Monthly Archives: January 2013

January 20, 2013

Dera Is Excalibur Is Black Beans in Tamako Market

By omo

I can’t help but to feel two things while watching Tamako Market:

1. Hungry for mochi.

Truth is, Tamako Market right now is exactly constructed like mochi. By “like mochi” I mean its mouth feel. Now to be specific, there are a wide variety of mochi-type foods out there, but in this Tamako Market, we’re constantly shown the mame mochi, which is, from what I can gather, one of the region’s famous combination. Mame mochi is kind of like a daifuku, except instead of a filling you mix in whole beans in the thing. Well, I certainly have never seen mochi like this anywhere other than stuff from Kyoto, although I am still a novice about this food. I mean I didn’t even know what chikara udon (udon topped with mochi, usually fried) was until I looked it up–it sounds like it could be pretty good! As much as I like mochi I sure am not very knowledgeable about the Japanese varieties, I probably should fix that.

I think in order to understand the nature of rice-eating in Japan, you really have to know mochi and its large varieties in Japan. I think they go above and beyond almost any other rice-as-a-main-staple country in terms of the weird thing they do with it. Like, what the hell is this?

It’s kind of the subtle yet super-pervasive thing about certain aspect of Japanese life, I gather. In some ways that really is what Tamako Market feels like to me. It’s enjoyable, white rice-product. Except the bird.

2. Feel Excalibur.

By Excalibur I mean the Legend That Began in the 12th Century. By that I mean the joke in Soul Eater in which this…perhaps insufferable creature of mystery (CV: Takehito Koyasu) but also the embodiment of a great power. And by great power I mean both his ability to beat the bad guys and his ability to fascinate and irritate, perhaps in equal measures.

Dera is like the black beans in the mame mochi. Dera gives it texture, flavor, and excitement. He can drive the plot to unpredictable places, introduce new characters and break up the monotone, everyday life.

It’s more than just filling and flavor, I think. Let’s look at the daifuku. Daifuku can be had anywhere these days, from Korea to China and beyond. I can go to my local H-mart and get it. The daifuku only a hop away from what the west calls “mochi ice cream” which is served in half of the Asian restaurants I frequent in NY. It’s a hit with the world. And a daifuku, in its basic configuration, is mochi with anko paste as a filling.

Sorry Anko, you’re great but Dera is better–or maybe not better, but more interesting because it’s unique. The anime community’s had Ankori Pasta Rice since when Momotato still blogged the world. It’s been done before, and it will continue in the future. We’ve had so many cute-girls-do-life shows. Now we have a cute-girls-do-life-with-a-talking-bird anime. It’s a safe twist, like tasty black beans mixed in mochi. But it’s a different taste; a taste closer to possibly my favorite K-ON song:

You make my heart throb, it may be love, I scurry
I can’t stop this hungry sensation and get dizzy

Please!
A piping hot plate of curry
Motivate me with a single spoon of spice
I don’t want mild, I want medium spice today
It’s an adult’s flavor

Meat, vegetables, and a secret hidden flavor
It’s the greedy loving heart of a growing girl

I love you!
Bubbling boiled curry
Let me experience two spoons of spice
But that’s my limit, it’s too spicy…I can’t
Shocked, shocked, shocked
Oh no no no no no no no no no no
A bit of curry and plenty of rice

Well, curry is probably a league above anko or mame but it’s too much for a comfortable show like Tamako Market.

You still might wonder how I get Excalibur vibes from Dera. I don’t even know, honestly, but I like both characters at this point and I think there is something faux-gentlemanly about the two creatures that is both endearing and sickening. It’s that duality which gives a distinct flavor to this show–not quite like spicy curry, not as extreme as bitter melon, but it is perhaps a little sweet and sour? I think as far as something like that goes, Dera is rather mild and, perhaps most importantly, amusing. At least he makes sense, and that goes a very long way.

But that’s just me. I’m sure plenty of people prefer Tamako Market like vanilla ice cream made with LN, bird-free. There’s a great comfort to biting into a solid, but appropriately soft chunk of mochi in which I think is partly conferred by the show in terms of its feelings, but I don’t know if one could build an interesting story with only that. A little bit of magic here go a long way.

8 comments | posted in Modern Visual Culture, Tamako Market

January 18, 2013

Sasami-san@ganbaranai Episode 2 Reactions

By omo

I’m probably not going to do this every episode but I feel a little bit obligated to react to it here. I think it’s nice to be able to hand your quiz in and get the answer back in a week. And looks like at least I passed. Perhaps better yet we ought to celebrate the anime sinking back to the realm of easy-to-understand.

Who's bending who to whose will?

It’s very casual how this episode drops in the information of how Sasami and Onii-chan are Amaterasu’s vessels at some different points in the timeline. It says nothing about the Imperial Regalia, besides that Shinbo puts Tsurugi in that down-shirt fanservice angle. Must be nice when you’re short. Oh so maniac. Tama on the other hand behaves almost like how a girl her age would. It’s probably the most dissonant thing about this show this week.  Also, how old was Sasami and Kagami 3 years ago? How old was Tama 3 years ago? It boggles me a little.

The one obvious, beat-over-the-head reference in episode 2 is the Yamata no Orochi. Others have remarked enough about it so I’ll just add my own 2c: “I guess despawning the boss doesn’t drop its loot.” The key takeaway is the ludicrousness of playing a game that’s essentially called “Devil Online” (or, as reality does it better, “Diablo“) and people are getting sucked into the game and getting stuck. Despite its great power all it wanted to do is to maintain the status quo. If that’s not some social crit on MMORPGs, then I don’t know what is.

It reminds me of the funny news articles on big nerd item release dates on how American productivity sinks.

The only other interesting thing is that Onii-chan gets sucked in, but where did he go? I guess it’s time to rewatch. Speaking of which, the way Sasami climbs into bed, and her bed, were great. This show is full of simple but deeply impacting scenes like this. I guess that’s why the ending visuals are the way they are.

PS. Laptops with a numpad can’t be that cheap.

The windows button is so dainty...

2 comments | posted in Modern Visual Culture, Sasami-san@ganbaranai

January 18, 2013

The Love Livester

By omo

Okay, so Love Live episode 2 sheds light to my weird lukewarmness and why I feel that way. I think none of it is fault to the stuff, but hopefully you will see why this is the case. Basically, it clashes ideologically.

Let’s start with the fundamental. Asako Nishida. I like her artwork! A lot, in fact. Enough to buy an artbook she put out. But in this show I feel it’s… I don’t know. It’s unique I think, but it kind of jars me out of its everyday setting. I presume “School Idol” channels, in part, the “Idol You Can Meet” AKB-pioneered concept. It makes a small clash with fantasy.

Love Live! is not Love Live without the !

The fact that the main trio always reminds me of…this other trio in another fantasy work. Granted, Hikaru, Umi and Fuu are not uncommon motifs, but unless they’re going to get Captain Planet in the mix I’m not sure why is there an elemental signifier in my idol anime.

The problem with main characters is that they are the main characters. Who is the main character in the iDOLM@STER? Who is the main character in, say, Chance Triangle Session? And then there are the Creamy Mamis of the world. Love Live is neither. Just think about it for a moment: what would AKB0048 be like if there was a main character? I don’t think it will work. I also just want to put in the disclaimer (as weak as it is) regarding figurehead/representative characters and how they’re not really main characters–like Haruka is not the main character in iM@S but she is the one spokesperson for the franchise.

It’s not a simple thing as to why main characters doesn’t work for an ensemble cast of idols. “Doesn’t work” probably is not the right term; maybe it’s just that the dynamic of the narrative is now about what the characters try to accomplish, not so much who the characters are and what they accomplish while they do their things. I think it might come down to both a matter of individual preference for it, and if it makes sense in terms of character development. It is a delicate balance but I believe going with main characters is not the best way to do it. Maybe Love Live can prove me wrong.

A much better comparison to the glitz-filled life of Love Live is the relatively down-tempo and half-baked seriousness that is Tari Tari. At least at this point, we have a similar plot regarding a group of people trying to put on a show against the administrative odds of the system. (But who’s the main character in that one?) I think the more important thing to point out is that by end of episode 2, Tari Tari has had its club identity established and a concert has happened. I guess that won’t happen until next week’s Love Live–it takes care of a major plot point like that because it is about what happens, not so much the characters.

At this point of the series, we are introduced slowly to the growing list of eventual idols under μ’s. I think it’s safe to say that THE main character is burdened with the things she has to do, and meanwhile the other girls simply just have to be themselves in order for the group to come together. In that process, too, the main character will slowly spread out the burden to the other girls, and important things like the associated screen time, lines, and attention will get their ways around. In fact, it’s already happening despite the main character having as much impact this week as she did the last. I think the show is better off for it. I know I liked episode 2 greatly more than 1.

 The problem with Honoka, and many of the other girls, in this plot-driven environment, is that they cross the line. What line is this? Remember K-ON when the girls aimed for Budokan? That line. Because, by doing so, it would turn it from a real-feeling fantasy into a dreamy-feeling fantasy. It is perfectly realistic to have a bunch of girls hang out in an after-school music club. It’s not realistic to see high schoolers play in a nationally known venue (although empirically speaking, who knows). The crossing of this line will change the nature of the story completely, and I feel that’s in another way a clashing with the nature of the idol group in question. Because AKB48 is an already existent, independently real thing, its spinoff anime can do whatever the hell it wants. Because iM@S is not a real thing, its spinoff anime needs to play to the nature of the concept of the franchise. (Unless somehow we’re talking about Xenoglossia which is kind of not even in left field; more like the other side of the country.) What is Love Live? Just what kind of message should this anime be sending IRT the idol group itself? I don’t know and the more I watch this anime I feel the less I know.

And maybe this is all just me reading too much into it. If the idea behind Love Live anime is to pilot a story that is engaging and interesting, they very well could with what they have right now. If the idea behind Love Live is to market an anime idol group based on a moving anime, regardless what that anime is really about (besides that it is about the idols), maybe it will work; it really depends on the marketing and how the idol part of the equation play out. It is just that I am not sure if this is the most excellent way.

For the meanwhile I’ll just shut up and enjoy the ride–at least as long as it takes for me to remember their names to their faces.

2 comments | posted in Love Live, Modern Visual Culture

January 16, 2013

Asumi-san@Ganbare

By omo

This post is actually not about the radio show with almost the same name, Asumi-san@ganbaranai, which is the companion radio show to Sasami-san@ganbaranai. This is more about, well, Kana Asumi and my musing on why she’s in so many shows I watch this season, and in general for the past few years.

In a nutshell, I think she embodies the basic idea of seiyuu’s rise to popularity: just voice as many main characters as possible. When I go see seiyuu (and for that matter, also English-language VAs) at cons, their popularity often correlates with simply how many major roles they’ve taken on. Sure, things are not so simple once you start digging, but things do very generally boil down to simply this fact. It’s also not unusual to hear a lot of newer VAs reflect on their future in such a way when they part ways at a con. I think Kitamura Eri especially impressed me in this way when I saw her back at AX–she was just starting to get some bigger opportunities at the time. (You can kind of see why she would say this.) If you want a lot of fans flock to you at a con, just work on more shows and more popular shows. It’s especially true overseas–since it’s usually just the anime that get exported, not the sei-wota culture, the web/radio shows or stage events.

asumiss

What’s special about Asumin? Wikipedia can be helpful here. Well, it’s not so special to like apple pies or have an older sister, but that’s the thing they say. It might help to know her nicknames. It seems that after graduating from some Tokyo-area college, she eventually signed up with 81produce, after previously dabbling in various things like singing or what have you. And if Wiki can be trusted, you can infer, well, good luck finding a job in Tokyo with a nursery school teaching license after graduation. Why not be a seiyuu?

Since her bursting on to the scene around 2007-8, she’s doing more and more voices, and many of them lead roles. In my mind there’s a particular brand of nasal that Asumin currently owns in her space. By her current level of success I can assume that most of us find that brand of nasal kind of cute. Moe, if you will. But what is truly remarkable about that sound is that she can actually subtract it and turn it on and off, like a gradient. Being versatile in that gives a voice actor the flexibility not only to do a memorable role, but also blend in and snatch up multiple minor roles within a single show (read: easier to land more jobs).

It’s probably safe to say that Asumi has been voicing certain types of roles–moe protagonists, namely. She’s done little sisters, raging emo teen, magical critter, quiet shy girl, quieter shy girl, overenergetic teen plot generators, and of course, the childhood friend. There’s also more of a branching out as of late: the womanly, little sister/obasan, little sister/grump, maid grump, and genderless shounen battle manga participant. I don’t know where she will go but there sure are a lot of Asumiss characters out there already. I guess the main thing that’s left for her is voicing some Jump or Jump-like protagonist (say, like Kyari in Magi).

I think the other notable thing about Asumi is how she had to take a break from doing all this stuff a couple years ago, in relationship with her old idol unit from 81produce. When she announced the break in 2011, it end of the road for LISP, which also dissolved in the same year. In 2011 she was doing a lot of roles already, though, so there’s probably some kind of back story there.

Anyways, I didn’t intend to do an Asumi overview but it kind of turned into one. I hope you’re enjoying her various roles this season like I am!

Leave a comment | posted in English Language Modern Visual Fandom, Seiyuu, Idol, Pop

January 14, 2013

Bookcover Scratchpad #1 Winter 2013

By omo

Two very important things that shouldn't be missing

 

Just to keep track what I watched:

Maoyu – The only new anime that piqued my interest that I wasn’t already interested in. I think it has more to do with the presentation than anything at this point, but let it be said that when it comes to animation, getting the presentation right is perhaps the best thing you can do in the first episode. The future is dicey because I think there’s some kind of genre warfare going on. I smell a post.

Love Live – Totally lukewarm. Might be because I haven’t really watched the live shows much. Approaching 2.5D is tricky, I guess. It’s one of those cases when we break Love Live down by element, it checks all my boxes but the finished product doesn’t do anything for me. But because it checks all my boxes and does nothing for me, it intrigues me in some weird way. Maybe I should just watch some live shows first.

Senyu – P. alright. Yamakan notwithstanding. I think there was something about short anime said by some people that is slowly becoming a thing. I guess this is why I am still planning to finish Poyo and Wooser. And Kuromajo-san ga Toru. And maybe Yurumates. LOL.

Mangirls – I think I got over the language joke in the first 5 minutes of seeing this title. Sadly that was funnier than anything in the show. But it’s short, I don’t think it hurts to follow.

Yama no Suzume – The Encouragement of Engrish is pretty strong with this one too but it presents a slightly more otaku-friendly atmosphere.

Amnesia – It could be worse. I guess I’m about as interested in it as I was with Hakuouki. Which is to say…well, the OP/ED were nice. To recap a conversation I had elsewhere, the whole otomege adaptation genre is still developing, so expect mediocrity for some time. It would help to have a good otome game first.

Oreshura – It’s a good example of how this “genre” evolved to be slightly more interesting on each subsequent iteration. At the very least there are some meat on this dry bone, versus shows like Oniai. But maybe some people prefer that instead?

Ai Mai Mi – Not Strawberry Eggs. I think I prefer Tekyuu slightly more.

Da Capo III – Well, really no opinion at this point. Besides that, man, Ms. Charles “Ruru-nee” Yoshino sure is…Ruru-nee-esqe.

THE UNLIMITED Hyoubu Kyousuke – It’s fun, but I can see if you go into this show expecting something else,  you might not like it. Me?  I had nothing against Zettai Karen Children, but I dropped that for a reason. So when I started Hyoubu Kyousuke I was expecting something a lot worse, and didn’t get it. It’s certainly more fitting of its Manglobe association.

Osaka-Okan – See above comments about short anime that I would watch but haven’t. Actually this one might be the one to beat in 2013 winter. And still wondering why the Osaka native is not voicing the Osaka immigrant and we’re left to see Asumiss trying her hand at something lols.

Bakumatsu Gijinden Roman – Bakumatsu Lupin is wholesome fun, but unless it does something interesting soon it’ll get tiring real quick. I don’t know, I’m not usually big on era pieces.

Ishida & Asakura – Ha. Well, it wasn’t really funny. It also reminds me that I didn’t ever get around to finish Cromartie (what is this with short anime and I), to its credit.

Minami-ke Tadaima – I remember why I stopped watching this show. Not bad though.

Tamako Market – It’s cute and fuwafuwa and made of gohan. There is no curry. The bird is really the one redeeming feature to this show–he’s like the lotus filling to some mad expensive wagashi. This anime is bleeding sakuga kyun-ness. Well, it’s an original, and I’m weak against originals. Not expecting much but I’m sure at the worst it will be overindulging. At best, Dera might rival the legend that began in the 12th century…

Sasami-san@ganbaranai – Probably my most anticipated anime of the season. Probably my favorite. It’s all too early to say, but in traditional Shinbo style he checks all my fetishes boxes. Only problem is that all I hear is 765pro Shacho voice every time Onii-chan speaks.

GJ-bu – You know what? It’s okay. But I can’t imagine you’ll miss out on much if you didn’t bother. I don’t know if I will bother.

Kotoura-san – The emotional whiplash aside, it makes a strong statement. I can argue with how it did things but at this point I’ll just enjoy the light-hearted comedy.

Vividred Operation – Too bad this isn’t SUNRISE making an anime that gives SUNRISE a new meaning. Also, best magical pet concept yet.

Mondaiji tachi ga Isekai kara Kuru soudesuyo - Also known as “Problem Children are Coming from Another World, aren’t they?” I uh… let’s just call it Mondaiji. It’s okay, I guess. Maybe it’s because of the bunnies, but I find myself liking the show more when I’m not watching it. Which means I might not bother with it either.

PuchiM@S – I’ll probably marathon this, but sufficed to say it’s exactly the kind of crap anime for sad folks like me.

I will surely try the other stuff, too, like 2GD2GT. Except maybe AKB0048.

PS. I pseudo-dropped Koichoco half way in. I ought to finish it.

 

6 comments | posted in Da Capo, Idolmaster, Kotoura-san, Love Live, Maoyu Maou Yuusha, Minami-ke, Modern Visual Culture, Mondaiji tachi ga Isekai kara Kuru soudesuyo, Ore no Kanojo to Osananajimi ga Shuraba Sugiru, Sasami-san@ganbaranai, Tamako Market, Vividred Operation, Zettai Karen Children