Category Archives: Franchises

Sad Nostalgia in Snow

Back before people knew what moe was, there was sad girl in snow. Before there was Xzibit, people were putting cars in cars. So what do you call the thing today? What is this thang anyway?

Is White Album just a story banking on nostalgia (at least, for the 2008 anime)? What about White Album 2? The characters in it clearly has some strong associations with the “outputs” of the first anime, in-universe. When Rina and Yuki were going at it, these kids were, what, 8 years old? 14? I forget how many years it went by–either by anime continuity or game continuity? It’s pretty cool that Setsuna knows all of Rina’s songs, because that means her mom and dad are probably big fans of Rina Ogata in order to put up with that. Or, alternatively, it usually is the work of an older sibling or something, which we know Setsuna probably does not have.

Youtube that sucker

Here’s another visual signal.

Ever go on Youtube and look for old videos of stuff? VHS era stuff? Yeah, this is totally that visual language talking. Like, I half expect every single Himikoden OP rip to have this, because like, DVDs were a thing but it predated that and it was one of those things you probably could Youtube for. Or, I don’t know, stuff that might have finally gotten DVD releases but only after so long, you know? Or, maybe, just cover it? I tried and didn’t find any VHS caps of Himikoden OP; just LD and DVD rips nowadays. But the idea persists if there’s an audience.

Enka is a genre that predates all this stuff, and it’s all this stuff. It’s definitely not what I’d call moe or whatever, but if we transpose the feeling from “a set of circumstances” to an icon, and if that icon happens to be a cute anime girl, then what? How do we manufacture wabi sabi? How can we convey feelings in general, for mass media entertainment?

Which brings me back to music. And White Album 2. I think music as a theme is one of the most powerful and succinct way to convey all of this, if not THE most. I suppose still mileage will vary from person to person. So White Album 2 quotes music from White Album, and that was just a stepping stone for two developing anison idols at the time, as each reach various degrees of fame–one got super famous, the other not so much–as of White Album 2. And in that gap of time, what happened to the people who played the game? Who sang the songs in karaoke? Are they waxing nostalgia watching kids singing their present lives in nostalgia-tinted lenses? Is this how we feel about Ogiso and Touma? That their personalities reminded us of things years ago? What’s actually happening in this show, its theme and atmosphere?


Everquest and Log Horizon…

Mayako Nigo rendered

So the guy who wrote Log Horizon novels, who is also the guy who wrote the Maoyu novels, plays Everquest. As someone who used to grind out late nights during my undergrad days in EQ, there’s a feeling, like some kind of radar signature, when I watch Log Horizon, that immediately identifies that “these are the same feels.” I immediately knew that whoever wrote this also did the same things I did, ran the same nasty corpse runs I ran, suffered through the same kind of mental drains that I did camping for crap, and all that, in EQ. In that way, Log Horizon is intriguing to me. And maybe only me, who knows? I don’t know too many people into anime that was into EQ at all. Anyone?

I always thought the stuff EQ put you through is nothing unusual by “today’s” terms. While that was true in 2002 or 2006 or even 2009, I’m not sure if it’s true in 2013 terms. I certainly don’t know how EQ is these days, now that it’s a full F2P game. Basically, no games today is as torturous as those early day MMORPGs; subsequent games simply have done the same things without the needless and painful details setting things up that way. Still, in a lot of ways EQ is the root of all these serious modern, western-style, full-immersive MMORPGs (along with UO, to an extent). World of Warcraft is pretty much extensively based on EQ, at least at first (I’d say all the way up to BC/LK era). In fact I remember getting into internet arguments about EQ2 versus WoW in terms of which is more of a derivative of EQ1, back in 2003 or 2004 or whenever it was. I think it’s pretty clear in hindsight. And with Sony buying EQ’s owner over time, I wonder how much of it bled into FFXI and now FFIV. Still, derivatives or not, EQ was a special thing back in 1999/2000, in a lot of ways, good and bad. And as someone who used to play MUDs, EQ was transformative in the same way Doom was transformative–its first/3rd person view changed the way the game was played.

Everquest’s impact on me is to the extent that I still think EQ is the game that defined me as MMORPG player. In episode 3 of Log Horizon, it explains that whole explore-new-territory thrill. As someone who’s done it (to an extent), it’s actually not so much thrilling as it is looking outside your window and seeing the sunrise, realizing you spent the past 12 hours in front of a computer climbing, I don’t know, The Tower of Frozen Shadow or something. You got to the zone boss and it’s bigger than the three of you can take on, so you call it a day after a silly wipe. And also because you got class in a couple hours. I really do not know how you can recapture that sort of exploration and adventure vibes in today’s MMORPGs, simply because it’s, heh, gone too deep in the database. It’s like the feeling of running in the plains of Egypt all by yourself, knowing no other soul came within a stone’s throw from where your character is standing, ever, because there were maybe 10k players for ATITD‘s first 3 tellings, and the thing felt more like “Full Gaia project” than anything. No popular game will be able to give you that sort of an experience, in this day and age. What we measure as popular has entirely transformed.

The lack of writing on this topic seems to reinforce my half-baked feelings about how relatively few people experienced EQ as I have, or as Mamare Touno. It’s all tempered by people who may have familiarity with generic MMORPG as typified by WoW. But WoW is sufficiently far from EQ in terms of “feels.” It wouldn’t send me into nostalgia trip every episode. It’s probably the only reason why I’m still watching the otherwise generic adventure anime. Well, “otherwise” because everything GOOD about Log Horizon, except maybe the moe or otaku elements, are basically the EQ-ness of it.

So in a way, Log Horizon anime is a great glimpse as to what drove a lot of people to play MMORPG during the genre’s formative days. It’s both about the gravity of social critical mass but also that the gameplay experiences built enough immersion to make adventuring a real feeling. Watching it and experiencing it second hand from media is certainly one way to share an otherwise elusive circumstance that’s within each’s reach.

PS. Full dive into nostalgia: I level an Enchanter for a while in EQ. From back then (I threw in the towel in Velious), it feels like the guy who is spinning plates while your party is focus-firing the mobs down. I mean, you literally went up to each mob and apply timer spells in order of your cooldowns and how long each spell lasted. And you sit the rest of the time (as a means to replenish mana). Actually you even do the same to your teammates to refresh their buffs. Needless to say if you are chain pulling groups of 4-5 a pack it really is like spinning plates. Enchanters do all kind of other stuff as well, being a utility spellcaster class, but that was their primary function in battle.

I mained cleric in EQ. So far we saw that one cleric (Yay same class as Yumi Hara’s character) from the Cresent Moon Alliance. At least back when I was playing, clerics are really must-have for high end guilds; you can’t really raid without them because they minimize the impact of wipes, and provides by far the best heal-per-mana ratios. In fact, you can only really field as many groups as you had clerics, because it’s a raid size cap in essence. Typical planar raids in Everquest was meant for 9 groups of 6, so that’s a lot of people.

Since Log Horizon starts you off at the level cap, it’s not clear what and how leveling from 1 to 90 is like. In EQ, it’s really the main game since it takes so long to level and by the time you cap, well, you at least know how to play your class (unless you bought your character or something).

Also, Shiroe and team … play on a RP server don’t they. It would explain a lot; or rather, how do Japanese MMORPG culture play out? Is it anything like the west? I guess FFXI players can chime in.

And then there’s raiding. I never really got into the raiding part of Everquest, despite being on a handful of them. That’s a topic I think more people can get into better because the core of it hasn’t really changed much, even if the dynamics in EQ was different than other games, and the hoops you jump through varied from game to game.

There’s also a big divide between PVP and PVE. I think that much is true for a lot of other MMORPGs, and in terms of not just game mechanics but culture and attitudes as well. It’s not unusual for two players to duel but it generally play out in retarded fashions in EQ, as it’s more about manipulating things like line of sight or casting range, playing to the Yakety Sax as one melee character chases another (melee or otherwise) in a circle around a pillar or something.

PPS. Everquest is kind of a crap game today. Although I guess so few people play it you can possibly relive the experience Touno lived if you got a group together. With just 5-6 people leveling together, with the right class combo, you can actually go through the far majority of the game’s content.


Reactionary Posting: The Role of Crunchyroll from a Cash Flow Perspective

Myucel

From this, I read that, and I’m like, LOL seventhstyle. But let’s just address this. It sure is better than the tl;dr I wrote last week about consumerism and conventions that I’ll post later this week.

First, the attitude seven took is simply unreasonable and it misses out on the big picture. I won’t get into it here, feel free to raise it in his tl;dr comment thread though. I will address the numbers.

TL;DR: CR actually pays quite a bit to the Japanese–probably tens of thousands per hit title.

Let’s say you pay $50 a year, that’s how much I pay for CR; during their annual black Friday sale they offer a $50 deal for a year of CR. It’s probably a lowball estimate because there can’t be that many freebie premium members at any given time to balance out the people paying full price, but who knows? It’s a nice round number.

If 200,000 users paying $50 a year or about $12.50 per cour (since IP runs for cours, let’s just say) then this season with 40 shows, each show gets (assuming even Steven distribution, I’ll get into it later) $62500 before CR’s costs. If we use seventh’s number for overhead (which is probably inflated because of various factors) then we’re talking about $7.50 per cour of overhead, or about $5 per subscriber per cour. That’s $25000. The $2.5 cost might be reasonable if we factor in not so much what seven is saying, but all the subsequent delivery costs (Akamai can’t be that cheap, right?), HR overhead, what have you.

Imagine if you’re the committee for Outbreak Company and you get a $25000 check just for streaming on CR. That’s $25000 more than if nobody used CR. I don’t know what kind of pot seven is smoking but that is money left on the table if people only fansubbed. Sure, this also means the production committee has to hire shoulder enthusiasts like this guy to produce the subs, plus other technical overheads. Let’s say they end up with $20000 left after all that work. Five grands for translation/subbing and other technical work is probably a reasonable estimate for 1 cour TV, but I admit this is just a guess along the lines of what I understand how much the Quarkboy-underling-types get paid. Five grand is also not much for a company to pony up to get an extra 20.

If an average 1-cour TV anime cost $2-3M to put together, it has just recouped almost 1% just from CR. That’s amazing. And you can be a part of that without even paying for anything, as this is just the benefits coming from the paying members. Free tier guys get to contribute using ads, and that ~10 million members is a lot of ads served. The expensive kind, video ads.

That’s also assuming people are watching any particular show equally, which is probably not the case. It’s prudent to assume some kind of long-tail situation where more than half of the shows this cour get only a fraction of 1/40th of that 3-month period, on top of all the other traffic paying member pay to view (and needless to say, non-paying members can watch whatever, although I don’t know how views and traffic breaks down). But there’s probably some popular shows that will get all those eyeballs. I mean, the corollary here is that 1-hr delay is the way to go. If CR pays out beyond the MG via their traffic, it pays to be as fast as possible. This is probably also why Daisuki isn’t doing a paid-delay strategy. Nor Hulu, FWIW. At any rate, CR loses money on some shows, probably, but will make it back on the ones that break the MG, and as per the long tail concept, a few shows break the MG by a whole lot. If the cost overhead for CR is low for all the loser shows, then it will be profitable.

Which gets back to what does matter: the minimum guarantee. You can forget all that math from seventh or from what I put down up there because in all these cases, as long as CR is a thing, they have to pay the committees for some kind of minimum guarantee regardless how well a show does. It’s guaranteed income for the committees. I don’t know what the MG is in these cases, but given the math we have it’s probably in the low 10ks per cour. Compared to the known MG for home video licenses, it makes sense. And it makes sense that the two can be bundled since one is a lot lower. The numbers are kind of in line at any rate.

To me, the biggest opportunity here isn’t so much that the committee can recoup maybe the salary of one grunt-level employee per show per cour, but it’s more of a marketing opportunity to test the water, to see how people receive your work oversea, to get some demographics data. It’s also a way to promote the work so people will buy the home video later on. And instead of buying ads, you get paid to do this kind of advertising? What a win-win. This is the stuff that could cost thousands of dollars for a multinational company to do. Instead, CR does it as part of their business.

But, sure, I get ya. Some people (myself included) don’t like ads on streaming internet tee vee. Some people like watching stuff offline. It’s easy to pull files from #news or wherever you go, I know how it works. But I don’t think it’s easier than flicking on my phone and have HD anime in my face < 30 seconds. Here’s my #firstworldnonproblem for you–I’m happy paying CR for the service they provide, because they actually do a pretty good job. Just ask FUNimation. So to take a middle ground, the diplomatic answer from Mamare Touno probably works just as well: don’t sweat it, but when you get rich buy lots of good stuff! Don’t sweat the little thing. It’s just $2.5 a month after all, at worst.


The Fanservice Frontier, 2013

Aside from my complaints on pretension, there’s a lot of fun going on at Digibro’s blog about Kill la Kill episode 3.

Satsuki

And in some ways, with OreTsuba now on US home video (Funimation, I respect you for at least this) maybe it’s good to revisit what this really means.

The past few years has been a turning point in terms of late-night otaku anime fanservice. On one hand, I think the overall quality has gotten better. It’s like with shows like Ladies x Butler and Kanokon, we’ve kind of scratched all the itch left to be scratch for any demographic whose itching is worth scratching, monetarily and in terms of popularity. 2009 to 2011 was high time to start to pivot, for various reasons, but also this reason.

Did anyone watch Yozakura Quartet Hana no Uta 2? My goodness. And Kill la Kill episode 3 has that…windboobzone thing?

I would take a step back and say that the fanservice in Kill la Kill is authentic and unpretentious in a way that fanservice is just fanservice. But it is kind of annoying in the normal moral high ground sort of way, as if it is saying something that is more worth saying than, say, Arpeggio. [I mean, if this was part of the discourse, I would respect Kill la Kill more. Like how I respect Panty & Stockings slightly more at this point, over Kill la Kill.]

Arpeggio is a good example in this regard because it’s in a lot of ways the polar opposite of Kill la Kill. The 3DCG use looks great when they are stills but terrible when moving in Arpeggio, and in KLK it’s great when things are always moving, and not as much when things stops spazzing. The story in Arpeggio is serious, but the fanservice is baked into the conceit of the story. The story in KLK is a commonly run trope full of hooks for reference bait, but it takes itself very casually. Arpeggio is the fulfillment of this concept, except trading jokes for fanservice (of a different kind). Kill la Kill is a drama vehicle about fanservice (so far).

So in a way, it’s appropriate to talk comparisons between a good anime and a questionable-at-best anime (just ask an Arpeggio manga reader).

And let’s talk about sexy for a second. Take this post for instance. I am not sure how many Bentens will appear in Kill la Kill. Or even the simple, next-door-girl type, Aika Fuwa. But this is one pivot. Short of going all the way home, thematically and in terms of consistency (best example off top of my head would be Yosuga no Sora), fanservice’s native advantage is that it is database-modular, you can pick it up and drop it in, or you could co-opt it wholesale. So YZQ and KLK are on the two opposite sides of this spectrum (although neither is at the ends, I think), while Infinite Stratos is very clearly going for just sexy characters, as an example of the middle ground.

Which is to say, it’s not really about pretenses, because that’s just a method. Pretension is necessary in a story like Kill la Kill, if we want to talk about shame, rape, the Nth reference to Utena-esque uniforms, or whatever. (Every time someone makes a reference to Utena in a blog post about KLK, God kills a kitten.) It’s why Madoka is pretentious or Evangelion is pretentious. Not a big deal, really, but, the story in Kill la Kill has to rely on pretend conceits and presupposed frameworks that can be challenged, like the whole Satsuki thing–the dress, the clansmanship, the class differences, the way her underlings work, the power structure, how she manipulate things to her own ends, and finally, her character construct. In as much as LordGenome (really?) and Kamina’s SOP is kind of a conceit, it’s easy to see the same sort of narrative style in Kill la Kill in which we have to ride the amusement park ride and see the theme fly by before our eyes, along with all the eye candy and Hell Yes moments.

How can an anime that casually drops the rise of Hitler to power not be pretentious? That’s like the Corollary to Godwin’s Law if such a thing was to exist. You know what’s not a pretentious fanservice anime? High School DxD. Infinite Stratos. Probably Yuusibu. Maybe even Freezing. In some ways, also those usual high school hijinks shows like Kyoukai no Kanata and Nagiasu. Why? Because it’s just normal fanservice, served up the way they know best and most appropriate to the work. It’s not some kind of pretend imagery that empowers women or whatever. I mean, nothing wrong with that, but that is pretension by definition. It’s a pivot.

Pivot like a handstand, you know.

PS. Chris B. reviews Funi’s Blu-ray and finally gets it, but is nonetheless marred by his first impression.

PPS. This post is brought to you by the word “pandering” which is the onii-chan of the word “pretentious” because like, give me a break. I would rather talk about moe (which I haven’t in a couple years?) than any of this.


Getting Down with Shiny TV Means Getting Ready

Digi Kerot has a primer. As usual you can wiki it. Basically think of this blog post as day one and the post below as day two of Shiny TV.

The main takeaway is Machiuke Prince. Click on these for Normal MV and Special MV, which is cool because that’s Shiny Festa/TV for ya. A translated version is embedded below.

I won’t get too deep into the lyrics and the little touches, but let’s just say it’s great to have Haruka’s USOTSUKI, Makoto opening the song and Miki closing the deal. It’s also very important to note that Machiuke Prince is while not the first iM@S song of this kind, it’s the first one of the relay medley style of song that could possibly be performed live in a way that is a lot of fun to watch. Those people who are planning to hit the two-day live in February, are you READY?

Some key thoughts:

Skill do translate over. I played Shiny Festa a lot–SS rank in two out of three, and almost SS in the third. And that’s not including my PSP playtime (which is not nearly as much admittedly). Notably, I play the group songs to death because they are fun and easy, plus you see everyone in those. (However I do admit I have not gotten 100% on most of the songs on M@STER.) So when I was unlocking those season 4 challenges, they all came pretty easy. Outside of Yayoi’s season 4 episode 1, I didn’t really have much problems. I guess Ai Like Hamburger was a little annoying because that one is also new, but not new enough like Machiuke Prince.

It was a feat of effort and stupidity to clear Machiuke Prince’s minimum challenge in Master mode while I totally forgot to turn on charms. LOL. Probably could’ve saved me at least 30 minutes to an hour.

It has to be said that the controller makes a huge difference. I only have a Sixaxis and a Dual Shock PS3 controller, and both are getting a little long in the tooth (although it’s not like I use them all that much). Actually, it isn’t terrible except trying to press rapidly on the D-pad sometimes. What happens is that there’s gradation in pressing down so some presses end up not registering if my finger didn’t reset back far enough. Don’t have this problem with the buttons on the right at all. The trigger buttons have way too much travel to be practical I think. And I never got the analog stick trick to work.

Which is just to say the PS3 controllers are way better than the PSP buttons on my first-gen PSP. Yeah, this is partly why I didn’t play Shiny Festa on the PSP all that much. It pays to get a good controller, although it’s kind of arguable if it’s really necessary. In the end Shiny Festa is not a hard game, nor is Shiny TV.

The Shiny TV challenges from Takane’s DLC pack is about as hard as Haruka’s. For me it’s slightly more of a challenge because I was never all that good with Overmaster and Next Life, although the other original songs end up being easier. Kimi wa Melody, however, I played lots! And somehow Ohimechin’s gravure mode came off as appropriately classy and not nearly as nosebleed-prone as Haruka’s or even Yayoi’s. Outside of Gravure mode, however, the navi costume you get from logging in however many times can be a little sketchy. I mean, what’s up with that Yukiho outfit? That’s like, Love Live level man.

I thoroughly expected to be schooled by Chihaya’s pack when it comes out next week.

PS. For those of you care to vote for Ready in that Anime Music Tournament, it is in the middle of the second round and losing badly to an admittedly god-tier song. Check it out! Voting closes in another 4 days or so.