Category Archives: Modern Visual Culture

Peak Anime

Keima & Mari

There are a growing number of single-cour TV anime (usually the late-night variety, but not limited to) where there’s one really outstanding episode. Often these episodes are also peak in production value and in terms of story–some kind of emotional climax or turning point. Normally, you would find the climatic moment of some dramatic story to be the most memorable, or the ending to be memorable (especially when controversial). But often times these “peak” episodes are becoming slowly just off beat on those key moments in the story.

Following The Nihon Review staff blog post here, see a list of ACE 2013’s top episodes that they’re singling out for being special, after a vote among fans and pros. (You can see the list from ACE directly.) For the sake of simplicity I will just list them here and make some notes:

  • Haruhi S1 E12 – The Linda Linda Linda episode
  • Toradora E16 – The catfight
  • Strike Witches 2 E6 – Yuri in space
  • Fruits Basket E1 – Selected by Hayami Saori. I guess I am not surprised. A lot of people like Fruits Basket even in Japan lol.
  • The iDOLM@STER E20 – Chihaya sings
  • Angel Beats! E10 – They get married
  • Fate/Zero E23 – The showdown
  • MajiLOVE 1000% E13 – /shrug did not watch
  • Anohana E11 – They cry a river
  • Steins;Gate E23 – The climatic moment
  • Madoka E10 – Homu’s Revenge
  • Gode Geass S2 E25 – The shark jumping reaches climax
  • Bakemonogatari E12 – Under a cold, starry sky
  • GITS SAC E26 – Laughing man is dead, long live the laughing man
  • K-ON S2 E24 – Angel descends
  • Narutio E133 – Sakugafest
  • Railgun E24 – Mechafest
  • Azanel-san E9 – Selected by… Sakura Ayane. Somehow this is not a surprise either.
  • Gintama E150 – This series is full of crap like this.
  • Tatami Galaxy E11 – It ends well.
  • Scryed E26 – Before Gurren Lagann, there was this.
  • Gurren Lagann E8 – In the programming guide it screens right after Scryed, and probably for good reasons.
  • Clannad After Story E18 – SHINY GET in the field of childhood dreams

The episodes listed are part of the anime screening at ACE, so across 3 days they will be showing these. I believe they have one screening unannounced at this time.

Looking over that list it seems that most of those are just normal climatic bursts of emotions and the accumulation of a season’s worth of built-ups. K-ON and Anohana seem most poignant. The Clannad After Story bit, too, although at episode 18 it feels a little off. Toradora’s selection is a much more subtle choice in comparison, even when compared to the likes of iM@S and Gurren Lagann (that series is punctuated with such things).

But Gintama? Naruto? Madoka episode 10? Angel Beats 10? Actually maybe not that one. Certainly not before Haruhi 12.

Fruits Basket episode 1? Actually that one makes sense on the “pilot” theory–that the first 3 episodes of any given anime tend to have better production value (given time/resources and other constraints). From what I remember, Furuba episode 1 was pretty good, definitely above average for the series.

Bakemonogatari’s charming date seems awfully quaint in light of all of these older fan favorites, I suppose.

It all circles back to Strike Witches. Oddly enough I dropped SW right after episode 6 (but picked up the movie anyway). I think in more than one ways it is fit for the true weight of being 神–it’s not only emotionally engaging, it is well-produced and directed, and it’s precise. It’s like at any point in season two they could’ve pulled it off. And for me there was no way the rest of the show could top it.

So that’s about half a dozen of these mid-series peak episodes where the story doesn’t quite jump the shark but something drastic has taken place on the screen. And I don’t mean it in a Gurren Lagann kind of way. That count must’ve been higher now, right?

How else can we take into account of things like Kannagi 7? Kamichu 11? Simoun 16-17? (okay maybe not that one). Or my pet favorite, Asatte no Houkou 8? Or how about things like Manabi Straight 1-2 and 5? Girls und Panzer 8-9?  (and soon 11-12?). Kaminomi 4? Or S2 E12? How about Black Lagoon 9-10? Kurenai 6? (Perhaps only rivaled by the Red Garden Dead Girls OAV.) I guess I’m digging deeper back than the ACE list.

I probably should keep a list on these.


Wiley E. Importy, Or a Charitable Perspective

Kobayakawa Rinko

Rock, meet glass house.

Whenever people complain about dysfunctional Japanese DVD/Blu-ray prices, all you need to do is point to the myriad of American or European media goods that are sold for a fraction in other countries, and how publishers sue or threaten reverse-importers for those purposes. And sometimes it’s not even media goods…

The latest US Supreme Court decision basically affirms a first-sale right of legitimately produced foreign good for sale domestically:

In Kirtsaeng v. John Wiley & Sons, the Court considered the “first sale” doctrine of copyright law.  This is a rule that means that when a publisher sells a copyrighted work once, it loses any right to complain about anything later done with that copy.  This is the rule that makes it okay to resell a used book to a used-book store, and for that store in turn to sell used books to its customers.

The issue in Kirtsaeng was whether the first-sale doctrine applies to copyrighted works manufactured overseas.  Kirtsaeng bought textbooks in Thailand, where they are cheap, brought them to the United States, and resold them at a large profit.  The lower courts said he couldn’t do this, and ordered him to pay damages to the publisher (John Wiley).  The Supreme Court disagreed.  The Justices said that the first-sale doctrine applies to all books, wherever made.  So even if you buy a book made in England, you can resell it without permission from the publisher.

Which is good! Because it would be sad if, I don’t know, J-List got shut down for something retarded. Oh wait, that doesn’t work. Actually, given this is a case on American copyright law, it doesn’t have anything to do with the situation where going to certain Akiba shops can score you FUNimation’s Spice & Wolf on Blu-ray, or anything like that, because that is solely the call of the Japanese government.

But that’s the internet armchair bandit version of the interpretation. The truth, as usual, is more like if companies can’t no longer forbid price discrimination along national/geographic boundaries, this is why we can’t have nice things. We’ve seen it happened once with Blu-ray when the US no longer sits in a different region than Japan, so dub-only BDs, hard-sub BDs, and in some cases, no-BDs, became the North American release. Does it suck? Kind of. What really sucks is that if a large company wants to sell cheaply to a poor and developing country, they will have to be wary of reverse-importers trying to make a shiny buck by undercutting and disrupting the home market. This may mean those guys won’t get to have a nice thing, too. And their nice things could be “college education” or “medicine so they don’t die.”

The narrative gets a lot worse once you consider that first sale doctrine applies to patents as well. This could mean cheap, patented drugs sold by big pharmas to poor countries at margin, could be reverse-imported for massive gain in the grey market, legally. And if you know anything about the grey market for drugs, well, you know how bad it can be. So does this kind of law actually serve society in a beneficial way? The irony is that Wiley (the loser/plaintiff) sold books cheaply in Thailand both because the cost of living just can’t justify the outrageous textbook prices here, but also it’s a humanitarian thing to do. It’s good to sell text book cheap to poor countries, to countries full of people who want to study but can’t afford to.

[It’s also kind of a head-turning moment when you realize why anime is cheap in America. I mean, Americans really are treated like third-worlders when it comes to this stuff…or are we? Anime does not cost significantly more here than most of East Asia, after all. Maybe there is something to paying more money for anime. Maybe there’s something fundamentally wrong with the way we value media, at least ones in print. Something to think about.]

The motives behind the decision, however, is sound. The idea is that the Justices simply interpret the law of copyright First-sale Doctrine this way to get the public (and more importantly, the rights holder) to think about changing the law via Congress. I think copyright is always something that should be revisited legislatively anyway; the overwhelming concept behind it is that this is a way for government to regulate the industry of intellectual properties, not some civil right or anything so sensitive. Given the climate of big tech getting their feet into the door of Capitol Hill, maybe now is better than ever before to hammer this copyright thing to fit the use for this millennium, because at least we’re slowly approaching parity of power, to not have the content-owner-tail wag the dog that is the rest of the world.

PS. More blogs should define its own self-citations…


JManga, 2010-2013

Himawari-chan Best-chan

I wish I have something to add to JManga’s last announcement, but I don’t. It’s the imagine conjured up in my mind whenever Japan tries to innovate regarding media. Which is to say, yeah, as much as I love you for trying, you guys just got that proverbial long ways to go left to go. I hope the people who were working for JManga find a nice landing place. I also hope I get to read all the stuff I bought off JManga but didn’t finish reading yet, before they cut the cord.

The saying also goes “the road to Hell is paved with good intentions.” I think we’re pretty much stuck at that stage of the game when it comes to new media. You have to execute. In fact just willingness of these big corporate dudes in playing the game, as another saying goes, is just half of the battle. It feels none of the execs or corporate bodies on the list of controlling entities are known for innovation. Manga publishing? Hah. Maybe you could point and say it’s in the DNA.

It takes an incredibly different mindset to be able to serve the world beyond Japan’s borders, and the truth is nobody over there has proven this is something possible domestically. It’s not that they are incompetent, but it seems like they just don’t get it.

I’m also tired of this naysaying. So instead let’s see what JManga did right after all. It’ll help me switch gears from whining about Google’s decision to kill Reader.

  • Open up the service more like a title library than a catalog – They listed a bunch of stuff they didn’t translate, but were possibilities. It’s a nice touch.
  • Bring over guests to cons – You do this, you’re all right in my book–it’s about connecting fans with creators.
  • Mobile apps – They eventually had this, and it’s increasingly a must for new media to cater to relevant platforms.
  • Regular communication – For the most part they’re pretty okay at this.
  • Sales – It’s nice to have. Especially periodically and at first.
  • High definition images – They exist, although it could be better, it’s good enough.
  • Translation options – It’s good to have the option to read in raw and in English or any other language available.

…and I’m spent. Fact is I just haven’t used it much. Certainly not enough to really get to know the service–as much as you can after reading a couple volumes and browsing for a while. The downsides and things it got wrong held me back. And that’s the temptation–for every one thing it did right I can probably name 2-3 things it did badly or wrongly. It’s so easy. I remember when JManga launched in 2010 I sent feedback to them about their point system, and in some ways they never outgrew that. Maybe they were doomed from the start.


The Rehabilitation of Juju Tsukuyomi, Episode 9

Very mild spoilers. In fact the title of this post is probably more of a spoiler.

The Yagami Sisters

It’s hard to put my finger on the pulse of Sasami-san@ganbaranai week after week. It’s like there’s some imaginary point out there in space, where if I stood there and took a panoramic photograph of what’s surrounding me, the end result will be a coherent narrative about what it means to be human and what it means to be god, all at the same time making sense what it means to be Japanese. It’s like one of those 3D perspective artwork that canvasses a sidewalk, where when you look at it from a certain angle, it makes up a different image. Right now I’m just waving my head all over like an idiot, trying to find that perspective.

My Shinto-fu is just not strong enough bro.

Still, I found the whole story behind Juju’s death and rebirth, either via time traveling powers or via a deal with the devil, strangely remarkable. She is a spiritual woman with spiritual powers, even without the super-god-powers and the responsibilities it comes with. Maybe it was also because it is one of the biggest Asakawa Yuu roles that I enjoyed in a while. I don’t know.

In the anime we see the story told from Sasami’s point of view. It’s relatively linear as she jumps from timeline to timeline, event to event. Tsurugi met her at one of these points in time. Juju tagged along because somehow she is resurrected in the present and thus also available to be summoned? I’m not sure how it works–probably similar to how Tamamo-no-Mae did its tricks. But I wondered how it seemed from Juju’s point of view.

I guess in the end Sasami handed her powers to Juju, so she can continue to “ganbaranai” lol. Sasami’s explanation on the take regarding her attitude is a good response to the “ganbare” notion. It’s awfully Japanese I guess, both ways. But it is at least a thought that could, arguably, be construed as modern criticism. And how can you have an anime about religion without criticism? I thought not.

At the same time, Juju’s spiritual characteristics has to be constructed in some way that transcend merely her religious position and duties. It’s not just that she has, as what the kids call it these days, super powers. It’s not that she can lead a super-shinto cult-like group, although she’s got what it takes. It’s more about how she embodies both what humanists cherish and what religious people cherish, and it expresses itself in a Binding of Isaac kind of piety but also a “Mom will take care of her worthless child so she can blossom” kind of way. Otherwise she would seem like a pale villain rather than someone who Sasami can honestly seek approval from.

It’s both super gross, super offensive, yet somehow everything works. It’s magic. And in truth that’s the real value of spirituality when expressed as a religious belief. It is supernatural, and I don’t just mean the time traveling; I mean how it can deal with things like regret. But that’s just me speaking.

Lastly, I guess this was more Episode 8 material, but it’s good to see Amaterasu owning up being a hikki in rehab. Now that is true divine humanism.


Ame And Yuki

Caught Ookami Kodomo no Ame to Yuki, or simply Wolf Children by the way of the NYICFF, from FUNimation. The sold-out showings today also came with a side of Mamoru Hosoda presenting his works to the crowds. He was much more affable this time around than last I saw him for Summer Wars three years ago. I guess he is receiving things well, having won a Japan Academy Prize just a couple days ago.

I’m going to just dive in to the Q&A-related material, because it explains the film very well. Unfortunately it probably won’t make a lot of sense if you have not seen the movie. To that end, let’s just say it’s a great film and you should watch it.

Mamoru Hosoda

But yes, Hosoda did a great job explaining the film. One of the very first questions during the after-film Q&A was like this:

Q: Why did you make the film so depressing?

*Everyone basically laughs*

Hosoda: How old are you?

Q: I’m 8 years old.

Hosoda: Well, people at different ages might see things differently. While you might think the film is depressing now, when you watch it again when you are 15 or 20 years old, you may no longer think it’s depressing.

There were a few more notes from that question but I don’t remember exactly what they were. What I do remember was that one question/answer lit the lightbulb in my head and it helped me “get it.” I’ll just paraphrase the rest. Basically the idea behind Wolf Children is that he wanted to do a film from the parents’ point of view, and carry it across to the audience (who might very well be children). In fact one of the questions point out exactly how rare it is to have the mother’s point of view throughout the entire film, for the for-the-family, children-friendly animation genre.

The thing with the parents’ point of view is that it is a perspective that is incredibly foreign to children. I don’t really think kids can possibly appreciate it. They might see the film for what it is–which is kind of the story about a single mom raising a pair of wolf-kids. It’s not much for show, and in a lot of ways it’s also not obvious as to how the film’s plot ties in thematically towards the end. But I think if we speak about themes, it’s a truck load of parent-angst. I think that’s one of the most brilliant thing you can do for this genre of films, coming from the “something for the parents and something for the kids” point of view.

Another important theme to the film has to do with how people change as they grow up, much like how Yuki was much more like a wolf but went with humans, and Ame was much more like a human but went wolf. It’s another thing Hosoda explained to another curious actual-kid. On that point I thought Ame’s call of the wild was especially well-done.

At least if you find your dad dead in a ditch after him not coming home one day, you now have something to couch your feelings in. And yes, this was one of the more subtle commentaries Hosoda raised at one point to explain the reason behind that scene.

Lastly, 2 more notes:

It took Hosoda and his team three years to make the movie. Before beginning he and his wife was trying to have a kid. After post-production, he became a dad. It’s a pretty cool coincidence given the nature of this film.

The rain animation was top notch. It’s not CG but it’s definitely the miracle of some quality digital composition. The whole dream-land-flowerscape stuff, just visually wonderful.  Shinkai’s new rain anime might not even top the rain animation here, although it will have to come down to a side-by-side comparison to make a final call.