Since DigibroÂ asked so nicely, I will oblige a little. As an aside, this is a good argument for passive aggression. I think if Watarin wasn’t so careful it would have had the same effect.
Monthly Archives: March 2017
I just watched this and I don’t have enough faces or palms to express the amount of facepalming I wanted to perform, if facepalming can be quantified by some amount.
There are some core misreads, and the end result was just a dogpile of irony upon itself. It’s like, no seiota who actually cares about Girlish Number probably could have put up with the 24 minutes of emotional torture to hear Digibro “go wrong” regurgitating the show in his own words. It’s not like hearing nails-on-chalkboard, but it simulates a similar experience on an emotional level.
One key misread is the self-satire on the light novel author. I mean how can anyone say these things about light novel authors in light of our own self-sacrificing Watarin? Wolf of Wall Street and people being cut? GYAHAHA. No clue on how the seiyuu biz works? Or the point of Nanamin and how the second half is just as cynical as the first half, and it’s only because people don’t know what the show was making fun of anymore that they think differently? This is such a misread…
Nobody understands Girlish Number, I guess. Brisk and light? LOL.
“If you haven’t seen this show yet and somehow made it this far in the video” ROFL. It’s true. He makes more money than the blogging and analysis from real industry pros and people who actually knows what they’re talking about. It’s another form of the ouroboros where we can culturally borrow (or in some cases plain appropriate) something else and make more money. Like, all the poorly paid animators, versus, say, the money J-List makes from selling witty t-shirts. Or how much Digibro makes from Youtube.
Thankfully, all Digibro needed to do is make videos his audience likes, not actually do real research or read interviews or actually obtain some real understanding of the things he reviews. Thanks to the same broken, cynical system that perpetrate these silly light novel adaptations (not like Girlish Number is one though…).
Let me be clear, it’s not his fault for the system to be so silly. But both Chitose and Digibro can get better at it, and it’s up to them to do what they feel needed doing. It doesn’t take a charming comedy or actual time inside a seiyuu academy to know what newbie voice actresses in Japan needed to do, or what work is put into the performance. All it takes is a few hours on Google, actually. (Or maybe there’s more to Sore ga Seiyuu than Digibro has taken for granted?) Or any seiota worth their salt and gets their info from Japan or from translations of the numerous interviews out there. But hey, that’s not what kids are looking for, they just want something playing in the background while they grind away at something else. Such is how it goes.
In the context of explaining to people who are not familiar with IDOLM@STER, or whose familiarity comes only in the context of Cinderella Girls Starlight Stage, I sometimes wonder what’s the best way to explain it. Then I wonder what would be the most fun way to explain it. Or the explanation I would like to read the most.
So I went to Japan for about 12 days in early March. You might be interested in some of the things I did?
Just got home from watching Kamiyama Kenji’s latest movie, Ancien and the Magic Tablet, or Hirune-hime ~ Shiranai Watashi no Monogatari. It’s good. But this is what I wanted to spam all the time after the film was over:
Light spoilers ahead.