Category Archives: Franchises

Election

Suiseiseki won Saimoe, as it seems to be news in these circles.

Moe?

But what’s in a title? In as much as people subconsciously resign that popularity tests, as these are, means just that and probably only that, we all want our favorites to win.

Or do we? In some ways I like Suiseiseki a lot, but she’s just another girl on the list of characters that are moe, that are widely-recognized, that drives memes, that needs a good PVC figure, that adores doujinshi that we see as dime-a-dozen. Like roses.

Yet somehow, way before her steamroller victory, I found that she’s the girl I’d rally behind, out of all the others. Of course, Saimoe operates with a set of artificial rules (as all good elections do), such as it has to be a new anime aired between certain time periods, it has to be well-nominated, votes have to fit strict formats, what have you. Three observations:

1. Purpose. What makes Saimoe different than a poll that you see in Newtype or something is not in what it sets out to do. Simply put, a big reason why I’m thinking about “vote for your favorite” contests is that watching Saimoe makes me want to participate in one too, one that is more accessible. Don’t you? It’s kind of fun: fun to talk about it, to think about it, to administer it, to argue it in the various discussions that spring up, and to see how the population come to terms in a democratic fashion. That’s why Newtype and others have it–it’s something to read, to pay attention to, to get the publication’s name out there, to get the readers involved. In the same way Saimoe unites the anime community somewhat, at least those communities feeds (in varying degrees–first hand, second hand, etc) from the happenings in the 2ch boards. It is, arguably, the heart of anime fandom on the internet after all. I’m not sure, so don’t cite this, but something like 25% of the votes in the final match were from outside of Japan. It’s a good reminder for everyone that anime is a global thing!

2. Purpose. Again. The difference, as to Saimoe versus other polls, is to cater to 2ch-ers. These people are obviously too hardcore for Newtype polls, which caters to a huge, mostly detached, domestic audience. They watch the latest shows, and would rather talk about them more because they’ve talked the old shows to death. And of course if Saimoe is to be a reoccurring event, we just can’t have the same bunch of characters running every year (even if it may not make any difference towards the outcome in an isolated, closed set of voters). And of course, they want to give people the freedom to let any character to have a chance, and these people know every character. Like Ms. Invisible from Magipoka. Or Nanoha’s stick.

3. What makes these polls fun is the participation. The voting alone is pretty boring. But the meta-talk. The fanart and other fanwork. The campaigning. It’s fun. It goes to point number two, too, in that it’s more fun to be able to talk about characters you care about, so having a huge base to pick from makes it much more fun to talk about, at least early on. Once the winners win and most others become losers in the later rounds, at least you’ve gathered enough history and the “politics” of voting can continue on revenge motifs, and consolidate your voter bloc to leverage. People can still have fun.

And that’s what’s it’s all about. I don’t see why people complain about people getting too serious about Saimoe. It’s part of the fun to be serious about it.


List no Houkou

1. The manga is still going on for Asatte no Houkou. Volume 3 is the latest volume, AFAIK.

2. There are more characters, more spoilering fun! SPOILERS!

3. UWAAAAAAA~N.

4. No, thankfully I wasn’t spoiled, but if I were you I’d AVOID IT. Said the person who was, to me.

5. Nayuki is still the best.

6. In as much as copyright is a hot topic on the internet today, the anime slice of the copyright-topical pie is something that I am trying to delineate into discrete topics that are forward-looking. We have a lot of dialogs about now-looking and some paper written from a past-looking perspective, and that’ll be useful to talk about what is to come. I think this is particularly exciting when you look at it from the cross-licensing perspective. Bishoujo gaming, the rise of shoujo manga, gunpla, and professional costuming are just a few examples.

7. I’m still pleasantly surprised that I can bring myself to watch Akiyuki Shinbo’s Negima?! without prejudice. I hated the manga, I hated the anime, but most of all I hated all the fandom. The surprise is pleasant because the remake is actually enjoyable! It’s hard to find shows that are so enjoyable when you’re trying to hand-pick from all the offerings. Going by hype, cover, OP/ED, and what have you only gets you so far. Shows like Tokimeki Memorial is going to get left behind, despite the quality production. Maybe I’m just lazy and even if I can download the raws and have the ability to enjoy raws, I just don’t have the time and drive to watch them half the time.

8. Black Lagoon is still love.

9. I dropped Code Geass like a brick, sort of along the line of Innocence Venus. Neither are bad shows, but I am not in the mood. I think I’ve had enough angst from my weekly dose of Red Garden to last for a while. Yet, I’m watching staple stuff like Death Note (I think I owe it to some people to watch it) and Pumpkin Scissors. I’m probably watching the latter just for Kana Ueda, on that note.

10. Is that why I stopped on Nana too? What does it say about women? Besides that they’re sympathetic yet probably slam-worthy targets for femnazis? I dare not to ponder further.


The Curse of Un-Moe

When I read a typical figure review at RIUVA, for example, I get bothered by the shameless, fiery passion some people get with whatever the latest polymer idol being reviewed. I think that’s just a fact of life. It’s like talking to some colleagues to kill time, and they go on about something you either dislike talking about or disagree–for example, “Jessica Alba is hawt.” But who am I to say no? I have my own eccentricities as well, and they’re probably less commonly shared than popular idols and actresses.

But what bothers me is how anime fans, by and large, falls into very predictable herds when it comes to “liking” a character design. The oldest memory I have of this was from Escaflowne, and this complaint repeats itself with Nobuteru Yuki’s other works. “Who cares about their noses,” I thought. My opinion of his stuff is pretty high–at least, until he started to recycle his Hitomi designs. Many of them looks full of life, and his faces are expressive because the various elements work together. That’s on top of the fact that his designs are more detail-oriented.

In the age of moe, inoffensive, cookie-cutter designs are the way to go. No one complaints about droopy eyes. Or lacking lips. Or having no nose (this one is kind of across-the-board). Or zettai ryouiki overload. Or having little detail on the rest of the character outside their hair and eyes. Gotta pander and make your show accessible, after all?

So when I tell people “Red Garden is gorgeous!” I actually get weird looks. Pretty? Yeah, it’s by far the prettiest anime this season (Kanon not withstanding). The colors are strong and that highlights its goth-emo tendencies (the Rozen Maiden team is on it, after all). The heavy lines, the angle used (most evident in those scenes when the characters walk down the hallway), the shameless pandering to mood with sweeping landscape shots of the upper east side?

Well, ignoring two very serious problems with Red Garden–its overly superficial take on American school life and excess emo–it has one very interesting packaging. As of 3 episodes I can’t say much about the rest of the show and the depth of it, but even now having seen episode 3 and by rewatching the first two, I am already picking up points of internal consistencies that I missed the first time around. It is meticulous.

But of course, God forbid the use of thick lines in character art in anime. Even more so having to animate something without the use of moe dynamics. I think it’s more than just preferences and eccentricities when something that’s honestly quality gets slammed for being different.

Rocking for Red Garden to Rock the Status Quo? Rock the LM.C!


Hetare no Houkou

Asatte no Houkou needs no one to sing to it praises. So I will try not to.

Hawt Loli

In some ways the best thing about Asahou(?) is that there’s an element of uncertainty. The premise itself is the kind that leaves the viewer with a strong impression. We know that Shoko and Hiro were ex’s that parted on odd terms, and it’s uncertain what has transpired before and after their unfortunate parting, in respect to Shoko’s current state of mind. We also see some kind of odd sisu-con mixed with the idea that Hiro is just trying to be a father at the same time. Lastly we really don’t know what’s going on in Harada’s head, but we can guess to some success–that it is a state of adolescence arriving too early for an elementary schooler. She learns fast from her brother, in that both of them hold back when they probably shouldn’t, and they act like big babies.

I think that’s my problem, on the other hand. I suppose it’s a curse at the same time that I can’t help but to think and apply genre tropes to a show like this. Asahou gives me so much on the plate that I’ve already constructed something and set a bar, an expectation, to what the story has to achieve. And in my mind, I’m thinking if the story is masterful, it will construct a build-up and resolution superior to what I imagine. Even more masterful is when the story do that to misdirect, and later surprise its audience who thinks like I do.

But I don’t want to do that to a show, and the show deserves better. We can concede that the artistic direction and general quality to Asatte no Houkou is pretty good. We can expect drama, and we can expect some kind of heartful end involving the reversal of the fantasy-coming-true. But is that it? I am doomed to be unable to enjoy this show as a slice-of-life mood piece because it places on the plate, front and center, a dramatic plot. (Not to say Asahou is a slice of life show.) I have to care for it in abandonment of just sitting back, not caring, and enjoying the ride. It preoccupies the mind.

And when the grey matter goes on, it doesn’t stop until it’s done! Argh.

Still, I think it’s a real danger. If indeed Asahou does not play itself out to be as good as I think it can be, I will probably end up disliking the show. It’s not to say that will happen, but it’s now more likely, only because of how the first episode turns out.


When Character Development Pisses Me Off…

Sometimes a great story pisses me off because of one little thing. The fly in the ointment.

L stands for Lame

When we’re talking about a movie or a TV show, there is more room, more possibilities to annoy. With a written piece, at the very most, the pensmanship can get in the way. In an anime it can go from terrible music to voice acting to an odd character design.

But there is something worse than all of that. Something much more fundamental. In fact, nothing pisses me off more than a strawman that is not only not disguised, but obviously elevated, highlighted, and having neon lights pointing at it, saying “LOL WATCH MY CARTHARTIC MOMENT 20 EPISODES LATER!” that is typical of the mainstream, serious genre of action and drama. It’s like the show first kicks me in the groin and then reassures me I’ll feel better after I finish the show. Right.

What do I mean by that? Like Ed from FMA; or Light from the recent favorite Death Note. I’m going to use these two as examples, but there are many more out there. I’m also going to contrast it with an example to the contrary, like Yoko from Twelve Kingdoms.

Let’s look at Light first. He is passionate about his notion of justice and his notion of idealism, but obviously out of boredom he takes those ideas way too far. As the main character, his drama will drive the story as well as the various themes to the show. These motivations are fine and all, but I think every time when he mentions anything about crime, punishment, or justice, a little bit of me died inside BECAUSE IT IS SO DUMB.

To dwell on this point a little more, when I said strawman a few paragraphs up there, I mean it exactly that. The writer to the story sets up a character or a symbolic concept within the story that mirrors a position on a grey, moral issue. However when it’s established in a “round” character, this character has to grapple with this position and over the course of the story, change his opinion on this moral position and gain a better understanding behind the overall topic. The writer, knowing that there will be this change, will often set up the main character on a basis that is outright wrong, or overly idealistic or emotional, because this position is just a strawman for the story to attack and abandon later on.

Likewise in FMA, as the story progresses, Ed learns more about what his world is all about, and uncovers things that changes his understanding. Yep. OHNOES SCIENCE > J00? Give me a break.

On the other hand, Yoko Nakajima, as we all know, is kind of this sheltered girl with the same problems similar to Light’s problems. The differences in their abilities may give them different reasons to respond to the same, commonly critiqued Japanese school life experience, but both are annoying characters at first. I think Light goes as far as to embrace from one bad stereotype (the phony, perfect good-doer) to a worse one (a remorseless criminal), while Yoko goes from one common stereotype (whiny, irresponsible girl) to something that’s much more “well rounded”–a person who knows her place and has her moment of carthasis.

Of course, it’s expected that Light will run into the same, and Death Note is just building it up; but when the bulk of the story is about Macbeth fighting off his eventual fate rather than his spiraling down into corruption, to draw a parallel example, it acts as if the story is walking away from resolution and into the void. There is nothing that holds me to be sympathetic to Light. Yoko, on the other hand, is a mostly-helpless girl in a strange land and has to fight to survive, and she wises up accordingly.

To sum it up:

1. Hubris is to be realized over time, not explained from the onset.

2. Sympathy is important if you want the audience to care.

Of course, the fact that both Death Note and Full Metal Alchemist are very popular shows would suggest that my view is wrong, or a minority view. I don’t think that’s necessarily the case, of course, since both shows boast large marketing efforts, high production value, as well as interesting plots, set-up, and secondary characters. But I just can’t get past the highly artificial, semi-predictable, kick in the groin. It’s sooooo 3rd rate. It’s what you expect from crappy Hollywood summer blockbuster-wannabes.