Category Archives: Modern Visual Culture

Summer 2011 Checklist

I better do this before Otakon washes me out. This being just a run-through on the interesting titles this season.

As usual, just because I couldn’t fit a show in here doesn’t mean it does not deserve it. I think it’s self-destructively amazing that I can still watch so much anime given my usual hours. And I’m writing about it. Probably just so I can then forget it and do something else. Anyways…

Are you ready? I’m ready. At least my body is ready, so they say.

Mawaru Penguindrum wins the visual award. I’m blogging it elsewhere, but hopefully it’ll make me want to write more about it here too.

Mood-wise, I am pretty partial to Kamisama no Memochu and Kamisama Dolls. The latter just makes me want to sing UNINSTALL for some reason. The former has that DRRR chic with match eccentric NEET-types. But I don’t know; both shows are wildcards in execution and plot departments.

A supposedly safer bet is Blood-C. In a lot of ways Blood+ was really flawed. Like a PS3 is flawed. Blood-C has potential to reboot the brand, while retaining what is attractive and boot what isn’t from its predecessors. But each reimagination sucks the life out of the original concept a little more than before. It’s also my Nico experiment target #1–something relatively high profile, good viewer numbers, and hopefully some slick comments will feature-add over the dumb comments.

Twin Angel is also a Nico experiment, except for the reverse of course. I now truly understand what people mean when they said they’ve watched really crappy anime on Nico that they would not have otherwise.

I thought the same for  R-15. The truth is, it’s the creative sort of crap anime that is sufficiently enticing that I would probably continue to watch it even without the Nico snipping. It may be a typical harem kind of show, but it’s sufficiently deviant from the norm to be amusing and thought-provoking (at least a little).

And that is way more praise than I can give for shows like Black Rabbit. I feel all Kuroneko about this anime, in the sense that it’s some pathetic chuunibyou attempt to cash in on some thing by using the most unoriginal source material. That is probably too harsh, but at least in Yumekui Merry there’s some kind of moe factor along with a sharp directional sense. We don’t get either in this. And why am I slamming Yumekui Merry? Obviously Index is the real true public enemy #1.

Dantalian at least looks passably okay. Nico comments do help it go a little farther, like Blood-C. But I’m not excited.

Nekogami Yaoyorozu is… Touhou animu. Too bad it’s not even funny.

The real dark horse this season is Ikoku Meiro no Croisée. I mean, it’ll be all culturally relevant and iyashikei with moe power over 9000. “A Jasc show” by all means. It’s got that huge advantage only because there is nobody pissing on it as everyone is too busy pissing on Usagi Drop. Grrrr.

Total aside, isn’t it ironic how a bit over a year ago Funimation has noitaminA on that partnership lockdown? Look at things now! Zero shows!

I think Number 6 will get its audience; the drama (in the noitaminA format) should be compelling as long as there’s some substance. It can’t be worse than Jyuohsei. And I watched Jyuohsei. Oh poor me.

The real guilty pleasure this season is obviously Ro-Kyu-Bu. And I’m doing it for the seiyuu marketing. Yeah. That’s it. But more seriously, if it can stay true for its three-episode-pilot about team building and your garden variety sports drama tropes, I can’t see how it’ll turn out badly. Unless you count the FBI breaking things up as a bad end.

Oh, speaking of those 3-ep-pilots, I thought R-15 ep2 was in every way superior than ep1. It’s like watching two different shows, the differences. Ro-Kyu-Bu also had a similar difference, but that’s more because the plot stuff didn’t kick in full gear until episode 2. What’s up with that?

Then again some shows are still playing true to formula. I’m not sure what I’m suppose to do with Sacred Seven. I probably will pass on it until I catch up on Blue Exorcist. Or something equally unlikely. It’s not bad, just not good enough.

But sometimes not good enough is fine, if you’re the only thing that airs on CR (so I can watch it on the road via 3G streaming) on Monday (man I miss Kaminomi). YuruYuri is just that.

Kind of wish that is true for Mayoi Chiki too. As is tho, it might not matter–if I can’t get to episode 2 by the time episode 4 airs, the odds are low that I will ever watch it.

Is this it? Probably not. I have a couple more shows that I want to try (ie., Manyuu!). I think I’m watching still a lot of shows left over from last season, which cuts into the new shows I can pick up. And then there’s stuff coming back like Bakatest. Oh well.

So the net total is pretty good; we’re talking about just two shows that I find even at all notable that isn’t getting a simulcast. Even Morita-san has it. Now we can argue about 1 hr or 24 hr or 72 hr or 144 hr or whatever, or if we can even call it simulcast (I don’t think we should), but in my book any of those is better than never.


Stray Thoughts on Usagi Drop

On Daikichi’s recent sacrifices, you can read a survey here from E Minor, which summarizes the issues that appears in Usagi Drop 3. However I was under the assumption that most of us have already internalized it on the basis of what child rearing means in general. I’ll cover a few things that E Minor didn’t.

1. On time spent on Rin–in general, at least in America, when your kid is 6, you are actually well positioned to re-enter the workforce full time, if you took time off to take care of his or her formative years. It’s easier to find child care for kids in that age range than, say, 0-2, with the onset of elementary school. The kids themselves are easier to take care of (and thus freeing up the caretaker to do more things). In Daikichi’s case, this was not possible simply because he has a different take on Rin’s psychological burdens than an average foster parent. That perspective gap is what drives Usagi Drop’s drama later on, as I can see it from manga readers’ reactions. At the same time, Rin probably needs more time with some stable parent figure to cope with the unusual events that has so far transpired in her short life.

2. But even if we don’t care about any of that, if Daikichi works 12-16 hours a day (and by that I mean it in the usual Japanese salaryman sense), there is just no way he can take care of a child simply on the basis of government-provided childcare. There’s also the “Daikichi seems to be entirely clueless about administrative burdens of parenting” angle. If he was a savvy parent, he probably could try to juggle a more-than-fulltime career with parenting especially given his social network (ie., he has one). This is a conceit on the part of Bunny Drop, I think.

3. At the same time it is exactly in areas like this that Japan feels so antiquated, compared to the west. It isn’t that westerners don’t sacrifice for their kids; arguably the time spent is actually more in the latter case. The impact of that on one’s career is just somehow less as a matter of corporate culture. It isn’t that women (and some men) are indirectly disadvantaged due to adding new members into their respective families in the west, but that gap is socially accepted. I should rather say, taking time off to care for a newborn (again, it’s not the direct counterpart to Daikichi’s unique situation, but it seems to maps the best) is a luxury that companies use to entice prospective employees. At least with a straight face, anyway; culturally it is considered as a luxury as well. And the fact that it’s somewhat government-mandated makes it easier for companies to just man up and do it that way.

4. While we can phrase it as a “parent’s sacrifice,” it means different thing to different people. I think if you are choosing between two things you love dearly, after failing to have that cake and eat it too, the fact that you can be regret-free after having one and not the other is not a real problem. To me, the term has a large component of respect that some how happens that the person has aligned his or her choice with the well-being of his or her family via spending time there. It is a selfish decision as well as a selfless one. So it’s not a dimension that I particularly want to dwell on. But if human beings make large career choices such as these based on reason, that’s where social policy can affect real change in the direction of its population. That is, if social policy can be changed in a way that shifts the nature of the Japanese corporate culture, anyway.

5. From this point we can speculate the other tangential issues that may come into play with a single-foster-parent situation. I always thought anime is kind of a weird medium to try to affect social change. Or manga, in this case. It is a good incubator of such thoughts, perhaps, and hopefully Japan will wise up and allow its people to live in the 21st century.

Lastly, there’s one thought that bothered me this entire time with Usagi Drop–people who are whining about the manga in the anime discussion. I normally don’t really mind, but some people really crossed the line when it comes to this title: Basically everyone who’s read the manga extensively and pisses on the title due to their colored impressions as triggered by the anime. I mean, sure, some people put “spoiler warning” on their posts and…if it wasn’t a FIRST IMPRESSION piece that would be okay! And what’s more this typically happens with people who … well, have a certain disposition which tend to make them interesting “first impression” folks that I read. Except in this case their true natures rear their ugly heads and I just want to forget it has ever happened. In my book that’s worst than the worst spoiler that you could have given. It’s simply irresponsible.

Actually that kind of extends to a general complain about people who whine about the medium-specific aspects of the adopted work because they’re judging it from some presupposed perspective as a result of an prior experience of the work in a different medium. Or, as before, whine about some non-specific aspect of the adopted work because they’re judging from a post-hoc position in the knowledge transfer process of storytelling from a different rendition in a different medium, before the transfer process has even started in earnest. They, for what it’s worth, can all die in a fire.

With that said, I think I might actually like the manga and its post-time-jump conclusion! I guess after the anime is over I will give it shot. Six volumes and all.


The Melancholy of Azusa Miura

You’re such a meanie, Author:

In particular, I was reminded that Azusa had a backstory. Not a large or dramatic one, but nonetheless, she graduated from a junior college and found herself unneeded by the society. The only difference with millions of young women with liberal arts degrees that are our contemporaries on both sides of Pacific, she ended in employ of Namco Pro instead of Starbucks. Also, instead of developing a depression, becoming religious, or hooking up on drugs, she is dreaming about the destined person — but is not doing much about finding him.

There is no special message in any of it, I’m afraid, and actually Azusa was developed for original games, before the higher education bubble became this apparent in America. But if creators play their cards right, she may become more popular than ever. Many people might relate, even in Japan.

The immediate reaction is, well, such a person probably doesn’t exist in that particular format. The 30-sai version of Azusa is a much more likely candidate (she works in a library? Slightly a step up from Starbucks, but obviously a destination of liberal arts degree holders). But the truth remains; people unmatched remain unmatched unless something happens.

But I think the better angle is that Azusa isn’t someone we can identify ourselves with; she’s more like the leftover meal from this generation of herbivore males. Here is the alternative take. We can say, via simple supply versus demand, that the consequences of single folks working longer hours and deeper into their lives, with more people getting married later in life, is that there will be people who may want to get married at an earlier age, but couldn’t because the supply is lower. It is a weakly negatively reinforcing cycle. Weak in that people tend to want to get married, and just because it is more difficult it doesn’t usually stop them from continued pursuit. For those single folks seeking out there, the lesson is:  Don’t give up; Carpe diem and all.

I like this angle better because ultimately IM@S is about, well, admiring young ladies while they entertain us. In a sense that is not too unlike what you would do with your spouse. Or so I hope. At least at some point in your relationship (when applicable)? I don’t think IM@S’s narrative cares about self-identification as much as drawing affection (and in the real idol industry, in the mind space) from the audience. Granted in these kind of things, usually there’s some kind of back story in which identification helps to disarm the audience and buy into whatever story that is being sold. But the core of an idol identity is one that is still just a step different than just you or me. Even the girl-next-door types is not exactly the girl-next-door in the urban, isolated sense; more like the childhood friend that you really didn’t know is a knockout until she debuted in some gravure magazine.

For the record, I also agree with ani-nouto about the general idea behind the character; but I can also imagine Azusa projecting a pretty fierce AK-Field IRL.


The Niconico Meme Malaise

It’s commonly known and accepted that during the “golden age” of anime in the mid 2000s, and also a part of the reason behind the uptake of sites like Youtube and NicoNico Douga, is the fact that you can watch anime on those sites as a part of a shared experience. Specifically, people watched anime on Nico because of the comments as enabled by the floating comment system that overlays text over video. It was hilarious.

It’s interesting because 2005 was when sites like Youtube started to get real traction with the public. It was new; people uploaded all sorts of videos there and then passed links to their friends. How that fits into the social context that makes up the overall notion of social media on the internet was something to be figured out. But, as you see today, there is probably not much room left for something like Nico’s famous overlay text system. Youtube eventually opted for a similar overlay technology for annotation, and it’s used to serve ads as well, but it was just not the same.

Just to muse on it some more: since Nico is launching a US portal with simulcast anime content, will we ever “recreate” the same sort of thing? The whole “anime is more fun when watched with folks” kind of thing, for certain shows? I’m not sure, but I am leaning towards no. Maybe the moment has passed. Maybe westerners no longer care for anime in that kind of viewing factor, and maybe those who do are more concerned about repeating memes than to offer insightful, interesting and funny comment that goes with watching anime in that context. I mean, who wants to read youtube comments?

But you would think a Pachinko anime makes great content for people to trash. So I did it. And it kind of works; actively commenting on it made watching it a little more bearable, but it was a bit of a hassle to pause when typing. However, even the best seiyuu talent cannot save something like Twin Angel: Twinkle Paradise.

I just hope this does not stop them from rolling out t-shirts at cons to everyone. Or not bring over their trademarked animated gifs (I noticed they were adorning the blog section of the site…)

The other day I also managed to watch Blood-C on Nico. The results are partly what I feared but also partly promising. A few good caps made it a lot more amusing, while there were also a lot of dumb meme repetition that didn’t really belong. It’s notably different than my other viewings (R-15 and Twin Angel) because I waited for almost a week to catch Blood-C, and it’s probably the highest profile anime they’re streaming. Those two…well, it’s sparse. You can find those streams on Nico’s channel page.

Which, is to say, it’s a totally different beast even compared to their Atlantis launch live stream last week, which I watched for about 30 minutes. That one looked pretty okay… And it isn’t that memes are a problem; it’s how you use it.

PS. Is it me or the way text scrolls in English need to be adjusted? Or is my reading bandwidth taxed having to both read the subs and the scrolling comments? Maybe both? I find it much easier to read short comments since they stay on screen longer, where as long comments fly across the screen crazy fast. And like Twitter, it’s much more likely to need to write long comments in English than it is in Japanese. This requires some tweaking on Nico’s part.


Mawaru Penguindrum Episode One, Three Days After

My thought of episode 1 of Mawaru Penguindrum is not too dissmiliar to my thoughts after my first run-in with FLCL: very entertained, intrigued, very intrigued, rather. It’s got your Ikuhara-style sexuality (both visually and baked in the story) laced with hints of confusion. I think sexy-confusion is pretty sexy. It’s like a drug. And for that to work, it’s gotta haul butts on the technical; Penguindrum is quite the visually engrossed work. Arguably, it’s one of the best looking anime this year thus far. The sexuality piece is exactly how it plays in Utena. The fairy tale angle, too, except I don’t think that is being the focus this time. It’s too early to say too much about themes, although there’s a lot of food for thought already.

I’m also curious as to what others have to say about it. Below is a link list to other blogs that talked about the first episode. If I missed someone, it’s because I missed someone when I combed animenano’s feed. I’m sure plenty of people are talking about Penguindrum, so that’s going to happen.

And here they are, in no particular order:

Note on SHAFT: I think it’s very good that people are picking up that piece. Some of the directorial tricks are indeed seen in recent SHAFT works, extensively, and people picked them up. I already have made an argument about SHAFT-isms and its timing. I think Penguindrum would, too, be even more awesome if it aired in, say, 2009. Just so it can get more mileage out of the tricks nobody was using (so much) back then. Out of this sample of 22 posts only one person talked in depth about the typography and the communication design aspect. I thought that whole thing was a big part component of its visual presentation, and it’s also a thing Shinbo x SHAFT employed extensively. It is not without purpose, but for us avid viewers, especially the newer types, it’s going to be what we’re used to. I mean, I thought it was kind of interesting how it keeps on showing us train stuff. I guess we gotta wait until a train otaku blogs Penguindrum.

On that note, the Galactic Railroad thing is pretty neat. Good to see it in detail already.