Category Archives: Franchises

November 8, 2011

Chihayafuru’s Edutainment Value

By omo

Episode 6 is, in many ways, the episode I was looking for. It combined something that I understood (the protagonist and her buddy) with things I am more interested in (the new girl and how her personality clashes, the explanation of the poems, the context of karuta beyond just being a game). In fact, this episode is very compelling to me in the same way how Kanade’s explanations of the “Chihaya furu” poem was an eye-opener for Chihaya. I mean, now I get the ending visuals LOL.

Oh the joys of viewing things without context.

The coolest meta perspective is how the whole Chihayafuru-is-Japanese-heritage angle. By explaining those famous poems and their origins you get this whole-package history lesson. It transforms, in a very earnest sense, entertainment into education.

But that again is without the context of already knowing the stuff. I mean you must get into the problem where you have this artful story about high art and the only people who are interested in are history fujoshi and acafan-types. In the end everyone who watches your show already knows what you’re getting at. Does this complete the mission? I don’t know.

I mean if I learned something, maybe I can answer “yes” instead of “I don’t know.” But ultimately it’s got the impact of a gaijin hearing about some tidbit about Japanese history–about as much impact as it would on a 14 year-old Japanese kid dozing off in lit class because he just took the entrance exam 6 months ago, and doesn’t have to cram anything until the year after, and this history stuff is as useful as karuta to a non-Japanese. As in, karuta is pretty much useless if you’re not Japanese. I mean I don’t even think it’s useful for actual Japanese people.

Anyway, Chihayafuru is a solid show. I didn’t really like the back story bit; partly because it’s a bit contrived, and partly because Chihaya is too one dimensional for someone getting most of the spotlight. The solid production carried me through, and partly with the promise of this muda-bijin returning to her post-puberty prettiness. I’m only hoping the “crew gathering” part of this will be more interesting, since the focus shifts away from selling me something (ie., developing the protagonist, trying to convince us that karuta is not a joke) to stuff actually happening.

Leave a comment | posted in Chihayafuru, English Language Modern Visual Fandom, Modern Visual Culture

November 6, 2011

Otaku Bunches of Dolts

By omo

There is something charming about watching crappy-looking animation about people struggling with lower-class living. I think Kaiji is a good example. Ben-to does the same kind of thing. I mean I laughed out loud when I saw this:

Just in case it isn’t obvious, it seems whoever was doing the background just went on the web and took images from supermarkets or something and shopped them in as sprite things. Which I guess is okay! I don’t know. And I’m going to assume shopping jpegs into your background without even smoothing out the artifacts, count as a cheap, time-saving thing to do. And it is the kind of thing a DVD/BD release will fix up for that audience (and as well, paying customers deserve better).

If we accept anime is animation made on the dirt cheap, invariably something like this is potentially a desirable thing to do…if things like visual integrity can be stretched a little for the sake of commercialization of disposable entertainment as expressive artworks, reflecting the reality of today’s increasingly commercialized cultural landscape. It probably gets ironic if I dig deep enough, so I’ll spare you that nonsense.

The thought I had was more along the lines of some praises for Akiyuki Shinbo’s cost-cutting stuff, how his slow transformation of anime from expressive motions to expressive slideshows, and more importantly the ability to appreciate the latter as some kind of entertainment, reflect some kind of conditioning. I mean it used to be the case (and still is in a way) that fans trash that sort of anime paradigm–did someone say something about Fate/Zero’s talking heads? Or better yet, Stand Alone Complex’s? I mean those are big-budget anime (as far as anime on TV goes). But there is some kind of directional design in the way the scenes progress. JP’s detailed it as well. And it doesn’t matter if we’re talking about a slideshow made of quotes from a light novel or just some woman walking in circles.

[Damn it ufotable! Quit doing that.]

I wonder if there is some kind of information resolution thing at work. Acting via facial expression and the like; some of those things require paying some degree of attention and the ability to process information a little bit more than beyond the level of instinctively comprehending body language. I think anime and manga aren’t the sort of mediums best at expressing that sort of subtle expressions; or rather they make their marks by exaggerating those things.

The thought continues in the form of so-called inforgraphics. I generally despise them; preferring heavily in the form of xkcd’s hard work. I would probably state further that I have nothing against inforgraphics as an idea, except that most of the ones I’ve seen are undesirable in the sense that it is closer to numerology than expressing information in a way that is truthful. To use an analogy, it’s like trying to write rhymes with disregard of what the rhymes mean. Maybe it’s an outright example where truth and beauty can be 100% at odds, but it runs against the way I prefer to idealize the pursuit of both. It is also very database-animal-ish. I think for a lot of people it comes down to having an x% of content catering to the person while achieving a y% of entertaining value, and then it will pass the test. Even if in the end you get something neither beautiful nor truthful, what comes of it becomes interesting enough that it will sell DVDs and Blu-Rays.

It is in such context that I find something like Ben-to a lot more honest and despite its questionable production, much easier to enjoy.

PS. Did Sato wear…the anti-zettai ryouiki?

Leave a comment | posted in Ben-to, Modern Visual Culture

November 2, 2011

On Guilt, On Glorifying Needs in Popular Media

By omo

And by Popular Media I mean super niche late-night TV anime. Right.

But I do feel kind of guilty of doing:

  • Eating a bento while watching Ben-to.
  • Walking in circles while talking…and in general.
  • During an engaging discussion, suddenly think of OTPs (and the discussion has nothing to do with that topic).
  • Thinking the anime I watch is better than the anime you watch but I don’t watch.
  • Being confused about Horizon.
  • Thinking Haganai is actually funny.
  • Trying to get people to stop using “bokutomo” as a shorthand. This honestly made me feel kind of bad about myself, but please don’t.
  • Thinking Chihayafuru is more titillating than any anime this season. Maybe tied with Guilty Crown, maybe.
    • For that matter, thinking about the poor passengers on the train having to deal with two loud teenagers. Even during those touching-sobbing scenes.
  • Looking at a fanservice-y character’s boobs as the protagonist do the same, at the same time.
  • Being confused about the characterization of Fam.
    • Confusing Fam with Inga.
  • Seeing shows like Persona and Last Exile getting their dues, but not feeling really warmed up to them.
  • Making fun of Fractale.

    • Unfortunately, the list probably doesn’t stop there. What is actually unfortunate about that is I don’t even get a silly crown to go with!

    Do I get it now? Was that bad enough?

    ===

    I was going to talk about the nature of Ben-to and the underlying notion of glorifying those half-priced leftover dinner boxes that can be found in some Japanese supermarkets and convenient stores. But it isn’t something words can fully describe. Rather, I think during the coming-of-age of all healthy middle-class individuals, at some point you will experience something similar in person. And that is the tie that binds us to Ben-to as an intense, personal experience.

    I mentioned it before, but Ben-to is an intense anime. It plays the jokes off intensely, and it is very much reminiscent of Air Master, which too had intense animation with intense jokes that don’t always make sense. (Only if Kanetomo-sensei will make an appearance!)

    I think ultimately that intensity is magnified when the story can establish some kind of visceral connection with the viewer. For example, Initial D was able to do this with aplomb and those who can connect to its autocross and high school romance roots often find the experience rewarding and well-justified the silly animation production (at least in season 1). Ben-to does more or less the same, although it plays the competitive fighting aspect in a way that is probably most similarly described as some kind of pro wrestling thing. But unlike live acting, you can easily suspend your beliefs in an anime!

    Perhaps also unlike pro wrestling, I think Ben-to carries a fundamentally sound and healthy message. Because it is with sincere gratitude that I thank and bless the hands that made my meals every morning and every evening (except mine I guess). This is the origin of giving thanks, regardless if you are Shinto or Catholic. I mean, yeah, food, water and oxygen, right? And I can talk about this because it is the central “joke” to Ben-to. It is almost like a self-suggestive way to hypnotize the way you taste food. And if that means my meals are more delicious and those who feed me are more blessed, why not?

    So, to go back to the title of the post: I think there is something to be said when we create fun and enjoyable popular entertainment that help glorify the way we meet our needs. It’s like learning to cherish your janitor or dishwasher or some other forgotten, lower-class cog in the machine of modern, first-world society. They are a much harder sell than starving African children. They are burdened with political baggage. But they are no different than anyone, if we subscribe to the notion that all man are created equal. It’s easy to fish out all these semi-social/political messages from a show like Ben-to, and I believe that is where a particular sort dialog occurs under the current of popular culture. And sometimes it’s interesting to look into that.

    Leave a comment | posted in Ben-to, Chihayafuru, Fractale, Guilty Crown, Last Exile, Modern Visual Culture

    October 30, 2011

    The King of Conquerors

    By omo

    One of the neat thing about Fate universe is its historical fiction aspect. Unfortunately, like most Japanese take on actual western things, it doesn’t quite match with what I have in mind when I think about Alexander the Great. In fact when the first promo for Fate/Zero came out, it left me sort of worried. The Iskander/Waver story is one of the best parts of Zero, after all, and I was hoping, if anything, that the adaptation would retain the Waver/Rider story’s charisma.

    I mean, in my mind, Alexander the Great is this guy who died in his prime. Granted people back then don’t live very long on average, but he died when he was just 33 years old. (And from what I can tell, while that is higher than the average life expectancy for the period/location, once we take away the impact of child mortality anyone older than 15 should live to on average over 40 years.) Maybe that qualified you as “old” by anime standards, but it doesn’t mesh with the popular depiction of Alexander the Great in the west. I mean he’s middle-eastern, sure, but more to the tones of a pretty Greek dude and less of a crafty mountain bandit image. It would be weird once he starts playing video games!

    Second, Alexander the Great is a great general. I think one of the most fabled thing about him is reportedly not losing a single battle. It also makes him one of probably the best military general ever lived on earth, given his exploits. At least in a top-5 list for sure. I’m not sure if the anime actually got this right when describing his background.

    Third, and perhaps the most important one, is that it is with his sheer charisma that Alexander the Great was able to unite the large territories he conquered. The anime seems to build the Iskander Rider character out of this notion, and his semi-foolish claims of taking over the world (and had the means to at least made the joke seemingly less funny). That part is fine by me, at least in the sense that Fate Zero can also be a primer to history and bringing to life a historical marvel. At least, as long as you don’t think Alexander the Great is actually like this, or King Arthur is actually a person. I mean Arthur could be a girl for all we know.

    There is a lot to be said about Waver too. I think in the book Waver was more appealing as someone who had ideals about meritocracy but failed to look within and see the flaws that tarnished his capabilities. Besides instilling a spine into the lad, Iskander is a mentor, a friend, and someone who is simply just better than Waver and inspires Waver to become a better person despite the Grail War circumstances making things difficult. The anime captures the interpersonal dynamics pretty well, but I think of Waver more a tsundere than the semi-dere little critter that he seems to be in the anime. By painting Waver as this green-behind-the-ears grasshopper slash bumbling academic, the overall dynamics will work. I just think he is probably a little too soft-boiled. I mean even Azaka Kokutou would’ve schooled the boy, and I always thought just by being a Mage at the Tower at one point, Waver was already better than that. Well, that’s just me.

    ===

    I just want to note that I was in the last round of close beta for Sword Girls, which is this online collectable card game featuring pixiv-style moe girl visuals. It is a pretty fun game as far as a free-to-play online doohicky goes. The CCG mechanics lend themselves more to that style of play than actually decking it out and counting cards and what not like M:tG or whatever. Sure, you can do that in the game too, but it all feels too fancy and more about getting redraws to fish for combo cards. I guess what I’m trying to say is that some moe card games are solidly built on proven mechanics, others are more interesting and fancy than proven. Still I can see myself playing it from time to time. Top image is from said game.

    28 comments | posted in English Language Modern Visual Fandom, Fate, Modern Visual Culture

    October 28, 2011

    A Certain Group-Thinking Hivemind

    By omo

    I don’t know what sort of complex or societal system that builds up the typical love-hate reaction on Guilty Crown. It’s kind of like the stereotypical complaints hurled at a show nobody likes because it hypes too much and panders too hard: generic, cliché characters with stereotypical and predictable waffing, with just enough angst and fanservice to tick all those check boxes. At least I haven’t heard a “designed by committee” complaint yet.

    I really don’t think Guilty Crown has much if any of those things. It’s only problematic in conforming to what used to work for hit action anime and game titles. Well, what used to work may still work, I guess. I also thought if the first two episodes were taken wholly, it might had been significantly more enjoyable and more effective as a pilot episode.

    To me, those complaints are what is truly cliché. The industrial nature of GC’s production is unavoidable and frankly, refreshingly obvious. We like shows like Ghost in the Shell, after all. We like those fancy costumes, showing us the gap between a man’s heart and a man’s desire. I think. Same with the writhing song bird showing equal parts skin and vocal prowess. Others have fancier words for it. That the show takes place between this weirdly hybrid world of underground terrorism and campus life, with a protagonist torn between the two worlds, is merely common and been-done. But that is not valid ground to single GC out for something anime has always been doing for the past 20+ years.

    More pertinently, I believe the tepidly ill opinions towards Guilty Crown’s characterization and plot elements are not misguided, just misplaced or imprecise. It’s with that sense of irony in which I think there has to be a better, less-of-a-cliché way to state these complaints. Because then it can truly address that familiar and diverging emotion which makes shows like Gundam SEED Destiny best sellers, or why I watched Guilty Crown episodes 1 and 2 multiple times. More importantly, there are clearly things the show is doing right beyond the visuals, direction and music. As much as we may find the writing campy or been-done, there is still something to the characterization and the way the characters compose themselves which make it dramatic and interesting.

    It’s sort of like how people grow out of Final Fantasy 7? What was amusing in 1997 is no longer in 2011; that is par for the course. But unlike Square’s blockbuster PlayStation game, Guilty Crown is fun to watch even by 2011 standards–to its credit, that’s proof enough that it has improved on the formula that has existed for over ten years, or at least since Code Geass. But for some reason I’m sitting here and wondering how many people probably tempered their enjoyment of the show because they would rather be less honest about their feeling as a result of this sort of cliche armchair criticism reflex. (And in the meta, how many people enjoy watching this tsundere reaction playing out?)

    11 comments | posted in Guilty Crown, Modern Visual Culture