Category Archives: Modern Visual Culture

Money Drop

I guess Fractale is doing okay!

As far as the earthquake/tsunami aftermath goes, I think people reading this blog are likely the same people who should be stepping up directly helping the reconstruction and rescue efforts in Japan, because that country full of people have given to me so much over the years. At least that’s how I feel. So this is what I’m going to do:

  • Continue to plan a trip to Japan, because tourism tend to suffer greatly after a calamity like this. Plus, you know I want to anyways. (Also, time to watch for deals?)
  • Donate to a charity I vetted, one that does work that I find satisfactory, and my employer matches (the best types of employers there are). When the time is right, of course.
  • #prayforjapan.

What you do is up to you, and maybe I’m already well-conditioned to give (and so is everyone who imports on a regular basis, I suppose) so it is almost second-nature to me. It’s a weird feeling, as if you are motivated by pangs of conscience or cheap play on emotions, but when actually executed I do so like someone buying the cheapest new SKU on pre-order. Charity is serious business, after all.


Revisiting Entropy

I think after considering the various narrative constraints, I am beginning to agree more with the assumptions and conclusions Darkmirage set forth in his rant about infinite energy via time traveling. Oh, spoilers for Madoka Magica onward, I apologize.

It’s one of those persistent paradoxes in which some other issues have to be reconciled in your model of time traveling in order to make sense of it all. In that sense, the physics is not as important.

Time traveling by itself can be consistent with the Second Law. Certainly, the arrow of time can go forward as usual, and traveling to the future is something all of us do. One form of time travel is just going to the future faster than everybody else.

The reverse situation, too, can be tied to some kind of mechanism in which the net total entropy is a positive value. The question thus becomes more in the lines of conservation of mass-energy, and, as always, linearity of states.

There are good reasons to assume that the typical groundhog day mechanism implies a single, linear outcome of cause and effects, in which one cause at a certain time propagates consequences irrelevant of each “reset.” Here, Homura’s resets are played fast and loose; it seems that she can reset at will, even if Madoka survives the bewitching eve and the big bad witch of the west is slain. More importantly, it doesn’t seem QB maintains memory of Homura.

So what does that mean? It means Yuki Nagato is still better than QB. It also means that we don’t know what gets transplanted back in time. It may very well be that nothing “physical” gets passed back, and we can’t really say anything about it until we know more about soul gems and souls.

TL;DR: The Big Reveal episode teaches us very little, if anything, new that we didn’t know before, about the xenophysics of Madoka.

So why am I slowly changing my position? I think if QB’s race can create a system where people can travel to the past with that sort of information, they would have came up with a way to pass the information on reducing entropy to an earlier point in their civilization. In other words, while Homura is a determined little girl who is driven by undying hope and love, there’s nothing stopping an entire race from doing the same. Thankfully, I don’t see how we can take any of the known setting elements out of its presentation and make an argument that bypasses the black box of the soul gem. And so until they explain that to us, we’re going to be in the dark. At least the objection of “a wizard did it” only applies in the time traveling mechanism, but maybe wizards like the taste of white mascot animals with ears coming out of their ears, and that is what makes them so.


Star Driver, Sharks, Theater

The phrase “jumping the shark” only has meaning when we walk the careful planks over a suspension bridge of belief. Do we want to use that term in regards to Star Driver? Does it really matter when Fonzie jumped it? Does it really matter when Takuto pulls out a new trick every battle?

The answer for both cases, of course, is that it does. In Star Driver’s case, however, sharks are a regular of the set. Maybe that’s just how it is on the planet of Fish.

In reality, the ebb and flow of the series tumbled up and down and we were on something like a roller coaster for the past 22 episodes, ever since Mr. Protagonist beached on a certain southern island. For each, uh, shark, that we hopped over along with Takuto et. al., we lost some people on the bandwagon. The overly theatrical nature of the series doesn’t help at all, either.

And Star Driver is, if anything, theater. Should it bother us when Mizuno, uh, jumped the bus? Or when Sakana-chan had weekly one-person plays? I don’t know; but a little, almost-undetectable hair-fracture-slice of my belief in the show evaporated for each Kiraboshi salute or for each time Professor Green’s underboob showed up on screen. It isn’t that I disliked any of it, it just became something that was, for its own sake, theatrical. I no longer understand why it is theatrical.

I mean, at least Glee gave me a song and dance every now and then.

Maybe Star Driver just needed more dancing; Utena had the right idea with that at least, although I too appreciate it when giant robots tangoed under a prismatic starry sky. Perhaps all that we need is a bed of roses and an ax. Star Driver, instead, gave us an Inception-esqe school play (a play within a play?) as both an allegory for viewers and an alternative way to communicate between characters, within an already exceedingly theatrical construct at the basic level. Was there anything unusual in this latest installment besides over-subbed dialog and artful display of constraint in prop use (to signify this is suppose to take place on a stage)? In other words, isn’t a dream in a dream still just a dream? Why do this to us? It’s too much.

In conclusion: there needs to be a stage play for Star Driver. Or better yet, Star Driver: The Musical. Someone makes this happen, please!


Moe Is Dead Part N+1: Mind the Gap

It is kind of incredible that people are still unfamiliar with gap moe. Well, people meaning people who watch anime like KoreZom episode 8 or consumes whatever crap Japanese modern visual content industry pumps out day in and day out. Kind of, only because I’m talking about people who live outside of Japan and generally don’t interact beyond the great barrier of the foreign, moonrune language.

But even I know what gap moe is, and I’m just your average chump when it comes to talking about moe. So do yourself a favor and like, read about it.

On that note, KoreZom episode 8 is almost authoritative on this topic. Too bad it doesn’t have any male-type gap moe examples. Unfortunately it is still not a text book on the matter, so unless you gain a working level familiarity on the subject, it can read like a book with no words in it.

And thus this is where we proclaim gap moe’s death: there is a professionally produced anime in which a whole 20-some-odd minutes is spent to expose, explain and exemplify the various notions of gap moe. Granted they stuck in some plot material in those minutes, but it’s quite something to dedicate an episode on a single trope, to this extent. And given it was KoreZom, there was barely any plot material anyways.


Jealousy’s Ugly Heads Aren’t So Ugly

If not for being announced on the same day as each other, I would not have compared Catherine with School Days. In some ways they are two very different but two remarkably similar games, so the comparison do stick.

On one hand, School Days is a fairly novel game from 6 years ago that took the anime and visual novel media one step closer to each other; much of the first chapter of the game is actual animation. It’s also remarkable for the large number of well-portrayed endings the player can end up with, and a large number of them aren’t exactly what we call “happy” endings. The combination was pretty sensational in an otherwise relatively more-of-the-same genre of bishoujo games with adult content. That is, of course, on top of the slightly different take on the renai motif that is closer to Jersey Shore than the experience of some fantasy animu transfer student who forgot he has a cousin that he is now going to live with, or something.

On the other hand, Catherine, to borrow words from others, is the adult-erotic version of Q*bert. But more specifically, Atlus’s chic-cool Persona team pulls out the stops to make a thriller game based on a man’s instinct to run away from commitment in a relationship? Fielding top seiyuu and animation from Production IG, much of the game take place animated and in a narrative style, like some modern bishoujo games. I think the marketing for the game speaks oodles about why I think Catherine is highly comparable to School Days in terms of using jealousy as a driver, as protagonist Vincent (Kouichi Yamadera…he even looks the role) has to choose between Katherine with a K (Kotono Mitsuishi) or Catherine with a C (Miyuki Sawashiro), while trying to not get killed by either of them, or the mysterious dreams he is having.

Oh, yeah, people die in these games. People meaning possibly you, the protagonist/player. Here’s another bit of similarity for you.

I think it’s safe to say that I am excited about both games coming over and being ported into English. I’m still kind of hung up about buying games with pornographic content, so I’m sitting on the fence for School Days. Isn’t it weird that the game full of high school kids is the one with all the explicit sex? And it isn’t like Vincent doesn’t get any; Catherine’s portrayal of sex is, perhaps, a little more mature and  little more appropriate for a game about a 30-something trying to straighten out his love life? Or maybe it is a little more appropriate for a game being sold to a bunch of 30-something herbivore men? But then again, like myself, the two demographics probably overlap somewhat, despite the entirely opposing approaches to the appeal of realism.