Category Archives: Franchises

Mid-Season Update, Spring 2013

Anime blogs are suppose to blog about anime right? Can I stop being one?

Before I begin I just want to talk about the APR. The anime  power ranking is a lot of fun and if you are a regular simulcast-y type viewer, maybe Kevo would have you give him your 2c every week. I’m a major slacker and wish I could be home and send emails about anime on the weekends, but that is usually not typically possible after Friday night and until Sunday night, when the APR is calculated.

Guilty plug aside, I guess I’ll keep it simple: Up, steady and on hold/dropped. Links to viewing portals. Ordering is semi-random.

Same Same

Up

Gargantia on the Verdurous Planet – A veritable science fiction healing factory. Hanaharu’s character designs alone might be worth the trip by itself.

OreImo Season 2 – I think this season is really bringing the pain, and for sisucons pain is not always a bad thing. The awkward exchanges between Kyousuke and his friends is at least less painful than Aku no Hana’s painful exchanges, which is good; that’s a sanity check. But it’s not a sanity check every seishun rom-com would pass. It’s probably up because we’re in the middle of the Shironeko arc.

Flowers of Evil – Since I am going to Animazement I probably should watch this to field questions for Nagahama. But it’s also just kind of an amusing show in that the bouts of fear, doubt and madness are baked into the atmosphere, only to be punctured by the visuals. The rotoscoping works both for and against the whole endeavor in a strange way. The story will continue to descend into insanity and who doesn’t love that? At least it’s an easier watch than, say, Texhnolyze.

Muromi-san – It’s half-length, but only if all gag anime was like this. It’s well-paced. It’s also the sort of Yukarin role that, well, is the best. Only if she plays characters like this all the time. That and people like this.

Attack on Titan – Well, it’s a fun show how despair continue to be front-and-center to the plot and theme. I just don’t know if that despair is for us or for the characters, because there is clearly a separation between “getting into the show” and “enjoying the show” in this case. Maybe this is because it does not focus on the plight of a single character.

Steady

Devil is a Part-timer – It’s a fun show, with solid comedy both ways. I’m 1001% in Yusa’s camp though. Chiho is adorable but I feel she’s the weakest link so far. With the addition of the new character in the romantic formula and the end of the “introduction” arc, however, I’m not sure where this show is going to go.

Valvrave the Liberator – The problem with making a show that has clear call cards from all your past hits is that the audience expects your past hits in your new shows, and it is really difficult to surpass all your pass hits. At this point I half expect Valvrave to go the way of Geass R2. Will it jump a shark? It already has. But will it jump a dozen sharks? Will it jump over a shark pyramid? Will it jump over shark Starfleet? I don’t know, but I know I will find out soon. That said, it would be a very considerable feat if it can replicate all that shark jumping in Sunrise’s back catalog while remaining coherent, and arguably it is on the way to do just that.

Fly like a bird, I mean, bat

Majestic Prince – Great show, for the Tatsuo Sato disciples among us. I think it’s going through a dull period but hopefully things will come together much better than Rinne or Pirates. After all it resembles the Stellvia template, which is probably the more successful line of shows. Unfortunately it’s kind of a wash for everyone else.

Space Brothers – Really glad that I had this backlog to work through, thus enabling me skipping all those recap episodes. Also now that the show is back to civilization, the full blown expectation of Japanese people hoisted upon unrealistic American experiences is again on display, highlighting yet again the real barrier between human and space exploration is human. And I mean it in the jaded, ironic, culturally hilarious kind of way.

Nyaruko-san W – I can’t really be bothered by this show but the shotgun jokes do still find their target week after week. It’s definitely a drop from last season and to me this is now a drop-worthy show that I’m still watching partly because of blogging obligations.

Henneko – The cute factor increases or at least keep steady weekly. I’m going to get diabetes watching this anime, but I look forward to it anyway.

Photo Kano – I was going to drop this show until I watched the photo shoot with the student council president. I am not sure what that says about me (probably nothing flattering) but the visuals are worth a look. I think this is really an “anime no chikara” example because without the animation direction this show is totally crap-tier. I like how it makes me feel like a dirty upskirting otaku without being one, but at the same time some really enjoyable visuals, with or without fanservice. I hope that one photography girl’s episode is all about dutch angles or something.

Sparrow’s Hotel – It’s a sin to be watching this without finishing Inferno Cop. I probably should finish Inferno Cop. Maybe same can be said of Nin Nin Shinobuden. Half-length. I’m actually a couple weeks behind but I think Minori Chihara’s greatest power is leveraging her natural ditz.

My Teenage Romantic Comedy SNAFU – OreGuile as I call it, it’s like a more pleasant version of Haganai in my mind. Which is probably a good thing. Also, what’s up with making Hayami Saori do the chew-you-out routine? I hope some enterprising people have made a cliip of it circa Tari Tari. I mean I would pay for this. Seriously.

Railgun S – As long as it continues to dish out things I want out of this franchise, I’ll continue to watch it I guess. The set of things I want out of this franchise may include beam weapons, awesome combat scenes, and that nostalgic, early 90s “winners don’t use drugs” mentality and themes. What I have to put up with kind of evens out with what I get, so I’m not in the greatest hurry or most wanting of this series.

Hold/dropped

Yuyushiki – I want to like this show and for the most part I do like it, it is likable, but the pacing suffers greatly. I might still stick with it, I don’t know.

Zettai Bouei Leviathan – Same can be said of this show. It’s way weaker than the other anime with Leviathan in it. Other than for the seiyuu, nothing is lost by dropping this one so it made a quick out.

Date-a-Live – I really enjoy the premise and they started off with a nice, earnest-type tsundere character, which is a very safe bet. I hope the show lives up to its creative premise. It’s on hold because there’s too much on my plate so this anime will take a back seat; also I don’t feel I have a good grasp of this show at 3 episodes in.

Chihayafuru S2 – I decided to put this off because it is really easy to marathon later. The funny thing is, after I got back from Japan I was going to catch up, but the word of a recap episode kind of put me off. So it continues to be put off. It’s going to be fun to watch either way you do it, so I think it’s no big deal other than having to mute everyone who tweets about the show.

The Severing Crime Edge – I just want to hit up all the fetishes every week. Not enough of a reason to continue I guess.

Red Data Girl – I probably would be watching it every week if I didn’t have to dodge people who are watching the pre-release, and as a result unable to talk to anyone who is watching this show. I mean, I know many of us are not watching the pre-release but this totally ruins the overall discourse. That said I’ve not dropped this show, although it’s up in the air if I will end up finishing it.

And that’s all folks! Actually, I’m probably missing something, not including the shows I didn’t want to include (I did skim through some Carnival and Utapri). But oh well…

PS. Aiura – This is, like a teaser/demo/sampler right? It’s both funny how people whine about its length, and how cruel because it’s so good yet so short. At the same time I think I’ll be okay if every episode has a shot of the back of the leg of someone lying down, the whole time.


Flood OreImo Web Radio with Your Overflowing Affection

“Otakus of the world, unite!”

DJ KURONEKO is probably a real DJ.

Should I put a [sic] there? I guess not. Anyway, Oreimo season 2 web radio has this corner where they are reading international fan mail. So it’s really neat. What’s even more awesome is how the web radio page got a translation so you can just waltz over and type in nonsense and hit submit. I think it would be great if all the oversea viewers of OreImo got to send their messages to the radio show.

To do it right, I think you also need to try a few things.

  • If you have some Japanese ability, try to write your message in Japanese. It’s okay to use terrible Japanese if you are a legit gaijin, and I think it’s kind of a good thing, as that gives them something to talk about. But it’s also impressive if your written Japanese is top notch.
  • Approach the message like a letter. Write a “Dear Miss Taketatsu and Miss Hanazawa” in there or something. It’s okay to close with “sincerely yours” but it’s probably not as important as the initial bit of the letter. It’s tempting to treat it like an internet blog comment, but this is a radio show still, folks.
  • Include where you are from in the letter. And generally stick to topic.
  • Additionally if you can handle listening to the previous episodes (well, just ep 2 and 3), give it a spin and hear what they say about the segment to give you an idea what to write.

I ended up using machine translated text. Great thing about Google’s web interface is that it has text-to-speech, so I can translate the text and hit playback to at least make sure what I wrote sounds okay, even if I can’t read it.

Most of these tie-in radio shows are pre-recorded, and so is this one. New episodes come out twice a month on alternating Thursdays (Japan time), but it makes me think that they’re recorded at the same time. At least, given episodes 1 and 2. I’m guessing if we submit comments to the show today, it probably won’t show up in the next week’s episode.

I think this is a great way to show that oversea fans can represent. They’re asking for it. Let’s give it to them.

PS. Just want to document this … thing some more.

https://twitter.com/oreimo_anime/status/335005608908582912


Jojo Generation

Lisa Lisa

I was listening to this at some point before my trip in which the interviewee, a internet-popular personality defines meme as an idea that passes through generations a way DNA does, but just faster. Then I thought about Jojo.

I viewed Jojo TV marathon-style, but in sprints. The first 6 episodes I took it weekly, then I watched like 7-14 in one shot, and then 15 to the end after maybe a 3-month gap. I thought it worked well, except that the last chunk of it I was kind of just plowing through while half-tired and jetlagged, on a plane.

Feeling tired while watching the climatic end to Jojo made it a little less dramatic. But watching it marathon style does nothing to hide the feeling that the same formula in which the same kind of thing happens in the first arc was used in the second arc. Maybe it’s a good way to see how the 1800s isn’t so different than the 1900s. I don’t know if it’s true or not, at least when it comes to the content of our heroes’ hearts and the curse of the super-species of man that started eons ago.

It feels like memes are the anachronism for the future? Like, it is both a pot mark in the past in which the future can “understand” (eg., via name dropping) and also a way in which the future can connect to the past (eg., generational). It’s just the vantage point differ, since there’s that arrow of time and all.

 


The Key to Decode Gargantia

Gargantia ep5

I really enjoyed Gargantia episode 5. It’s got fine girls in skimpy bikinis (Hanaharu wau), giant robots, ocean-side BBQ, a light-hearted aero-plane race, a foot chase up a spiral tower, high-vantage landscape shots (complete with water-umbrella-rainbow-all-that-jazz), unconventional use of beyond-high-tech, fine weather, sunshine, relaxing in the shade, girl talk, retro scuba suits, teasing the AI, sauce, party, and this:

[] This episode gets to the heart of Gargantia, and its true meaning as a statement of sociopolitical solidarity with Japan’s young generation of much-maligned NEETs and freeters. Urobuchi has said the show was intended as a statement for these young people about to enter the world.

And frankly, it’s a little too on the nose. It’s not even subtle.

Here’s Ledo, poor guy finding himself uncertain about his life for the first time. He’s been raised in a strict, regimented educational system that prioritizes efficiency and is dedicated to only one thing: passing exams, er, killing space monsters. But in this new world, vaporizing people is looked down upon. He has his Master’s Degree in Space Monster Vaporization and it’s completely unsuited to the needs of the post-wormhole economy.

And on top of the unemployment he’s saddled with massive debt he doesn’t even begin to know how to pay off. Sure he has some neat technological gizmos that allow him to do cool things, but what can he *himself* do? He’s not sure, and it seems that no matter where he looks on the ship, there’s no place for him.

I think it’s not even subtle since the beginning. And for people watching anime this way, it’s not the first time we’ve seen a show that served this up like that roasted hog with an apple in its face. It’s been a while since people are cheeky enough to adopt post-bubble philosophies into their stories–probably in the early-mid 00s.

For the sake of completeness, please read this from our dear Butch, who too had to struggle to make a living and get to the point he is in his own career. I suppose he’s just enjoying the fruit of his labor!

Butch's specialty

Update: Added this quote from ANN’s interview of Kazuya Murata, director.

What do you hope people take away from the experience of watching Gargantia?

For the Japanese audience, I would like “young people who are about to enter society” to take the message, “Don’t worry. Try. You can do it”. For the larger audience in the world, I want them to have the message, “Whatever could happen, we, human beings, will be alright. If we all together open the path, the future will always be ahead of us”.

Looks like they really want to get that message across. That said, Murata is probably a good reason why the show has such a positive vibe.

 


Girls und Pander: Complicating Simplicity

not a naked baby

If opinions are figures, then narratives are molds and 4chan is like, I don’t know, Native or something. ANN would be like Kotobukiya where they are steady and yet erratic. There would be no Good Smile Company.

The recent FREE “Swimming Anime” thing (see these posts for an idea) makes me realize a few things about looking at the story about women and JP home video sales. I think it’s safe to say that if you take 1000 units sold of any given anime, you will find at least one unit purchased by a woman, and one purchased by a man.

The best data to refute people who say women don’t buy anime is to just restate that assertion (and it’s not backed up by any facts, mind you) in the form of “So all 310 thousand people who bought Eva Q have neckbeards that would have made Toren Smith proud?” What I’m trying to say is to appeal to people’s native sense to statistics. One in 310,000 is pretty damn small odds. A hundred in 310,000 is still pretty damn small. But how about a hundred thousand in 310,000? Just how many people who bought Eva Q are of the XX chromosome? I don’t know.

And the truth is, anyone making these kind of assertions don’t know. So we can only guess. And if you guess, you’re really just having fun on the internet playing a guessing game. What I find is that if someone has some ulterior agenda besides playing the armchair anime producer game, their inquiries will vary by a lot. For most, even the bros furthering the “girls don’t buy anime” narrative, they don’t deviate from this mold. Maybe that’s okay. It just means they will be off their game because they want to stick a round peg into their preferred holes shaped like “girls don’t buy anime.” Maybe they can get away with enough strength of persuasion, but there will also be a better rebuttal. And invariably their arguments are not completely wrong, just wrong enough that they should know better.

I think there is more to the numbers than that though. For one, it is very difficult to categorize anime in a way that illustrates what is “made for girls” and what isn’t. Let alone what is made for whoever. Truth is far majority of anime out there have crossover demand. I mean duh, anime that panders to both males and females, on paper, will sell more than anime that panders to only male or females, given equal everything else. This is why I don’t watch Gintama, but lots of girls do. That is also why I don’t watch Gintama, but lots of guys do, too. I mean, what is this? Who buys Fate/Zero? And what is Fate/Zero marketed to? Why are there four seasons of Marimite? Even FREE–it might appease the sakuga otaku if it comes across as top-notch animation. And most sakuga otaku are proably guys. Probably. Does this mean this anime sells to girls? Who knows? Who can know? All we know is that the promo material feels very much like fanservice for girls.

And more importantly, what is anime made for girls? How is that different than anime that is made for girls, but guys can also enjoy? And how is that different than, simply, One Piece, Naruto, or most Jump titles? Does the DVD/BD divide matter? Do clock-shows work on a different framework? How about movies and ONA and OAVs? Can we extrapolate from manga or light novel sales figures and breakdowns?

I think that’s the kind of questions I would like answers for. It is the logical next step.

My own narrative on this is more about how the late-night otaku-targeting anime system is still relatively new (circa 1997) and while there has always been anime made primarily for women as the audience (to the exclusion of men of any age), shows like FREE belong to a newer breed that uses the late-night otaku anime format. It might not be a notable difference to the audience but it’s a notable thing when it comes to the business end, and this is partly where it shows in terms of Kyoto Animation doing it as a new type of committee based on an original concept. Thing is, anime of this kind is a growing scene, and we should expect more titles season after season in the near term. Maybe they’re just trying to head off a new trend.

It still doesn’t explain why I like Tsuritama. Or why I don’t think KyoAni’s original titles have really found any real lift.

On the flip side, if I was a producer for FREE I would probably care less if girls or guys buy the show–as long as people buy the show. The information only helps to focus marketing and pitch any subsequent production. Which is why it would be great if 4chan/a/ decide to post pictures of broken Blu-rays as if their Waifu Animation Studio got impure. And also why, in the end, demographic doesn’t really matter. It’s just one more thing to obfuscate the truth (if such thing exist) as to what will sell. Given Kyoto Animation’s track record, everything they makes will sell pretty okay. Even Nichijou.

Only if  Yamakan can set anime FREE.