Monthly Archives: March 2011

Star Driver, Sharks, Theater

The phrase “jumping the shark” only has meaning when we walk the careful planks over a suspension bridge of belief. Do we want to use that term in regards to Star Driver? Does it really matter when Fonzie jumped it? Does it really matter when Takuto pulls out a new trick every battle?

The answer for both cases, of course, is that it does. In Star Driver’s case, however, sharks are a regular of the set. Maybe that’s just how it is on the planet of Fish.

In reality, the ebb and flow of the series tumbled up and down and we were on something like a roller coaster for the past 22 episodes, ever since Mr. Protagonist beached on a certain southern island. For each, uh, shark, that we hopped over along with Takuto et. al., we lost some people on the bandwagon. The overly theatrical nature of the series doesn’t help at all, either.

And Star Driver is, if anything, theater. Should it bother us when Mizuno, uh, jumped the bus? Or when Sakana-chan had weekly one-person plays? I don’t know; but a little, almost-undetectable hair-fracture-slice of my belief in the show evaporated for each Kiraboshi salute or for each time Professor Green’s underboob showed up on screen. It isn’t that I disliked any of it, it just became something that was, for its own sake, theatrical. I no longer understand why it is theatrical.

I mean, at least Glee gave me a song and dance every now and then.

Maybe Star Driver just needed more dancing; Utena had the right idea with that at least, although I too appreciate it when giant robots tangoed under a prismatic starry sky. Perhaps all that we need is a bed of roses and an ax. Star Driver, instead, gave us an Inception-esqe school play (a play within a play?) as both an allegory for viewers and an alternative way to communicate between characters, within an already exceedingly theatrical construct at the basic level. Was there anything unusual in this latest installment besides over-subbed dialog and artful display of constraint in prop use (to signify this is suppose to take place on a stage)? In other words, isn’t a dream in a dream still just a dream? Why do this to us? It’s too much.

In conclusion: there needs to be a stage play for Star Driver. Or better yet, Star Driver: The Musical. Someone makes this happen, please!


Moe Is Dead Part N+1: Mind the Gap

It is kind of incredible that people are still unfamiliar with gap moe. Well, people meaning people who watch anime like KoreZom episode 8 or consumes whatever crap Japanese modern visual content industry pumps out day in and day out. Kind of, only because I’m talking about people who live outside of Japan and generally don’t interact beyond the great barrier of the foreign, moonrune language.

But even I know what gap moe is, and I’m just your average chump when it comes to talking about moe. So do yourself a favor and like, read about it.

On that note, KoreZom episode 8 is almost authoritative on this topic. Too bad it doesn’t have any male-type gap moe examples. Unfortunately it is still not a text book on the matter, so unless you gain a working level familiarity on the subject, it can read like a book with no words in it.

And thus this is where we proclaim gap moe’s death: there is a professionally produced anime in which a whole 20-some-odd minutes is spent to expose, explain and exemplify the various notions of gap moe. Granted they stuck in some plot material in those minutes, but it’s quite something to dedicate an episode on a single trope, to this extent. And given it was KoreZom, there was barely any plot material anyways.


Jealousy’s Ugly Heads Aren’t So Ugly

If not for being announced on the same day as each other, I would not have compared Catherine with School Days. In some ways they are two very different but two remarkably similar games, so the comparison do stick.

On one hand, School Days is a fairly novel game from 6 years ago that took the anime and visual novel media one step closer to each other; much of the first chapter of the game is actual animation. It’s also remarkable for the large number of well-portrayed endings the player can end up with, and a large number of them aren’t exactly what we call “happy” endings. The combination was pretty sensational in an otherwise relatively more-of-the-same genre of bishoujo games with adult content. That is, of course, on top of the slightly different take on the renai motif that is closer to Jersey Shore than the experience of some fantasy animu transfer student who forgot he has a cousin that he is now going to live with, or something.

On the other hand, Catherine, to borrow words from others, is the adult-erotic version of Q*bert. But more specifically, Atlus’s chic-cool Persona team pulls out the stops to make a thriller game based on a man’s instinct to run away from commitment in a relationship? Fielding top seiyuu and animation from Production IG, much of the game take place animated and in a narrative style, like some modern bishoujo games. I think the marketing for the game speaks oodles about why I think Catherine is highly comparable to School Days in terms of using jealousy as a driver, as protagonist Vincent (Kouichi Yamadera…he even looks the role) has to choose between Katherine with a K (Kotono Mitsuishi) or Catherine with a C (Miyuki Sawashiro), while trying to not get killed by either of them, or the mysterious dreams he is having.

Oh, yeah, people die in these games. People meaning possibly you, the protagonist/player. Here’s another bit of similarity for you.

I think it’s safe to say that I am excited about both games coming over and being ported into English. I’m still kind of hung up about buying games with pornographic content, so I’m sitting on the fence for School Days. Isn’t it weird that the game full of high school kids is the one with all the explicit sex? And it isn’t like Vincent doesn’t get any; Catherine’s portrayal of sex is, perhaps, a little more mature and  little more appropriate for a game about a 30-something trying to straighten out his love life? Or maybe it is a little more appropriate for a game being sold to a bunch of 30-something herbivore men? But then again, like myself, the two demographics probably overlap somewhat, despite the entirely opposing approaches to the appeal of realism.