Bonzuko

Thanks to stellar blog Kotaku for posting this “best of” King of Fighters. Some of the stupidest-looking magic effects and wire work I’ve ever seen. The battle scene at the end also culminates in…you guessed it: a sword throw. So bad it’s good? Let me know, lovely lurkers.  ~Jenn

I was going to post a long, scintillating review of Murderer! here today, lovely lurkers, but then I realized a lot of what I wanted to write about would consist of spoilers. For a play that has some

bloodstain on the set

 delightfully surprising twists, I think what I’ll do is save my view till after it’s over, and post this review I  saw on facebook instead–it’ll encourage you to go see it, and then we can come back here and discuss it when we’ve experienced the twisty, bloody plot. Sound good? (thanks Luke Terry for posting this to your fb notes)   ~Jenn

You may remember last summer when I taught Freshman Comp I held a mini-essay contest, in which the student who won would get her essay published here to this blog as a prize. Well this year the class and the contest happened again. This year’s winner is Sara Armijo–well done!   ~Jenn

Book Review by Sara Armijo

Many avid readers have at some point experienced a dazed feeling after having their nose buried in a book for hours.  Some stories are so thoroughly engaging that emerging back into the “real world” takes time and effort.  The Wind-Up Bird Chronicle by Haruki Murakami (1998) is a novel that can work such magic on the psyche; it can actually feel a bit disturbing. Some book reviewers might tout a book as a must-read, a story for the ages. In contrast, I would like to find the select few among my audience that will accept this challenge for the imagination. I would like to find readers that aren’t afraid of a story that requires mental power, that don’t shy away from having to construct a story from bits and pieces of things that aren’t written, and are energized by lingering questions long after a book has found its way back onto a shelf.

The Wind-up Bird Chronicle has three main interwoven narratives, but one of the most prominent characters is Toru Okada.  A search for his wife’s cat leads to a mind-boggling hunt for his wife and a peculiar exploration of his own nature.  It is a bit of an otherworldly detective story in which Murakami paints vivid pictures of Japan, both in the modern day and during World War II. His writing style is very fluid and simple; so that it is surprising that such complexity is nestled within his words. An example:

I turned toward the cat path again.  What the hell was I doing here?  Not one cat had showed itself the whole time.  Hands still folded on my chest, I closed my eyes for maybe thirty seconds.  I could feel the sweat forming on different parts of my body.  The sun poured into me with a strange heaviness.  Whenever the girl moved her glass, the ice clinked inside it like a cowbell. 

“Go to sleep if you want,” she whispered.  “I’ll wake you if a cat shows up.”

Eyes closed, I nodded in silence (Murakami 19-20).

 The Wind-Up Bird Chronicle by Haruki Murakami is not for those that wish to be spoon-fed a story, nor is it for those that desire a neatly orchestrated ending. Instead, it is for those that agree that there is more to this world than the physical, and that are intrigued by fiction that so poignantly embodies the messiness of life.

Citation: Haruki Murakami. The Wind-up Bird Chronicle. Trans. Jay Rubin. New York: Vintage International.  1998. Print.

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Have you seen this show, lovely lurkers? Stellar blog i09 describes it as “CSI meets D&D”–basically, some fight people, science people, and history people get together and stage various fake “bouts” between warriors of old, and determine who would “win.” It’s basically like the old pirates vs. ninjas meme taken to extreme.

One thing many of the commenters mention here which I agree with, is the way the “fights” end up. Sure, the folks in charge take lots of things into account, like what weapons they would have had, the time they lived in, the resources and ways of training that we know about, etc. but it seems to me that the outcomes still aren’t realistic. I mean, sure, if the Roman Centurion stabbed the ninja with his copper spear, the ninja would die. But would he have caught the ninja in the first place? Another commenter mentioned their Nazis vs. Viet Cong (in the jungle) and was outraged the Nazis won. I think there’s a lot of context that’s missing in these pairings, personally. The geek in me, of course, is mildly delighted in the premise, though–kinda like full-sized action figures, no? ~Jenn

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Today, a Three Musketeers comparison.

This fight sequence from the 1993 Disney version (live-action. With Tim Curry chewing on the scenery): http://www.youtube.com/watch?v=dy8WeMTMo68&feature=related 

I have a fondness for this version just because of the cute one-liners. And it actually showcases Michael Wincott pretty well, in all his raspy-voiced glory.

And Part One of the 1973 classic. Love the tracks during the opening credits. And you can’t argue with a shirtless Logan learning about the rapier in a barn. http://www.youtube.com/watch?v=b15AveRTW88&feature=related

Have you noticed in both these films when the going gets tough, the fighter holds onto the rapier with two hands? Just sayin’.

And going even farther back in time, the 1948 Gene Kelly version–this is a swipey-swipey, tree-branch-somersaulting piece of (dangerous-looking!) fun. http://www.youtube.com/watch?v=M6prWV23jAw. Gotta love the barrel roll over your opponent’s back! Somebody tell me why Gene Kelly never played Robin Hood. Eh?

And lastly we go back to the early days of film, with the one and only Douglas Faribanks in 1921. This is the last part–it’s got some fighting in the beginning. Polearm vs. rapier? Judo throw into wrestling? Sweet! http://www.youtube.com/watch?v=_tTRmb347to&feature=related

All for one, and one for rapier fights!   ~Jenn

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I just adore “Got Medieval” anyway, but today he’s joined by another two-n’ed Jenn in a MST3K-worthy rant about the Kevin Costner Robin Hood. Here’s the first part: http://gotmedieval.blogspot.com/2010/05/bad-medieval-movies-robin-hood-prince.html

I must also add a Fight Clip Club entry here, lovely lurkers. From said awful film. Starring the Glorified Ren Faire actor that is Michael Wincott. Please to enjoy.

Fight Clip Club: Robin Hood, Prince of Thieves (Gisbourne enters around 6:15 or so) And the Ewok fight scene starts about 7:20 here. But be sure to enjoy the delightfully cheesy training montage beforehand. Too bad Mr. Wincott doesn’t actually do much fighting in this film–he’s good at it. Remember him in the Disney Three Musketeers?

Oh, and this pissed me off at the time and now. Watch this fight scene, with a total bad-ass medieval ninja Marion. Then why is it later, when she’s captured by the Sherriff, can she only squeal “Robin!” and cower in a corner?? Huh?

And lastly, an awesomely unrealistic group melee involving shooting ropes with arrows and punching helmeted guards with one’s bare knuckles. Good times.   ~Jenn

I know we’ve been lax about the IGAGI AWARDS this year, so here are your choices again, lovely lurkers. We’ll choose a winner this Friday, so vote for your favorite in the comments here.   ~Jenn

Dang, stellar blog Boing-Boing really brought it today! So many cool things I’m interested in. I have to share these three with you, lovely lurkers, just in case you’re still not subscribed to them.   ~Jenn

1) How To Spot a Handgun: This is a fascinating graphic for we stage combatants and martial artists–how people move differently when they have a hidden weapon. I noticed in MSCD’s recent 12th Night production that most of the men either were too careless or too conscious of their weapons. It’d be an interesting ninja trick to attempt to move more naturally and evenly with a hidden weapon. Could you do it?

2) Ghost Stories in London: an intriguing theatre review by the esteemed Cory Doctorow.

3) A Real Life Master Thief: Wired, via Boing-Boing. A real life master thief. Like, real life crazy stuff. Parachuting to the roof of a castle to steal jewels. Esacping from prison three times. An emaciated hottie rolling around in his cash. How’d he get caught? Like any fictional master thief, he made one little mistake.

I had the pleasure of seeing MSCD’s closing matinee of Shakespeare’s Twelfth Night this past Sunday. Though I was fight coordinator for them, I didn’t see the rest of the show or how it all had evolved until then. Overall, it was quite good–the students handled the language very well for the most part, and the ensemble style of it was quite pleasing.

What I mean by “ensemble style” is that, yes, there were large roles and small roles (and some actors would take on multiple small roles) but everything moved as a whole. The servants’ behind-the-back sarcasm was just as entertaining as Duke Orsino’s swooning and Aguecheek’s cluelessness was equally well acted as the officers who had one line each. I also very much enjoyed the concept of what clown scholar Joe Lee calls “You Are Here;” in other words: look in the mirror if you want to see the Fool. Feste’s reference to “We Three” was more than just a joke at Aguecheek’s expense–it was a thread throughout the entire story. All characters had moments of self-examination, and the use of the gorgeous (real!) birdbath front and center of the stage meant that everyone had access to mirror-gazing.    Highlights and constructive criticism for my students of stage combat and movement:

• Loved that Feste was the crosser of the time barrier–especially loved it when he threatened us all by dropping a cell phone into the pool.
• The rich story of the background characters: all the non- or very-little-speaking servant characters could have just been been boring set-dressing. Instead, each of the servants had distinct personalities, and played hilariously with being good servants on the one hand, but annoyed with their employers on the other. All the servant characters were in charge of bringing furniture in and out for the various scene changes, and the fact that they all were in character throughout made the scene changes not only part of the play, but an entertaining part of the play. Example: Brian’s small frame being commanded to hoist several huge pillows by very tall Scott J., and a hilarious bit with Alex stealing Olivia’s mirror she had left behind. Some servants also stole Sir Toby’s wine, which made perfect sense for the ensuing scene.
• Spatial Awareness: some of the front-row audience members got a bit nervous when the scabbards of the men would whip around close to them. The mime-use of cups of wine (especially by Sir Toby, who had a cup in his hand appropriately most of the time) didn’t suspend disbelief–the cups looked just as empty as they were.
• Hilarious Clowning Bits: Aguecheek spurting water out of his mouth to disguise himself as a garden statue; Viola and Aguecheek terrified at one touch of their blades; Feste “holding his peace/piece”; several wonderfully uncomfortable moments of accidental homoeroticism, maybe the best one uttered by Orsino at the end: he’s about to kiss the still male-attired Viola, then stops, looks around at the grossed-out ensemble, and says, “Let me see thee in thy woman’s weeds”; Viola yanking out her sword completely backwards; of course the
  

  Scott M. as Aguecheek and Liam S. as Malvolio

  Malvolio-reading-the-letter scene is one of the funniest bits in Shakespeare, and this emsemble delivered.

• The stage combat (ahem ) was good overall–the speed was nearly at full stage speed, and the blade work was very good. As I said before, the men seemed to forget they had long scabbards out behind them and one of the falls looked a little less than safe. Antonio kept his hand on his hilt almost constantly, which made his status lower than it should have been. The moment where Olivia trips Cesario was lost–I think perhaps it needed to have been rehearsed in full skirts more often.
• Speaking of skirts, the costumes were stellar. Absolutely stellar. And I have to give kudos to the women for handling the corsets very well, and the men for not blushing at all when wearing pumpkin pants and tights. Really good use of period clothing.
• Having a live music ensemble was a huge plus–whatever extra rehearsals/effort/money this took to accomplish was worth it and more than worth it.
• You can tell the stage combat is good in a play when the audience gasps, but doesn’t get yanked out of the story.
• Loved these adaptations/additions to my choreographed moves: Scott M. walking into a column; Viola pulling out her sword dangerously wrong; Sir Toby’s belch actually blinding Antonio for a moment. Sir Toby’s bull-like charge was set by me, but it was extra-rollicking the show I saw.
• Jenn’s Acting Award goes to: Alex Polzin. Yep. I’ll tell you why: his portrayal of the priest was the epitome of the old adage, “there are no small parts, only small actors.” His priest was so funny, so absolute in his precision of physical characterization, and got some of the biggest laughs of the entire show. That one tiny little role was one of the most memorable centers of the funniest bits in the play.

Excellent work, everyone! You brought my favorite Shakespeare to life delightfully. Well done, too, Jay Louden, for containing the herd of cats that is this plot and making a fun experience for everyone.   ~Jenn

If you can get past the weird Buffalo Bill voice and some of the sickening extra “humorous” bits added, the 70-minute Phantom Menace review linked here  (thanks, i09!) is so in-depth and smart, it’ll make you smack your head, V8-commercial-like, and declare that’s *just* what was bothering you, you just couldn’t pinpoint it! In Part 6, when our creepy narrator is listing the many issues with the film, he goes into the emotional quality of the lightsaber fights in the old Star Wars films vs. the prequels. And he hits the nail on the head. I do love me some pretty choreography, but he’s right: a truly effective fight is only as good as its acting. I’d like to hereby replace the Phantom Menace fight on our Top Ten List with the Luke vs. Vader fight from Ep. 6, if you don’t mind.   ~Jenn

Part 6: fight choreography talk begins just before minute 6

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