Monthly Archives: May 2006

Bloging 101 – Creation-Traction

In the big inning, God soloed.

Babe Yuki

The internet, the blog, and you. How do you ripple your readership’s heart-string? Find their weak spot? To dazzle by brilliance, or to baffle by bullshit? To surprise, to educate, to entertain. To brighten up their life; to be “the link” people pass around at work or at school? How do you relate to them? How do you create traction?

When the world was simple and there weren’t a lot of things, there were a lot of space to innovate. To take anime blogs for example–Jascii’s review and preview site served an important purpose. It was convenient because he would watch those raws anyways, and it becomes a good first-glimpse that many of us in the internet fan community can use to gain a grip to what’s coming down the pipe.

But Jascii’s is pretty simple. It’s not fancy nor elaborate like many blogs today. It is dead, frozen in perpetuity. To give it credit, it was one of the first blogs to gain enough traction through lifting of contexts. Given that anime fandom on the internet is still mostly a fan-run machinery, doing something Newtype USA does goes a long way before Newtype USA fits the niche was rather big, if you ask me.

And NT-USA does fit the niche to an extent. Problem is, for the most part, as marketing, it smelled like marketing. It smelled like Japanese, low-grade imported bastardized marketing for the large US market. Let alone the fact that it isn’t an interactive forum like how a blog can be–there’s not much of a community alone through the publication. There is a lot of grasping but not a lot of traction. Fact is the internet fandom gets their news, like every subcultural following, from other fans straight off the internet. NT-USA doesn’t have the right context. It’s grasping at straws in an aquarium.

The shiny, pictorial editorial is very obvious form of grasping, so to speak. It takes no time before we have what we have here today–a massive sea of anime bloggers who speaks as much as through their caps as through what little (or a whole lot) they have to say. If you’re reading one of these blogs I guess you’re probably interested either as a prospective audience or as someone who saw the stuff and want to hear what the bloggers have to say. Of course framing is very important, and these blogs frames both the caps and the episodes we watch in the bloggers’ various contexts respectively.

But once you start doing that, you’re left with very little context to innovate. Recall Jascii’s blog–that was mostly innovation (granted it was an obvious idea). Now all we can do is differentiate between what shows we blog about, how our site looks like, and how we frame each episode we blog. That’s just bleh for me. For one thing, like framing pictures, you can go to a store and look at the various frames, and the pick some and see if your painting looks better in whichever one. The analogy goes, at least, with various perspectives and various shows. If I want Frame-Hayama, I can imagine just how he’d frame a show like, The Reptilian Brain. Which is to say, the only time where I get excited about reading that kind of blog is when I can’t imagine how the framing would work out with the painting. It happens fairly often, approximately only when each new season comes about, though.

How else can we bloggers innovate? If you blogged or read blogs in its first rising years (2002…?) you’d find out that a lot of blogs are just soap boxes. I personally have a slight distaste for them simply because informativeness is a virtue. Or at least, the work bloggers put in should be somewhat constructive. A LJ-style ranting doesn’t go very far no matter what you’re blogging about, unless it’s hella funny (and 90% of the time people are laughing at who wrote it).

Well, I guess I rather should say that I dislike pure soap boxes. On the other hand, I rather like those editorials that have a good point and provoke thought. I also like those editorials that simply tackle lateral/meta questions (The Harem Fallout), or latent yet interesting questions (although it can get a little too academic very fast). For example: the genre and medium divide of anime–defining what it is. Another one I like is the marketing perspective of cultural commoditization when it comes to anime and manga franchises. One thing that is pretty cool is that there are an increasing amount of academic work published about these kinds of thing. The problem I have is most of them still draw from academic contexts that I just don’t have. I’m no pop-cultural anthropologist–it’s not quite gobblygook but I find myself unfamiliar with some of the ideas and constructs/frameworks that gets referred to. But a brainy anime blog, eh. Who’s up for that kind of thing?

Maybe that’s why I still read Heisei Democracy. Not to say that porn doesn’t have traction–it gropes and sucks like all kinds of nasty. Problem with that is it becomes kind of lame and it’s fairly near sighted. But yes, this brings us to the next innovative paradigm–content. I’m sold by content. It’s what keeps me reading Penny-Arcade. It’s what I pay for when buy gyuudon from Yoshinoya. Indeed it’s not just merely ranting, or merely capping, but actually saying something interesting, too.

It’s what you do once you grasp what you gained traction?


Millions of Jesuses, Jesuses for Me.

Misuzu [Angel Mode]

The “Jesus” archtype in modern pop audiovisual narratives are not uncommon. They tend to evoke certain sort of mysteriousness so their uses are limited. People who live outside the box are probably the most common version. Alanis Morissette’s role in the film Dogma serves as the mode of operation for most other notables. In Buddhist literature as well as other religious stories, these types of people commonly exhibit that same traits that make us normal people feel a certain way.

Aside from the question that how extraordinary is Jesus in real life, the imagery of Jesus has become a type of savior-of-world-at-what-cost trigger. Imagine a mysterious girl in an anime whose past is hidden and no one knows or talks about; she would stare–into a book, into the horizon yonder the crashing waves, a pebble, whatever. A character tries to engage her and she’d not say very much, if anything at all. She’d say random things that makes no sense to the audience but it probably answer every question you’ll ever have and then some. She’d thread plots together like a self-insert fanfic writer from hell. She’d probably do an Obi-Wan, or maybe just disappear when the fight gets on; or maybe even pull a River. Wisdom and foresight, mediative and transformative, otherworldly surreal. She’s invincible, even if you kill her.

But in a love story where does our localized Jesus fit in? Eureka 7 made me ask this very question, and we’re given something of an answer that is not too far from Air’s Misuzu and Yukito. It’s reincarnated love. Eureka’s transformation and Renton’s (admittly in a very different way) coming-of-realization is as close as a positive retelling as it gets. Complete with kids of their own. Thankfully Renton doesn’t have to turn into a bird. He’s got good companies. Norbu comes to mind as the de-facto Jesus; but to stretch the analogy even more Norbu is the God-head. Jesus is Holland (especially with his relationship with Dewey). But who is the Holy Ghost? I don’t know.


Rahxephelion 3: The Second Summer of Love

I kid you not.

As much as I want to just do a stream of consciousness dump of my reaction to Eureka 7, and the trip that it is, I wanted to figure out just what will come out before I start.

Maybe it had to take 9 years to perfect The End of Evangelion? The brilliance in the magnificent construction of E7’s world and the underbellies is mind boggling complex. That would be my favorite part of the show except the music and designs are even better. I mean, seriously. Multiple-satellite-solar-powered orbital death ray meets under-ground earth? Standalone complex? Skateboarding giant robots? Tree of Life? Survival living? Monkeys? Soccer? Middle-school life? Rave music? Microwave pizza? Merger of religion and science? How can all these things be in the same show? Did I mention skateboarding giant robots?

But romance? Romance. A boy meets girl story? If you ignore the part that the girl is an emotionally underdeveloped killing machine from the native alien population. Or if you take the Dominic and Anemone parallel…gosh. The two of them are just better, more desirable foils. That’s not even talking about Charles and Ray. Holland and Talho are the adult version of our flailing protagonsts, I suppse?

Man, I feel sorry for Axel Thurston right about now. But in the same way I can feel how he feels, so it isn’t a bad deal after all.

Because, in the end, love is the answer. Only if the Second Impact involved more caressing and tender loving moments, maybe people won’t be depressed and act all crazy on internet message boards after watching that crap. It saved Sakuya. It saved Eureka. It saved Anemone. It may even have saved Ray and Charles. It certainly saved Holland and Talho.

The picture of life a loveless man painted is even more powerful; to that end Eureka 7 kind of failed to do a good job telling us Dewey’s story. Almost Monster-like, but alas, Holland isn’t born female.

So what does it say? Be a man! Go steal the heart of the girl you like! Love life! Kick ass and chew gum!


The OP-ED Op-Ed

KOTOKO! KOTOKO! KOTOKO!

It’s like Zefiris and a Big Piece of Rock, this topic.

Back in the day…like, 1997 or 1998, I was just getting acquainted with the internet and all that it beheld. This was when 8 gigs was a lot of space, folks. I traded clips from anime (of course, the opening and ending clips, amongst others) with people who encoded them and distributed them. Some of the more memorable moments included how I got hooked on Outlaw Star right off the bat because the OP video was so cool. Two-Mix’s music video about their journey (with no sign of anything Gundam) was how I met one of my real-life friend today, only because…I gave a copy of that to him? Or he to me? Something along that line. Finding Himiko-den’s opening from a Japanese FTP was like finding a $20 off the sidewalk. It’s so weird because I think my timing was impeccable; I found that site only a week after Himiko-den aired.

Come to think of it, my early days as an anime media pirate were filled with memories like that. I remember getting the OP and ED to Excel Saga, and then episode 1, and then mailed like $50 to Japan so this Japanese guy I know from IRC can record and mail the VHS tapes back. He did, and with great quality to boot. I think I still have them somewhere–complete with the 30-second weather spots that proceeded after each episode (which was lampooned in episode … 4? IIRC).

It doesn’t stop there, but needless to say when it comes to opening and ending, I have this sentimental attachment to them. Coupled with the fact that anime music consists of 80-90% of my daily aural intake, I can’t help but to go crazy when the topic rolls around.

The long and short of it is this: opening and ending, like every part of a show, serves a purpose at the very least. For the cynic, it is the reuse of stock footage, taking out 3-4 minutes out of 25 minutes each episode. For many it’s just a convention, a tradition; removing it serves little except to alienate. For even more people it is exposition and conclusion. To set mood, explain, to make expectations; to trigger memories, emotion, and to guide the viewers’ imagination.

But for us fans, it’s more than that. It’s a marketing tool to sell Jpop. It’s a marketing tool to sell the show we’re about to watch. It’s a litmus test, or even a part of the hook (if the pilot episode is the hook, the OP and ED are bait?). It can even generate a meme.

It can even be a thing unto itself. Some memorable ones include Excel Saga’s Mechi’s bolero; Honey And Clover’s spinning plates; and the ongoing Parapara routine from Suzumiya Haruhi’s SOS-dan. Some are so powerful, that the music alone set to matching images can crush a viewer. Many more can do the same by triggering emotional release with the ED. Heck, some do it just with music alone, OP or ED.

The music, well, now that we’re on the subject, is something truely of itself to behold. There are great soundtracks that are great to listen to, but I found it distasteful to say those are better than the great soundtracks that aren’t so great to listen to once you lift them outside their BGM context. It’s a personal taste sort of thing, so I’m not going to elaborate it any more than this.

What I will say is that as a marketing tool, the effect will vary. Take Yoko Takahashi’s powerful vocals for example, I think she definitely has a place in all that is pop music of Japan. But for anime themes? I don’t know. It’s not to say the typical seiyuu efforts (remember DoCo?) don’t match, but those are rather weak. The likes of Maaya Sakamoto, Nana Mizuki, and Hekiru Shiina are rare. Takahashi-san is a good example of one aspect of anime OP/ED that makes it so special. Or for that matter, Ryo Kunihiko. Or for me, Makkun (and, for our blog entry’s sake, KOTOKO).

When you’re pouring that much talent (or at least, resources) into these 100-second slots, I hope they make something out of it.

And I didn’t even get into the direction of it. I remember reading from Kyoani’s English blog site about one of the chief animators talking with his friend. His friend recognized the animator’s style during an OP clip. Why did I mention that is beyond me, but it has to do with sanctity of the work? I guess it’s not to dissuade people from skipping the OP/ED, but to me it is something special and sometimes I take special attention to watch them. The ongoing Higurashi no Naku Koro ni is a good example. Of course, there are some OP/ED that contain plot information; either as a synopsis or as actually a part of the show. On top of that there’s even all that funky directoral-fu that reminds you of Daicon V or something.

It’s an understatement that OP/ED are important. Of course, that’s a sweeping generality that ignores the reality that most OP/ED are not that important and perfectly skippable. But when it is, skip na no wa ikenai to omoimasu!

But you can definitely skip the karaoke and the karaoke-ing.


Gospel and Flow – Singing Waters, 2006

Donna and Steve are dear friends to many at my church. The two of them, their families, and several others make up what makes Singing Water Ministries so wonderful. Well, their relationships; with us, each other, and with Jesus.

Personally I know Steve better, even if I never really sat down and got to know him; just through what he preaches and friends that I do know who knows him, it makes some good memories. What doctrine that does get through sounds sound enough. Stepping into a place with God where you surrender your control? Reminds me of Pastor Randy’s preaching from down south.

But ultimately people from my church pigeon-hole the ministry of Singing Waters as “healing and deliverance.” It’s a big part of their ministry; bringing people to terms with their issues both through human means and through the Gospel and Power of God. Their fruits are evident in the people around me. It’s a powerful ministry, and all it is, is exercising simple obedience. It’s the kind of ministry that bears fruit every season. You can see real changes in people’s lives. As usual Steve preached on the fundamentals at one of the sessions this time around, and that is the other kind of doctrine that makes a big difference–the spirit, soul and body divide.

Their latest visit with us was interesting; they did not spend as much time ministering to individuals, but more at imparting ways to teach. Both Donna and Steve employed a very strong narrative in their preaching. It’s definitely different. When it works, it really works.