Category Archives: English Language Modern Visual Fandom

On SOPA, Funi vs. Zombie ADV

Law & Business Post!

There are a million better explanations than this one as to why SOPA and PIPA are bad. But to someone like me copyright enforcement is really just about money. The sad thing is, things like integrity and the notion of “theft” about music and movies in the context of internet piracy are all artificially grafted into the mainstream consciousness, to serve money. It’s not a natural concept to apply it to mass media. I think maybe when it was print publishing’s earlier days, it made sense. But now? It’s like bottling air and selling it to people. It’s unfortunate you have so many people using these emotional and irrational notions to argue their cases. (What was the thing Socrates said about persuasion? Oh hey they do that in American law schools don’t they.)

But that goes both ways–there’s nothing wrong about bottling air and selling it to people. Or water, for that matter. Fresh water is one of the hardest thing to get, and we cannot live without it. Or at least live without dysentery. It is very much about putting money where it counts, but at the same time doing it in a way that respects the nature of the thing. If we want to inject any kind of morality into this situation anyways. And I still fail to see why we should, besides as an alternative to more elaborate, truthful, and rational reasons why we might want to support laws that protect IP creators. They tend to be subpar alternatives, I’m inclined to think. These are alternatives that can be used to manipulate a body of lawmakers to pass laws primarily motivated to profit one party’s bottom line over another, at the cost of a legitimate and potentially greater good to society.

The truth is, the copyright code is not written with the common man in mind. It is written for companies and businesses and libraries and guilds and schools and such. It doesn’t even care about software publishers. Just look at who were in those legislative caucuses for the 1986 copyright code, the foundation of today’s US copyright law. In the 90s when the US Copyright Code was amended to take care of the internet, well, it was written in the 90s. The internet is profoundly a different thing since the 90s. But in regards to the Copyright Code, people were asking the same questions back then as they do now. It made as much sense as it did as it does today. Which is to say, it doesn’t even make sense to most lawyers! [Free book on this, great read.]

That is also why I don’t think we should care (much about) how SOPA can be used to censor legitimate speech, or kill anime blogging, or whatever. Those are simply unconstitutionally broad provisions that deserve to die, and even if passed would not come to. I think it distracts from the core discussions on issues behind SOPA, and generally internet & copyright and other systemic problems that lead us down this road in the first place.

SOPA/PIPA are pretty much the same kind of patchwork as what we have today. Except there are no lobbyists for the American people. Even organizations like the EFF kind of lets you down, because it can’t override the system: in the end our legislative system bases itself on the individual voters as the core voice for their elected officials. Is that tin-can-on-a-string sort of communication-representation working? It does when you call or write or whatever your congressperson. And it only does when you do that. It doesn’t do it when you “vote with your wallet.” No number of copies of Fate/Zero preorders will change this. Or for that matter, the only thing worse is when you boycott. Seriously, don’t boycott anime. Boycott, I don’t know, BP or something actually meaningful. Or at least boycott someone like GoDaddy, guh, I don’t know why people sign with them at all ever in the first place.

The real way to ROW ROW FIGHT THE POWAH is to replace it. Go to NYC or San Jose or something, start a company. If Hollywood and the recording industry really suck, then you can make money in the vacuum that they are overlooking. A Steve Jobs sure did. And someone like him contributes to society way more than any RIAA goon or random Internet Quarterback has ever did, and Jobs isn’t even a nice guy, for example. Or, hey, if those SOPA hearing makes you want to run for Congress, well, politics can make for an exciting career!

This is why I prop companies like Crunchyroll. Because they are a force of change for the better. They see a business that they can capitalize on and exploit, and they did. That changes things. It brings simulcast out from the ghetto and into, well, 21st century standards. And as it should be, right?

Let companies like Funimation and Section23 pick over the half-dead body of the home video market. It’s their jobs. It’s not to say home video will die–it won’t. In fact it’ll remain profitable (and it will continue to have my money for sure). It just won’t grow and develop into the Pocket Monster Master that anime used to be 10 years ago. It won’t bring change, at least not any foreseeable sort of change that hasn’t already happened 15 years ago. It will not increase the freedom of a society, or bring new ways for fans to interact with content creators and with each other (as these things have already been accomplished to the extent home video is capable of doing). All it’s going to do is to look at the same spreadsheets and balances and market data and pray that by doing the same business they’ve done for over a decade, that they will still be able to put food on the table.

I suppose that’s fine and all, but if I had a choice to reward those who seek to improve the current situation versus those who are just keeping the status quo, I think the choice is obvious. It’s about what you do with the money, not who has it.

Because, to someone like me, when Funi sued ADV, it’s also just about money, too. Funi had an obligation to realize the value that their Japanese overlord had as creditor. It was bound to happen. The question was  just how it mattered and how can Funi soften the blow that it will invariably have against themselves and the defendant. Commercial litigation is just a protracted negotiation since something like 90% of them settle. It costs money to play the game, no matter who you are. And there are risks for both sides. Both companies have my best wishes that they can wrap up what they need to get done, and soon.


Sorakake Girl Is the Harbinger of Destruction

In consequtive events that would do Tsutsuji Baba proud, Beez seems to be closing its doors in Europe, as Bandai Entertainment exits physical distribution in America. I say “seems” because it is unconfirmed sorta kinda. Both entities will be releasing Sorakake Girl to its completion.

The Girl Who Leapt Through Space, just what is it???

Joking aside, you wonder if the two moves are related to Bandai’s ultimate goals.

I probably shouldn’t have, but I skimmed the ANN forum threads (since Chris B’s forum is still not fully recovered and the old Mania forum just doesn’t have the same…capitalist intensity that the it used to have since the split) and it was pretty much the usual face-palm as you’d expect. But it was pretty amusing. So here I made a bingo chart. Click for full version (I think).

Call list:

  1. releasing singles killed bandai
  2. k-on killed bandai
  3. hating on bandai visual
  4. hating on japanese businessmen
  5. suits keeping the common man down
  6. whining about aniplex pricing
  7. whining about lack of dubs
  8. hating on bandai quitting
  9. cheering on bandai quitting
  10. sadface for fewer dub jobs
  11. sadface for turn-a gundam
  12. sadface for k-on
  13. sadface for code geass manga
  14. pointless semantics argument
  15. pointless discussion about economics
  16. whining about japanese paying more for video
  17. thinking japanese people are suckers for paying more
  18. propose to boycott someone
  19. ironic statement about boycotting
  20. sub versus dub argument
  21. whining about BD audio problems
  22. whining about moe
  23. whining about otaku living in parents’ basements
  24. fearmonger for cartoon network shows

That Bandai Entertainment Thing

The writing was on the wall. It was interesting to see how they would crank down their operation. When the store got axed you knew it was going to happen. At the same time, you wondered how that impact Aniplex’s fledgling operation. I get the feeling thanks to their partnership, Bandai lasted longer and long enough to do something like, say, K-ON on single Blu-ray volumes.

Admittedly my perspective is really skewed–someone who would spend a lot of money to buy, say, Madoka CE or the Rakkyo set. I don’t really like what that implies. I mean, again, K-ON was a simple, bare-bones, $30/pop sort of a deal. At least give us something like Madoka’s release? But now there’s just one less player. According to the Justin/Chris write-up from Iyadomi, it may mean that more Gundam Unicorn-esqe releases. That would make an acceptable trade-off for someone like me.

It’s kind of sad that I’m more concerned about “will there be a Bandai After Dark panel at Otakon?” than any of this. Including the people that got let go! That sucks, man. I hope you guys get some time to enjoy your unemployment benefits and have no problem finding a new and better job.

In the midst of this, I think it’s important to note that Bandai’s shifting out of this new release thing because of a strategic restructuring from the Motherland. It’s that time of the year. It isn’t just because title X or Y didn’t sell well, or because they’re still doing single releases–if anything I think we will see more single releases in 2012. That’s what Japan wants. And when it’s done right, that is what I want, too. Actually I want whatever that is done right, single or sets.

And in the end, that is what matters. That and “what is going to happen to K-ON“? All those people pining for Turn-A Gundam, I feel you. But I’ve been feeling you for so long, I don’t know why you’re still worrying about a 1999 title. It’s not healthy.


Ghibli Challenge #5, 6 – Ocean Waves (And Porco the Second)

I already am not trying to watch every Ghibli film at the GKIDS retrospective, so instead I might as well watch the ones I like more than once. I mean other than Yamada’s and Totoro, every single viewing of this thing is a reviewing for me. In a way I also feel bad–by buying a ticket I’m bumping some poor sod out of a seat. I think half of the showings I attended were sold out. That means potentially some guy who has never seen Whisper or Porco would have not had the chance! Oh well, their loss.

Ocean Waves (Umi wo Kikoeru) is the odd man out. Odd, in that it is Mochizuki’s only directorial contribution under Ghibli’s young animator program. Ocean Waves is also odd in that it was a TV special, not a proper theatrical film. So when seeing it in theaters, it means a DVD that is upscaled by whatever the IFC Center has on tap to play DVDs. I suspected as much going in–I would probably buy Ocean Waves on Blu-ray (among other Ghibli stuff), had I heard about it. What is sad is that the same DVD is like, 6 pounds on over Amazon UK, which after shipping and the pretty spiffy exchange rate, probably just a buck more than full-price admission ($13 for full price adults at the IFCC). I paid $14 for it God-knows-when ago.

Still, Ocean Waves is one of those semi-arthouse affair. It deals with some well-to-do kids from Kochi. The striking City Girl both getting her Inaka Fix and the Country Boys getting their panties in a knot. But that one pan! The only pan! The non-linear narrative! I am so stoked.

Well, it’s certainly not for kids. I don’t count teenage kids as kids. Or anyone old enough to appreciate a semi-candid reference to the mess of having your first period. And of course, the anti-Disney, anti-American reference to underage alcoholic beverage use.

But really, who cares? I don’t really think this film is made for kids. It may be made for the family, but it’s clearly the sort of show targeting an adult audience. It’s just capable of passing as wholesome entertainment.

And yes, I did rewatch Porco again. I will watch it again given the chance, too (unlikely at this point). It’s my favorite Miyazaki movie by a fairly long shot. This time I walked away with a subtle thing. The translated subs said “but a pig’s gotta fly” during his phone call with Gina. If my non-understanding of Japanese is anywhere close, he was saying something about how a pig that doesn’t fly is just a pig.

Nothing wrong with the translation. But would the non-showering of sea pirates make sense without knowing how close they are to pigs that they are? Or what makes Porco a pig is who he is, which is who everyone else is? Gina has it right: Curtis and Porco are both pigs, in their self-absorbed quest to look cool.

What separates men and pigs? Law and cleanliness I guess.

The final fight between the two subverts that coolness for laughs and entertainment. They’re not fighting a war. So they can get away with being stupid. So the movie can get away with being stupid. Let the lady who is all serious and all business take care of the Regia Aeronautica?

I guess this is kind of the macho-man message within Porco Rosso. Or maybe the proper term is “Hemmingway.” Only if he was half as funny!

The fifth and sixth (woo half way!) so-called challenges are a part of an end-of-year festivity among some anime bloggers. You can find out more about the Ghibli theatrical road show from GKIDS.


Year in Review: N-Listing

So, the tradition continues. 12 lists of 12 things. Some are ranked, others are not. One this year is not ranked but merely numerated.

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