Category Archives: Franchises

Humanity Has Declined 3 – We Are the Fairies

I have read more than one person’s reaction to Jintai 3 and complained about the lack of fairies. I think that’s pretty obvious why they’re not present–so far in 2 episodes, the fairies represents the institution in which our organizational/technological complex has become sufficiently…complicated to be understood by the public. The phenomenon of doujinshi publishing, however, is something easy to understand. If there had to be some fairies, it would be to explain to us how we got paper and electricity to furnish Y’s publishing operations in the first place. I don’t think we need any fairies to demonstrate the irony of Y’s actions, or to make a solid critique.

I thought episode 2 was tops in terms of actual humor, but episode 3 struck me as the one that is actually most interesting so far. The story begins with Y visiting our Main Character, explaining her assignment to create or continue to construct some kind of monument to bank the collective creation of human race in terms of history, culture and technology. The discussion quickly went to the direction of medium of storage, interesting enough. Why medium of storage? I don’t know, but if I were to guess it is to both lay the groundwork for what comes next, but also it is a very otaku-sai kind of thing to talk about.

The more important takeaway in that segment was how collectively it is de-prioritized over actually useful things and only idle workers (eg., Y) is sent to work on this project. In other words, it’s not something viewed as critical or important. To me that is already kind of ironic, if we were to assume fairies are sort of like symbolic human beings.

Y’s entire doujinshi movement thing is pretty cool in the sense that Main Character explained it to us as to how it is a way culture is created and propagated. There’s an angle you could take in there, in that scene; we can amuse ourselves in light of the nature of control and commercialism in popular media, and the real interests behind them, in parallel with what Y is going through. But that aside, we see the horde of rich girls that visits the village for their version of the Comic Market; the adults looked on with largely apathy, in which reflects society’s attitude to the same–as long as they don’t cause a problem and can sustain themselves. It’s just not really all that important. It’s is kind of amusing in that it is similarly making the same statement about the effort of collecting and archiving mankind’s cultural information. In other words, the job Y was assigned in the first place was equal or less important than her little sideshow. And nobody cares about either.

The thing that got me laughing was when the thicker, more comprehensive and competitive BL crap that gets published eventually caused a problem to the distribution network, and the couriers stopped distributing them as shipping these books were negatively impacting their ability to ship goods of greater importance such as food and basic supplies. Let’s put aside the innate joke about muscular men shipping BL anthologies for a second, and realize what it is actually saying. Given this was the only point of contention between “the real world” and the nonsense Y was doing, I thought it was worth a second of thought.

I’m just as weary of these otaku in-joke sort of thing as anyone else; for sure I consume as much as anyone else. Jintai’s treatment, though, does not beat around the bush in my opinion, and it hits the spot. I’m not sure if people sincerely enjoy waiting in line for 12 hours just to buy cartoon porn, or are they just people who’s never really been. I mean, I’ve never been and I don’t believe for a second Comiket does not have these fundamental problems that any organization and gathering of its kind would likely have at some point. In light of the troubles we encountered in the first two episodes, the fact that it’s making a joke about doujinshi is already kind of a question mark. The least it could do is to be honest about it.

Times like this I think about the funny media stories on big release dates about hit on productivity in the work force as people jet out of school and work to catch a blockbuster film or something. I guess that is just another way how humanity has declined.


Dusk Maiden Is All about Set Pieces

There’s a genre or style of today’s anime where we’re presented character development based on how well we know the character based on one-sided presentation of the information, and interactions are couched by the emotional state of the initiator in a particular transaction, and delivering the packaged goods in scenes. This is kind of the basic approach to directing that we know from Makoto Shinkai and it’s a very common device in visual novels too. I think Dusk Maiden of Amnesia is basically this.

The problem with Dusk Maiden is how we get this sort of approach but it comes together loosey-goosey. It’s like episodes of Bakatest where 90% of the time it’s just duders goofing off, but you occasionally get some sad and sappy drama thing that makes you go “dawwww.”

Well, maybe that’s just how the source material is. I don’t think that’s really the case for Tasogare Otome x Amnesia. The departure from the manga aside, the story worked the best when our climatic set pieces get the setup done fully, completely, and done well. I thought that made the final two episodes as good as they were. And maybe that’s enough. It’s the eerie parallel with the ends-justifies-means sort of thing, that Yuuko was fine with being [despoilered:] the result of the process that turned her into a ghost in the first place, if it means that her beloved’s offsprings were able to have that fated encounter and live on in her stead. It’s a tough pill to swallow when we’re talking about Yuuko’s story specifically, but thankfully this is often not the case when it comes to set pieces in anime.

In some ways it only gets more complicated when we frame this issue in the “is it worth watching 11 episodes of crud to get to that climatic, penultimate episode of things-come-together-in-a-really-good-way episode?” Well, I guess that’s kind of besides the issue. Regardless of what we’re watching it might be best to state that the better its set pieces are, the better off it will be? And in a way the problem about set pieces come to light only when the rest of the show kind of feels flat in comparison. To that end it is merely wisdom to set up your awesome sets at the end of the series.

Thankfully, while the darkness and light analogies in Dusk Maiden might have some parallel with the way, the brightly burning romance story doesn’t quite overshadow everything. I enjoyed the “Yuuko the Schoolgirl Ghost” part of the show perhaps the most; second to the dramatic farewell on part of TakaneYumi Hara’s delightfully acceptable overacting.  Yep, all Takane fans would enjoy this show, I’d say.

 


Books And Covers, Summer 2012

From a consumption perspective we can look at our intake of anime like a diet, where some semblence of balance and moderation go a long way to make what you watch more enjoyable. But that’s kind of not applicable to describe the voracious: people like me, who are always following a dozen or more shows at any given time. The episodic grind, to some, probably parallels more to a race. Each racer is some title and whoever makes it to the end, in first place, wins. I find this survival-of-the-fittest paradigm easy to latch to real-life practice. Take AX weekend–the 5-day ordeal significantly limits my anime intake. It happens to take place at the week where a lot of shows are ending and some shows are starting, so I have a slimmed pool of finales to choose from. Those I reach for first (in this case Tsuritama if you wondered) “wins” this figurative race.

Honestly, both analogies sound like jokes from Jintai as human society declines through its overly sophisticated detachment from reality and greed-based irreverence of consequences, from commercialism to consumerism. Anime is not created for the sake of people consuming anime, right? Chicken are not born because people would eat them, right?

Where is my sentient toupee?

I think people who are capable of this kind of introspection will get a kick out of Humanity Has Declined, or Jinrui wa Suitai Shimashita. Or just Jintai. Mai Nakahara’s wry delivery is dry and grit-free like the pastel artwork and children’s storybook-style designs, evoking enough of a dissonance once the viewer gets beyond its seemingly candy shell. Or in this case, chicken skin.

PA Work’s next original high school rom-com Tari Tari does not disappoint. Granted, I didn’t expect very much of it going in–much like how I didn’t expect very much of True Tears at first–but so far the show simply has a mind of its own and blazes its own path. The characters remind me of my friend Vinny, who does not take whining for an answer and would only bitchslap someone in his head, not in real life. (Let alone on the butt.) In this case Sawa-chan is a superior creation worthy of his adoration. I, on the other hand, find the entire experience on the oddish side of things and, as Hyouka would have it, 気になります. Also, you do note that Sawa is treating Konatsu like her equine friend, right, with that “pat on the back”? I guess that is C83 material.

I did watch the first two episodes of Muv-Luv Alternative: Total Eclipse at Anime Expo, so with episode 2 now airing this past weekend I can spoil some beans. Well, first off, it was not a huge shock that we’re rid of Yui’s friends, but it’s kind of gruesome. The real show doesn’t start until episode 3, so I really have nothing to offer here besides a good luck to those of you braving the games as a result of the anime adaptation. Oh, I guess I really like Kuribayashi’s ending theme. Finally something that doesn’t sound like every song she does.

Oda Nobuna no Yabou so far is inoffensive. Any show with Kanetomo-sensei deserves at least 3. That said I’ve only dropped one show thus far after 1. But watching 2 concurrent shows featuring warring-state generals as nubile anime girls may be too much; we shall see. At least in Nobuna’s show there are plenty of dudes, even old ones. Having at least tried my hand at the game (oh gosh which platform was it IDK), the whole thing is not entirely unfamiliar.

I dropped the Chiaki Kon-directed La storia della Arcana Famiglia, because Mamiko might be the only thing worth watching for me in the show. The lead girl is a bit too much like a typical reverse-harem lead. It’s not my sort of thing anyway.

If I needed more crappy Italian riffage, there’s Yoko Hikasa in Campione! if you swing the other way. Action, fanservice, a bit of a potato-kun action, it’s not much to riff on, actually. At least there’s some car-service. I mean, seriously, let’s put the “sha” in itasha. Or Pikasha for that matter. A bit of a personal anecdote: On Friday, I picked up this month’s Super Dash & Go! for the Yoko Hikasa photoshoot. I didn’t realize she was actually wearing some Campione-inspired outfit in that shoot until I saw the first episode about 12 hours later. Great way to leverage that 2.5D stuff in your mix-media focused mag, yeah? I think they’re doing it right if I am buying this magazine. Which now means I can take a look at how horrible the new ROD reboot is.

I rather enjoyed Kokoro Connect. It doesn’t look as stunning as, say, Hyouka, but if Hyouka was half as interesting as Kokoroco it would already be the show of the year. That said, Kokoro Connect is also an off-beat piece, and besides the plot device that makes me kind of cringe on the inside, I don’t see anything wrong with it. The voice cast is solid and I think they’re set up for some pretty cool drama. My only real concern is just how will they handle the humorous streaks…so far it’s kind of too subdued for my liking. If you can get through Natsukise, this is easy-peasy.

Like Jintai, I enjoyed Utakoi in a real-life kind of way. It’s by far the most educational anime I’ve seen in recent memory. However unlike Jintai, Utakoi just makes me cringe half the time. Plus, traditional love stories are usually not that funny; in that sense I applaud the show’s attempt to spiffy them up for entertainment. It’s way more palatable than Folktales from Japan.

Natsuyuki Rendezvous is a solid romance that represents the rock noitaminA is built upon. I’ll keep along; the Kuo Matsuo direction + Ken Muramatsu music combination is easy to go along with. Too bad I get the feeling there won’t be a spontaneous musical episode? As long as it’s not too sappy. The NTR joke is well-done.

So, I Can’t Play H is not quite the same as Dakara Boku wa, H ga Dekinai, so “I Can’t Do H” sounds much better. There’s a lot of plain nudity in this show; it’s kind of the schtik (in a High School DxD sort of way). I admit the “transformation” scene when the fire burns away Risara’s clothes is pretty cool actually. But is it cool in a “LOL Guilty Crown” sort of way or “LOL Queen’s Blade” sort of way? I think it might be the latter. Aya Endo lending her voice probably does not help.

Sword Art Online is probably my least favorite new show this season. It’s way too chuu2. From what I understand the first episode is just set-up, so I’m perfectly happy to give it three. So far there are little else that bothers me about the show, but nothing grabs me either. I guess with Accel World airing at the same time, I have another source to tap into that fantasy genre-turned-shounen-formula. The plot and device of SAO is better fit for a joke than anything actually intriguing. I mean, how can people take it seriously? I enjoy the jokes way more than the anime thus far. Like the one about Korea. Or Brazil. Or China.

Nakaimo is… WHO IS IMOUTO? THERE IS A SISTER AMONG US. Who is imouto indeed! I mean, this. It’s a harem anime this time, straight-up with the Mom character saying “Dude, bag a girl, get married, win your massive inheritance, you’re already deemed talented enough.” It’s not my favorite sort of setup for harem, but I’m going to take it like a man for Jtor here.

Koichoco is short for Koi to Senkyo to Chocolate, which means love, election and chocolate. It makes no sense unless you watch the show. I guess going in the show I know it only by name and by heritage, which is to say I was expecting something closer to this. But I should’ve known better and see it may be more like this. Well, the voice cast is intriguing so I’ll give it a spin. Most likely I’ll be entirely off base anyway, why fret?

That’s it for now. Meanwhile I’l leave you some food for thought about the decline of humanity.

PS. I was going to link it for the Tsuritama post, but odP’s PV about fishing that debuted at AX is appropriate in the decline of humanity sort of way.


Tsuritama, Fishing

Have you ever caught a fish? It could be at the goldfish scoop or on some badass party boat off in the Caribbean, whatever. I think the largest fish I caught was a striped bass off the Jersey shore. Close to that was probably some bluefish after my flounder bait. But the striper? About 26 inches. I’ve never fished Mahi-mahi but they’re about that size, and have much more of a fight. Can you imagine how it feels like pulling in a Mahi-mahi the way Natsuki and Yuki pull them in? It’s exhilarating.

I think there is something beautiful when we take something relatively mundane and turn it upside down, inside-out, and explode it into the scale of saving the world. Except fishing is even more than that. By itself it is already a time-honored sport and a way to get some delicious dinner. The thrill of it isn’t as sadistic as, say, hunting, but nonetheless a real trial of skill, luck and patience. It’s as refreshing as sea-sky pirates are refreshing. The ocean and the wide open skies clean the heart of men.

I think that is the undercurrent to Tsuritama. Ultimately the story is still a fairly straightforward youth-adventure plot. It’s easy to see how you can edit the 12-episode series into a 120-minute feature film, complete with multiple twists and climaxes. The plight of Haru and his quest to save the world is almost like how an alien dropped into a Summer to Remember, minus the glasses fetish, and instead of MIB you have Men In Space Channel 5 Cosplays.

Also, Tsuritama has an ensemble cast that surrounds the four main guys, each holding a vital role in the final operation. The narrative has long since foreshadowed this division of labor; perhaps as early as the very first scene of the very first episode. All of this isn’t really a boon or a minus, but for those of us who aren’t really into fishing but are into popular media, it’s a life preserver to keep us above water within the torrents of a Nakamura original. Well, torrent is not a fair description (at least before the typhoon comes in)–this is by far the most accessible Kenji Nakamura work ever.

What RP mistaken at first glance is probably what gives Tsuritama real credibility: it’s actually about fishing. You see Haru and Yuki learn to tight that knot. You see the tricks of surfcasting with a lure. You see how Natsuki rally a school of mahi-mahi. You learn how to drive the boat for those big game tuna hauls. It’s quite something to see the material in the anime; it’s even more seeing it animated. That lends the show a degree of authenticity that even summer blockbusters struggle to obtain. Just compare it to Summer Wars for example.

I think in this day and age, having that kind of authenticity is what really makes the story compelling. It’s easy to find an anime or manga about  any subject under the sun. But will it just be another formulaic hash where the subject matter drops in like an interchangeable part of a Jump formula, or will it actually dictate the nature of the story? I guess in Tsuritama’s case, it’s something more in-between.


Natsuiro Kiseki

LOL SPHERE ANIMU.

Okay, so let me try this–I’m not really a big Sphere fan; I enjoy the works of the voice actresses on their own, and some of their singles are pretty fun to listen to. I also have a couple of their albums. But somehow I have these conceptions, perhaps true, perhaps not.

Ayahi is the least popular. I think it’s unfortunate that given a group of real-life idols you’re going to have a person with more fans than others, but that’s just how it is. It’s not even for the fact that she might be the most talented out of the group, as people generally recognize that Ayahime probably has the best singing voice out of the four.

Minako is the prettiest, at least by recognition. But she is probably the least capable actress in the group.

Aki and Haruka are the most prolific, but obviously Aki is the most popular and Haruka, aside from being boosted by her solo stints pre-Sphere, is a little more of a controversial idol. At any rate the two of them just have done more, be it singing or voice acting; I believe a lot of the times they land roles simply because of their relatively diverse skills and in Haruka’s case, a great range of voices she can do.

I don’t think he’s too off base to say that Saki has a major part in the show and she might be the “best” character. I also don’t think it’s a coincidence that Minako and Ayahi have a lot of lines; in a way this anime is made to showcase the girls in Sphere, especially those who do not get lead roles so often. I also think the four characters, in some way, match their voice actors in terms of their perceived personalities.

What you get in return, though, is that Minako just doesn’t quite cut it. I thought it was tolerable but the scene on the boat during the episode when Natsumi confronts Saki about Saki’s feelings really tested Minako’s ability to do a convincing job. I thought she passed; given Yuka is probably one of the most phoned-in role from Tomatsu in recent memory, it doesn’t behoove to be overly strict about Sphere voice acting in the Sphere anime when the characters are simply takes on the girls themselves.

Indeed, what do you have left? Aki’s Rinko is adorable, but given how little she speaks and that the passing bar is “adorable” it is a shoo-in for Aki. Ayahi’s Saki, again, carries the torch. I thought the Yuka-as-Saki episode is one of the most interesting thing I’ve seen in a long while, at least from the voice acting perspective. I suppose in the end there’s still something to be said of hearing Minako as a straight-and-narrow tomboy, which just never really happens.

As for the story and production value and music and whatever, well, I have no complaints. The writing saved this show. Seiji Mizushima has solid chops. I have liked Nijine’s sound in the past and Masumi Ito’s involvement probably helps a bit. The animation was tough and rough at times but they doubled down when it counted. The theme and the plot devices works to both obfuscate the basic premise and add a predictable but comfortable depth to the characterization that subtleness has room to grow. Like the hug Yuka gave Natsumi at the end.

Let me unpack that a bit. The character chemistry pairs off clearly from the start; it’s Yuka and Rinko, Natsumi and Saki. But there are a few precious moments like when Rinko flashes her flushed smile at Natsumi, or how Yuka’s own sense of joy about life infects Saki. It’s a bit like Rinko’s mom, knowingly squint at Natsumi’s mom in the last episode.

I thought that was probably the climax of the series right about there. Except that was probably a few weeks ago when they visited Saki’s new home-to-be.