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sub_dividedOkay so I couldn't resist after all. Worry about papers tomorrow, read today! I've been at it for three hours and I'm 150 pages in, with 309 left to go. It's not as long as it sounds -- the pages are small (tokyopop-sized) and the print is large, so there are probably only around 250 words per page. It's also a very easy read, slightly easier than Diana Wynn Jones, definitely easier than Tanith Lee. I just happen to be an extremely slow reader. (You wouldn't believe how long it takes me to read for class. Four-five hours a day, these days.)
Oh right, The Sea of Shadows is the first novel in Fuyumi Ono's Twelve Kingdoms series, translated by by everyone's favorite videogame dialog artist Alexander O. Smith (should I wave?) and adapted into English by Elye J. Alexander. If I had to say in one line what Sea of Shadows is about, I'd say it's about learning to live up to your potential -- in this case, learning to be a kick-ass assertive female lead.
If the point of the pop-art cover redesign was to distinguish this book from other "manga-inspired" light novels, TOKYOPOP didn't quite succeed. That is, I found Sea of Shadows shelved alphabetically by title in the graphic novel section of the bookstore. (Took me forever to find it, too, since I wasn't expecting it there.) I wonder if this book could catch on as regular YA. It definitely has literary value, but the first chapter -- which assumes all sorts of things about Tokyo schoolgirl life, plus is a bit bland generally -- works against it.
The opening scene is especially weak. It's a nightmare, but the imagery is pretty bland. Yoko stands somewhere in darkness, somewhere there's a vague red glow, variously colored creatures rush toward her but she's rooted to the spot. Honestly it's a bit generic. Yoko isn't particularly likable, either. Of course this is a major plot point -- over the course of the novel she reinvents herself, or more accurately (considering the role fate plays in this) she "discovers her true self" -- but this doesn't make it any more pleasant to read from the perspective of meek, indecisive, obedient first-chapter Yoko.
Yoko speaks in a fake-casual, "yeah - like - way - totally - nope" kind of way in the first chapter of the English version. It serves the same purpose as her overly-careful Japanese speech, that is you can tell she's trying very hard to not stand out, and when she shows sudden flashes of spine later on the change is really noticeable (from "yeah kind of" to "I most certainly will not"). At the same time, there IS a bit of a disconnect between the valley-girl-lite and her "yes ma'am/no sir" responses to authority figures.
Another oddball translation choice: sages are apparently wizards and warlocks in this version. (Sigh.) Otherwise: youkai are "demons", shusei are "minstrels", hanju are "beastlings", demons that can take human form are "boggarts," kirin are kirin but also, "the greatest of the spirit-beasts, fey but not demon-kind." Place names and unique vocabulary are retained, including the way they're written (Chinese characters). Rulers are kings regardless of gender, a choice I am totally behind.
Specifically:
King of Sou: Peace-King
King of En: Ever-King
King of Kou: Naze-King
King of Kei: Glory-King
I can see whyNakajima Sugimoto was given a larger role in the anime. Aside from leaving a generally bad taste in your mouth, the scene where Yoko joins the rest of her classmates in ignoring her is strangely unresolved -- why's she being bullied? What happens to her after Yoko leaves?
The Void Sea is beautiful. *_* Actually, once Yoko crosses into the world of the twelve kingdoms at the end of the first chapter, the entire book becomes better, and a LOT of it has to do with the level of description. I'm also a fan of the description of the eastern fields of Kou buried in the mud Yoko brought with her from Hourai and of the first city she and Takkee come to.
The book is also great in that there's a kind of moral to it, but it's not the moral you'd expect. (This is what tvtropes.org would call a twisted aesop.) The first three chapters are absolutely full of reversals -- for instance, when Keiki first appears in Japan with the sword, trailing scary bird demons behind him and telling Yoko she's in danger, there's this great scene when he hands the sword to her:
"Me? Use this? She blinked, baffled. "Not you?"
The man shot her a displeased look and thrust the sword toward her again. "I have no interest in waving swords."
"And I do? Aren't you supposed to save me with that?"
He shrugged. "Regretfully, I don't know how to use one."
"What?!"
I seriously laughed for a minute when I read that. XD Though this scene is possibly another reason why Twelve Kingdoms might not catch on with a wider YA crowd -- if you weren't familiar with arch-typical "protect you" shounen behavior, would you get the joke? Of course, damsel-in-distress is a trope that transcends cultures...though you could argue it has a specifically Japanese flavor here. But many of Yoko's preconceptions are culturally specific, for instance, her (and her mother's, and her teachers', and her classmates') obsession with black hair and with people who dye their hair.
What's even better than the reversals, though, is how much Fuyumi Ono is aware that Yoko's responses are Japan-specific and in a larger sense, our-world specific, and how she shows that in her story. For instance, Yoko enters a town with white-stucco buildings, black tiles, and brightly painted columns. Her first thought is that everything is horribly inorganic -- "so bright and real that it actually looked fake". But of course the town isn't fake, it's real. What it is, is unfamiliar.
I want to remind the official book reviewer who trashed the novel on amazon that Yoko's responses aren't absolute truths. Especially toward the end of chapter three (possibly also in chapter four, which I've only skimmed but which promises to be very bitter and depressing), her understanding of 12K-world is shaped by where she's from and what she's experienced so far, which is by no means all there is. In other words, the conclusions she's coming to are in-character, and not necessarily shared by the author. More on this in the next post.
The world of Twelve Kingdoms isn't utterly alien in a flashy, immediately noticeable way, but unexpectedly different in ways that go all the way down. And this is what Yoko gradually discovers as she wanders alone through the world, learning how things work in bits and pieces, and slowwwwwwly realizing her instincts won't work here. (And also, being betrayed a whole lot. o_O That was a serious run of bad luck, there.)
Favorite scenes from the first three chapters:
***
It took a while for the words to sink in. "I can't go home? That's ridiculous."
"I am sorry, but it's true."
"But I..." A single tear rolled down Yoko's cheek. "I have parents. I-I have to go to school. I was out all last night, and I didn't tell anyone I wouldn't be coming in today. I'm sure they're all very worried."
The old crone looked away, then stood and began arranging the things on the table. "You will have to learn to let it go."
"But I didn't want to come here!"
"No kaikakyu does, I would think. Especially not the dead ones."
This is great not only because of the clever, clever way it references an earlier part of the conversation (most kaikakyu wash up on Kei's shores pre-deceased) but because it showcases the novel's other major theme: realizing the universe is not fair to individuals. (Our heroine's response? "Yoko wasn't listening." XD)
***
You know Yoko's headed for trouble when she agrees to die her hair black. Be true to yourself, Yoko! ...While in 12K-world, she has visions of her mother and father (true visions? false?) that muddy the novel's moral waters in yet another way -- just when you think she's better off away from that place, you're reminded that her sudden absence is a genuinely painful for her parents.
Nothing is easy. If it's easy, there's a catch.
***
As far as offices went, there was apparently a headman's office in each village for handling daily affairs, and larger issues went to the provincial magistrate's office; that was enough for dealing with the common people's concerns.
I get the feeling Ono approves of this. Like, why should the common people be exposed to a level of society far, far above their own? It will only make them unsatisfied with what they have. Though it could also be that this is just the way things are in Kou.
***
I love the scene where Yoko learns how long it would take to cross Kei -- "four months? and there are twelve of these?" -- and Takkee's reponse is, "Of course. It is a proper kingdom." Because, you know, it's so easy to to think of imaginary places -- what Yoko still considers 12K-world to be at this point -- as small. Plus, again, clever dialog.
Annnd the the computer lab people are kicking me out, so I'll stop here. Spoileriffic commentary to come once I've finished the book.
EDIT- Got to the end and I've got a host of things to talk about, but for now I'll just say this: did Keiki have that kind of personality in the original? I submit that he did not.
Oh right, The Sea of Shadows is the first novel in Fuyumi Ono's Twelve Kingdoms series, translated by by everyone's favorite videogame dialog artist Alexander O. Smith (should I wave?) and adapted into English by Elye J. Alexander. If I had to say in one line what Sea of Shadows is about, I'd say it's about learning to live up to your potential -- in this case, learning to be a kick-ass assertive female lead.
If the point of the pop-art cover redesign was to distinguish this book from other "manga-inspired" light novels, TOKYOPOP didn't quite succeed. That is, I found Sea of Shadows shelved alphabetically by title in the graphic novel section of the bookstore. (Took me forever to find it, too, since I wasn't expecting it there.) I wonder if this book could catch on as regular YA. It definitely has literary value, but the first chapter -- which assumes all sorts of things about Tokyo schoolgirl life, plus is a bit bland generally -- works against it.
The opening scene is especially weak. It's a nightmare, but the imagery is pretty bland. Yoko stands somewhere in darkness, somewhere there's a vague red glow, variously colored creatures rush toward her but she's rooted to the spot. Honestly it's a bit generic. Yoko isn't particularly likable, either. Of course this is a major plot point -- over the course of the novel she reinvents herself, or more accurately (considering the role fate plays in this) she "discovers her true self" -- but this doesn't make it any more pleasant to read from the perspective of meek, indecisive, obedient first-chapter Yoko.
Yoko speaks in a fake-casual, "yeah - like - way - totally - nope" kind of way in the first chapter of the English version. It serves the same purpose as her overly-careful Japanese speech, that is you can tell she's trying very hard to not stand out, and when she shows sudden flashes of spine later on the change is really noticeable (from "yeah kind of" to "I most certainly will not"). At the same time, there IS a bit of a disconnect between the valley-girl-lite and her "yes ma'am/no sir" responses to authority figures.
Another oddball translation choice: sages are apparently wizards and warlocks in this version. (Sigh.) Otherwise: youkai are "demons", shusei are "minstrels", hanju are "beastlings", demons that can take human form are "boggarts," kirin are kirin but also, "the greatest of the spirit-beasts, fey but not demon-kind." Place names and unique vocabulary are retained, including the way they're written (Chinese characters). Rulers are kings regardless of gender, a choice I am totally behind.
Specifically:
King of Sou: Peace-King
King of En: Ever-King
King of Kou: Naze-King
King of Kei: Glory-King
I can see why
The Void Sea is beautiful. *_* Actually, once Yoko crosses into the world of the twelve kingdoms at the end of the first chapter, the entire book becomes better, and a LOT of it has to do with the level of description. I'm also a fan of the description of the eastern fields of Kou buried in the mud Yoko brought with her from Hourai and of the first city she and Takkee come to.
The book is also great in that there's a kind of moral to it, but it's not the moral you'd expect. (This is what tvtropes.org would call a twisted aesop.) The first three chapters are absolutely full of reversals -- for instance, when Keiki first appears in Japan with the sword, trailing scary bird demons behind him and telling Yoko she's in danger, there's this great scene when he hands the sword to her:
"Me? Use this? She blinked, baffled. "Not you?"
The man shot her a displeased look and thrust the sword toward her again. "I have no interest in waving swords."
"And I do? Aren't you supposed to save me with that?"
He shrugged. "Regretfully, I don't know how to use one."
"What?!"
I seriously laughed for a minute when I read that. XD Though this scene is possibly another reason why Twelve Kingdoms might not catch on with a wider YA crowd -- if you weren't familiar with arch-typical "protect you" shounen behavior, would you get the joke? Of course, damsel-in-distress is a trope that transcends cultures...though you could argue it has a specifically Japanese flavor here. But many of Yoko's preconceptions are culturally specific, for instance, her (and her mother's, and her teachers', and her classmates') obsession with black hair and with people who dye their hair.
What's even better than the reversals, though, is how much Fuyumi Ono is aware that Yoko's responses are Japan-specific and in a larger sense, our-world specific, and how she shows that in her story. For instance, Yoko enters a town with white-stucco buildings, black tiles, and brightly painted columns. Her first thought is that everything is horribly inorganic -- "so bright and real that it actually looked fake". But of course the town isn't fake, it's real. What it is, is unfamiliar.
I want to remind the official book reviewer who trashed the novel on amazon that Yoko's responses aren't absolute truths. Especially toward the end of chapter three (possibly also in chapter four, which I've only skimmed but which promises to be very bitter and depressing), her understanding of 12K-world is shaped by where she's from and what she's experienced so far, which is by no means all there is. In other words, the conclusions she's coming to are in-character, and not necessarily shared by the author. More on this in the next post.
The world of Twelve Kingdoms isn't utterly alien in a flashy, immediately noticeable way, but unexpectedly different in ways that go all the way down. And this is what Yoko gradually discovers as she wanders alone through the world, learning how things work in bits and pieces, and slowwwwwwly realizing her instincts won't work here. (And also, being betrayed a whole lot. o_O That was a serious run of bad luck, there.)
Favorite scenes from the first three chapters:
***
It took a while for the words to sink in. "I can't go home? That's ridiculous."
"I am sorry, but it's true."
"But I..." A single tear rolled down Yoko's cheek. "I have parents. I-I have to go to school. I was out all last night, and I didn't tell anyone I wouldn't be coming in today. I'm sure they're all very worried."
The old crone looked away, then stood and began arranging the things on the table. "You will have to learn to let it go."
"But I didn't want to come here!"
"No kaikakyu does, I would think. Especially not the dead ones."
This is great not only because of the clever, clever way it references an earlier part of the conversation (most kaikakyu wash up on Kei's shores pre-deceased) but because it showcases the novel's other major theme: realizing the universe is not fair to individuals. (Our heroine's response? "Yoko wasn't listening." XD)
***
You know Yoko's headed for trouble when she agrees to die her hair black. Be true to yourself, Yoko! ...While in 12K-world, she has visions of her mother and father (true visions? false?) that muddy the novel's moral waters in yet another way -- just when you think she's better off away from that place, you're reminded that her sudden absence is a genuinely painful for her parents.
Nothing is easy. If it's easy, there's a catch.
***
As far as offices went, there was apparently a headman's office in each village for handling daily affairs, and larger issues went to the provincial magistrate's office; that was enough for dealing with the common people's concerns.
I get the feeling Ono approves of this. Like, why should the common people be exposed to a level of society far, far above their own? It will only make them unsatisfied with what they have. Though it could also be that this is just the way things are in Kou.
***
I love the scene where Yoko learns how long it would take to cross Kei -- "four months? and there are twelve of these?" -- and Takkee's reponse is, "Of course. It is a proper kingdom." Because, you know, it's so easy to to think of imaginary places -- what Yoko still considers 12K-world to be at this point -- as small. Plus, again, clever dialog.
Annnd the the computer lab people are kicking me out, so I'll stop here. Spoileriffic commentary to come once I've finished the book.
EDIT- Got to the end and I've got a host of things to talk about, but for now I'll just say this: did Keiki have that kind of personality in the original? I submit that he did not.