Category Archives: English Language Modern Visual Fandom

Manhattan-Run

HD does this regularly, and it’s rubbing off on me. I hope this is the only kind of thing that does, and the only time I do it. But here goes: an excerpt of my NYC Manhattan shopping guide or what I did last Saturday.

Golden Triangles Everywhere

Speaking of triangles, East 41st and 5th, 45th and Madison, and the Rockefeller Center are the points that form my main shopping triangle in midtown Manhattan. It’s not that you can’t get good stuff elsewhere, but these places are where you’re going to get anything authentic at all with a real selection in the city, AFAIK.

Personally I like the Bryant Park area–free wifi, a Chipotle near by, and the home of a freaking large library. On top of that, it’s conveniently located between Time Square and 15 minutes by foot to Penn Station. Well, most of midtown are all close to each other, so that’s not something that special–it’s like saying there are Starbucks near it (which there are).

Well, who am I kidding. I like it because Book-Off is right next to it. It’s nice when Japan’s largest used media chain opens a store in the middle of the city (inside a half-block of other Japanese establishments). And I stress “used.” You can actually pick up a lot of used English-language stuff there; all kinds of books and CDs. I was close to picking this up for $3 today, for example. Book-Off, despite its fair inventory, is very much hit-or-miss when it comes to looking for a purchase-worthy CD or DVD (let alone a particular one you want). Its main strength lies in its superb manga collection–easily the largest Japanese-language manga depository in the greater NY area. Nonetheless because everything is used, it is super affordable. God bless the First Sale Doctrine. I think almost half of my import CD collection is from Book-Off. I snagged nice CD sets or that super-rare Out-Of-Print CD more than once. I think I spent a good amount on artbooks as well.

From East 41st it’s a brisk 5 and a half block uptown to the reincarnated Asahiya. In 2003(?) Asahiya’s old storefront in Manhattan closed down. However when it reopened mid-last year, I didn’t find out until earlier this year; a pleasant surprise it was indeed. The new Asahiya is located off Madison, which is way better than their old location off Mulberry, right next to Grand Central. That said my last shopping spree I took a different path, so we’ll revisit Asahiya after I hit up Kinokuniya.

Kinokuniya at Rockefeller Center has been a landmark for many years now. The walk up 5th from 41st takes you through some of the more glamorous shopping areas in midtown, which includes both a CompUSA and a Best Buy; two Borders; plus God-Knows-How-Many caffeinated beverage vendors and apparel stores. That said, Kinokuniya is much like Borders; it seems kind of lame to get your anime/manga/music fix there. Well, it’s not so bad. Kinokuniya is the largest corporate B&M vendor out of Japan after all, and being such a flagship symbol in midtown they’ve recently (well, for a couple years now) retooled their store to have a strong anime media focus. Well, it is a fad in the States, right?

That’s all good for me. Kinokuniya has probably the largest import artbook selection now (and as hard as I looked, never a copy of Flamboyant; but they have a couple of those coveted(?) Sphere++ for $47 a pop…). Blah. What’s more interesting is that they do make an effort to stock at least all the latest jpop hits, plus some of the more mainstream offerings (which made the Joe Hisaishi fan I shopped with splooged quite a bit) like a healthy dose of new game music and anime CDs from shows on the air (I didn’t know Re: Surface was used in Yakitate Japan! for example). Plus what you’d expect from a Kinokuniya in terms of Japanese manga and books, it also now carry a healthy selection of domestic anime and manga.

Kinokuniya still is a good place to shop despite their ridiculous prices. At the least, if not only because Asahiya charges more. However, when I was looking around at Asahiya, I felt the need to take a couple pictures just because they were total Kodak moments. First, I found a new copy of Masami Kobushi special edition. That may not be a big deal, but to me it is about as shocking as seeing your favorite musician’s picture on the wall of a restaurant you’re patroning for the first time. And it’s not just a picture, but it’s a picture of your favorite musician in a pose with the establishment’s owner. Complete with autograph.

I think I might have downplayed that analogy by quite a bit, but you get the idea. It’s way notable than finding the new Eureka 7 albums there (which was quite notable)–I didn’t know The Best Of came with a DVD (and ZOMG, goodies); and I was nigh close from buying OST2…I guess eventually. What’s probably just as shocking was seeing this. I guess this makes me an official Nana Mizuki convert? Or just to make the truthful statement that pirating mp3s make me end up buying them? Something in between. I guiltily paid for it, with little comfort knowing that the copy of Love and Bubble I picked up at Kinokuniya was $3 less than the one at Asahiya.

The other photo-worthy statement was just something words cannot describe. Typically all three of these stores are inhabited by native Japanese. You get the whole “Irrashaimase! Konnichiwa!” treatment as you pass through the door (at least in Book-Off). The cashier hands you your receipt and credit card with two hands and I get mistaken as a Nihonjin more than once. It’s often that Japanese housewives visit these places for leisure while their kids stew around at the children’s literature section. It happens that there’s a small TV playing Laputa (raw, btw) at the children’s literature corner at Asahiya, and there was a little boy about 3 feet away from the screen watching it. The TV was set up so it was embedded into a display so it looks like a part of a tree, and the display was set up to be a corner piece between two shelves. There are some carpeted steps (think of a swimming pool’s wading steps) leading up to that tree display. The boy (about 4′ tall) was kneeling on the middle step.

It was just messed up. Alas, words still fails to describe, but I tried. It’s a fateful reminder that worshipping materialism and anime is no good, even in fact that’s what we do often times. Don’t get too deep into it, even if culture programs us to!


Schedule of Choice

Magipokan Illusion

Crazy wine people make wine tasting an experience in of itself. Enjoyment of wine can be casual and serious; you can bust open an affordable Californian variety to entertain, or something a little dearer like Chateau Margaux to share with someone intimate. Or as I know it, as a fund raiser.

The same can be done with TV watching. Indiscriminate use tend leads to brain haze and hours wasted (like alcohol!), but if you are watching for something very specific the TV potentially can be equally rewarding.

In constructing the framework I concede that anime on TV is just like anything else on TV. That’s not where I stand on the issue–films shown on TV isn’t the same as films shown in theatres, but for the sake of this mental exercise let’s just presume you consume anime like a typical North American–Adult Swim and other TV outlets, DVDs; and while we do watch them occationally through a club, a con, a movie screening, on the computer or iPod, it’s not in the scope of this exercise.

So with that out of the way, common sense dictates that you should spend good time to watch stuff you want to enjoy. If you’re going down memory lane and popping some classic show you own on DVD into the player, you can probably afford to do it wherever and whenever, because it is not likely to change the way you view the show and the show isn’t likely to affect you. On the other hand you’re check out some edgy new show you heard about being odd or visually weird, it’s important to keep a clear mind and be able to pay attention to the thing. Don’t do it while you’re half-falling asleep; or busy doing something else (unless it’s as important to you as that). The important thing is to understand like everything else you do, how you perceive depends on how much attention you give it; how much effort you are putting into perceiving and thinking about it; and having as little getting in your way as you can.

That much is common sense–it’s just a matter of thinking about it and realizing it and caring enough to do something about it. I think most of us watch TV the way we do because that’s how we treat it. But does that befit an otaku? Regardless of how much of a geek you are when it comes to anime, however, there are some much more subtle things you can think about too.

The expected audience. Believe it or not, not all anime are made by the same people, for the same people. Duh. Despite that (and get this), some shows can be very similar in terms of content yet are meant for very different people. There are genuine magical girls shows, and there are magical girls shows made for drooling pedophiles, for instance. There are angst-filled robot shows for teens, and there are angst-filled robot shows for adults. Get this right. It’s not to say just because you are category B and the show is for A, you won’t enjoy it–plenty of drooling pedophiles likes Card Captor Sakura and Wedding Peach. But those who like Nanoha A’s for its silent angst and 80s stylistic comments is going to find most other Magical Girl offerings quite the bore. This is rather elementary, and it ties in nicely with the next point.

It helps to know the broadcast schedule. More importantly, is this a prime-time TV affair or a midnight otaku-only sell? Take Eureka 7 for example, it’s got a primetime weekday slot. This kind of stuff you can show to just about everyone. By the same token Emma, the British Romance, by all means a much tamer existance, is a late-night show. What does that mean? Sometimes it can help you distinguish between “for fans” versus “for everyone” in the case of Card Captor Sakura, for example, but other times it gives you other clues about what kind of an expectation you should probably have. Now I unfairly used Emma as an example because it is rather the counter-example to this rule as it is made with a serious, and non-otaku appeal in hope that it can reach that market segment. On the other hand, this kind of thing is exactly the tip-off you can get by looking at the time slot. The most useful application of this rule applies in weeding out children’s programming. After all, large amount of TV anime in Japan is still kids programming in the most typical sense–think Dora the Explorer and their ilks. YMMV, anyways.

Prime your mind. When you’re sad, watch something either really sad or that will uplift you. If you’re low on attention and high on spazz, watch something spazzy and require little attention. Here’s a corollary, too: if you want to watch something slow, tire yourself out first by watching something else if you don’t feel like you’re in sync with that kind of pace. Sometimes by watching the OP instead of skipping it, that could also do the trick. Listening to the right kind of music beforehand also works, and I do this.

Mood is important when watching with friends. Some things are just funnier to watch as a group, but other things are easier to get engrossed with when you watch alone. Some things can come out differently depending on who you watch it with. Experienced and well-connected people can watch the same thing two different ways just with who they watch it with. High level technique! An easier application is when you want to show something to your friends. Be a little sensitive not only to their tastes, but also to their moods. This should be a no-brainer, but it helps if you ask.

And so is ambience. Keep things bright! I don’t get why North Americans dim things when they watch tube TV. I guess glare can be a problem but more often than not it makes you more tired while watching TV. Selecting the right show at the right event–party, background noise, whatever–takes just a little thought but can make a big difference.

Pacing is very important. Anime as a TV form are often aired weekly as 22-minute segments of actual material. Marathoning is rarely the designed mode to consume anime, as a result. If available, chart out good chunks of the show to watch, in pieces, if you know how the show will pace itself out. If doing an episode at a time is too slow, or you’ve hit a stretch in a long TV series where it’s just too slow/too exciting, use your flexibility as a home video owner to pace that so you can get through it faster or with more enjoyment. One thing to consider is to actually force yourself to watch climaxes that spans over episodes in pieces and not all at once. Sometimes it helps you enjoy the show more if you take a break and let your brain work over the material. It will help you understand the material and give you more insight to what’s going on. If it’s a really good show it will even challenge your imagination. I personally found that when you marathon a show you tend to not enjoy it as much because you don’t have the time to grow to like it. Of course that also depends just as heavily on what the show is doing, so I don’t know how much that is a real effect. Certainly, though, watching slower shows in small doses works much better.

Try to listen to it, too. Anime are often consumed with subtitles, but the music can make or break a show. Don’t skip out on it unless you’re sure you can live without it. On the other hand for ou dub watchers, voice acting can make and break a show too. Pay it attention, and experiment with the different dubs you can find on a DVD. In my own experience the dub track make pretty lame background noise if you’re the kind of person who always leave the TV on; but then again those kinds of people don’t nitpick like what I’m doing now.

There are a lot of other tricks you can use to suit yourself and maximize your enjoyment when you watch something. Most of these principles applies generally and doesn’t limit itself to TV watching nor anime watching. Of course, they’re all just things to think about and may not apply in specific instances. Friends don’t let friends drive drunk; friends don’t let friends waste time watching anime you recommended to them and end up “not getting it” either.


The OP-ED Op-Ed

KOTOKO! KOTOKO! KOTOKO!

It’s like Zefiris and a Big Piece of Rock, this topic.

Back in the day…like, 1997 or 1998, I was just getting acquainted with the internet and all that it beheld. This was when 8 gigs was a lot of space, folks. I traded clips from anime (of course, the opening and ending clips, amongst others) with people who encoded them and distributed them. Some of the more memorable moments included how I got hooked on Outlaw Star right off the bat because the OP video was so cool. Two-Mix’s music video about their journey (with no sign of anything Gundam) was how I met one of my real-life friend today, only because…I gave a copy of that to him? Or he to me? Something along that line. Finding Himiko-den’s opening from a Japanese FTP was like finding a $20 off the sidewalk. It’s so weird because I think my timing was impeccable; I found that site only a week after Himiko-den aired.

Come to think of it, my early days as an anime media pirate were filled with memories like that. I remember getting the OP and ED to Excel Saga, and then episode 1, and then mailed like $50 to Japan so this Japanese guy I know from IRC can record and mail the VHS tapes back. He did, and with great quality to boot. I think I still have them somewhere–complete with the 30-second weather spots that proceeded after each episode (which was lampooned in episode … 4? IIRC).

It doesn’t stop there, but needless to say when it comes to opening and ending, I have this sentimental attachment to them. Coupled with the fact that anime music consists of 80-90% of my daily aural intake, I can’t help but to go crazy when the topic rolls around.

The long and short of it is this: opening and ending, like every part of a show, serves a purpose at the very least. For the cynic, it is the reuse of stock footage, taking out 3-4 minutes out of 25 minutes each episode. For many it’s just a convention, a tradition; removing it serves little except to alienate. For even more people it is exposition and conclusion. To set mood, explain, to make expectations; to trigger memories, emotion, and to guide the viewers’ imagination.

But for us fans, it’s more than that. It’s a marketing tool to sell Jpop. It’s a marketing tool to sell the show we’re about to watch. It’s a litmus test, or even a part of the hook (if the pilot episode is the hook, the OP and ED are bait?). It can even generate a meme.

It can even be a thing unto itself. Some memorable ones include Excel Saga’s Mechi’s bolero; Honey And Clover’s spinning plates; and the ongoing Parapara routine from Suzumiya Haruhi’s SOS-dan. Some are so powerful, that the music alone set to matching images can crush a viewer. Many more can do the same by triggering emotional release with the ED. Heck, some do it just with music alone, OP or ED.

The music, well, now that we’re on the subject, is something truely of itself to behold. There are great soundtracks that are great to listen to, but I found it distasteful to say those are better than the great soundtracks that aren’t so great to listen to once you lift them outside their BGM context. It’s a personal taste sort of thing, so I’m not going to elaborate it any more than this.

What I will say is that as a marketing tool, the effect will vary. Take Yoko Takahashi’s powerful vocals for example, I think she definitely has a place in all that is pop music of Japan. But for anime themes? I don’t know. It’s not to say the typical seiyuu efforts (remember DoCo?) don’t match, but those are rather weak. The likes of Maaya Sakamoto, Nana Mizuki, and Hekiru Shiina are rare. Takahashi-san is a good example of one aspect of anime OP/ED that makes it so special. Or for that matter, Ryo Kunihiko. Or for me, Makkun (and, for our blog entry’s sake, KOTOKO).

When you’re pouring that much talent (or at least, resources) into these 100-second slots, I hope they make something out of it.

And I didn’t even get into the direction of it. I remember reading from Kyoani’s English blog site about one of the chief animators talking with his friend. His friend recognized the animator’s style during an OP clip. Why did I mention that is beyond me, but it has to do with sanctity of the work? I guess it’s not to dissuade people from skipping the OP/ED, but to me it is something special and sometimes I take special attention to watch them. The ongoing Higurashi no Naku Koro ni is a good example. Of course, there are some OP/ED that contain plot information; either as a synopsis or as actually a part of the show. On top of that there’s even all that funky directoral-fu that reminds you of Daicon V or something.

It’s an understatement that OP/ED are important. Of course, that’s a sweeping generality that ignores the reality that most OP/ED are not that important and perfectly skippable. But when it is, skip na no wa ikenai to omoimasu!

But you can definitely skip the karaoke and the karaoke-ing.