Godzilla Minus One: Monster and Metaphor

One one hand, Godzilla Minus One is a classic monster movie. On the other, the monster is a metaphor for one man's war trauma and his struggle for redemption.

The monster movie is a breathtaking visual experience. Godzilla is terrifyingly portrayed. There is the slow build with the appearance of schools of dead deep sea fish. Fins appear out of the water, like in Jaws, but they are multiple, ominously spiked, and enormous. Where the fin in Jaws announces a presence of dread and terror, Godzilla's fins herald a force of nature that paralyzes us in our helplessness. This is a creature of sheer destruction. While apparently mindless, it is certainly indiscriminate, flattening buildings, machines of war, and people in its wake.

Toho studio once shot actors in rubber suits campily stomping on miniature city skylines. This time, it's moved on to much more realistic levels. Whatever effects -- practical or CGI -- are being used, we are present at ground zero, every impact a gut punch. As scenery is literally blown away, so are we. Watching Ginza getting destroyed is like watching a tsunami made of earth and rubble instead of water, and the aftermath is devastating to behold. Even if we weren't already invested in the human characters in this movie, we still feel the tragedy of each life lost to every 'holy s...!' moment. This is one movie that deserves a cinematic rerun. I'd buy a ticket right now if it got one.

Godzilla, the metaphor, is equally impactful as an exploration into trauma and survivor's guilt. Our hero, Shikishima, should have already been dead even before the start of this movie. A kamikaze pilot who makes an emergency landing on a friendly airstrip without releasing his ordnance is by all accounts a deserter and a coward -- and he knows it. Given a second chance to makes amends, he freezes instead, and watches as everyone dies around him.

A two-time survivor, it's painfully ironic that he has lived although he has nothing to live for. Arriving home to war-devastated Tokyo, he finds he has outlived his parents who perished in the air raids. Between the war and Godzilla, Shikishima is rendered passive and helpless, but also alive bearing an overwhelming load of guilt because of it  And like his guilt, Godzilla grows every time he survives another certain death moment.

Meanwhile, he has picked up a sort of family: a girl and a baby, neither of which are biologically related. They move into his place uninvited, but he does nothing to evict them. His passivity is also a kindness, and slowly they become important in his life. He takes on a risky but well-paying job for their sake. However, because of his trauma and guilt, he stops short as a provider but they never become a full-fledged family.

During Godzilla's attack on Ginza, Shikishima again -- and not of his own accord -- survives but suffers another painful loss. With the threat of yet another attack on Tokyo, Shikishima finally understands what motivates a person to sacrifice themselves. He had no real connection to his country before, so he couldn't die for it when he was a kamikaze pilot. Yet connection to country still isn't enough motivation to fly a plane into the enemy. It's one's connection to time -- someone in the past to avenge, and someone's future for whom he would give his life to ensure. It is at this point that he takes control of his life and makes a plan to defeat the monster rampaging through both his city and his psyche. When you have something to live for, then you will be ready to die for it. There are no heroes in such a sacrifice, only redemption. Yet, he will be remembered as a hero whose sacrifice mattered, instead of being one of his fellow kamikaze who sacrificed themselves for something that ultimately didn't.

Ratatata: perfection in collaboration

After some processing time, I'm ready to dive deeper into the BM-EC collab, Ratatata music video.

As I mentioned before, there's no undertone of a message other than how it presents a different take on metal music that is goofy, fun and 'excellent for dancing'. Nothing new there, as both bands are well known for their unique twists on metal. The music and video are an example of a perfect collab precisely because of this versatility and nothing-is-sacred attitude towards the genre they've made themselves at home in.

Perhaps it's something I've been thinking about lately, but Ratatata perfectly blends both EC's chaotic masculine energy with BM's feminine vibrancy into a pairing that literally makes beautiful music together. EC's Nico and Kevin break through walls that enclose first the masculine world of corporate power (yes, there're women in there too, but they're dressed in male power suits) and shake it up. Meantime, BM are having a girly tea-party comprising colourful cocktails, and posing for their Instagram feeds. In the translated lyrics, SU sings about being a temptress, luring men into her trap -- which is essentially kitsune lore. The boys abruptly break in uninvited, springing her trap unexpectedly. Still, with Vault 33 Lucy's 'okie dokie' spirit, the girls welcome the intrusion with a cheeky 'check out these dumb boys' look. But then the boys suddenly exit through the wall Stage Left mid-chorus, leaving the girls dumbfounded. Staring at the hole in the wall, their mouths agape, the girls can't believe the boys have escaped just like that. Closest to the camera, MOA is a total cartoon, all slack-jawed and blinking uncomprehendingly at the carnage. One by one, they peek through the hole... cue transition.

Like in Metali, there's a little interlude. Here the opposing sides are literally reflected in the mirror ball, with a bit of a role reversal. SU and Nico are on opposite sides of the giant ball, representing geographic east and west; Venus and Mars energies. Except SU is on the left, where west is supposed to be, and Nico on the right, technically east. The heavy instruments cut out and Nico's tone drops to a wistful longing for the friends he needs. He reaches up to the ball (the world?) with one hand, but hesitates before withdrawing his closed fist. When the instruments come in again, it's SU turning up the warmth in her voice and with open arms, she embraces his gesture like the big sister she is. SU exactly echoes Nico's lyrics but exudes confidence, committing to her offer of friendship. It's suggesting that despite all their bravado, men have a vulnerable and shy side too, and women can and do take the lead when they want to. BM unexpectedly takes the final 'Ratatata' putting their own feminine spin on their delivery, dropping a 'tata' (excuse me?) while they're at it.

Following Metali's narrative structure, the EC boys crashing through walls suggests that the music cannot be confined in any box. It's neither male nor female, one genre or another. Together, BM and EC appear on a stage large enough to accommodate EC's entire band, sparks shooting off an overhead flybar. Music has to be brought out to the world for everyone to enjoy -- clearly with the insistent repetition of the word "everybody" It's an invitation for everybody to go nuts, if they haven't already lost their minds since the song started.

When masculine and feminine energies flow with each other fluidly instead of clashing in conflict, we achieve the perfect yin yang state. 'Ratatata' is the sound of war, but in this track it's the sound of joy and harmony, with a touch of crazy. Perfection.

Ratatata hits the target Pt 2: the music video

Considering that both BABYMETAL and Electric Callboy (EC) are known for genre-blending, the MV for Ratatata portrays exactly that quite literally. Protective disco-ball / crash helmets on, EC's vocalists burst through walls like silvery Kool-Aid men, first shaking up industry suits having a meeting, then surprising SU, MOA, and MOMO who are off duty and out of character, just chillin' with drinks and being silly. While I was expecting full on choreography, this MV incorporates some theatrical acting which doesn't feature in BABYMETAL videos much. It's nice to see that little throwback to Sakura Gakuin days when there was a stronger narrative to their MVs.

I don't detect a lot beneath the surface of either the song or the video. They're both just outrageously fun, infusing a massive wave of energy that makes the listener throw up their arms like they don't care as they move, shake, jump, and stomp to the beat. I can imagine how deafening a 'live' concert featuring this song will be when the crowd chants along to 'ratatata!!!' at the top of their lungs. It's so infectious that you can't help yourself.

It's weird how every new song that BABYMETAL releases is an instant new favourite. I'll be listening to this one a lot, especially on my morning commute. When you can't get caffeine that early, the adrenaline jumpstart will be most welcome.

Ratatata hits right on target

BABYMETAL is not stopping anytime soon. A fresh drop today -- just the audio track for now -- but it's another terrific party anthem. Ratatata in collab with Electric Callboy (heard of them, never heard them... yet) turns the energy up to 10 from the get go, and never lets up. It has a very '80s disco mashed in with a '90s EDM vibe that picks a body up and makes it dance like nobody's watching -- and I hope to heck that no one was watching.

The English lyrics are simple enough -- end of the day, we're hyped to go to the club, meet our friends and dance our brains out until tomorrow. I'll check out the inevitable lyric video later to see what the Japanese lyrics say, but it'll probably be not much different. I think I heard a lyric that goes something like 'my body is a weapon', hence the onomatopoeic 'Ratatata' of a machine gun, like the sound effect YUI and MOA make in Gimme Choco, but the pace is slightly more spaced out than a chaingun would sound like, so I'm guessing it's more the sound of aggressive metal drums instead. Makes sense if we're imitating a wild dance rhythm.

Not sure what the metalheads will say, but despite the heaviness of the beat, it's more a dance rave than strictly metal. Radio-friendly. Regardless, it's so much fun to bop to, and as always, so positive in the anticipation of good times to come, no matter what we might have experienced earlier in the day.

As much as I like how BABYMETAL has matured in their vocal quality and choreopgraphy since The Other One, with the inclusion of MOMOMETAL, I'm equally glad that they have kept their fun, playful side and are continuing to crank out tunes that get the crowd crazy pumped with absolute bangers like Metali from last year (has it been that long already?), and this one.

If the official MV drops as soon as it did with Metali, that would be fantastic. I'm looking forward to check out the choreo as both bands are reputedly well matched in their emphasis on singing and dancing. Hopefully it'll be worthy of a more detailed second review.

Chop-chop and go

People like me are caught in the transition to the new In-vehicle Units (IU) from the old one that only accepts chipped stored-value cashcards. I'm not scheduled for a fitting of the new IU, but my chipped cashcard has expired, and I can't get it replaced as the most common stores, like gas stations, convenience stores, and supermarkets, only sell the new chipless type. Until I can acquire an unexpired chipped cashcard, I won't be able to drive through ERP gantries to get into town, and I won't even be able to park or leave public parking lots as tolls and parking charges get automatically deducted form the card. I will only be able to drive between work and home where I have season parking.

There is only one place to get an unexpired chipped cashcard, and that is the NETS Customer Service Centre which is fortunately near my workplace. Call it a lunchtime errand.

I must commend the lady at the counter dealing with the customer before me. He was relatively elderly, trying to grapple with these transport policy changes which are happening too quickly and suddenly for his liking. He kept asking questions, frequently repeating questions he had asked before, while the lady responded to every question with the patience of Job. Although I had a job to get back to and was running out of patience myself, she remained the epitome of calm until he finally left, a satisfied customer.

When my turn came, lets just say that she respected a customer who knew what he wanted, while I respected her efficiency and her together-we'll-get-it-done spirit. A couple of minutes at the counter was all it took. All chop-chop and go.

A fresh chipped card cost $10 with $5 value pre-stored. It would have cost $25 for the same thing, and I would have had to wait a few days for delivery if I had purchased it online.

Miko, Metalverse princess in the spotlight

Metalverse, BABYMETAL's baby sister, dropped this new, official MV a couple of days ago. This song wasn't featured in their debut concert, but the footage is from a 'live' show I don't know when. It's nice to hear some new stuff regardless.

Metalverse songs that aren't covers of BABYMETAL's have so far played a baby sister role. They're lighter, poppier, and maybe more playfully feminine, despite the heavy backing instruments that keep 'metal' justified in the name.

This song, 'Naked Princess', puts the focus on lead singer, Miko. The other four making up her team (it'll take me more time to remember their names and tell them apart) don't look like they're wearing headsets, so maybe they have a backing vocal track instead? Miko displays her range in this one. She does vocal fry -- which SU-METAL does not -- breaks the melodic line with a rhythmic verse, and crescendos effortlessly on a high note. She is literally in the spotlight as a great talent around which the band is built.

While they aren't apparently singing, her teammates are still a lot of fun. Coordinated and energetic, they frame their lead well. In contrast to their older sister band whose dance moves are grounded, powerful and heroic, Metalverse dance tends to be airier, and more ladylike. A hand to the cheek with a cute face tilt, skipping while wearing a crown made with raised fingers, and that mid-song pause as courtiers presenting their princess, these are fun little girl games that set them apart from OG BABYMETAL.

There are no subtitles, so I can't comment on the lyrics, but from the title alone, I guess it's the story of the 'Emperor's New Clothes', perhaps a social commentary on the emptiness of modern materialism. I checked the translation and, yes, it's that plus the advice to be your unadorned, authentic naked self. Makes sense.

I remember speculating what Metalverse was before their debut, and I think my initial guess was correct. Metalverse is Sakura Gakuin gone metal. *pats self on back.

Leave It All Behind: A dark 'Shake It Off'

A surprise drop today. F. Hero's "Leave It All Behind" in collaboration with Babymetal and Bodyslam. I don't know Bodyslam at all, but they provide the heavy instrumentation and some vocal bits.

The title pretty much says everything. It's a song about moving on after a disaster. Indeed the MV is set in an apocalyptic wasteland, meteor shower inbound representing circumstances beyond one's control. It's a barren land strewn with rubble. Dark clouds overhang, all shadows and gloom. Babymetal dance on a thick disk resembling a concrete chopping block, but only they and the other performers are well-lit as beacons of hope in troubled times. It can't get any worse for the Titanic run aground behind F Hero, with not a drop of water anywhere to float your boat.

Musically, it's a fun song throwing Thai, Japanese and English lyrics into a blender, and as always Babymetal picks up the catchy chorus split between Su, Moa and Momo, our favourite cheerleaders offering bright happy vibes that ward off the darkness. F Hero provides the angst and frustration though his lines are those of a Drill Sergeant yelling at his recruits to get off their butts and get back into the fray. Bodyslam's lead vocalist brings the melancholy, balancing off Su and F Hero's extreme tonal qualities. 

But this song falls flat in how literal the lyrics are. It could be a language thing, though, as maybe the English subtitles don't translate well enough, while the lyrics may hit harder for people who actually understand Thai and Japanese better than me.

Overall, while this collab isn't the crazy fun that 'Kingslayer' was, it still attempts to be uplifting and motivational. But, I haven't yet picked up an earworm of a hook, so this drop goes into my 'have to get used to it to appreciate it' category.

Horiginal Beef Noodles

Serendipitous discovery of this amazingly generous serving of beef noodles in gravy. This is from the amusingly named 'Horiginal Beef Noodles' located in the Koufu food court of Vista Point, Woodlands. Not a place I generally frequent, but there I was.

For just $6 you get beef slices, tripe, tendon, a beef ball, a beef hand roll that had an underlying ngoh hiang flavour, and probably one other thing that has slipped my memory. A rich, hearty beef broth on the side, and you can help yourself to the honest to goodness genuine chinchalok dipping sauce (with bits of raw onion thrown in) which you can see in the saucer just peeking over the bowl on the left. There's a choice of noodle, but the best option is kway teow, a broad, flat rice noodle, which provides just the right texture that brings out the best mouthfeel for the beef.

Maybe I went at the right time because although the place was packed with lunchtime diners, the turnover was fairly rapid. I very quickly found a table for four all to myself for the duration of the meal. Luxurious.

If I ever go back there, I have my sights fixed on the ox-tail soup and rice combo. It's been so long since I've had any.