Category Archives: Modern Visual Culture

Why Anime: 91 Days

It’s been a bit of a theme. I think in 2016 I’ve watched more shows that pretends to be anime, when in reality they could be much better as live action works. I think 91 Days follow this. A little spoiler below, just very little.

Ships gonna ship

The reason why I say it is because I don’t really see what making an anime out of the story convey any ostensible advantages, as a work in the whole, to tell the story. There are some “meta” advantage, I guess. It’s a lot cheaper to make a 12-episode story than to hire American actors to do a 1920s mobster short series. The runtime of about 4 and a half hours is perfect for a mini-series, and I think the story of 91 Days would even work better. There’s a major advantage in that by approaching a story like an anime, we sort of grade it on a curve, too, with things like suspension of belief and our expectations. Or at least some of us. Maybe, making it into anime allows you to market the work to an established segment that the story may not otherwise reach?

The length of time, in that show, is totally not respected. I mean the guy in the end says 3 months, and he could have said 6 or 18 months and I would have believed him.

Anyway, minor problems aside, we can look at the major problems I have with 91 Days.

  1. This is a Japanese take on a couple big time mobster themes. The logo image invokes the obvious Godfather feels and I think the way the story panned out in the end is invariably just like it, with the last Don fighting against the scheme put on him and his family. The way the story plays out also make homages to other works of the genre, most notably A Better Tomorrow. But that’s kind of it. The story is written where organized crime gain power due to the power of money and influence of the cartel has as provider of liquor. If you substitute liquor or organized crime with, say, dystopic authoritarian government; or present day and instead of gin it’s cocaine… And I feel this is like where 91 Days dropped the ball. This is a big problem…in as much as some software bugs are actually features. I just find it kind of inauthentic. Aside: a version of Infernal Affairs done like this could be interesting, but that sort of disregards the setting.
  2. The character acting is so un-American that it is a constant reminder that I am watching an anime. Well, I am watching an anime, obviously, but this is the other aspect, the hard-to-tease part of what makes anime anime, as opposed to all the Chinese anime we see this Fall season (man did y’all watch Bloodivores). To an extent this is my problem with that spy versus spy anime Joker Game–the characters are paper maches of Japanese stereotypes of foreigners. At least in 91 Days since everyone is American (except the main guy who is really just Setsuna F. Seiei, and his good friend, who is more like stereotyped ship bait) the stereotype can’t hold enough diversity to characterize everyone. I put it as a major problem here to distinguish from the causal Japanese-isms. In a mafia film you are watching for that charismatic character interaction, and other than Nero I find this entirely lacking. Not enough Italians, just weirdo Japanese people.
  3. The main character is Setsuna F. Seiei. Com’on. In the 1920s if you were like this you would never have wormed your way into any mafia, unless they call you the janitor (and he was kind of…not). This is not how things worked! I guess if there was a mafia made up of otaku and fujoshi, it could work… Anyway, he had no hold over me, I had no vested interest in him except for the main plot thing–which is if he will let Nero and the Mafia life win him over or not.
  4. America is pretty hard to get around even in a car back then. It’s not clear if the sense of scale panned out. Maybe this is something where on paper it was all researched out and thought through, but the anime left out some of the more authentic details. I don’t know. But this also goes into the time scale of things. Ninety-One days is not a long time back then. I guess this is not that important. Would be funny if SPOILER was SPOILED on a New Jersey beach.

Anyway, I thought 91 Days was OK, but I should just go watch more the Wire or something instead as a better use of my time. If you have exhausted all that mafia culture, maybe this is worth your time. If you have not, please go watch something actually good. Like the Godfather films. Or those classic Chow Yun Fat movies.


Protesting of a Drowning Fish

Two songbirds

So the preliminary 2015 numbers for the Anime Industry (of Japan) in English is posted on this ANN report. The full report can be had for 6000y. Hopefully AJA will post its usual English summary soon.

Major gains from streaming and events? YOU DON’T SAY. I mean if you were keeping up with the news at home this past 2 years you would know at least about Amazon and Netflix’s foray into anime streaming, not to mention the stuff out of Asia that most of us probably don’t know as well.

I also just want to note, that on my trip to Taiwan earlier this year I actually ran into some streaming service’s promo for WUG. Looks like Crunchyroll is not the only guys playing the streaming game with WUG promo. In this case the streaming company also sponsored a sweepstake to go to Japan and attend the Taiwan WUG tour. Hey Crunchy guys can you folks hook us up?

On that note, events…just look at my eventing sticky posts for a clue. It’s carved into my mind and body like … what’s the word? Jetlag? A deep tiredness that only comes with combining all-nighters, summer weather in Tokyo, 28 hours in the air and over 12 hours of live events in a weekend? How about 5 Asia trips in 7 months? You get the idea. To me this kind of reporting is well beyond affirmation, or preaching to the choir, but more like “I’m drowning pls send help.”

Can’t wait to see what big fat number 2016 will put up on the Events category LOL.


Clinton’s Copyright Platform Is Probably Good for Anime

Iowa Primary

United States presidential hopeful Hillary Clinton recently revealed her campaign platform on tech, and here’s the relevant segment:

And she will encourage stakeholders to work together on creative solutions that remove barriers to the seamless and efficient licensing of content in the U.S. and abroad.

Since nobody else has done one of these yet, at least nobody interesting, here is probably all there is to it in this election. Given her opponent Donald Trump’s current style of campaign so far, it’s hard to say if there will be a policy document for the Republican side. Of course, these are just campaign promises, which don’t translate into actual policy implementation all the time, or if the implementation would ease international licensing. It’s just merely on the table as an idea.

And when it comes to relatively fringe issues like international licensing, having that is way better than usual. For example Obama gave some pretty vague statement about reforms on IP during his campaign, and other than the patent reforms that went in during his second term, the current President didn’t really do much during his time in the Office. Historically it’s just not a subject area that gets much lip service during any presidential campaign. The past couple cycles have been a little different, and obviously I think a lot of hot topic issues today are tech oriented, so it’s nice to see some splash over to archaic copyright law.


This Is Dumb

It’s never too late to back peddle, but they never do.

I tried to s/Hane/Yui in that post and it worked for maybe 60% of it. I just want to say that:

The ZX-10R is a very fast bike

Hane did make trouble for her friends, such as running into problems with her bike while on a group trip–but that’s a plot device/reference. In fact this is a reoccurring theme about motorbiking. You often travel in a group but it is really loner activity, and being left behind is a running gag kind of a thing. Maybe you can take the next step and say that KyoAni’s K-ON took it as it is and let it resolve without explaining things, but Bakuon had a point to make and it had to explain it.

We never saw the extent where Hane’s sister took cared of Hane, but sufficed to say Hane is a straight Yui knock-off, so I expect the same degree of reliance.

When it comes to a newbie’s journey into music versus into being a bike guy, I don’t really see any differences between the two narratives in those two stories maybe besides that one requires a team, and the other is just something you do in a group. If you think Yui is dumb for making problems for others, you clearly haven’t had enough Tarous in your life. If stupid people didn’t play in bands, rock music would be a terribly boring thing to get into.

That said, Bakuon is also my top series of the season. The reason behind it is that I thought anyone who would ask this question is probably looking for a dumb answer, because it’s not exactly the smartest question to ask. And if you want to distill a catalog of like 50 anime into one for some silly reason, this would be a good choice.


Distance On the High Seas

Such paint

It’s a good point.

At the same time, it’s also a failure as a “Cute Girls Doing Cute Thing” show, in that there’s not enough levity or enthusiasm to make this “K-On! on Boats” for example. Not being much of a fan of “Cute Girls Doing Cute Things” shows to begin with, perhaps I’m not the best judge in this respect, but the constant reminder of the pseudo-serious issues at play sort of kept me from feeling as if the characters enjoyed what they were doing.

This all changed with episode 10, a straight-up filler episode dedicated to an equator-crossing festival. Nothing of much consequence happened during the course of the episode, but the important part is pretty much every character had a good time. It’s tautological, but in order for a “Cute Girls Doing Cute Things” show to succeed, it needs (a) cute girls who (b) do cute things. Regardless of how you feel about Haifuri’s success or lack thereof with regard to the first point, I think you have to agree it wasn’t doing too hot on the second part.

I think there’s a fundamental difference in the way people appreciate “Cute Girls Doing Cute Things” sort of stories, based on my own observation (warning: anecdote). One way is summed as “I enjoy happy people by observing and sharing in their happiness.” Alternatively, it’s more like “I enjoy watching people doing what they do.”

To that end, I disagree with Evirus completely on the point about Haifuri lacking levity or enthusiasm. It’s pretty much on par with Girls und Panzer, except in that story there is the levity of an afterschool activity, and not a life-and-death activity (save certain plot points later on). There is the attitude of students participating in an after-school club. In Haifuri, these kids, well, are doing actual school. Some people take their extracurricular activities seriously, but others do the opposite–the average is somewhere in between. It is not the case when it comes to what we are suppose to do in school, where our collectively-institutionalized souls feel the weight of coursework in the girls’ high sea adventures as assumed as Blumers-in-training.

In that sense Evirus is right on in terms of the core difference; one is about tea and pet turtles, the other is a class that lasts all season long. It actually sounds daunting.

However I think the other school of thought, which is to say, we have a bunch of high school girls acting out the fantasy of some military otaku, as they operate some older-than-your-grandma warships while shooting huge ordinances. (Nerd fantasies always have large ordinances, right?) The routine and spectacle aspects of the concept of girls-on-warships are collectively taken into the character’s weekly activities. In that sense it’s no different than K-ON or Bakuon or whatever-on-whatever-else. The Cute Girls are merely a vehicle. [Is there a meta genre of plot vehicle made up of meta of actual vehicles, kind of like Mad Max where the automobiles are actually driving the plot points?] The thematic points Haifuri drove through the latter half of the series are blow-by-blow by the book, as the matsuri episode sort of marks its climax as a CGDCT narrative. It never wanted to be K-ON, but a story about juxtaposing two contrary things while catering to the Admirals and military nerds out there. The unnatural circumstances are part of what is enjoyable, along with all that tension (as part of the unnatural circumstances).

I mean, ever wonder why there is no token otaku on the Harukaze? And why were there all these yakuza film impersonation going on? Because Haifuri is not about girls on a boat; it’s about girls in a war film. The conceit is precisely about silly young women acting out a story typically reserved for craggy older men as sailors. I guess in such a setup they could playfully make fun of equally troped yakuza flicks. It just wouldn’t work if Mii-chan and Koro-chan were the same actors as the films they portrayed.

Is this why the Fleet Admiral is a fat cat? Or why the girls get nicknames reserved for cats, too? I have no idea. But was Koro-chan funny? Yeah? Guess what.

Maybe it’s a mistake to say Haifuri is CGDCT, because it’s Cute Girls Re-Enacting a WWII Flick, which is actually a comical thing to do, not per se a cute thing. I think that’s kind of cute, but if it fails to make you laugh then the problem is wholly elsewhere. Maybe they were all just Re-enacting the movie Battleship, which would describe the sweet-sour reactions some may have with Haifuri.

PS. Things on the high seas happen both very slowly and all at once. There’s a great deal of lag between some events in Haifuri and they really didn’t exploit those opportunities for the more mundane things. I thought that was the one aspect they could’ve played out more, but I guess not if they want to mimic a more movie-like experience.