The Anime Review Post 1

Anime.

The Eccentric Family

It's peak. A foolish tanuki gets himself into trouble. Watch it in the summer when the nights are warm, with some hot takeout.

The Elusive Samurai

The shogunate is in flames, and children play the great game called War. Banger opening.

Sonny Boy

An isekai, in a sense. Callous surrealism that twists my guts. Swiss Family Robinson as an absurdist bildungsroman. Can't say I recommend.

Sengoku Youko

Did you know that a shonen battle anime can be tightly paced? I didn't. Scratches the same itch as Inuyasha. I know it doesn't seem like it, but Shinsuke is the protagonist.

Zenshu

The fact that it is very stupid does not stop it from being peak.

Quality Assurance in Another World

Trapped in a video game, but they take that premise seriously. It has an OSR sensibility, to my eyes.

Onmyo Kaiten

20 plot twists in 12 episodes. Not surreal, simply manic. I have never played Genshin Impact, but I think this arose from the cursed dreams of a fervent devotee.

Log Horizon

Log Horizon is perhaps the only accurate depiction of the feeling of playing in a long running, kinda shitty boffer LARP with 30-50 people. If only the last season (so far) wasn't just filler. Watch in winter, and consider bygone friends and ended games.

I wonder if anyone will like this post.

Encompassing

Wise men have said that writing non-fiction is well worth the time. So I am doing that. This is simply a small essay that attempts to capture or describe a quality or motif that I find wonderful in art. I am no great scholar, so I merely present this to those wiser than I for consideration and inspiration. If I make claims of history or the science of art here, you may feel free to treat them as nonsensically as they strike you.

The topic of this ode is that quality for which I think the best name is "Encompassing". It is the attempt of a work of art to be universal, primarily by touching lightly on the fullness of a certain set of natural things. I think it is a good name, because contained within the word is a quite common application of the idea: to Encompass, circling around the cardinal directions, and thereby around the world.

I think that, even in saying this, examples are springing up in your mind, dear reader, but I will give my own examples of several works, mainly songs or poems, that possess this quality. The song that spurred this essay into being is a modern song set to old music, by John Renbourn, called "Wexford Lullaby". Woven throughout the song is that simple version of the motif which I have already discussed, the four cardinal directions. Yet that is not the only such set in the song.

A clear set can be found in the fifth and sixth stanzas (or the third verse, as I learned it), where we see the sun (both rising and setting), moon, and stars (or lack thereof). Even in those same stanzas, we see the Christian motif of the Nativity, Crucifixion, and Resurrection. Less overt and cleanly divided, but still quite clear, is the stages of life: infancy, youth, adulthood, and deathbed. And finally, merely the icing which coats and sweetens the cake, the many mentions of all sorts of natural environments: The sea, the hills, the fields, the forests, the sky, et cetera.

Of note is that all these sets are put in service of the theme of the work. They are not merely the listing of things, but emphasize the feeling of impending loss that the singer is expressing. I think this is something common to all encompassing works of good quality. They use these sets to apply the theme of the work, increasing its scale or applicability. The singer's loss becomes not only an individual emotion, but something that suffuses the world.

To me, an encompassing work has something of a medieval, or pre-medieval, feeling to it. It seems to evoke welsh triads, proverbs, and other poems meant to instruct the listener in lore and the ways of the world. It gives the impression of a kind of epic wisdom. The Rota Fortunae, the four humors and elements, the three primes of alchemy... I don't know if it was actually more common in the medieval period; I certainly see a good deal of modern works that involve it.

There's simple dyads as well, which don't often lose much potency for being simpler. Night and day, the living and the dead... I think about the stories in which the hero's great victories are told, but never without a mention of their eventual demise. The Psalms almost always speak of sorrow, then of joy, and often feature other encompassing sets as well.

A rarer kind of emcompassing, at least modernly, is ekphrastic. Consider the second stanza of the Song of Eärendil. In this case, the encompassing serves not to make the theme universal, but to make the theme comprehensive. It communicates that Eärendil is not merely impressive in a single aspect, but in all ways both he and his possessions are beautiful and noble (the set of Costly Materials is, of itself, a rare theme nowadays. You don't often hear a poem mentioning several different kinds of gems).

Another rare set, perhaps sensibly rare in the modern day, is the set of Trades. You may look to the mid-19th century "Song of the Lower Classes" for an example here: the Farmer, Miner, Builder, Weaver, and Soldier. Of course, the Trades as a set have become far too specialized and numerous to be encompassed in art without a considerable amount of cleverness (or tedium).

To touch briefly on one last example, the two famous sets of paintings by Thomas Cole, "The Course of Empire" and "The Voyage of Life" are great examples of encompassing works of visual art. There are, of course, many others. Many ancient triptychs seem made to touch briefly on everything. I have personally, in my travels, seen at least 5 different sets of statues for the Four Seasons.

I do not think that this quality of encompassing is necessary or overwhelmingly common. But it is certainly beautiful where it makes a fine appearance. I have read, seen, and heard many great works whose focus dwells totally on a single theme in a single instance. However, I think the idea is worth considering while you, dear reader, are creating your own art. To make a work encompassing can give it both a sense of perspective, and of great significance.

(Though, perhaps it is not necessary to explain in such detail to a reader of this blog the joys of making comprehensive lists or referencing reductionist classifications. Oh well!)

Counterspells, Magic Detection, and Dispelling

To be used as houserules or alternate class features

This one has been sitting in my drafts for a while. It is unfinished but I'm putting it out anyways because I likely won't finish it, and it might inspire someone.

Counterspells

'Counterspell' is not a spell in itself. It is a category of procedures applied to any given spell to make the spell simply not work. These can range from casting the opposite spell (Shatter vs. Mending, Fire vs. Water), to simply distraction (mundane or arcane), to stealing the energy of the spell. When a wizard or magically adept character sees a spell being cast, they can attempt a counterspell. Roll a contested check: on the countering side, d20+[Caster level]+[Spellcasting Score]; on the casting side, d20+[Caster level]+[Spellcasting Score]+[Spell Level]. The countering magician may use a spell to increase their bonus, adding the spell's level to the roll (or double the spells level for an opposite spell).

If the Caster wins, the spell prevails, and the counterspell possibly has a mishap. If the Counterer wins, they may consult the following table and choose one option in accordance with the difference in the rolls.

Difference	Effect
1	Deflect: The spell changes direction just before it reaches the target, up to 90 degrees
	Enfeeble: The spell falters, only producing half the effect
3	Distract: The caster makes a concentration check. If they fail, the spell wild-surges, explodes, mishaps, or dooms
	Rewind: The spell is returned to the caster, and any spell used to counter is also returned.
	Shatter: The spell splinters, dealing [spell level]d6 or [spell level] damage to its target
5	Negate: The spell does not work
	Awry: The spell has a different (but not opposite) effect. Fireball may become wind-ray, cure wounds becomes cured meats, etc.
7	Siphon*: The counterer absorbs the spell's energy, which may be stored in magic items or as spell slots
	Reverse: The spells effect reverses completely. Fireball becomes water-pseudosphere, cure wounds becomes cause wounds, etc.
	Reflect: The spell now targets the caster (or a random creature if it already targeted the caster)
9	Explode*: Choose a point on the spell's original trajectory. The spell explodes at that point, dealing [spell level]d6 damage in a [spell level]*5 ft. radius
	Doom*: The spell triggers a doom in the caster, or causes the worst possible mishap or wild magic surge.
11	Seal*: The caster can no longer cast magic for [spell level] (roll d[spell level]: 1. seconds 2. minutes 3. hours 4. days 5. weeks 6. months 7. years 8. decades 9. permanent)
	Steal*: The counterer learns the spell and the caster forgets the spell. As well, the counterer gains a temporary spell slot of the spell level.
	Unravel*: A wild-magic or null-magic zone is created around the caster
13	Death*: The caster is killed
	Magician's folly*: The caster is effected by a permanent effect, transfiguration, enchantment, or curse of the the counterer's choice, subject to DM discussion.

* these options also negate the spell

Magic Detection

Magic detection is, of course, not a spell either. Rather, it is a suite of tools, lore, mathematics, neuroses, and mutations that allow wizards to perceive the structure of spells, supernatural influences, and invisible creatures.

A knack will here mean a supernatural mutation, mnemonic device, or neurosis which may aid in detecting magic. A bauble is a physical tool such as a lens, crystal, or fetish which helps one do the same. Certain divination spells may also assist. Familiars may also help.

Knacks and Baubles have certain intended targets (e.g. fairy magic, divine magic, fire magic, etc.). Both have a 1 in 2 chance of positively identifying influences of that type, a 2 in 6 chance of positively identifying neutral magic, and a 1 in 4 chance of correctly detecting magic of a very different type. As well, both have a 1 in 6 false positive chance. Divination spells have a flat chance (1 in 4 for cantrips, 2 in 6 for 1-4 lvl, 1 in 2 for 5-7, 4 in 6 for 8-9. 1 in 10 false positive for cantrip-4th lvl, 1 in 20 for 5-9).

Knacks may be used quickly (in 1 round), but the use of a knack deals 1 wisdom damage and prompts a save vs. wizard eyes. Baubles take 1d6 rounds to find, set up, and use, but do not have any ill effects. Divination spells of course take a spell slot. Multiple tools may be used in succession, and this is recommended.

[Example: Algol the Hidden has 2 baubles and 1 knack: A quartz orb (detects wizardry), a sorcerer's mask (detects spirits), and a third eye (detects dark magic). While travelling, they encounters a man they suspect is a werewolf (he, in fact, is). They first examine with the mask (werewolves are acceptably close to spirits, 2 in 6). They looks through their mask and sees a fearsome, if ethereal, wolf form over the man! Or wait, maybe that's a trick of the light, or simply a wolf spirit, since it soon passes (in fact, it was a false positive and has no bearing on the man's nature). 

Algol, now unsure, looks through their quartz orb (werewolves are very different than wizards, 1 in 4). Nothing comes of this. Maybe he isn't a werewolf? Greatly concerned, Algol peers with their third eye (a discussion of whether werewolves are dark magic ensues. It is decided they are. Also, Algol suffers 1 Wis damage and makes their save for Wizard Eyes). Algol sees the stain of death on his teeth and the wicked claws of his true form! They were right! After a small skirmish, the man is justly imprisoned.]

Wizards begin with 2 baubles and 1 knack. Sorcerers and Warlocks begin with 2 knacks and 1 bauble. Knacks may be gained from magical deals, maddening texts, and certain potions. Baubles may be purchased from other wizards, crafted with special ingredients, or stolen. Some baubles may be used by mundane characters.

Some Baubles

1. Erratic Clock (Chronomancy)
2. Magician's Pendulum (Magic Items)
3. True Quicksilver (Necromancy)
4. Otherworldly Ring (Planar)
5. Elemental Barometer (Elemental)
6. Scope of Many Lenses (Wizardry)
7. Shamble (Witchcraft)
8. Phantasmagoric lantern (Illusion)

Dispelling

Technically, dispel magic is a spell. The spell is a brute force form of a more general principle: spells may be disrupted by altering the delicate but mundanely untouchable structure of a spell. This is easier and more graceful if the dispeller knows the workings and nature of a spell (found by magic detection or guessing)