Category Archives: Working!!

Autumn 2016 Housekeeping

Just some housekeeping items. Links to relevant quoting. Bolded for topic. Some replies to blogs and some are just seasonal anime musings.

Shall we make a wish?

Usagi Drop is a solid anime, don’t let people who follow/read/gets spoiled by the manga tell you anything otherwise. It’s not about morality, but about mode of consumption and letting that dictate what you ought to do, when it might not be a good reason. When I read that post I thought about how anime adaptations sometimes live in this different world than the manga experience. Then again I dig these kind of controversial stuff so I am hardly unbiased.

The only thing I can say about Shirobako’s commercial success is that they sold out of the first run of the Blu-rays pretty fast, but that might have to do with low expectation to begin with. It already has a Blu-ray box on the horizon, too. Given the industry these days it would not be a surprise to hear in a couple years that PA Works will go back to that well. Certainly it would out-delight that recent announcement about Uchoten Kazoku.

I have mixed and some reserved feelings about Girlish Number (PSA: don’t put the (a) in there). I think it is also the anime made just for me. I say this only because a number of us have said this. Are you one of us? For well-intended Americans and Canadians, the show streams on Hulu on Wednesdays with 1 week behind-cast schedule. I might actually do this to rep the show (especially now there’s no more ads for paid service). Anyway, as much as I still have mixed feelings about the whole thing, I can’t expect any more than what it has already given me: a satire on seiota fandom/industry.

Adults are different, but overrated. I would even add a lot of people enjoy adults who act like this, what is the point of being one then… I can confirm this observation, although I made it when I first watched Yuri On Ice. When it comes to pro figure skating, age ranges can run the gamut…of young, as it’s not a sure thing based on the teasers. What’s more interesting isn’t why but what it does. I feel that can make some shows more interesting (Matoi) and some shows tried and tired (3gatsu). Maybe it doesn’t really matter. Man Shaft doing 3gatsu feels just all full of try-hard. I guess when Yamamoto Sayo is directing a girl-pandering anime in the same season, nobody can win against that. On that note, it’s good that we have adults, in the case of children hitting each other with butts and tits seem to call in the moral judgment police–that’s one valid use case.

Matoi and Mahoiku are both good shows to watch together if just for comparison’s sake. I can’t speak about magical girl anime or which tier of nerd hell we’re in in regards to talking about them, but these two approach probably very similar things in a different way. I mean it’s obvious Matoi’s mom will come forward as a key plot item, much like the dying game Mahoiku is doing. Can we get that idol killing game an anime too? (And … Idol Death Game TV TV would be delightful of a name for a TV anime. I kid.)

There’s some Chinese animation that passes for season fare this season. I’m not sure how to feel about all this, other than the toilet humor gag anime does work still. It really comes down to the core staff and material. Also, if the skill and process still need development, try not to create something too ambitious like Bloodivores. Maybe this is related to that one news bit about an animator thinking there are not enough animators to go around. Well, that seems like an obvious thing.

Izetta had me at episode 1 and lost me by the OP. This gun-riding witch thing is hilarious, in that while I’m okay with it as a matter of plot, I’m not so much okay with it when it is the main visual gimmick. It also reminds me of a D&D character I created who would swing around a Spell-Storing Broadsword. I have nobody to blame but myself, to a degree, but this is dissonant when you expect something closer to Indiana Jones and got Guilty Crown (ok not that bad).

Euphon S2 is great. I love what it has going, but I hate how it’s 2 episodes long for a pilot. This show doesn’t hold my attention very well…except if I can marathon it. The voice acting seemed to change even closer to live action. That took a little getting used to.

Nanbaka is dumb. Natsume is chill af, FliFla is weird I guess? I think I would tough it through if it had a good story to tell. Maybe it’s like reading some good writing on news blogs and only to realize the stuff they talk about is dumb and empty. Quality art/passion projects sometimes feel like more an exercise than a thing that can take on life on its own.

What else do I need to name drop? Drifters is OK. Udon no Kuni is not bad, and I like it more than Sweetness & Lightning so far. Trickster is uh, Gackt? I love how 1hope Sniper works in this and that always mean I end watching the episode smiling. Brave Witches is, well, a brave new sequel. I feel like Brave Witches is re-engineered for the present, in that this series incorporates some lesson learned from other franchises and its progeny. I have some hopes for this in fact.

Ping Pong Girls should deserve its own paragraph. It actually is less unlike to Ping Pong than I expected, which speaks volume for something mostly I consider as “throwaway Chinese anime.” Oh wait, I guess that would be Idol Memories (although the Chinese lessons are luls). I mean, what do you call these anime that are clearly made with the, uh, Tencent market in mind?

WWW.Working, on the other hand, seems to be made with the dumb audience in mind. It lacks a lot of craft and charm from the original series, but there’s enough carry-over charm to stick with it. Or maybe because the original series just wasn’t that good so the dropoff in quality doesn’t seem so bad, I’m too stupid to tell. Maybe.

PS. Such cramming for CG4th begins. Let’s see what that does to my viewing schedule. Someone asked me a couple days ago which shows are my top this season, and they were Yuri On Ice, Girlish Number, and maybe Occult 9 or Keijo!!!!!!!!. I don’t know if I have a number 3, but I can see a few shows making strong moves to that spot, with Takkyuu Musume, Matoi and Izetta probably moving up the ranks.

Year in Review: Team Iri Wear Pants – Comedy Reigns in 2011

If Mawaru Penguindrum can be explained by the transfer of fates via the vehicle of an allegorical apple, then Fate/Zero can be explained by the wearing and ownership of pants. The idea here is that, well, what did Rider work to get? What did Saber wear? What did Iri wear? In Urobuchi’s world, people wear pants. I mean that is typically what happens during winter in Japan anyway. Without spoiling it for you, the winner of the Holy Grail War this time also wear pants. All who survived as participants wore pants. Pants is clearly necessary for survival in the Holy Grail War.


I’m going to say that 2011 is the return of the comedy. There were a lot of funny shows in 2010, but it feels like the funnies have for the most part stayed for the year as well. What is notable is seeing more of it in serious shows. I think if OreTsuba can bust my guts laughing, anything can. The potential is there.

I mean, talking about Mawaru Penguindrum again, was it funny? It isn’t epic funny like those Nanami episodes in Utena, but there were good chuckles all along the way. And man, Ringo. Ringo!

I watched Nichijou and Sket-Dance this year, so that may have skewed things. I think Hanasaku Iroha sometimes is really funny, although I don’t think some of those instances were intentional.

Working!! returned, which is usually solid for a few laughs. Bakatest, too, had some really big ones, despite season 2’s more somber tone. Squid Girl S2 also was solid, again. Majikoi and Horizon had laughs, and the latter is as serious as Fate/Zero is. Haganai, for the most part, was still funny. Oh wait, I’m suppose to laugh at the manual stereo mage orbit talk was I?

R-15 was pretty funny, despite being more hetare-funny half the time. Twin Angel was all hetare-funny all the time (but it wasn’t THAT funny unfortunately). Yuruyuri had a couple gut-busters, which is pretty surprising. And in 2011 we learned the true meaning of being a mage.

Going back to the start of the year, we did have Mitsudomoe S2 (which was pretty funny for the most part). OreImo True End was funny enough. Level-E was epic. And, well, there was Qwaser S2.

Looking back I think I ended up watching more comedies this year than what is fairly represented, but that is probably because they didn’t suck, like, say, in 2009.


This year I read both the fan-translated Kara no Kyoukai series and fan-translated Fate/Zero series. They are available here and here, respectively.

As a result, over large stretches of 2011 my mind is full of Type-Moon-ness. It is like a keg of kerosene to react to some spark from Type-Moon. But Fate/Zero isn’t that spark.

Carnival Phantasm is that spark that blew my mind. I’m not too sure what to make of it besides that I have to fight that urge to import the whole thing. Because it doesn’t seem to make sense especially since I missed the boat on all that Take-Moon stuff way back when. I mean this is before Fate/Zero, sorta, and Fate/Zero’s been around the block once or twice already.

There is so much that goes on in that show. The visuals are engrossing and varied. It is funny. What the hell is going on? I don’t know. Does it matter? Not really.

The only regret left is that Fate/Zero content is not represented in Take-Moon, and thus missing in Carnival Phantasm. I mean, take a look at this to get an idea.

PS. #cp_dateall ftw.


Year in Review: N-Listing

So, the tradition continues. 12 lists of 12 things. Some are ranked, others are not. One this year is not ranked but merely numerated.

Continue reading

Brainstorming Guilty Glares


“Oh, I forgot this turns you on.”

“Are you disappointed that I couldn’t turn you on more?”

“I forgot there are other people working at the office.”

“That smoking pose, so cool!”

“Why are you looking at me like that?”

The cosplay is mightier than the sword.

“Get back in the kitchen.”

“You’ve got me confused with some wan wan wan else”

“Are you checking me out? Because I can’t tell under your bangs.”

“You know, Kyouko-san never taught me the correct reaction-face in these kind of situations.”

How does Inori’s clothes stay on her?

Can you wag your tail?

Smoking cosplay.

“Chi-ha-ya Furu–furu furu moooooon.”


“I’ve got nothing.”

“That’s what she said.”

“No, it’s not the plot device you’re looking for.”


[Insert your own captions below]

You Know It’s Been a Good Year for Comedy When…

Author is writing about people’s perception of 4koma presentation and breaking things up. I think it is a matter of personal interpretation but the switch between a seamless medium and 4koma is part of the tricks of the trade of comedy and presenting manga. After all, all manga begins on a blank piece of paper. “Koma” is added to give presentation its structure, and we stop at 4 identical framing for various other reasons, to give it even more structure.

The same applies in anime as well. Seitokai Yakuindomo mimics that by giving those “second joke” cuts with flying stamps, transiting from scene to scene, or strip to strip. On the other hand Lucky Star is almost entirely devoid of it. Thinking back to Azumanga Daioh, the first otaku anime 4koma smash hit, does it make sense?

And why AzuDai, even? It’s just my lens in which I view the situation. Azudai is broken up into 5 segments per episode, where as you can see a similar kind of breakdown in SYD. More so when the punchlines are flying in the air. Not so much in Lucky Star. But that is a stylistic choice. I mean, Lucky Star feels a lot more like K-ON (that’s 4koma too), and that’s because both are similarly presented. And who cares about transitions in K-ON?

Look at Working!! for example, does that feel like 4koma to you? Now that is where AzuDai is. A much more perfected blend of television narrative with jokes that hits like sewn-together sitcom punchlines, that it is textured without trying very hard, because you were laughing when the story changed from frame to frame. The original 4koma material is like dough for this new baked good.

But I think that’s not to say it is the only way or even the best way. Seitokai Yakuindomo is meant to flaunt its panel-switching cuts since it is a running joke as well; it doesn’t hide its transition, but rather uses it as a joke. Of course people who gets turned off by that seemingly-seamless-seam-switching might enjoy it more. It’s not so much that I would be laughing when the anime changes from strip-to-strip: I was too busy trying to process the joke and on-screen text to notice.

However, I find it hard to believe that Lucky Star is underrated. It’s gotten so much hype during its hay days that few shows deserves, if any. Maybe among Author’s reads, I suppose.