[Last updated: Sep 16, 2020]Continue reading
I think I should preface that this is more like a not-fully-earnest take (shitpost as they say on Twitter) on the topic: what is missing that makes Granblue Fantasy interesting to me, in Granblue Fantasy. I posit this tweet as the giant arrow in the sky pointing to the answer.
I think it requires that trigger warning or disclaimer here because I am picking on GBF for no reason. And this is probably better phrased as “CyGames FantasyVerse” or I don’t know whatever the term is for that.
As in, those stories are missing what makes a fantasy in my estimation of what fantasies are. It leans really heavily on adventure and characterization–because I think it’s fair to proclaim the majority of people enjoy swashbuckling adventures, may it take place on an island-hopping airship or elsewhere, featuring mights, magic, intrigue, and fantastical beasts. However, is this what it means to have a fantasy story?
Fantasy is a genre of speculative fiction set in a fictional universe, often inspired by real world myth and folklore.
According to Wikipedia, above, that is what a fantasy is. And I know everyone agrees with this, including Cygames, because we have stories like Manaria Friends (Mysteria Friends). That to me is a proper fantasy–where a set of relatively mundane human social circumstances are compounded into intrigue and interesting narratives because it isn’t just a boarding school for well-to-do teenage girls, but a magical school. In other words, it is the fictional universe (in other words, the setting) that defines fantasies. It is not the characters or the stories they tell that really make fantasies fantastical.
And FWIW the fictional universe in GBF is just a giant crutch. It doesn’t play a role as a character other than to peg different characters’ circumstances. If that’s all it is, you don’t need a fantasy to tell the same story. This is kind of how I feel about both seasons of the anime, and the Bahamut anime, with exceptions to some individual episodes. If the fantastical aspects of your story is just a contrivance, then your fantasy is just not that good? Hope I’m not saying anything really controversial here.
Again, here is a disclaimer that I am not versed in GBF story-wise, besides from the anime and random things I pick up on twitter. I really only play the game for the collaboration (and the free not-gambling).
Last Exile is the story that triggers this realization because, it is basically the same fantasy story, just slotted into the steampunk pigeonhole instead of the Tolkien-esque bin vis-à-vis JRPG lens. Maybe GBF has that story to tell inside all that garbage gacha game shell, but aside from cratered credit card bills, these tragedy-of-common businesses commit other sins in their wake.
The a few week ago, some fans for the Love Live franchise decided to publish on twitter a letter complaining and asking for an oversea-friendly streaming option for the recent Nijigaku online live event. Being not really involved in any of this (although vaguely interested in the same event), I was wondering why there was any kind of perceived drama. Well, it seems clear to me why there was drama. See below.
A few thoughts, after reading that post and the twitter replies.
Good fans versus bad fans: In light of the ongoing racial protests in America, I think there is a parallel of dissonance between how illegally distributing and viewing content isn’t a “bad behavior” as compared to selectively applying laws or violence on perceived slights against African Americans but letting White Americans more leeway is also acceptable behavior.
It’s important for people who defend racist positions to justify their point of view, ie., they are still the good guys, despite engaging in an array of conceivably-to-obvious evil conduct or perpetrating questionable-to-toxic ideas in bad faith. The same can be said of all fans of a franchise, in that all fans are good fans, when considered individually. Of course if you ask fans from larger communities, few if any would say “all fans are good fans” is a true statement.
Good intention: I think the letter represent an attempt at customers trying to get some service. It is not unreasonable to ask the question that how will folks overseas, in these English-speaking regions typically serviced by Love Live official channels. A public letter, however, is not how it’s done with a consumer facing situation. If you were an adjacent stakeholder, maybe that would make more sense.
In the end what happened was the oversea-facing marketing folks were notified of this internet trend and an official statement went out to let people know an overseas solution was in the works. Last weekend it worked out (other than the technical difficulty that locked out the first session) and people got their seiyuu idols.
Groomed by attention-seeking platforms: The world doesn’t work like Facebook, Twitter, or Instagram. As old timer like Kelts would say, and I quote:
What sucks is that the discourse on social media is so coarse. When you go back and read exchanges between diehard anime fans on Usenet and old chatrooms and forums from the mid-2000s, they read like middlebrow literature compared to what you see on Twitter, Reddit, and Discord. So many social media posts are made just to get hits, not to communicate or share ideas, and the most provocative, cruel, or just plain daft stuff gets liked and retweeted a thousand times.
An ex-friend of mine once told me he was going to market his book entirely on Twitter. I said, well then you’ll get a bunch of responses from people who don’t read a lot of books. But he said he just wanted to sell a lot of copies. He didn’t care about the quality of the people who read them or followed him.
But I guess that’s the state of most things in America right now, politics in particular. Mass appeal is all that matters.
I’ve got nothing to say to that. Well, maybe besides that it isn’t the acid rain’s fault that we can’t have good things. It’s a confluence of factors–people in their 20s and early 30s learned how to talk on the internet not via blogs but via Reddit, Twitter, Tumblr and the like. Maybe even 4chan is better? Forums basically all died and Reddit is really where it is now. But when you have this kind of issue, getting attention seems like an obvious helpline that it all went there. Ultimately that’s kind of just how it is today, but it comes across like that these kids do not care about the things are perceived. It’s always about mobilizing your online mob first and last. It’s part of the tragedy of the commons in which powers the economic engine of the attention economy. Maybe it’s popcorn for some, but it’s pollution in the most basic economic sense.
On the 10th anniversary of Kon’s passing, we need his work today more than ever. For now, there’s a teaser of a documentary about Kon being floating around done by a French film company.
Kon is easily my favorite dead filmmaker. Not that it really helps–but as others said better than me repeatedly, that his ability to craft a movie that blurs the boundary of reality and fantasy is unmatched, especially if we frame it from the bounds of anime filmmakers.
From the perspective of where I live, in an increasingly polarized society due to socio-economic and political reasons, more people are being challenged to tell fiction from facts. Fantasy is ever more the salacious escape from the troublesome world. Clearly, dead man makes no movies. What would it take to get a Kon-type movie capturing the the vibe of 2020? I want some work that appreciates media literacy in this space, it’s something I have sorely missed in the past 10 years…
Like, when the dialogue in this fandom space is buzzing about anime works like Kon’s films, it elevates my quality of life. Literally those things gave people a reason to talk about these complex masterpieces instead of, I don’t know, whatever that’s happening in anime today. Even if Paprika seems to be the only thing people love to talk about on the surface (at least, Perfect Blue is the one everyone seems to remember). I’ll take that over like, I don’t know, the Promares and the Fate/Go_straight_to_Tsukihime_never of the day. Okay, yes, it doesn’t mean other works can’t mutually exist just fine with what I want. But this is the world we live in: no new Kon movie until the foreseeable future? Maybe Shinkai can be the next Miyazaki but what we need, and had always needed, is the next Kon.
I need to preface this with a plug of sorts. I blame this blog post on this Youtube channel, which recently I’ve been listening/watching because it occupies a weird mind space where while it regurgitates modern econ textbook content, it’s repackaged in a soundbyte form that is mostly the right spin, as long as you understand where it comes from. It also breaks down some current event topics, which is always helpful.
So there it was, me, watching Lapis Re:Lights on the weekends. Nevermind that the main character’s (center?) head piece has a vaguely biological diagram in the middle. Never mind her, even. Or the rest of the cast except maybe the few foreigners. It’s “just the facts, ma’am” when it comes to the characters that provide us clues to the setting. In Lapis Re:Lights, people perform “orchestras” to collect mana to power its society. Mana seems to be just some elusive notion that is generated by a crowd or a region of a city.
You can refer to other works out there that think about an economy where magic is a part of it. If our economy today is running on 100% clean, renewable energy, what would the economy be like? What if we can turn this energy into goods and products in a way that scales to flexible demand? Can this energy be easily stored and made available, any time and anywhere? Actually we have some ideas to answer these basic questions.
For one, it is a work of labor to do magic. A person can only cast so many spells, based on some notion of skill (I guess, the characters are at a school to study magic). It takes a person some time to cast a spell, and to deal with the result. It also seems like scale is limited (it isn’t the same effort to magically create 1 widget versus a million widgets). A lot of the spells in the show actually do not go into things that directly generate value. Putting on lights in the sky or being able to do fancy acrobatic moves or obtaining inhuman strength are all fine and well, but it’s hard to see how anyone would exchange those things for currency. Students in the show still participate in employment much like our real world.
Mass production is also an unknown in the world of Lapis Re:Lights. The visual depiction of the world seems to be a mid-industrial-revolution European setting. We see elaborate architecture, furniture and designs. Maybe the cobblestones makinig up the roads and sidewalks clue us in, but that could be a magic thing. But someone out there has to be making magic lanterns and other similar things at bulk, right? We see a city, and it seems to be not that small. In that Lapis Re:Lights is a world with craftsmen (Merrybery is a cute!), it might also be a world with distinct social classes, as implicit both by the structure of the students organizations inside the school, and that there are royalties and rich people, versus common folks.
If we put aside things like colonization that fueled the European powers during the industrial age, then it begs the question of how the basics needs of that society is met. Is there a large number of farmers in that world? If not, where do people get food from? How does such a country generate goods and services to trade for necessities? It does seem that the country the anime takes place have commercial relationships with other nations, such as the far east knockoffs countries that sent the 3 students that makes up Konohana wa Otome and the Asian princess in Supernova.
Of course, there are still a lot of outstanding questions about the fundamentals of the nations in the world, let alone the one the anime takes place in. Is Waleland modeled after a mature European economy like Holland or Norway that we know today? Or like Monaco, where rich people go there to live and tourism makes a big part of the economy, but doesn’t really generate wealth? Or is it more like Liechtenstein, where you have a huge tax haven-style banking and corporate finance system but also a high end manufacturing sector that makes expensive, low-volume, high-tech goods like medical equipment and manufacturing machinery? I mean I would buy their magic tents.
Definitely, if Waleland doesn’t need to import materials to run its energy economy, it can do well exploring expensive magic-infused goods, assuming the global market is mature enough. High-end manufacturing only works when there is enough demand for it, that there is a wealthy group of buyers who would be able to afford it. It could be organizations or individuals, but it’s not clear where the world sits in terms of that. But the vibe you get from this show is Waleland this is a country with a positive trade balance, where a major luxury of its people and a national resource is the magical power that fuels its infrastructure and give reasons for orchestras to exist.
On the flip side of this, in this summer season 2020, is Deca-dence. We know the creator of this series has said that the name is a wordplay on “decadence” and while thematically that is true, the setting is wild in a “reverse Wall-E” kind of way. In it, and spoilers ahead (as of ep7), there are two worlds in the story, one is the “robot” world which is inhibited by digital intelligence–from what we can tell, it is also a physical world even if the anime depicts it like cyberspace. Said digital intelligences can “jack in” to control other avatars in the Deca-dence world, which is another reality, also in the physical world, where these cyborgs and actual humans coexist. In the Deca-dence world, however, when people are killed, they are killed–unless you are a cyborg, in which you only lose your body and you get kicked out of the game (it’s kind of like Permadeath I guess)?
The economics of Deca-dence (the game?) is interesting, because clearly inside the system there is a real economy. I think this is no different than any other video game economy in which NPC (humans?) and players set the price based on supply and demand. There is a proper “sink” in which are the conflicts with Gadolls cost various resources, in terms of equipment needed to fight them, the human casualties, and other damage Gadolls inflict. Looting the Gadolls drive the economy in terms of supplying fuel, food, and other material. I don’t know, for example, where people inside Deca-dence get materials to create robotic parts (protagonist’s cybernetic arm, for instance), or even raw metal used to make those needle pipe things. It seems that there are repair kits people use to fix their homes, and armor plating used to repair the outer wall of the giant mobile rocket-arm-and-home-base. If a humvee gets blown up during the fight against the Gadolls, how do people replace it inside Deca-dence. These are important questions that don’t have clear answers.
That said it’s clear that Deca-dence, as far as a proverbial fish tank goes, is not self-sufficient. It’s clearly not a closed system since Gadolls are created outside of it and put into the game. It’s likely some manufacturing is not done by the facilities inside Deca-dence, although it does manufacture some stuff. I might have missed it, but it never implied all raw material that is needed to create stuff inside Deca-dence came from harvesting Gadolls. Although, as the setting goes, Deca-dence is actually on Earth, so there could still be resources that is harvested from the environment in general.
I mentioned that NPC and PCs set prices in the game, but this is partly true. It does have some kind of developer-set pricing for high end gear, which is really only accessible by external players (who are also called Gears), as it would mean they can purchase upgrades for their Deca-dence characters using currency outside Deca-dence. There is some reason to believe this is actually the case. Which leads us to think about what is actually interesting.
That is, the world outside Deca-dence, to be honest, is way more interesting, even if it is a much more slippery idea. The creation story that the audience is told in episode 2 paints a cyborg new-world in which humanity became nearly extinct, but only after we have uploaded ourselves into cyborgs and live in some kind of hybrid VR world. Deca-dence is really a zoo for humans, but also a “reality” game in which is basically a VR game for the cyborg denizens. So in narrative practice, it is the reverse SAO in which people in the VR is playing a game of reality.
While we were told a lot about the setting, I think much more isn’t really told to us and it’s up to us to find out. In as much the story bothered to tell us that there is an energy cycle in which Gadolls are the core transfer medium in which the cyborgs fuel Deca-dence, the Gadolls have to come from somewhere and there definitely needs be some kind of energy to power that new society of cyborgs. If anything, energy is even more important–it’s not like we can just farm and provide a way to survive anymore.
The idea behind market economics and creating sinks is very relevant to game design, however, so this is possibly the most natural take to our view of this kind of criticism of governing-by-theory, which tangentially is a blow on macroeconomics as well. I think it is kind of a dull blow though, even if it makes an apt analogy of thinking about the lives of main street folks affected by the high rollers on wall street, to use another analogy that gets to the point more succinctly.
To end this long rambling let’s just recap why this is interesting–settings are interesting in any work of fantasy, ultimately, because fantasies are fantasies are a reason. Underpinning any sufficiently robust depiction of any world is its economics. And you would at least think throwing key terms into the explanation of a core plot element would at least mean something.
In Deca-dence’s case, I think ultimately a post-scarcity, demand-based economy is its own criticism. But short of lecturing people on macroeconomics I don’t know what would really work as a compelling and entertaining story. Maybe this is why I watch those videos on Youtube.
It’s been a while since I wrote about my seasonal watches. Having MLB back on TV seems to provide me a kind of anchor, rhythm-wise. It is arguable that pro team sports is a good or bad idea in the US, in mid-2020, when/where the pandemic is still raging strong. But that seems like just par for the course in 2020, a year that the lowest of bars in politics, health, and communication are all up for argument.
The lowest of bars in anime is also up for arguments. I have some baseline opinions about Uzaki and how generally cutesy anime with sexual overtones have some link to pedophilia or grooming. But that also seems like an overtly obtuse argument used by tribalists who are not really interested in talking about anime. It’s like, just because you can use candies to lure kids into unmarked vans, they are bad? So let’s forget about the main use cases for candies and just say they are for pedophiles? I guess that is the low bar of media literacy up for grabs, in this era of our 2020. I mean, the candy industry does way more money than the anime industry (and tons of Aniplex titles, well), so maybe we can let that pass. Unmarked vans, though, tsk tsk tsk.
That being said, it is a strawman that I encountered–I have yet talk to any live human who would hold the opinion about Uzaki in such a way (in connection to pedophilia). The original complaint back last year about Red Cross Japan using Uzaki to promote a blood donation drive comes down to TPO, so it turns out, which is really nothing controversial. National, high profile charities should not perpetrate sexist stereotypes is a no-brainer. Need more blood, I guess.
The anime itself is surprisingly watchable. Uzaki is an irritating character that gets increasingly charming, and the cast also gets increasingly self-aware. Nothing to write home about, other than having a so-to-speak controversial urn where piss takes go into the huge drain in the internet sky. Maybe Uzaki’s …uzai-ness is part of the ethos behind those poopy takes.
Some anime on hiatus from last season have resumed. I think the best out of those I am enjoying is Major 2nd second season and Food Wars. It’s kind of odd that my tastes lately have shifted onto these arguably mainstream works. Major 2nd is especially praiseworthy with interesting characters and articulate, if a bit too convenient, baseball knowhow. The level of baseball IQ demonstrated by the show is beyond any middle schooler team, even if it’s one of those things coaches and parents who are hardcore baseball types would know. If you have kids this is not a bad watch to teach them about baseball. The way it plays up gender in teenage sports leagues gives me a Disney channel vibe.
Another last-season pickup is the historical fiction racing anime Appare-Ranman. Talk about weird character dynamics. A literal child is in this anime, a literal chinese woman is in this anime. A bunch of Americans, literally, are in this anime. And Japanese people, of course. It is extremely Japanese in a lot of ways, especially for an anime that takes place in a fictional world where America is a thing, that being the country they are in. But I guess these are not really relevant since everyone speaks Japanese or English in this anime, or whichever dub track you select. Is it post-racial or racist-but-who-cares? I don’t know if I care at this point. The premise is so whack that any appeal to historical underpinnings will be lost in all the noise. As an aside, BNW, Iron, and GM? One is not like the other two. Also that guy is French! LMAO.
Along the same line, something is remarkable about Deca-Dence, but the overall thing felt really slippery. I don’t quite have a grasp on the story or the characters–like I get what’s happening, but the post-humanity humanity of it is hard to sympathize. Like, robots are just robots. It’s the risk when you set up a setting that is quite smart but the level of discourse is not much more advanced than Spongebob Squarepants. The setting is visually grand and a bit all over the place at first. It features a sort of cyberspace kind of thing and a sort of meatspace kind of thing, but I wish they would just explain it to us in the way I just phrased it, as inverted.
Picking things up again is the new season of Oregairu and it is the most beautiful image of codependence ever. But it is a pretty neat non-binary depiction of relationships in which things are clear enough that words can describe, but you’re struggling to find them. It’s not so much a story with any emotional investment on my end, given how these really wordy stories play out over a long period (the first season started in 2013, if you forgot like me). It is simply a thing of beauty that came and will pass, again, like the autumn leaves or melting snow or whichever passing-of-four-seasons analogy you’d like.
As far as fanservice goes, Monster Girl Doctor and Kanokari are probably the top picks. Kanokari story is easily the most problematic thing by a country mile this season, it’s so bad that I really didn’t want to watch it at times. On the plus side, it has a fair amount of cultural cache and ultimately the episodes tend to turn out to be enjoyable overall. Once the story gets on its groove I think it will fall victim to general relationship polygonalism and dull its lame-brain, protagonist-takes-for-story-sakes kind of plot justifications.
Maybe the real reason why Kanokari has legs is that it is controversial, as opposed to Monster Girl Doctor which is just WYSIWYG. It is definitely a work where the element of surprise is not its forte, yet it can still occasionally deliver.
In a different programming track, the fantasy light-novel-anime adaptation flavor this season for me is Maoh Gakuin or Misfit of Demon Academy or whatever. It’s absurd in a fun way and plays on your preconceptions. The power fantasy is on the boring side of things but it does a good job withholding information to keep you interested. I also like how the anime tries to cram a lot of information in terms of last minute reveals.
I’m watching Gibiate. It’s sort of interesting if you look at it as an anime watcher’s anime. In premise, time-traveling samurai, ninja, and warrior monk kicks apocalyptic ass seems like a perfectly cromulent 1980s anime plot. You add the bit about self-recording, the virus, the show-in-a-show take, the zombie tropes, and in the end it’s a swamp of animation production issues bookended with unusual music choices. Also some interesting voice cast here. Trainwreck? Brilliantly bad? More like, just oddish.
There’s this anime about idols and magic school, which is tied to a KLab game franchise in the making (out soon?) called Lapis Re:lights. They had a fully-costumed seiyuu live thing last year (or several?). The idol units in the story all play a short live performance for us throughout the anime series, which gets a Youtube cut without the in-episode dialogue. It’s worth checking out if that’s your thing. Honestly, this is a bit too “love live” for me, but overall it’s worth mentioning. In some ways it’s the same formula as Love Live but more tailored to the prototypical otaku notion. Also, this song has a few sextillions in it.
Is this it? I think this is mostly it. I tried a few episodes here and there, like the fishing anime. The characters don’t do much for me but there’s a level of meta here where just like the protagonist, you end up liking the outdoor activity (or the depiction thereof) despite the annoying people? I don’t know. It’s more than what I can say about Peter Grill, although that show is interesting to think about, and kind of icky to think about, so it doesn’t occupy much thinking time. Umamusume shorts are cute and sweet. What else? I’m probably forgetting something as usual.