Category Archives: Franchises

Distance On the High Seas

Such paint

It’s a good point.

At the same time, it’s also a failure as a “Cute Girls Doing Cute Thing” show, in that there’s not enough levity or enthusiasm to make this “K-On! on Boats” for example. Not being much of a fan of “Cute Girls Doing Cute Things” shows to begin with, perhaps I’m not the best judge in this respect, but the constant reminder of the pseudo-serious issues at play sort of kept me from feeling as if the characters enjoyed what they were doing.

This all changed with episode 10, a straight-up filler episode dedicated to an equator-crossing festival. Nothing of much consequence happened during the course of the episode, but the important part is pretty much every character had a good time. It’s tautological, but in order for a “Cute Girls Doing Cute Things” show to succeed, it needs (a) cute girls who (b) do cute things. Regardless of how you feel about Haifuri’s success or lack thereof with regard to the first point, I think you have to agree it wasn’t doing too hot on the second part.

I think there’s a fundamental difference in the way people appreciate “Cute Girls Doing Cute Things” sort of stories, based on my own observation (warning: anecdote). One way is summed as “I enjoy happy people by observing and sharing in their happiness.” Alternatively, it’s more like “I enjoy watching people doing what they do.”

To that end, I disagree with Evirus completely on the point about Haifuri lacking levity or enthusiasm. It’s pretty much on par with Girls und Panzer, except in that story there is the levity of an afterschool activity, and not a life-and-death activity (save certain plot points later on). There is the attitude of students participating in an after-school club. In Haifuri, these kids, well, are doing actual school. Some people take their extracurricular activities seriously, but others do the opposite–the average is somewhere in between. It is not the case when it comes to what we are suppose to do in school, where our collectively-institutionalized souls feel the weight of coursework in the girls’ high sea adventures as assumed as Blumers-in-training.

In that sense Evirus is right on in terms of the core difference; one is about tea and pet turtles, the other is a class that lasts all season long. It actually sounds daunting.

However I think the other school of thought, which is to say, we have a bunch of high school girls acting out the fantasy of some military otaku, as they operate some older-than-your-grandma warships while shooting huge ordinances. (Nerd fantasies always have large ordinances, right?) The routine and spectacle aspects of the concept of girls-on-warships are collectively taken into the character’s weekly activities. In that sense it’s no different than K-ON or Bakuon or whatever-on-whatever-else. The Cute Girls are merely a vehicle. [Is there a meta genre of plot vehicle made up of meta of actual vehicles, kind of like Mad Max where the automobiles are actually driving the plot points?] The thematic points Haifuri drove through the latter half of the series are blow-by-blow by the book, as the matsuri episode sort of marks its climax as a CGDCT narrative. It never wanted to be K-ON, but a story about juxtaposing two contrary things while catering to the Admirals and military nerds out there. The unnatural circumstances are part of what is enjoyable, along with all that tension (as part of the unnatural circumstances).

I mean, ever wonder why there is no token otaku on the Harukaze? And why were there all these yakuza film impersonation going on? Because Haifuri is not about girls on a boat; it’s about girls in a war film. The conceit is precisely about silly young women acting out a story typically reserved for craggy older men as sailors. I guess in such a setup they could playfully make fun of equally troped yakuza flicks. It just wouldn’t work if Mii-chan and Koro-chan were the same actors as the films they portrayed.

Is this why the Fleet Admiral is a fat cat? Or why the girls get nicknames reserved for cats, too? I have no idea. But was Koro-chan funny? Yeah? Guess what.

Maybe it’s a mistake to say Haifuri is CGDCT, because it’s Cute Girls Re-Enacting a WWII Flick, which is actually a comical thing to do, not per se a cute thing. I think that’s kind of cute, but if it fails to make you laugh then the problem is wholly elsewhere. Maybe they were all just Re-enacting the movie Battleship, which would describe the sweet-sour reactions some may have with Haifuri.

PS. Things on the high seas happen both very slowly and all at once. There’s a great deal of lag between some events in Haifuri and they really didn’t exploit those opportunities for the more mundane things. I thought that was the one aspect they could’ve played out more, but I guess not if they want to mimic a more movie-like experience.


Anime North 2016: Wrap

Anime North this year is punctuated by Kawaii Kon, where a few of us were gathered again for Shimoda’s visit to … USA I guess. During the opening ceremony the news about Hasegawa Akiko came out, and some folks were having a meltdown. That kind of set the tone for this year’s con.

Sup Miki

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Ueshama Elevates Dumb Characters

mira

I had a hard time coming up with something short and concise to describe the kind of characters Ueda Reina is particularly good at. Well, maybe not even; it’s more like how do I describe the lead of Bakuon without making slurs regarding people with disabilities. This is more a quick quip about Harmony and Bakuon, so let’s not tread those dangerous waters.

The thought came to me when I watched Harmony the other day. Harmony is Project Itoh’s best novel (and also the most critically regarded one), and because he was one of those writers who’s really taken into the “Tom Clancy style” of storytelling, Itou’s fleshed-out books probably will all work well for the silver screen. Well, it certainly did not disappoint.

Going into the movie I had no particular takes on the seiyuu for the movie, realizing only the lead role played by Sawashiro. Her husky voice probably bleeds into a certain other gun-touting SF anime heroine in the news recently. It’s probably an unavoidable comparison especially for a western audience, but Tuan is a more nuanced character and I think Miyukichi tried to bring that out best she could. She’s gotta be emo enough to ramp up to the climax, after all.

Like Empire of Corpses, there are these somewhat obtuse same-sex ships in Harmony, but it doesn’t really detract from the story in that it helped to slot in the plot device behind Kirie’s obsession for Miach, at least. What really sold the story was Miach. Kirie was a blunt instrument in some sense, perhaps better suited as a dude, now that I think back to her role is in this situation. Still, by being a girl there’s this some tension you can diffuse with their relationship, so the focus could be made more so on the conflicting feelings she has for Miach without having cisgendered romance clouding everything. However, internally constructed, I don’t know if Kirie sold it; the character was conflicted but it wasn’t clear how much the audience had to go on to infer to her inner desires. Miach sort of had to play the onion peeler to get us all the way home, largely through her final scene.

And I really just want to talk about how Ueshama was great as a psychotic world-ender in this role. Short of spoiling the movie let’s just say that this is why I had a hard time coming up a way to group Miach with Bakuon’s Hane (who could be described as a glorified bike sponge). And as a semi-frequent viewer of Hacka Channel it just made sense that Ueda is perfect for these kinds of high tone and low brow roles. If you had a scroll at her anime CV it might give you some insights. If youngin voice actresses of Japan get typecasted at all, Ueshama would be slotted as an oujosama type. In reality she escapes that sort of a thing in general and has already played a wide variety of character types in her short career. Arguably, her role in Harmonie is almost the opposite as her role in Harmony, right?

In this season she voices Hane and Kuromukuro’s Sophie, and those also make a good opposite-pair. The power of this woman who can be cool-cute one moment and old-adorable the other is pretty much already amusing enough on its own. And I don’t really have taken any interests in her via the usual route; purely through her acting and her on-screen charm, I guess.


My Million Live Playlist

I looped a lot of IDOLM@STER MILLION LIVE songs a lot the past twelve months, but after the third anniversary live I think I’ve been focusing on just a handful. Feels like worth sharing with you which, if only as a time-frozen snapshot of how it feels like.

Karen & Ritsuko

It’s a long list even after some heavy pruning, so in the interest of keeping a short list, I’ll just have two: the top 10, and the next 20 or so. The tiers reflects more my sentimental attachment than anything, but within tiers there are no ranks. To put it into perspectives, as of this writing, there are something like 152 Million Live vocal songs.

Youtubes and what not links when available.

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Spring 2015 First Opinions

Imocho #2

I had a pretty busy month between mid-March and mid-April. Two cons and a Japan trip will do that to you I guess. Most of that time suck went with the Winter season, but I think I’ve finally caught up with Spring enough to have some time to write about the currently airing shows.

It wasn’t exactly that I didn’t watch any anime in the winter, but more like I didn’t feel I watched enough. Maybe I’ll end up going back to some and at least finish the ones on the back burner, like Dimension W. And one of these days I will catch up to Concrete? I don’t know and I probably shouldn’t promise. Anyways, on with it:

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