harrison Ford in The Patriot Games and Clear and Present Danger, and while Ford does an excellent job in conveying Jack Ryan as a highly earnest, devoted analyst, one downside is that Ford’s dialogue can sometimes be difficult to hear. Baldwin, on the other hand, presents Ryan as a wide-eyed but competent analyst who’s just starting out on his journey.

  • The interior of the three submarines in The Hunt For Red October are coloured differently to ensure that they are easy to differentiate from one another: much of the film is set within submarine interiors, and according to production notes, actual filming inside a submarine would have been remarkably difficult, so in the film, large sound stages were created instead with special apparatus to simulate the motions of a submarine.

  • After Ryan obtains some photographs of the Red October in dry dock, he notices the presence of unusual doors on its superstructure. The images are sent to submarine expert Skip Taylor, who suggests that the Red October is equipped with a magnetohydrodynamic drive. Such a propulsion system would make use of magnets to draw in water and expel it to create thrust, but such technologies remain experimental for the present.

  • Ramius takes full control of the Red October after disposing of political officer Putin. He announces that their mission will be to conduct missile drills off the US Coast, and then sail to Cuba for recuperation once their assignment is complete. Carefully planning each move, Ramius betrays nothing to the other crew: impressed with the mission orders, the bridge crew begin singing the Soviet national anthem.

  • The sonar operator on board the USS Dallas, Jones is presented as being highly attuned to his equipment; he is able to differentiate between submarine signatures and the movement of whales in the ocean. In the novel, he states that he was a Caltech student with aspirations to complete his Master’s and Doctorate dissertation, but created an accident that led to his dismissal. In the meantime, he’s joined the navy, and his expertise with electronics play a vital role in helping the Dallas track the Red October.

  • Ryan is asked to present his findings to US government officials after he discusses the theory behind Ramius’ defection to Vice Admiral Greer. Played by James Earl Jones (who had supplied Darth Vader’s voice in the original Star Wars trilogy), Greer is shown to be open to whatever ideas Ryan has, and furthermore, is also quite fond of coffee. The Red October is described as being an immense threat to US security: being able to move undetected would have allowed it to position itself anywhere along the US coast for a nuclear strike.

  • Ryan describes the Soviet fleet’s movements as an indicator that Ramius had intended to defect, reasoning that as a high-ranking officier, Ramius would be able to hand-pick his staff, making it easier to defect. Coupled with the fleet’s deployment is in response to Soviet fears that the Red October will indeed defect based on a letter, and orders the Soviet fleet has received, this leads Ryan to his conclusion. The officials fear a full-on war in light of the risk that the Red October may be “in the hands of a madman”, but nonetheless ask him to investigate such that a war might be avoided.

  • The novel, more so than the film, gives ample exposition for all of the characters that play a significant role; Tom Clancy is meticulous in detailing even some of the secondary characters’ backgrounds in order to illustrate that they are highly competent for their occupations. This style carries over to his final novels, Threat Vector and Command Authority, and serves a powerful function in ensuring that there is no doubt that the characters’ actions are motivated by their experience and expertise in their given field. This stands in stark contrast with Hai-Furi (or even Girls und Panzer), which leads some viewers to challenge the appropriateness of the characters’ actions in their respective universes.

  • Adding to the realism factor in The Hunt For Red October is the fact that shots are not fired for the sake of action. As a thriller that strives to maintain some factual realism, there is a very rigid structure that ensures shots are not fired out of anger. Much of the fun aspects in the movie come from suspense resulting from close encounters, and watching the different characters draw upon their expertise in response to difficult situations.

  • One of the things about The Hunt For Red October that I initially found a little surprising was that the Russian characters started out speaking Russian, and halfway into a conversation between Ramius and Putin, the language switches out to English. This was done to aid the audiences in viewing and reduce the need for subtitles; when the Russian sailors and Americans are in the same scene, the Russians speak Russian again. In Hai-Furi, there are no Russian characters; Wilhelmina is German, but like Ramius, she is bilingual, being able to communicate with Akeno and the others in fluent Japanese.

  • The Red October’s situation is obfuscated by the Russian ambassador, who claims to know little beyond what Moscow has told him and later settles on the Soviet fleet’s activity as being part of a major rescue operation.

  • The Red October’s voyage is not smooth: a ways into their trek across the Atlantic, their magnetohydrodynamic drive, known more simply as a caterpillar, develops a malfunction arising from sabotage. The identity of the saboteur is not known until later in the film, but Ryan’s remarks earlier, that the senior officials on board the Red October must have been handpicked, would suggest that one of the lower-ranking crew must be responsible for things.

  • Moody grey skies and rough surface conditions define the Atlantic ocean. Ryan is not particularly fond of flying: he states that he’s never slept soundly on a commercial flight before, but the rough ride over the Atlantic makes any discomforts of a commercial flight trivial by comparison. Ryan is sent to make contact with the USS Dallas. Running low on fuel, the helicopter makes to return to the carrier after failing to insert Ryan into the Dallas, but driven by determination to see his task through, Ryan cuts himself loose, falling into the frigid Atlantic.

  • Once Ryan is on board the Dallas, he exchanges messages with Ramius and confirms that the latter is indeed intending to defect. With this knowledge in mind, Ryan boards a rescue submarine (explicitly given as an Avalon-class in the novel) and meets with Ramius for the first time. The comparisons between Hai-Furi and The Hunt For Red October first appeared on April 21, two days before the third episode aired and brought to attention of the anime community courtesy of one Myssa Rei. Discussions at Tango-Victor-Tango proved nonexistent, and it’s more than likely that none of their members have watched The Hunt For Red October in full.

  • Returning to The Hunt For Red October, after establishing contact with the Americans, Ramius is surprised that they have guessed what he was seeking. I find that Ramius resembles Chino’s grandfather of GochiUsa. If folks are tossing around wild theories about how Hai-Furi and The Hunt For Red October are related, then I get to throw an inane theory of my own into the mix. I posit that after landing in America, Ramius takes on a new name and lives in the US for several years before moving to Colmar, France, where he starts his own coffee shop, calling it Rabbit House.

  • The US Navy drops a torpedo in the water, but it is self-destructed by Vice Admiral Greer. In order to quickly evacuate the other crew, Ramius stages an emergency with the Red October’s nuclear reactor, and once the surface, Ramius will remain with the other officers to scuttle the ship. Shortly after this news became known, some folks later would claim the staff drew from The Hunt For Red October, models for the characters’ roles.

  • Continuing on from the above bullet, the only character who could have been inspired by The Hunt For Red October‘s characters is Akeno, and even this is a weak claim, as the only commonality the two share is an uncommonly good eye for overcoming adversity. Beyond this, the two characters are as different as night and day. Further to this, sonar does not play as substantial a role in Hai-Furi compared to The Hunt For Red October, and complex political elements are absent in the former. Back in The Hunt For Red October, once Ryan is on board the Dallas, he exchanges messages with Ramius and confirms that the latter is indeed intending to defect. With this knowledge in mind, Ryan boards a rescue submarine (explicitly given as an Avalon-class in the novel) and meets with Ramius for the first time.

  • The action-heavy sequences begin in the movie’s final act: besides Ryan, Mancuso and Jones also boards. Ramius speaks with Ryan about asylum in the United States and also asks about Ryan’s role. Ryan is asked to help with operating the Red October, and Ramius remarks that he’s doing a fine job for someone who’s operating a submarine for the first time. Ryan surprises the others when he reveals that he’s a CIA analyst.

  • It turns out that Ramius’ motivations for defecting arise from a combination of factors: his dissatisfaction with the Soviet Union stem partly from the death of his wife at the hands of an incompetent doctor. Because the aforementioned doctor was related to high-ranking party officials, he was allowed to continue operating without any consequences. Furthermore, upon being assigned the Red October, Ramius realised that such a weapon was built purely for a first strike mission, growing disillusioned with serving the USSR.

  • We’re now approaching the autumn season, and this year’s September has been something of a different one compared to previous years. However, while I no longer return to classes, the ceaseless flow of the season continues along: trees are beginning to turn a deep golden colour, standing out against azure skies. In another week, it will be perfect to go for a stroll in the aspen groves nearby: the temperatures now are ideal for an afternoon stroll.

  • It’s a little bewildering as to how quickly time’s flown by; this is likely a consequence of work, although this also means that I now look forwards to weekends with double the appreciation as I did during my time as a student. Yesterday, I had a chance to attend the Illuminasia festival at the zoo: under a cool and clear evening skies, I was able to watch several Chinese performances and see the meticulously-constructed paper lanterns around the zoo. A piping-hot cup of hot cocoa rounded off the evening, and today, I spent most of it going through DOOM.

  • Back in The Hunt For Red October, the sabateur, revealed to be Loginov, a cook, opens fire and wounds Borodin before fleeing into the missile bay with the intent of launching a missile and sinking the Red October in the process. During a tense standoff in the labyrinthine quarters, Ramius is wounded, but Ryan manages to kill Loginov before the latter could destroy the missiles.

  • I have no doubt in my mind that, had the submarine crews of The Hunt For Red October been assigned to immobilise the Musashi of Hai-Furi, they would have succeeded within a much shorter period than the Harekaze and its allies during the final battle. The logistics of how exactly the Blue Mermaids work in Hai-Furi notwithstanding, I found that the relative lack of world-building meant that numerous elements were poorly-expressed: I recall a particularly awful set of Tweets where someone claiming to be staff attempted to explain away modern aerodynamics and heavier-than-air flight.

  • The Red October faces one final threat: the Konovalov and its captain, Tupolev. One of Ramius’ former students, Tupolev both admires and despises Ramius, making it a point to personally sink the Red October to demonstrate the might of the Soviet system. By capitalising on the arming distance for the Soviet torpedoes, however, the Red October escapes destruction from a direct hit.

  • A second torpedo fired from the Konovalov is set with no arming distance in order to avoid a repeat of the first torpedo, but skilful maneuvering from the Red October results in the second torpedo impacting the Konovalov, sinking it. In the novel, Red October rams the Konovalov broadside, suffering damage to its hull but otherwise sinking it all the same. Either way, the final threat is ended, and thus, the stories enter their denouement.

  • Back on the surface, the rescued Soviet sailors watch as an explosion breaks the surface, leading them to believe that the Red October has been destroyed. The Red October’s fate is not mentioned in the movie or in the novel, but Tom Clancy makes an aside in The Cardinal of the Kremlin, where it’s revealed that the Red October was analysed extensively. Its technology was reverse-engineered, and the vessel was then sunk in a remote ocean basin to minimise the odds of its wreck being discovered.

  • Like my Pure Pwnage: Teh Movie review, one of the greatest challenges faced during the acquisition of photographs for this post was to find those that were not blurred. Live action photographs can be quite difficult to capture when movement is involved, in comparison to anime screenshots, and I needed to go through some sections, frame by frame, to pick those with the least amount of blurring.

  • Despite the vast disparities in terms of emotional tenour and technical detail between Hai-Furi and The Hunt For Red October, I nonetheless enjoyed the former for the elements that it was able to execute well. Even at present, I’m not sure why some individuals are so vociferous about an anime when such a wide selection of more technical, fully fleshed out stories are available for enjoyment.

  • When Ramius cites Christopher Columbus, Ryan responds with a cordial “Welcome to the New World, sir”.This brings the movie, and this post, to a close: intended to partially be a discussion of the movie and, partially be a rebuttal to dispel any remaining notions that it is reasonable to expect Hai-Furi to match the same standards as The Hunt For Red October, it marks the second time I’ve done a review for a live-action film. Upcoming posts will include my impressions of DOOM after the halfway point, and later this month, a talk on New Game! once its finale is out. As well, I’m planning on reviewing Rick and Morty‘s first season at some point in the very near future, now that I’m only one episode from finishing (consider that I started watching during May 2014).

Hai-Furi will likely be consigned to oblivion within a year’s time, but The Hunt For Red October remains immediately recognisable and has been counted as a timeless film: its narrative and capacity to keep audiences guessing is masterfully executed even some twenty six years after its release. Coupled with a fantastic soundtrack from Basil Poledouris (whose Prokofiev-esque “Hymn to Red October” summarises the entire tenour in The Hunt For Red October completely), The Hunt For Red October was an absolute joy to watch. With its wonderfully detailed presentation of the hardware and depiction of competent naval staff for both sides, The Hunt For Red October is able to connect the significance of every character’s actions with respect to the bigger picture. These aspects result in a film that remains quite memorable and definitely worth watching, and on a similar note, Tom Clancy’s novel is likewise a solid read. With both the novel and film finished on my end, I’ve set my sights on reading Tom Clancy’s Red Storm Rising, which is set outside of the Jack Ryan universe and deals with a third World War fought entirely with conventional weapons. I’ve heard that there is a fantastic section dealing with armoured warfare and that the novel satisfactorily captures old Soviet military doctrine such that Ronald Reagan’s foreign policy was motivated by Tom Clancy’s works to some extent.

Pure Pwnage Teh Movie: Review and Reflection

“Maybe one day, I’ll inspire so many people to help so many other people suck less, there will be no suck left in the whole world.” —Jeremy, aka teh_pwnerer

With the occasional Pure Pwnage reference I make here and there in my other reviews, it should come as no surprise that I would take an interest to the Pure Pwnage film, dubbed Pure Pwnage Teh Movie: announced back in September 2012 and released in January 2016 (I was in Kelowna assisting with a The Giant Walkthrough Brain performance for UBC Okanagan the night the movie première back home), Pure Pwnage Teh Movie aspired to be the gamer movie that captured the spirit of gaming. Originally a web-based mockumentary on gamer culture, Pure Pwnage‘s earliest videos were characterised by over-the-top, hilarious takes on what life as a gamer is like: captured through Kyle (Geoff Lapire)’s perspective, Pure Pwnage follows the misadventures of Jeremy (Jarett Cale) and Doug (Joel Gardiner) as they interact with both the gaming and real worlds. A TV series was also created but was later cancelled: the web universe generally was met with greater acclaim, so in filming the movie, the creators decided to capture the spirit present in the web series as best as they could, and Pure Pwnage Teh Movie winds up meeting expectations: its been some ten years since Jeremy and Doug have last picked up a controller or pwned someone with a keyboard and mouse. Both are working, but when Kyle decides the time is ripe to produce a film and wishes to bring back the Jeremy and Doug of the web series, he finds out that Jeremy has settled in to life in the real world. However, not everything as it seems: it turns out that Jeremy’s been longing to do something beyond accounting. Rejoining the world of gaming, Jeremy’s surprised at how much games have changed in the past ten years. Things are more team-oriented now, and Jeremy must learn to be an effective team player. While he is able to lead a team to the world championship for a League of Legends tournament, Jeremy discovers that it’s ultimately not about winning, money or fame, but rather, it’s the spirit of friendship, cooperation and being true to oneself that truly matters.

Pure Pwnage Teh Movie rightfully earns its place as a comedy film about gamers: this movie is characterised by outrageous imagery and dialogue, whether it be Jeremy applying his über-micro towards working more effectively at his desk job or Doug smashing up a keyboard in frustration when he dies in Counter Strike: Global Offensive. The movie consistently delivers humour throughout its run, and fans who are familiar with Pure Pwnage will note that many of the elements that made Pure Pwnage‘s web series make a return in some from or another in Pure Pwnage Teh Movie (at one point, when Jeremy takes off, Doug chases after him but grabs a kitchen knife first, reasoning that “you run faster with a knife”). Similarly, in preparation for the competition, Jeremy decides that, given that the South Koreans are the greatest gamers on the planet, the only way he will reach their level of proficiency is to “breath the same air” and “eat the same food” as they do, dining on Korean cuisine and training as he imagines Koreans would. This particular aspect mirrors the legendary training scene during the web series where Jeremy trains under teh_masterer to further his skills after losing to a n00b. This is a movie that will bring smiles to gamers at all turns. While it is a fantastic caricature of gaming culture and non-gamers may find some of the jokes or references difficult to follow at times, but the film is reasonably friendly towards audiences as a whole, presenting a coherent story about Jeremy’s journey to understand what he really wants from life.

In spite of its prominent comedy aspects, Pure Pwnage has always managed to fit in life lessons into its seemingly frivolous narrative. The web series suggested that one must be willing to work hard in order to succeed (“it’s those people who are better than you that make you get better, you know? You gotta just put your nose down, you gotta work harder, you gotta train harder, you know? And you gotta think about that guy so, next time you meet, you’re gonna walk up to him and say ‘you know what? I’m gonna kick your ass!’, and then you do!”), be humble about one’s ability and never become complacent (“you don’t wanna be like all pro up in people’s faces, right, ‘cuz sometimes, you start thinking that you’re probably better than you actually are, and when that happens you start to lose focus, right? Next thing you know, you’re losing to a n00b”) or to be multi-disciplinary in order to adapt to different situations (“If one is to truly pwn, one must pwn in all games”). Pure Pwnage Teh Movie brings these subtle messages back in different forms. The one of major themes in the movie is that a team is only successful if its members cooperate: Jeremy, having played independently for such great lengths, is unfamiliar with working with his teammates to win, but with some tips from Doug, manages to be a better team player. Similarly, when Jeremy’s stubbornness nearly costs him the world championship, it’s Doug, understanding what friendship means, who returns to help Jeremy out. Overall, the main theme in Pure Pwnage is that happiness arises from being true to oneself: Jeremy is not truly happy with his job and returns to gaming, but when he goes pro, he realises that teamwork is a challenge for him. When given a chance to lead a team and sponsor a product, Jeremy decides that in the end, he merely wants to be true to himself, doing what he’s good at under his own terms. He tells Kyle that the film should happen on Kyle’s term’s (rather than the studio’s), and decides to play in the championships, because he wants to, not because he’s here to showcase a new piece of technology. In the end, this is the main message that Pure Pwnage Teh Movie truly seeks to convey: more often than not, people follow paths and careers because it’s what others want, losing sight of what they themselves want in the pursuit of satisfying someone else’s ideals. However, for those who are bold enough to remain faithful to themselves (and put in the effort to make their dreams a reality), the end results can be very gratifying. In Jeremy’s case, he wins the tournament with Doug’s help and goes on to use the winnings to start his own gaming school, where the goal is to make the world suck less and inspire others to do the same.

Screenshots and Commentary

  • This is my first time doing a full-sized review of a live action feature film in the blog’s entire history: the Skyfall review I wrote back in 2012 was smaller in scale and scope. Boasting thirty images, I encountered some difficulty in distilling out which moments to feature in the talk, since the entire movie, from start to finish, was one hell of a riot.

  • From the writers, the movie is a direct follow-up to the web series: by this point in time, both Doug and Jeremy have full-time employment at an unspecified firm. Jeremy is working s an accountant of some sort, and Doug seems to be involved in various jobs around the office, ranging from mail delivery to window cleaning (both tasks, he performs with the zeal of someone who is one with the first person shooter).

  • Jarett Cale admittedly resembles our current Prime Minister, Justin Trudeau, in physical appearance. Pure Pwnage Teh Movie is a Canadian-produced film, although through the movie, it should be clear that not all Canadians are hockey experts who live in igloos and eat copious amounts of maple syrup: here, Doug and Jeremy have bacon-and-kale salads for dinner while discussing technical tax terms that I have no understanding of. As Doug says, the bacon offsets the kale, making for a perfect (“strange” seems more appropriate, though) combination.

  • A parody of modern augmented reality devices, the XOBO is leaps and bounds further ahead than anything that currently exists: it’s supposedly able to read neural impulses and use those to control the UI. The closest we have at present is the Microsoft HoloLens, and my old research lab has acquired a device for development purposes. I’ve used the HoloLens, and it is an incredible experience.

  • Throughout the earlier scenes, Jeremy is taking an inordinate number of pills, and although their effects are never specified, it appears that they slow down Jeremy enough, allowing him to focus on the present. So, when Kyle takes the pills away, Jeremy suddenly realises that everything around him seems to suck, causing him to create a ruckus at his workplace and becomes fired in the process.

  • Jeremy and Doug later return to their old lifestyles and habits: here, they bring back the old RTS vs FPS debate while taking a stroll around the neighbourhood. In the web series, Jeremy and Doug have their differences with respect to which genre of game requires more skill. Jeremy argues that RTS requires more skill in demanding players keep track of multiple events and actions at once, while Doug contends that FPS is superior, boiling down to how well one knows the environment and tools needed for victory.

  • Anastasia (Miranda Plant) makes a few cameo appearances in the film here and there. In the web series, she briefly dated Jeremy but the two broke up near the finale. Jeremy and Anastasia appear on amicable terms in the movie and here, she remarks that Jeremy quitting his job might allow him to begin pursing the things he loves.

  • So, for the first little while, Jeremy and Doug spend their days playing games: a few modern titles, including Street Fighter IV and Counter Strike: Global Offensive make an appearance. Bringing back old memories of Doug smashing his keyboard in a rage after dying to lag, Doug tears up a keyboard after losing in CS:GO. Long accustomed to Doug’s outrageous actions, Jeremy calmly hands Doug a new keyboard.

  • Gaming in and of itself is a hobby, but there are professional competitions that result in payouts for participants who are successful. Jeremy is surprised to learn that competitions are team-based; this stands in contrast to his background as a gamer, as he is most comfortable with playing and winning on his own. This would suggest that Jeremy’s instructor, teh_masterer (a mysterious gamer clad in ninja attire), does not place particular value on teamwork and therefore did not cover it in Jeremy’s training during the web series.

  • Thus, while trying to recruit members for his team, Jeremy runs into considerable roadblocks and constantly tears down his teammates for not playing flawlessly to his standard. It’s ultimately Doug who provides Jeremy some suggestions and pointers for being a more effective leader. With this, Jeremy finally manages to work with his team and train with them in preparation for their first tournament.

  • I personally value self-sufficiency to a very high extent, but in my professional life, I understand the importance of good teamwork and communication: a large majority of humanity’s greatest achievements arise from the result of teamwork, and working independently (such as my graduate work) presents numerous obstacles that might be handled more effectively while working in a group of people.

  • This screenshot captures a sizeable crowd at one of the competitions: such crowds were never depicted in the web series, and the largest competition was the Lanageddon event held in Calgary’s Bowness Community Center during 2005. I visited the venue for myself a few summers ago during the Omatsuri festival (a redundancy, but that’s what it’s called), taking in some of the Japanese community’s cultural events and food in the area.

  • When Jeremy discovers that Kyle’s taken his pills (directly precipitating the movie’s events), he tears up the scrip and resolves to get his job back. This scene remains one of my favourite in the entire movie: Jeremy lectures Kyle on how his actions are for drama, prompting Kyle to go with it. Kyle suggests that Jeremy continue where it’s brighter, so Jeremy counters by moving to a darker spot. When Kyle says he’ll turn up the ISO, Jeremy retorts that he’ll turn down the ISO, even though this is not possible on his end.

  • ISO refers to the sensitivity of the image sensor, and turning it up results in camera gain, but as Jeremy predicts, his actions result in camera lose: it turns out that the movie’s gone overbudget, lost its main protagonist and failed to deliver the romance component. As a result, the company backing the film takes the rights to production and filming.

  • This is perhaps the only R-rated moment in the entire film, when Jeremy decides to expose himself on camera in protest that someone else is filming Pure Pwnage Teh Movie. The TV series had a few moments that were censored, while the web series was careful to ensure that everything remained 14A. I encountered some difficult in capturing screenshots for the movie because, unlike anime or games, there’s a great deal of motion blur, but I did manage to get a good spread of screenshots that capture some of the movie’s spirits.

  • Another director, Mike, is assigned to look after the movie.Here, Kyle and Mike fight over filming Jeremy, slinging insults at one another about notions of pedestrian and the F-stop. It turns out that Jeremy is not conducive to having someone else film him.

  • With some encouragement from Dave, and Jeremy’s background in accounting, Kyle agrees to Jeremy’s request that Pure Pwnage Teh Movie should not involved anything scripted, and simply, “just let stuff happen”.

  • With this new take on the movie, another aspect from the web series is brought back to life in Pure Pwnage Teh Movie: in the first season, Jeremy loses to a n00b and seeks teh_masterer for additional training. After succeeding in convincing teh_masterer that he is indeed ready, he trains in a variety of unorthodox ways, ranging from practising his micro in an empty room with nothing but a keyboard, jogging and executing shoryuken in real life, or eating rice with a Nintendo controller in a scene mirroring that seen in Kill Bill.

  • I love the shots of Jeremy walking down the streets of Toronto, showcasing the different areas of inner Toronto. Here, Jeremy steps into a Korean restaurant and explains that in order to best a Korean at video games, he must immerse himself in their ways. Scenes of him learning to eat (and eventually mastering) Korean food are interspersed with training scenes and Jeremy’s infamous monitor dance.

  • I watched Pure Pwnage Teh Movie on my flight back nearly two weeks ago, and found it to be the polar opposite of When Marnie Was There: whereas the latter is emotionally charged, Pure Pwnage Teh Movie delivers nonstop humour, and I could not stop smiling on my flight back home. The evening I got back, I had dinner at a Cantonese restaurant that served excellent dishes, including sweet and sour pork that was clearly grilled. The next day, I visited the Stampede for the free admissions and pancake breakfast, then walked the midway before having a smoked meat poutine, plus a deep-fried whole onion with chipotle sauce for lunch. Carnaval food is absolutely delicious but also ridiculously unhealthy.

  • Jeremy’s infamous victory dances are a critical part of Pure Pwnage, and it was most definitely welcome to see them (taking the form of Jeremy humping and spanking the monitor or controller of whatever device he’s using to pwn) make a return in the movie. I intend to upload a .gif of this happening somewhere and use it as my default response to whenever something hilarious happens (such as when a certain onee-sama got banned at an anime forum I frequent).

  • Like the web series, whether or not the training actually happens is left ambiguous: in the web series, Jeremy is found sleeping a most uncomfortable sleep on the floor after seemingly overcoming teh_masterer in a micro battle as the final phase of his training, and in the movie, he’s asleep at the keyboard at the internet café he’s training in. In both cases, I imagine that the training did indeed happens, since the sessions do appear to have a non-trivial impact on improving his performance.

  • Jeremy meets Charles, the CEO of the company behind the XOBO. A collected, laid-back businessman, he convinces Jeremy to be the face of XOBO and participate in the international competition. He assures that by backing XOBO’s branding, regardless of how the actual tournament ends, he will be paid handsomely for his troubles, and Jeremy agrees.

  • It turns out that the team he will be playing with is the same team that he had won with in the local tournaments, and in the competition’s opening stages, they proceed to demolish all teams they go against on virtue of skill in League of Legends. I’m not sure how well I’d fare in League of Legends, myself, given that I’ve never been able to motivate myself to play the game and learn its mechanics closely. Like Doug, I prefer shooters.

  • Like Anthem of the Heart, it would be quite vapid if Jeremy and his team waltzed through the tournament without any drama: similar to how Takumi’s revelation that he does not see Jun in a romantic light threatens to derail their performance, Jeremy’s remarks about Shawn being “friendzoned”, leading Emma to leave the team. This particular aspect of social interactions is one that is remarkably complex and therefore, difficult to discuss in a single figure caption (or several), so I will not explore it in greater detail in this post.

  • The new XOBO is lighter than the older model, and Jeremy has an epiphany here, realising that after everything he’s seen, it’s not really about cool stuff or money bringing people together, but rather, it’s about people coming close to one another because they share a passion (for gaming, in this case). Understanding that he’s made a mistake, he accepts that he might lose the competition and proceeds to begin the final match against the South Koreans.

  • Disappointed at Jeremy’s decisions, Doug decides to leave the tournament and return home. However, he has a change of heart, and right as Jeremy’s team is about to fold, he returns to fight in Emma’s place. When Jeremy asks him why he’d made this decision, Doug replies it’s simply because they’re best friends. This marks another theme of the movie: friends don’t expect favours to be returned, but rather, are simply there for one another when things get difficult.

  • Their combined offensive allows Jeremy to win the tournament and the associated prize money, and in the process, Jeremy and Doug reconcile. This has been a longstanding theme throughout the web series, and to see it reinforced again in the film is a reminder that despite their differences in beliefs and preferences for games, Doug and Jeremy exemplify the sort of bond that best friends have with one another. Of course, it wouldn’t be Pure Pwnage without comedy: while the message here is profound in the aftermath of Jeremy’s triumph, the writers mange to work in another moment for laughs.

  • It turns out that Kyle forgot to load fresh batteries into his camera for the tournament and runs out, leaving Jeremy to explain what’s happened. In contrast with the Harekaze sinking for no apparent reason in Hai Furi‘s finalePure Pwnage Teh Movie appropriately uses an unexpected twist to further reinforce an idea: here, it’s that the movie is supposed to be comical in nature. With his prize money, Jeremy decides to open a gaming school and make the world suck just a little less. He’s also back together with Anastasia now, and remarks that many things also happen off-camera that didn’t make it into the film, mirroring reality.

  • As such, when the end credits begin to roll, I found Pure Pwnage Teh Movie to meet expectations for what I had been looking for in the movie: it brings back the elements that made the web series entertaining and scales the narrative up to work in a movie format. In fact, although this might be an “apples and oranges” comparison for some, I would tend to think that Pure Pwnage Teh Movie succeeds in presenting a larger story on the silver screen more effectively than Girls und Panzer Der Film did: unlike Girls und PanzerPure Pwnage Teh Movie manages to keep anticipation high and suspense palatable throughout its run, leading me to constantly ask myself “what will happen next?” Overall, this movie was superbly enjoyable, and I have no trouble recommending this film for gamers. For those wondering how this movie relates to those interested in anime, there is a model of Char’s Sazabi somewhere in the movie, and I’ll let interested viewers try and find it (hint: it’s not featured in any of the screenshots).

While it’s been more than ten years since Pure Pwnage first was posted to the internet, Pure Pwnage Teh Movie has lost none of its efficacy in both conveying a sense of humour, as well as integrating a rather compelling reminder about being true to oneself. It’s a film that I enjoyed immensely, bringing Pure Pwnage into the modern age, complete with Jeremy’s transition from an older gaming culture to one that’s more widespread and occurring at a greater scale. In Pure Pwnage Teh Movie, some of the moments served to remind me of why the old web series was such a phenomenal watch, while at other points, one must marvel at the scale at which some things happen, especially with regards to the tournaments themselves. The web series was done with a much smaller budget, at a much smaller scale, but the different tournaments and competitions in Pure Pwnage Teh Movie illustrate that the writers can effectively tell a bigger story with a bigger budget. In spite of this increase in scale, however, Pure Pwnage Teh Movie remains true to its own theme and true to its origins: it is a comedy about gamers, first and foremost, providing a humourous take on a hobby and community that’s only really begun to become more widely known. Pure Pwnage Teh Movie easily earns a strong recommend from me (I am a gamer and relate fully to all of the jokes), and even for audiences who are not gamers, this movie still earns a strong recommendation for being able to weave in a solid narrative and theme together with consistently good comedy.