Barakamon – 05

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This episode illustrates how Seishuu, formerly the outsider, is steadily becoming “one of the gang,” someone both the adults and children of the village can trust and rely on. Rather than shun a city slicker, they welcomed him warmly, and Seishuu has settled nicely into their flow.

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While he’s periodically pacing around paper and slowly having all thought replaced by konomon, the girls (Naru, Tama, and Miwa) decide to enlist his help with their calligraphy assignment, and he takes to teaching like a fish to water, giving instruction and not suffering (or trying not to suffer) any dalliance.

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I particularly like how Miwa describes Seishuu’s present style as “fuzzy” and “showy,” and that Seishuu won’t teach it to them until it’s acknowledged; i.e. won grand prize. Naturally, he goes a bit far in vocalizing his passion for the art, and the girls’ focus pivots from their calligraphy to the fact that calligraphy seems to be all Sensei thinks or cares about.

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One would guess that Seishuu doesn’t have a girlfriend because he feels any time or energy spent on one would be time and energy taken from the calligraphy, which would be disastrous. But the fact is, he’s already spending a lot of time and energy with the girls and other villagers, and that energy is helping his work evolve and improve.

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When Seishuu is asked to chaperone the kids on a trip to the beach. It’s a beach black rocks rather than soft sand. While he has trouble with his footing on the slippery rocks, one can say he’s definitely found his footing in the village. Having to watch the kids and keep them from killing themselves makes him realize how much he’s come to care for them.

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Barakamon – 04

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When I decided to paint beige-colored racing stripes on 1991 Honda Accord, the most difficult step in the process wasn’t the measuring, the marking of guide points with non-permanent marker, or making sure the masking was tight. No, the toughest part was making that very first mark with the paint upon the (sorta) pristine blank surface. There was no going back from that moment, so I figured I’d best not screw up.

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Once that first mark was made, I felt a lot more confident, and sure enough the stripes were turned out true and crisp. Seishuu faces similar apprehension, only it’s quite a bit more pronounced, because the boat he’s painting belongs to an ill-tempered gangster (and Miwa’s pops), and for the entire process he is distracted by a gaggle of little kids darting around like gnats, upsetting the calm such a job normally requires.

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Then there’s the fact that he shouldn’t be doing odd calligraphy jobs now that he’s been entered in the upcoming Naruka Institute Calligraphy Exhibition. Exhibiting the humility he’s gained since moving to the island, he doesn’t promise to claim to Grand Prize, as he’s still “in the darkness,” but he’s certain he’ll someday “find the light,” lines that are both cool and corny. I don’t buy, however, that someone his age has never operated a rotary phone!

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If you can successfully paint a five-kanji name on the boat of a prickly gangster-geezer under the constant distraction urchins constantly up in your business, well…you’re not completely worthless as a human. Intimidated by the vast stretch of pure, empty white, Seishuu ceases up, until Naru plants a tiny black hand on that white. Then another, then the others join in.

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It’s as if whatever spell was keeping Seishu from touching brush to boat was lifted. From there, Seishuu dives in going with a wild, splattery style to cover up the prints, and ending up with something both he and Yamamura can be satisfied with. But the true challenge lies ahead with his exhibition work, where he won’t have the benefit of Naru making the first mark for him.

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