Category Archives: Lapis Re:lights

Lapis Re:Lights Live

It’s seiyuu idol biz in the new decade. Lapis Re:Lights employs dance-focused seiyuu units sing for the multimedia project, launching with an anime with game in tow. Lapis Re:Lights also put on youtube their old lives from 2019.

The Venus Fort mini-live was really impressive because they were able to convey the dancing with the idol standards of an environment-controlled mall stage. But the “First solo live” thing was really doing not much for me. In any case, you can watch both in the video here.

I think a big limiter is the screen. The way that mix reality stuff works today require a compromise on viewing angle and fidelity. It is like, if you watch it from a distance, it looks pretty okay. But at the same time, it’s unclear how much value it adds versus a backdrop. Well, you can have both, but then both screens are a constraint on each other lest it’s just crazy disco lights and colors.

What is clear is the drawbacks of mixed reality performances where it’s literally “candy” on otherwise dance-focused performances. If you want to do mixed reality stuff, you kind of go this far, right?

The limitations, from my own experience:

  • Viewing angle: This one everyone knows. Ever been to a Hatsune Miku live and situate yourself beyond 45 degrees from center? 80 degrees? It’s not a good experience. This is mediated by being farther back, but you don’t see the image as clearly, and you already lose some clarity versus looking at an image without a double screen.
  • Clarity: Well, I mentioned it above, but if you perform behind a screen, people will see the screen and it just won’t be as vivid in terms of how the stage light reflect on the performer. It also depends on the opacity of the screen, and of course, if the projection is in front of the performer and blocking them.
  • Fewer seats closer to the stage: This is an impact of the viewing angle. If you have a simple theater stage and a trope of dancing idols (let’s say, 16 of them). They can move in formation and engage all across the front edge of the stage. People at the front can look around and they’ll get their eyes full of performers. The performers can engage all parts of the stage at all angles. But if you put them behind a screen, first of all, you won’t be able to fit as many people because graphics can’t layer more than you have screens (eg., performers in staggered formations won’t really benefit from the mixed reality stuff when they are behind others, even if they are still plainly visible). Second, viewing angle comes in play again. If your normal act is 2-3-4-5 folks dancing around around a focal point on stage, then only really the area right in the center-front will get a good view. If you are side-front, well, it’s going to be kind of funky seeing the graphics not line up with the dancing. That said, I think Lapis Re:Lights can work this in their routines, even if generally this style of performance performs “for a camera” so to speak.
  • Limitation on stage layout: It’ll be pretty hard to have layered stages, elevation changes and formations, etc, if you have a screen. Not that you can’t, but the screen loses a lot of value. Of course you won’t be able to fly in the venue, or ride a whale. Or more commonly, it doesn’t work well with a cart, or when the performers walk around the stage freestyle and appeal to the crowd. Well you could, but what good is the screen? Like, the MR stuff is really just icing on top of solid dance formations at that point. Certainly a live can have both MR and normal parts, so there’s that. It’s also possible to have a moving stage with a screen, but I don’t think we’re there yet.

I think the standard Love Live style dancing works well with this gimmick. It’s also kind of an odd thing because it works even better with staged camerawork, but you might as well just edit the video in that case? But in Lapis Re:Lights’s case, it puts the hard work on the dancing seiyuu. They may still be seiyuu dancing as characters, but they gotta do those milkshake while singing. So in that sense this is nothing really worth writing home about. It is what was always going to bring the customers to the yard in the first instance.

What I find amusing, looking at the anime, is that the light tricks are literally that. The impressive things about the performances in the anime were the stage arrangements and how the performers interacted with the stage, plus the performance itself. The SFX were just as gimmicky in the anime as it is in real life. What is amusing and impressive with the anime “orchestras” are the stage direction and the fancy stages themselves. Using projector mapping seems a bit cheap looking when there literally are lives with fancy stages?

Having watch these, I feel like the usual known suspects are naturally good. Matsuda Risae particularly was noteworthy because I’ve seen her twin Satsumi perform for Cinderella Girls for quite a while now, so it’s good to have this reference.

Economics of Lapis Re:Lights and Deca-Dence

I need to preface this with a plug of sorts. I blame this blog post on this Youtube channel, which recently I’ve been listening/watching because it occupies a weird mind space where while it regurgitates modern econ textbook content, it’s repackaged in a soundbyte form that is mostly the right spin, as long as you understand where it comes from. It also breaks down some current event topics, which is always helpful.

So there it was, me, watching Lapis Re:Lights on the weekends. Nevermind that the main character’s (center?) head piece has a vaguely biological diagram in the middle. Never mind her, even. Or the rest of the cast except maybe the few foreigners. It’s “just the facts, ma’am” when it comes to the characters that provide us clues to the setting. In Lapis Re:Lights, people perform “orchestras” to collect mana to power its society. Mana seems to be just some elusive notion that is generated by a crowd or a region of a city.

You can refer to other works out there that think about an economy where magic is a part of it. If our economy today is running on 100% clean, renewable energy, what would the economy be like? What if we can turn this energy into goods and products in a way that scales to flexible demand? Can this energy be easily stored and made available, any time and anywhere? Actually we have some ideas to answer these basic questions.

For one, it is a work of labor to do magic. A person can only cast so many spells, based on some notion of skill (I guess, the characters are at a school to study magic). It takes a person some time to cast a spell, and to deal with the result. It also seems like scale is limited (it isn’t the same effort to magically create 1 widget versus a million widgets). A lot of the spells in the show actually do not go into things that directly generate value. Putting on lights in the sky or being able to do fancy acrobatic moves or obtaining inhuman strength are all fine and well, but it’s hard to see how anyone would exchange those things for currency. Students in the show still participate in employment much like our real world.

Mass production is also an unknown in the world of Lapis Re:Lights. The visual depiction of the world seems to be a mid-industrial-revolution European setting. We see elaborate architecture, furniture and designs. Maybe the cobblestones makinig up the roads and sidewalks clue us in, but that could be a magic thing. But someone out there has to be making magic lanterns and other similar things at bulk, right? We see a city, and it seems to be not that small. In that Lapis Re:Lights is a world with craftsmen (Merrybery is a cute!), it might also be a world with distinct social classes, as implicit both by the structure of the students organizations inside the school, and that there are royalties and rich people, versus common folks.

If we put aside things like colonization that fueled the European powers during the industrial age, then it begs the question of how the basics needs of that society is met. Is there a large number of farmers in that world? If not, where do people get food from? How does such a country generate goods and services to trade for necessities? It does seem that the country the anime takes place have commercial relationships with other nations, such as the far east knockoffs countries that sent the 3 students that makes up Konohana wa Otome and the Asian princess in Supernova.

Of course, there are still a lot of outstanding questions about the fundamentals of the nations in the world, let alone the one the anime takes place in. Is Waleland modeled after a mature European economy like Holland or Norway that we know today? Or like Monaco, where rich people go there to live and tourism makes a big part of the economy, but doesn’t really generate wealth? Or is it more like Liechtenstein, where you have a huge tax haven-style banking and corporate finance system but also a high end manufacturing sector that makes expensive, low-volume, high-tech goods like medical equipment and manufacturing machinery? I mean I would buy their magic tents.

Definitely, if Waleland doesn’t need to import materials to run its energy economy, it can do well exploring expensive magic-infused goods, assuming the global market is mature enough. High-end manufacturing only works when there is enough demand for it, that there is a wealthy group of buyers who would be able to afford it. It could be organizations or individuals, but it’s not clear where the world sits in terms of that. But the vibe you get from this show is Waleland this is a country with a positive trade balance, where a major luxury of its people and a national resource is the magical power that fuels its infrastructure and give reasons for orchestras to exist.

On the flip side of this, in this summer season 2020, is Deca-dence. We know the creator of this series has said that the name is a wordplay on “decadence” and while thematically that is true, the setting is wild in a “reverse Wall-E” kind of way. In it, and spoilers ahead (as of ep7), there are two worlds in the story, one is the “robot” world which is inhibited by digital intelligence–from what we can tell, it is also a physical world even if the anime depicts it like cyberspace. Said digital intelligences can “jack in” to control other avatars in the Deca-dence world, which is another reality, also in the physical world, where these cyborgs and actual humans coexist. In the Deca-dence world, however, when people are killed, they are killed–unless you are a cyborg, in which you only lose your body and you get kicked out of the game (it’s kind of like Permadeath I guess)?

The economics of Deca-dence (the game?) is interesting, because clearly inside the system there is a real economy. I think this is no different than any other video game economy in which NPC (humans?) and players set the price based on supply and demand. There is a proper “sink” in which are the conflicts with Gadolls cost various resources, in terms of equipment needed to fight them, the human casualties, and other damage Gadolls inflict. Looting the Gadolls drive the economy in terms of supplying fuel, food, and other material. I don’t know, for example, where people inside Deca-dence get materials to create robotic parts (protagonist’s cybernetic arm, for instance), or even raw metal used to make those needle pipe things. It seems that there are repair kits people use to fix their homes, and armor plating used to repair the outer wall of the giant mobile rocket-arm-and-home-base. If a humvee gets blown up during the fight against the Gadolls, how do people replace it inside Deca-dence. These are important questions that don’t have clear answers.

That said it’s clear that Deca-dence, as far as a proverbial fish tank goes, is not self-sufficient. It’s clearly not a closed system since Gadolls are created outside of it and put into the game. It’s likely some manufacturing is not done by the facilities inside Deca-dence, although it does manufacture some stuff. I might have missed it, but it never implied all raw material that is needed to create stuff inside Deca-dence came from harvesting Gadolls. Although, as the setting goes, Deca-dence is actually on Earth, so there could still be resources that is harvested from the environment in general.

I mentioned that NPC and PCs set prices in the game, but this is partly true. It does have some kind of developer-set pricing for high end gear, which is really only accessible by external players (who are also called Gears), as it would mean they can purchase upgrades for their Deca-dence characters using currency outside Deca-dence. There is some reason to believe this is actually the case. Which leads us to think about what is actually interesting.

That is, the world outside Deca-dence, to be honest, is way more interesting, even if it is a much more slippery idea. The creation story that the audience is told in episode 2 paints a cyborg new-world in which humanity became nearly extinct, but only after we have uploaded ourselves into cyborgs and live in some kind of hybrid VR world. Deca-dence is really a zoo for humans, but also a “reality” game in which is basically a VR game for the cyborg denizens. So in narrative practice, it is the reverse SAO in which people in the VR is playing a game of reality.

While we were told a lot about the setting, I think much more isn’t really told to us and it’s up to us to find out. In as much the story bothered to tell us that there is an energy cycle in which Gadolls are the core transfer medium in which the cyborgs fuel Deca-dence, the Gadolls have to come from somewhere and there definitely needs be some kind of energy to power that new society of cyborgs. If anything, energy is even more important–it’s not like we can just farm and provide a way to survive anymore.

The idea behind market economics and creating sinks is very relevant to game design, however, so this is possibly the most natural take to our view of this kind of criticism of governing-by-theory, which tangentially is a blow on macroeconomics as well. I think it is kind of a dull blow though, even if it makes an apt analogy of thinking about the lives of main street folks affected by the high rollers on wall street, to use another analogy that gets to the point more succinctly.

To end this long rambling let’s just recap why this is interesting–settings are interesting in any work of fantasy, ultimately, because fantasies are fantasies are a reason. Underpinning any sufficiently robust depiction of any world is its economics. And you would at least think throwing key terms into the explanation of a core plot element would at least mean something.

In Deca-dence’s case, I think ultimately a post-scarcity, demand-based economy is its own criticism. But short of lecturing people on macroeconomics I don’t know what would really work as a compelling and entertaining story. Maybe this is why I watch those videos on Youtube.

Blogging About Anime, August 2020

It’s been a while since I wrote about my seasonal watches. Having MLB back on TV seems to provide me a kind of anchor, rhythm-wise. It is arguable that pro team sports is a good or bad idea in the US, in mid-2020, when/where the pandemic is still raging strong. But that seems like just par for the course in 2020, a year that the lowest of bars in politics, health, and communication are all up for argument.

The lowest of bars in anime is also up for arguments. I have some baseline opinions about Uzaki and how generally cutesy anime with sexual overtones have some link to pedophilia or grooming. But that also seems like an overtly obtuse argument used by tribalists who are not really interested in talking about anime. It’s like, just because you can use candies to lure kids into unmarked vans, they are bad? So let’s forget about the main use cases for candies and just say they are for pedophiles? I guess that is the low bar of media literacy up for grabs, in this era of our 2020. I mean, the candy industry does way more money than the anime industry (and tons of Aniplex titles, well), so maybe we can let that pass. Unmarked vans, though, tsk tsk tsk.

That being said, it is a strawman that I encountered–I have yet talk to any live human who would hold the opinion about Uzaki in such a way (in connection to pedophilia). The original complaint back last year about Red Cross Japan using Uzaki to promote a blood donation drive comes down to TPO, so it turns out, which is really nothing controversial. National, high profile charities should not perpetrate sexist stereotypes is a no-brainer. Need more blood, I guess.

The anime itself is surprisingly watchable. Uzaki is an irritating character that gets increasingly charming, and the cast also gets increasingly self-aware. Nothing to write home about, other than having a so-to-speak controversial urn where piss takes go into the huge drain in the internet sky. Maybe Uzaki’s …uzai-ness is part of the ethos behind those poopy takes.

Some anime on hiatus from last season have resumed. I think the best out of those I am enjoying is Major 2nd second season and Food Wars. It’s kind of odd that my tastes lately have shifted onto these arguably mainstream works. Major 2nd is especially praiseworthy with interesting characters and articulate, if a bit too convenient, baseball knowhow. The level of baseball IQ demonstrated by the show is beyond any middle schooler team, even if it’s one of those things coaches and parents who are hardcore baseball types would know. If you have kids this is not a bad watch to teach them about baseball. The way it plays up gender in teenage sports leagues gives me a Disney channel vibe.

Another last-season pickup is the historical fiction racing anime Appare-Ranman. Talk about weird character dynamics. A literal child is in this anime, a literal chinese woman is in this anime. A bunch of Americans, literally, are in this anime. And Japanese people, of course. It is extremely Japanese in a lot of ways, especially for an anime that takes place in a fictional world where America is a thing, that being the country they are in. But I guess these are not really relevant since everyone speaks Japanese or English in this anime, or whichever dub track you select. Is it post-racial or racist-but-who-cares? I don’t know if I care at this point. The premise is so whack that any appeal to historical underpinnings will be lost in all the noise. As an aside, BNW, Iron, and GM? One is not like the other two. Also that guy is French! LMAO.

Along the same line, something is remarkable about Deca-Dence, but the overall thing felt really slippery. I don’t quite have a grasp on the story or the characters–like I get what’s happening, but the post-humanity humanity of it is hard to sympathize. Like, robots are just robots. It’s the risk when you set up a setting that is quite smart but the level of discourse is not much more advanced than Spongebob Squarepants. The setting is visually grand and a bit all over the place at first. It features a sort of cyberspace kind of thing and a sort of meatspace kind of thing, but I wish they would just explain it to us in the way I just phrased it, as inverted.

Picking things up again is the new season of Oregairu and it is the most beautiful image of codependence ever. But it is a pretty neat non-binary depiction of relationships in which things are clear enough that words can describe, but you’re struggling to find them. It’s not so much a story with any emotional investment on my end, given how these really wordy stories play out over a long period (the first season started in 2013, if you forgot like me). It is simply a thing of beauty that came and will pass, again, like the autumn leaves or melting snow or whichever passing-of-four-seasons analogy you’d like.

As far as fanservice goes, Monster Girl Doctor and Kanokari are probably the top picks. Kanokari story is easily the most problematic thing by a country mile this season, it’s so bad that I really didn’t want to watch it at times. On the plus side, it has a fair amount of cultural cache and ultimately the episodes tend to turn out to be enjoyable overall. Once the story gets on its groove I think it will fall victim to general relationship polygonalism and dull its lame-brain, protagonist-takes-for-story-sakes kind of plot justifications.

Maybe the real reason why Kanokari has legs is that it is controversial, as opposed to Monster Girl Doctor which is just WYSIWYG. It is definitely a work where the element of surprise is not its forte, yet it can still occasionally deliver.

In a different programming track, the fantasy light-novel-anime adaptation flavor this season for me is Maoh Gakuin or Misfit of Demon Academy or whatever. It’s absurd in a fun way and plays on your preconceptions. The power fantasy is on the boring side of things but it does a good job withholding information to keep you interested. I also like how the anime tries to cram a lot of information in terms of last minute reveals.

I’m watching Gibiate. It’s sort of interesting if you look at it as an anime watcher’s anime. In premise, time-traveling samurai, ninja, and warrior monk kicks apocalyptic ass seems like a perfectly cromulent 1980s anime plot. You add the bit about self-recording, the virus, the show-in-a-show take, the zombie tropes, and in the end it’s a swamp of animation production issues bookended with unusual music choices. Also some interesting voice cast here. Trainwreck? Brilliantly bad? More like, just oddish.

There’s this anime about idols and magic school, which is tied to a KLab game franchise in the making (out soon?) called Lapis Re:lights. They had a fully-costumed seiyuu live thing last year (or several?). The idol units in the story all play a short live performance for us throughout the anime series, which gets a Youtube cut without the in-episode dialogue. It’s worth checking out if that’s your thing. Honestly, this is a bit too “love live” for me, but overall it’s worth mentioning. In some ways it’s the same formula as Love Live but more tailored to the prototypical otaku notion. Also, this song has a few sextillions in it.

Is this it? I think this is mostly it. I tried a few episodes here and there, like the fishing anime. The characters don’t do much for me but there’s a level of meta here where just like the protagonist, you end up liking the outdoor activity (or the depiction thereof) despite the annoying people? I don’t know. It’s more than what I can say about Peter Grill, although that show is interesting to think about, and kind of icky to think about, so it doesn’t occupy much thinking time. Umamusume shorts are cute and sweet. What else? I’m probably forgetting something as usual.