Category Archives: Modern Visual Culture

Sing Like You Want to Win – Animesuki Edition

It’s a while, but the sixth annual Animesuki karaoke competition is taking entries until the 29th. The contest will “showcase” by a live streaming of all the entries. This year they even have a separate site all set up for it.

It’s one thing that if I submit something (I probably will), but I think it’ll be fun if you can also get a lot of other people to terrorize a captive audiencejoin the fun. The particular format of streaming audio, mixing bad entries with good ones…a disaster in the making!

Of course, it’s just fun to also participate in good faith, because I sure would like to hear JAL sing! And I know I’m not the only one.

Actually, if you read this blog and is participating, I want to know! It’s just more fun to do it as a community, like the AS forum folks do.


My DBZ Romance – Nana Ball GT

NINE THOUSAND!

Watching Nana is slowly becoming an exercise in farcical appreciation.

Finishing episode 29 was particularly LOL. It’s extremely amusing that during all the dramatic twists and turns, we get sideline dissection by impassioned yet objective third-parties that break all the plays down and hit that “common wisdom” answer like a retired professional NFL player during a post-game TV segment. The only things missing are Eurobeat, consecutive cliff hangers, and never-ending fillers.

Yes, it’s no coincidence that there are SEVEN DRAGON BALLS.

While you ponder this possible connection, give Patrick more of your attention by listening to him laying down the foundational perspective about anime today? It’s rather concise and quick.


Why Do I Bother? Or Asatte no Houkou’s Real Appeal

Asatte no Houkou‘s appeal comes in two folds. The first is the obvious: the scandalous “loli incest” train of thought coupled with a romance triangle with an ex, and all kinds of gutter-fetching implication when the loli turns into oppai doujinshi magnet and spunky meganekko turns into no-nonsense loli. We’ll leave that alone.

The second layer of appeal is in the mystery.

Asahou slowly reveals to us what happened in Hiro’s past and Shoko’s past. With that we can then piece together the motivation behind their behaviors. And they do act rather mysteriously, if you think about it. I think I stuck with watching it only because they held all those cards and let them lose very slowly. The initial uncertainly was partly due to that, but without knowing the full motivation, Asahou has a real hook for me.

Some background, first. If we look at what made Ruri Hoshino the smash-hit loli that she was, part of it was the passive-aggressive, mean-spirited punk attitude she held towards the adult world. Elitism breeds loneliness and independence robs you the opportunity to lean on someone else.

To apply that to Asatte no Houkou, we have to look at our three main characters: Karada, Shoko, and Hiro. Let’s start from the basics…

Every episode we are repeated the line about grasping and slipping away. I’m at a loss as to piece together a well-founded explanation as to how to explain it within the show, but at episode 5 it’s fair to say that it will be important to keep in mind.

Going to Karada first is important. She is easy to understand and so far she provides us with the boundaries; the limiting condition, so to speak, to make good guesses about what will happen thematically and plot-wise. We know she’s an orphaned girl; Hiro takes care of her and she wanted to be more independent and less of a bother to the person who she perceives to owe some emotional and physical debt to. She turned into an adult, but soon realizes that maturity is not just physical growth.

Shoko, on the other hand, returns home to Japan to find her terrible ex ditched all that she gave him to raise Karada. She’s confused and hurt, but nonetheless understands the situation and does her best for Karada’s sake. Shoko is subtle and passive-aggressive. She lets loose in episode 1. By episode 5 we find out how she was when she was little, and it further goes to explain her behavior in episode 1. In retrospect it tells us two things.

Jealousy. She is obviously troubled by Hiro’s affection for Karada; but she’s also somewhat bothered just by her perceived reason of Karada’s condition: that she’s a helpless child and of course you treat kids with the affection they need to turn them into healthy individuals. As we find in episode 5, Shoko learns that just isn’t the case.

Reaction to her change. How would you react if you turned into a little kid and your ex’s foster sister turned into an adult because she wished on a weird stone? Shoko’s no-nonsense approach seems to crack when she confronted Hiro, but it seems to have more to do with Shoko’s unrelinquished ill will towards Hiro, having not completely dealt with her own hurts. I’m uncertain why was Shoko so easy-going about it.

Indeed, because Shoko is an introvert, she doesn’t express her feelings the same way most anime characters do. Yet at the same time understanding her emotions and thoughts go a long way to understand what’s going on in Asahou. I hope the Ruri illustration was helpful.

Tetsu and his family, too, give the viewer some hints. We’re exposed to his family and his family circumstances. We know that he was raised “properly.” We also know he has a cousin who is something of a foil to him. And of course, his sister is a bit of a foil to Hiro. When minor characters speak, because they have so few scenes, what they say is probably important. When Kotomi talked about her family upbringing and how it shaped her personality, it’s a big light going off…

It all goes to Hiro. His cards will be some of the last few Asahou reveals to us. How will it explain his motivation behind his change of heart? Was he too, orphaned like Karada? Will he has to relearn the precious thing that whoever gave him his chance at life wanted he to have that he gave up? I don’t know. But that’s the right place to go.

At least, it’s the place to go if I’m not to drop this show. Less Strawberry Otome Eggs, more real drama please?


Celebrate Comics with Yotsuba

Honey for your thoughts?

Yotsuba&! is a heart-warming manga written and drawn by Kiyohiko Azuma, the creator of Azumanga Daioh. Perhaps if you read my blog you would know this already.

What makes Yotsuba&! great is not so much how it celebrates life, but that it does so with its own style, and it’s a great style. Channeling proverbial fundamentals of life and everything through the focus of a child is something that is frequently done in American comics–the ones you can find in the newspaper. The shtick is nothing novel. But rather, I think, what makes Yotsuba&! distinct is how cute it is. And this is not the sexualized, contextualized cute that Japanese pop culture is famous for.

To elaborate, reading Charles Schultz’s Peanuts (or something similar) can often result in the same mental and emotional response. It paints a slightly different picture of childhood and a different perspective of the world. That’s good–we want competing worldviews embodied in shared experiences as different works. It isn’t how charming or pathetic, but both positive and negative feelings, that we get from reading these works that defines them.

Seeing a grown-up problem with an adult’s perspective of a child versus the perspective of a child looking at a grown-up’s world is a scale that I propose where we can understand the appeal of these kinds of works. Sinfest is easily my favorite take about adults looking at adult problems, but pining for that childlike idealist feel. On the other hand the popular Calvin & Hobbes paints sophistry while giving deference to a child’s perspective over an adult’s. Yotsuba&!, I think, is akin to a child’s takeover of an adult’s world.

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What’s Truly Ugly at Midnight in the Red Garden of Teen-Angst City

Liz's blinking! SPOILERZ!

Red Garden continues to be a compelling watch for me. I admit, I have a soft spot for angst-girl protagonists. I’ve been always a huge fan of girls like Priss and Robin…

But Claire, Kate, Rose and Rachel are not really like those prima-donna lead figures. In fact, I think they’re really the split personalities embodied by a Priss-type character. The interpersonal drama and the internal drama going on between the gang as well as with each gang member seems to be the expository pie we’re served.

With Rachel acting like this, she’s definitely leading the pack in … something.

So what’s ugly? It’s the fight scenes. Remember Uchuu no Stellvia? There’s this awesome episode about 2/3 of the way through the show, where the girls have a pow-wow and cried a lot? Now imagine that, but you have it every episode, and instead of self-acceptance and coming to terms with one another, you have psychotic terror involved with life, death, and coming to terms with existential implications.

It’s way worse than any complaint you can leverage against its visual style or art form, IMO. In episode 4, Rachel goes nuts a bit; that’s as expected. But episode 6? Sigh. The only relief I have is that they’ve gave away to that Gantz-like, shock factor; the subtle conspiracy is beginning to set in, and aside from the incessant wailing it is actually not too terrible.

Sigh, who am I kidding? It’s still over the top. Like their dresses.