Category Archives: English Language Modern Visual Fandom

Stray Thoughts on Usagi Drop

On Daikichi’s recent sacrifices, you can read a survey here from E Minor, which summarizes the issues that appears in Usagi Drop 3. However I was under the assumption that most of us have already internalized it on the basis of what child rearing means in general. I’ll cover a few things that E Minor didn’t.

1. On time spent on Rin–in general, at least in America, when your kid is 6, you are actually well positioned to re-enter the workforce full time, if you took time off to take care of his or her formative years. It’s easier to find child care for kids in that age range than, say, 0-2, with the onset of elementary school. The kids themselves are easier to take care of (and thus freeing up the caretaker to do more things). In Daikichi’s case, this was not possible simply because he has a different take on Rin’s psychological burdens than an average foster parent. That perspective gap is what drives Usagi Drop’s drama later on, as I can see it from manga readers’ reactions. At the same time, Rin probably needs more time with some stable parent figure to cope with the unusual events that has so far transpired in her short life.

2. But even if we don’t care about any of that, if Daikichi works 12-16 hours a day (and by that I mean it in the usual Japanese salaryman sense), there is just no way he can take care of a child simply on the basis of government-provided childcare. There’s also the “Daikichi seems to be entirely clueless about administrative burdens of parenting” angle. If he was a savvy parent, he probably could try to juggle a more-than-fulltime career with parenting especially given his social network (ie., he has one). This is a conceit on the part of Bunny Drop, I think.

3. At the same time it is exactly in areas like this that Japan feels so antiquated, compared to the west. It isn’t that westerners don’t sacrifice for their kids; arguably the time spent is actually more in the latter case. The impact of that on one’s career is just somehow less as a matter of corporate culture. It isn’t that women (and some men) are indirectly disadvantaged due to adding new members into their respective families in the west, but that gap is socially accepted. I should rather say, taking time off to care for a newborn (again, it’s not the direct counterpart to Daikichi’s unique situation, but it seems to maps the best) is a luxury that companies use to entice prospective employees. At least with a straight face, anyway; culturally it is considered as a luxury as well. And the fact that it’s somewhat government-mandated makes it easier for companies to just man up and do it that way.

4. While we can phrase it as a “parent’s sacrifice,” it means different thing to different people. I think if you are choosing between two things you love dearly, after failing to have that cake and eat it too, the fact that you can be regret-free after having one and not the other is not a real problem. To me, the term has a large component of respect that some how happens that the person has aligned his or her choice with the well-being of his or her family via spending time there. It is a selfish decision as well as a selfless one. So it’s not a dimension that I particularly want to dwell on. But if human beings make large career choices such as these based on reason, that’s where social policy can affect real change in the direction of its population. That is, if social policy can be changed in a way that shifts the nature of the Japanese corporate culture, anyway.

5. From this point we can speculate the other tangential issues that may come into play with a single-foster-parent situation. I always thought anime is kind of a weird medium to try to affect social change. Or manga, in this case. It is a good incubator of such thoughts, perhaps, and hopefully Japan will wise up and allow its people to live in the 21st century.

Lastly, there’s one thought that bothered me this entire time with Usagi Drop–people who are whining about the manga in the anime discussion. I normally don’t really mind, but some people really crossed the line when it comes to this title: Basically everyone who’s read the manga extensively and pisses on the title due to their colored impressions as triggered by the anime. I mean, sure, some people put “spoiler warning” on their posts and…if it wasn’t a FIRST IMPRESSION piece that would be okay! And what’s more this typically happens with people who … well, have a certain disposition which tend to make them interesting “first impression” folks that I read. Except in this case their true natures rear their ugly heads and I just want to forget it has ever happened. In my book that’s worst than the worst spoiler that you could have given. It’s simply irresponsible.

Actually that kind of extends to a general complain about people who whine about the medium-specific aspects of the adopted work because they’re judging it from some presupposed perspective as a result of an prior experience of the work in a different medium. Or, as before, whine about some non-specific aspect of the adopted work because they’re judging from a post-hoc position in the knowledge transfer process of storytelling from a different rendition in a different medium, before the transfer process has even started in earnest. They, for what it’s worth, can all die in a fire.

With that said, I think I might actually like the manga and its post-time-jump conclusion! I guess after the anime is over I will give it shot. Six volumes and all.


The Niconico Meme Malaise

It’s commonly known and accepted that during the “golden age” of anime in the mid 2000s, and also a part of the reason behind the uptake of sites like Youtube and NicoNico Douga, is the fact that you can watch anime on those sites as a part of a shared experience. Specifically, people watched anime on Nico because of the comments as enabled by the floating comment system that overlays text over video. It was hilarious.

It’s interesting because 2005 was when sites like Youtube started to get real traction with the public. It was new; people uploaded all sorts of videos there and then passed links to their friends. How that fits into the social context that makes up the overall notion of social media on the internet was something to be figured out. But, as you see today, there is probably not much room left for something like Nico’s famous overlay text system. Youtube eventually opted for a similar overlay technology for annotation, and it’s used to serve ads as well, but it was just not the same.

Just to muse on it some more: since Nico is launching a US portal with simulcast anime content, will we ever “recreate” the same sort of thing? The whole “anime is more fun when watched with folks” kind of thing, for certain shows? I’m not sure, but I am leaning towards no. Maybe the moment has passed. Maybe westerners no longer care for anime in that kind of viewing factor, and maybe those who do are more concerned about repeating memes than to offer insightful, interesting and funny comment that goes with watching anime in that context. I mean, who wants to read youtube comments?

But you would think a Pachinko anime makes great content for people to trash. So I did it. And it kind of works; actively commenting on it made watching it a little more bearable, but it was a bit of a hassle to pause when typing. However, even the best seiyuu talent cannot save something like Twin Angel: Twinkle Paradise.

I just hope this does not stop them from rolling out t-shirts at cons to everyone. Or not bring over their trademarked animated gifs (I noticed they were adorning the blog section of the site…)

The other day I also managed to watch Blood-C on Nico. The results are partly what I feared but also partly promising. A few good caps made it a lot more amusing, while there were also a lot of dumb meme repetition that didn’t really belong. It’s notably different than my other viewings (R-15 and Twin Angel) because I waited for almost a week to catch Blood-C, and it’s probably the highest profile anime they’re streaming. Those two…well, it’s sparse. You can find those streams on Nico’s channel page.

Which, is to say, it’s a totally different beast even compared to their Atlantis launch live stream last week, which I watched for about 30 minutes. That one looked pretty okay… And it isn’t that memes are a problem; it’s how you use it.

PS. Is it me or the way text scrolls in English need to be adjusted? Or is my reading bandwidth taxed having to both read the subs and the scrolling comments? Maybe both? I find it much easier to read short comments since they stay on screen longer, where as long comments fly across the screen crazy fast. And like Twitter, it’s much more likely to need to write long comments in English than it is in Japanese. This requires some tweaking on Nico’s part.


Anime Expo 2011: Day 2 and Day 3

This year’s motto: overcome regret with large amount of spending.

But at the end I was still fighting the constraints of time. Got to meet up with a long-time-no-see friend, which totally made this trip worthwhile. Which is cool, because this trip was already totally worth the while by end of day 2.

If there was one awesome thing about Day 2, it was noticing Masayoshi Tanaka and his willingness to sketch for us. The result was a lot of Anaru, a crying-face Menma with a Taiga on the side. Director Araki also got me a Busujima (I have to, after all, to save some face) and a Ranpha. It was an amazing opportunity.

Lucky vocaloid fans probably had just as much love from the horde of producers and artists signing things. I hear a plane got cancelled so a lot of the Miku troopers from Japan arrived at AX late. There was still a big turnout at the usual vocaloid events (like Nihongo de OK and the fan panels).

And then there was the ahegao double peace meme. (NSFW image link to give you an idea what that means.) You’re such a troll Bamboo, lol. Tho Dengeki Strikers is HYPE!

The days went by like a flurry. Maon Kurosaki got sick and canned an autograph session. She still end up doing a concert at the same day. I think Alexd caught her bug–a bunch of them were a row or two by the stage.

I ran between her concert, the meet the guest event (a really expensive proposition with lousy execution but proper venue and foods), and the panel I helped to run within the span of two hours. It was tough, but it made the day just go that much faster. Alter Fate Alter is definitely an attractive little thing, although my favorite was probably Mizuho’s acrylic case! LOL.

Scored a pair of Little Hands. Hey everyone reading this post: remember Japan is still recovering from the biggest earthquake it has experienced in a long while. The nuclear situation is still uncertain and those rural towns are still fully devastated. Do your part in charity this con season!

If there is any regret (and there probably always will be), is how I keep on missing out on some good post-con dinners with the guys! I didn’t hit the food trucks on day 3… Instead, Jack n’ Joes.

And my panel? It went well. There’s tons of room for improvement but I think we’re going to be fine. I met a ton of more new folks. Thank you for coming and saying hi.

And now, onward to the final leg of the journey.


Anime Expo 2011 Day Minus-4: What Is This I Don’t Even

Just to gather my thoughts on AX 2011, part two.

I’m helping out at a friend’s panel. You might know him as this fun-loving dude with a lot of figures and wears pro-Starcraft paraphernalia; you might not. But he’s going to take center stage on AX Day 3 (Sunday, 7/3) at 8pm @ LP3. He’s going to talk about figures. He’s going to show you figures. I’m going to do whatever…that I do. Come see us. Come heckle us! I don’t care. It’ll be fun, hopefully. And I say this with some uncertainty because I think we’re still a ways to go to finalize the content.

And “a ways to go” is pretty much how I feel about AX 2011. A lot of the stuff they’re promising for the public slipped, even if most of them did materialize at some point. Dates are missed (a couple big ones for press I think). Let’s get it together yo. But of course I say this without any condemnation. It’s just kind of how it is.

Armed with the convention schedule and now a list of descriptions, I’m going to drop some names and sigh at the fact that those two things only makes up maybe 50% of all you need to know. Anime Expo is big enoguh, elaborate enough and corporate enough that to get all you need out of it, you have to look at all sorts of places.

I mean, first off, we know there’s that Hatsune Miku thing, but what does it mean? You won’t find all you need to know from AX’s website; it’s all posted on Mikunopolis.

This is kind of how I approach AM2–it’s another value-added event that occurs outside of AX. Except AM2 is a real con now and located an hour away. Not too worried about it (although it would be nice to see Scandal and kanon x kanon perform their latest single LOLOLOLOLOL). If I can go, I will go see Scandal. If not, I am not going to lose any sleep.

Well, the fact that AX info is posted all over the place is nothing new. What is new is that we’re T-minus 4 days and there’s no news at all on autographs. I guess we should expect the usual…but that is not a good sign. And AX autographs can really use some good signs. On the bright side I can probably live without a set of Kalafina paw prints, and unless Nirgilis and Maon knock it out of the park, that leaves just Sawashiro for the minimum. It doesn’t mean I won’t be trying for more, though.

And because of all this, having the con event schedule alone  is kind of useless. Well, we can continue on.

The AX Maid cafe posted some pictures (and even they operate outside the AX media infrastructure to a degree, and they’re part of the con… what does that say to you?).  Along the same lines, there’s the pre-con offkai charity event Christina Vee (she really should cosplay Kurisu this year wwww) and Steph Sheh is hosting. I mean LOL whut. Wuuuuut.

What’s more LOL WUT is something on the schedule. The JETRO is helping to throw a panel (LP4, 10:45am on Saturday) that polls the audience on new media trends. I mean, let me just quote you what the PR says:

GRAB YOUR “YES” OR “NO” SIGNS AT THE ENTRANCE AND TELL THE PROFESSIONALS IF THEY ARE RIGHT OR WRONG!
Industry professionals will gather to present their ideas in developing the next best online business model, discuss recent trends and the next step necessary to make anime and manga content more accessible to consumer demands.

For every topic introduced, we will ask the audience if they agree or disagree with the professional’s viewpoint.
Grab a sign, grab a raffle ticket, share your opinions, have fun, and win your own Nintendo 3DS!

The thing is suppose to include these following people: Ken Iyadomi (Bandai Entertainment), Henry Goto (Aniplex USA), Atsushi Yanai (VIZ), Vince Shortino (Crunchyroll). Holding out on us huh, Gen? This is a recipe for LULS!

It’s probably also worth noting what the industry lineups and events are for these companies, but I’m not going to shill that hard. Well, maybe except Aniplex, because they have a certain contractual obligation to fulfill. That’s Day 1 at 2:30. But other than Madoka I’m not sure what they’d tell us, and, well, we already know about Madoka somewhat.

Aside from that, there’s a Funi-sponsored noitaminA panel; Which sadly conflicts with the one I’m helping with. Do go to it; I want see people blogging the hell out of that panel. I would totally go.

There are a few panels at AX about industry and IP stuff. I’m not sure if any of them are worth attending, but I am curious to know what they cover.

Of course, I can’t leave out Fred at AX. But to me this dude is just as big of an attraction. Thankfully it doesn’t entirely conflict with the Yuki Kajiura panel that’s being hosted by zzeroparticle. And I say I’m thankful because the whole looking-at-AX-schedule thing is just an exercise to determine how many interesting things you are going to miss out because of a time conflict. That these two panels I want to be at overlaps only for half the time (and probably a 5-minute walk between panel rooms) makes attending them somewhat feasible. Fred’s panel starts 10am on Sunday, Zz’s at 10:30am.

Back to the schedule. And shilling. Although in one case it is a genuine premiere… And there’s the stalking.

  • As of today, the last of the TBDs on the event schedule has filled in, so there are more items you can worry about conflicts. There’s going to be a Friday night show for Maonsu, tied to HOTD (which may require age verification? Unclear), a mini concert. Com’on, Maon stakers, you know who you are.
  • The video schedule reveals Gundam Unicorn focus panel on Sunday at 2pm.
  • Onigamiden is screening at 2pm on Friday (with an intro).
  • More relevantly, Sawashiro frontwomans the Arakawa UB screening on Saturday at 10.
  • Right after the Arakawa UB screening is the premiere of Last Exile Silver Wings at noon, with a Gonzo panel after that. What? A Gonzo panel?
  • Looks like I am very much in a position where I may have to trade an autograph opportunity for Silver Wing. AUGH.
  • A Gonzo panel kind of makes the HOTD screening and panel at 4:30 on the same day (and same place) a lot less outstanding, but I’m sure that isn’t the case.
  • Mizushima’s Gundam 00 the movie screens on Sunday at 7:30 pm, with a panel at the end of it.
  • The creator focus panels themselves are not too bad. I’ll show up for Maon’s and Miyukichi’s, and probably Matsumoto’s too. Kalafina’s if time permit.
  • And I haven’t even touched the various hanging-out events with real people! Or the stuff I need to help out with on top of the panel itself. Or the press-related things.

    So tempted to just wing it. Oh, you know what else is sorely missing? The AX iOS/Android app. At least last year there was that website where I can export the schedule as a calendar file, which I can load into Google cal (or whatever that you use). I guess I can live with PDFs, but that is a real slip.

    Last for this post, and hardly least–food truck gallery at AX. Three days. They say the way to a man’s heart is where? I AM SO EXCITED.


    Picking On Chris: On Transforming Fanservice

    I generally don’t pay Chris B’s simulcast coverage any mind, because I think Chris’s context is sort of odd when it comes to simulcasts (a bit like this, in fact), but this season he shells on two of my favorites: Steins;Gate and OreTsuba so that makes him a natural target. He also kind of misses the point to Sket Dance (OMG I’m watching a JUMP anime), but I think that one is actually forgivable because the anime exposes the problem the manga kind of has. (Compared to Kaminomi, where the anime greatly enhances the original material…IMHO. But that’s another post for another day.)

    And I’m just going to talk about these two shows. There are other disagreements, but I, being not Chris, will have a different opinion on things. That’s not what gets to me. I just think he got these titles wrong entirely. And well, many people didn’t like OreTsuba, so I probably should say something about that regardless of anyone else.

    First off, read CrunchyRoll’s AMA on Reddit. And I quote, more pertinently (you might want to read the whole thing anyways):

    Kuiper 5 points 15 days ago
    Are there any “sleeper hits” that turned out to be unexpectedly popular, or do you generally have an idea of the kind of revenue pull you’ll get from a certain show at the time you secure the distribution rights?
    []
    i_work_at_croll  14 points 15 days ago
    It’s always hard to predict, but it’s not a complete gamble either.
    A few shows that performed better than we expected are:
    Blue Exorcist
    Ika Musume
    Steins;Gate
    []

    [Formatting and links removed; partly because it’s hard to quote and make it look okay. Last Retrieved 6/23/2011.]

    Since Rob P’s departure, we no longer have a steady source of Crunchyroll viewership ranking  (AFAIK; if you do know a source, please share!). Going by online buzz, it’s pretty clear that Steins;Gate has relatively good viewership, and generally the trend is on the up as it approaches the midway point. And even CR confirms this. So how am I suppose to interpret this statement:

    With the show now hitting its halfway mark, it’s a difficult show to really get a handle on. In a way, I’m often surprised that the show hasn’t been canceled.

    Does it seem wrong to you? I mean, I’m probably being too harsh: I think if we swap out Steins;Gate with Serial Experiments Lain, his statements would apply just as much. And he would be wrong just as much. But if history taught us anything, it was that there are more than a few people who slammed Lain and yet it sold. More importantly, there’s a lot of great stuff going on in Steins;Gate (and Lain…I think) that just is not being picked up by Chris. I guess he does admit as much.

    What is the takeaway here? I don’t really know, besides that I don’t think he gets what a lot of today’s simulcast-viewing people are after. Which may very well be a totally different group of people than those who buy anime on DVDs in America, which is what he represents better.

    As for OreTsuba, it might be just a matter of taste. And I don’t have any taste when it comes to fanservice. (Although that is also a taste in itself, arguably.) But I can’t take it as serious criticism if Chris says:

    […] and the show has so many surprisingly raunchy and poor taste moments that it simply doesn’t work well at all. When it makes some of its revelations at the halfway mark, it’s pretty much a too little, too late point.

    Really? Poor taste moments? Can Chris honestly be a judge on taste? I mean, he’s probably the biggest porn anime reviewer out there. He gave Kanokon a B? I mean, you can go to Mania.com and look at all the slutty anime he reviewed. Really? OreTsuba got “actively dropped”? That’s actually some very high praise in that it’s probably not like anything he’s seen before.

    It’s like, I heard you like some boobs so I put some boobs in your boobs show so you can boob your boobs? [Qwaser S2E10 FTW.] OreTsuba doesn’t need to rely on memes to get its points across–it can become the meme that gets its point across. I think that’s what’s really brilliant about it. And that brilliance is precisely in the execution. The fact that Chris can’t enjoy a show like this is not my business at all; my problem is in his inability to recognize that there may be a method to its madness. Maybe OreTsuba is too clever by half, sure, but he didn’t even say this. I just hope he never reviews Seitokai no Ichizon.

    The saddest thing is, I think Chris has a good grasp on what sells in R1. And while I actually agree OreTsuba may not sell in R1, I think the other strength OreTsuba has is precisely in its ability to appeal to a R1 audience through its strong character writing. The scrambled narrative is what I think may hinder its uptake, but OreTsuba is very story- and character-driven, and for its ensemble cast of 8 or so main characters (plus side characters), a lot of exposition and development happen within the 1-cour length. It does things as fast as Baccano, basically; the story is misleading up to the end, and while the audience may feel deceived at times I think there’s a lot to chew on.

    For this genre of anime, OreTsuba is a real gem. Well, maybe it’s just me who enjoy a misleading narrative, especially when the excuse for it is to illustrate the convoluted plot device, but it comes together. And you know what I love.

    Again, like I said, it comes down to taste in a lot of cases. Chris is an easy person to pick on (nothing personal) because he is easy to read–I mean, he says it. Back in Kanokon’s review, he’s fessed up:

    Kanokon isn’t a deep title, but it’s one I had a lot of fun watching because it knows it’s not meant to be taken seriously. And it goes further in a lot of ways with its sexuality yet doesn’t feel completely over the top. But my standards probably aren’t the norm after watching these kinds of shows for twenty years…

    Well, assuming you’ve seen Kanokon (unlikely), then hopefully you’ll get what I’m trying to say. This guy gets it. That’s why I still care about his opinions, because I can relate to where he’s coming from. (And just before I further incriminate myself, no, he’s still the expert on anime porn that I will never become.) (That said, I think Kanokon on DVD is uh, polished up from the TV release.) So it’s a little more disappointing that he doesn’t quite dig the new wave of meta anime, especially ones involving fanservice.

    I think that the iterative seasonal TV anime offerings from Japan is evolving, changing, and offering viewers new types of shows. Especially in the past year or two; things are moving in a new direction. Things that are tried and true may continue to sell, but unless these established, old-timing reviewers pick up on these trends, they’re just going to poop on these opportunity to organically grow the fanbase. If Funimation wants to go out on a limb on OreTsuba and put some marketing muscle behind it (I hope they do), great. It doesn’t seem like a high risk title, I don’t know, but I am glad that they’re doing something about it. But if we want to transform this season’s simulcast viewers to next year’s DVD owners, I just don’t think Chris’s perspective will cut it.

    Lastly, it is usually the case that anime of a certain genre sells better than others in America. So short of just saying “this anime doesn’t belong in this genre” is there any value to the whole “license” and “dub” thing? Because to me “dub” is just a “how much it will sell/target audience” thing. I mean, this guy thinks Lotte no Omocha deserves a license. That’s probably the low bar for this season in terms of how marketable something can be–how do you market the whole “this guy is in this 11-yo succubus’s ‘harem’ but he is also her mom’s lover and his daughter is the succubus’s half-sister, all before the thing about how she has to extract his semen to stay alive” bit? (And for the record I am watching it, and think the anime is pretty okay for what it is.)