Category Archives: Seiyuu, Idol, Pop

December 21, 2010

Sphere Observation

By omo

Just a few minor things to note, probably not exactly the most flattering thing to say about the girls in Sphere so I apologize to the fans I might piss off ahead of the time. As entertainers I have nothing but respect for these girls.

1. There is a reason why people don’t like Ayahi. I think she is nonetheless an important part of the group in both the way it’s presented visually and in the way the four girls sound together. In essence she covers a lot of holes. However at the same time I’m not sure what she brings to the group that appeases the target audience.

2. However there are a couple really good pictures of her in there, in Tentai Kansoku, that works well, in the sense that I didn’t know she can have that look. Namely in the first section.

3. Megane is a great equalizer. However Aki doesn’t look that good with them, not sure why. It’s more like, for boring faces, glasses add something; for great faces, it can equalize or add to. So generally you can’t really lose if you’re a seiyuu.

4. Speaking of looks, Minako still has the best face, in that she expresses well in photos, and can solicit a good range of feelings at least when I look at it. The other girls at best look “pretty” except Haruka, who can occasionally go beyond that. Occasionally.

5. But once we take into the whole package, Haruka still hands down wins. I guess you do have a much harder time to be a model if you are short, which both Minako and Ayahi are. I think they clocked below average even for Japanese girls.

6. In the same way, Aki looks pretty cool in some shots because she is taller, and it gives her body that balance that most seiyuu types don’t have. But I guess she still looks better not trying to stretch that.

7. In the same way, again, Haruka doesn’t do very well when she tries to. I haven’t had the opportunity to look at her photo books but from what I saw from scans, yeah, she tries and it doesn’t work that often.

8. The prom shots are still the best overall set.

9. I like Minako’s twin tail shots in the school outfit set, there’s just something with that hair.

10. Everyone’s seen that picture of Haruka looking calm with the white dress, it is one of those examples when they keep it simple, it comes off very well.

11. Ayahi in the kimono shot is LOOOOL. I thought she also look way better in candid shots.

12. Every musician type doing this kind of “business” should release a photo album/book that records all that stuff-concert tour goods, outfits, pictures from lives. It’s nice!

13. I totally like the title of the book. Not sure if it is, but it feels like a tribute to all the astro references. Like a page from Sora no Manimani (which was one of the first Sphere anime).

Going to end with an image and some discussion. This isn’t from the book, but it’s from one of the promo sets Sphere did this year.

This is one of those not-quite-candid shots where the girls need to express naturally, smile, all that stuff. It’s a fun picture, so it needs to look…fun. I think Haruka’s strength really comes through here since she is the best actress in the group. Aki always look pretty natural, so she automatically passes.

Minako is a little caught in between, but if you’ve seen her film you probably know she really can’t act anyways, so that much is probably just natural for her. However Ayahi is just… well, she’s doing the right thing, but it looks pretty fake. The problem is the way we human beings detect facial expressions. A lot of it has to do with the way you emote with your eyes, how your face muscles move them while you smile. It’s like she needs to do this somewhat, and isn’t doing it.

6 comments | posted in Modern Visual Culture, Seiyuu, Idol, Pop, Sora no Manimani

May 27, 2008

Animazement 2008 Voice Actress Panel

By omo

This panel was one of the first thing at the start of the convention Friday, 1pm. Looks like they’re going to do some live dubbing with audience participating!

Keiko Han wears Luna Mask

A little tidbit about Animazement. Much like how the now-president of Gainax pulls for Fanime, Kamiya and Han work hard to get fellow voice actors to come to the con. Well, the results are pretty obvious. Or rather, voice actors know voice actors, after all?

The panel started with some technical difficulty. It seems they have a prepared DVD with menus and all, ready to show clips from various shows (mostly Sailor Moon) for all the guests at the con. But somehow they couldn’t get the sound to work. Funny enough few moments later they couldn’t mute the darn thing. We spent a good 10 minutes at the panel looking at the panelists being confused as to how to proceed. Anyways, it was all good. This particular panel was also extra 30-40 minutes longer with an attached autograph session at the end. So we spent roughly 15 minutes goofing around, 15 minutes dubbing, and 30 minutes Q&A.

For this panel I’m going to just flesh out the Q&A part in detail, but just paraphrase the rest. Below is a chronological telling of what vaguely happened.

The panel begins with an exciting introduction. Mitsuishi announces that she will join Fukuda and Han at the Gundam panel as well, as an addendum to the programming material. And then we wait. For sound.

Of course, Han and Mitsuishi had some fun doing dub-their-own. First Mitsuishi asked if any male audience members would dub Sailor Moon. Then the two went off with the video clips (without sound) and produced some lolz. Mitsuishi’s talking cat?

Then Mitsuishi tried to mouth off a Misato line. Ooops.

To make use of time, Han and Mitsuishi started to talk about their history. It seems that Mitsuishi is normally busy (as expected) but Han has nagged her for a few years. So it happened finally.

The two VAs looked for Sailor Moon cosplays in the audience to no avail. Maybe tomorrow? Keiko Han schemes that if Mitsuishi and the cosplayers took a picture, she can get Naoko Takeuchi to come.

Mitsuishi talked about her busy schedule and attempt to learn English with her daughter. Because of the declining birth rate in Japan, her daughter’s English school went out of business, so her English was pretty limited. Also, her daughter’s birthday was Thursday.

Anyways, after some more audio mangling we got to do the audience-participated dubs.

I think we went through 8 pairs. Some of them are pretty ok, others not so hot. But more importantly, some of them took liberty to show off to the guests with gifts and lols. There was a nice Maetel cosplay that really got their attention.

“Kawaiiku, kakkoyoku.” Kisses on the hands are cute.

And onward to Q&A.

Q1: <I’m from Mexico and we wubs SM. Ever had a difficult role?>

KM: I can do roles, but the hard part is figuring out how it’s suppose to be played. That would be Misato, as she was suppose to be older.

KH: As for me, it was <evil cackle> Queen Beryl because it had an evil cackle. I also had to do Luna back to back so I had to ask for a recording break so I can get into character. But now that I’ve done Queen Beryl, I can use this condescending laugh in other roles. <Cackle>

Crowd: LOL.

Q2: What do you think about the Sailor Moon TV series?

KM: I first saw the musical. I liked it a lot. I even talked to the girl who played Sailor Moon in the musical and she asked how she should do her lines. I told her she did well but she needs to come up with her way of delivery. As for the TV series, I was only an audience member but Keiko Han was part of the series as a voice.

At this point Q2 person had a little side discussion with the guests that fell through the translation crack.

KH: I think Sailor Moon TV was the first all-girls sentai TV show, so it was tough. Also they were all kids too. They did do a good job. At the same time my recording partner was an actual 16yo, as opposed to Mitsuishi. Naturally the anime partner was easier to work with for me.

Audience: Aww.

Q3: Did you enjoy Misato more or Usagi? Which one do you relate to more?

KM: When I am doing Misato, I like her more. When I do Usagi, I like her more. They are alike fundamentally so I never had a hard time playing either. They are very similar–they have the same kind of bangs.

Audience: </zing>

Q3: I think one had a drinking problem.

KM: …..? Ahh, sou deshita ne…

Audience: ROFL.

KM: KYAAAAAAA! That was fun to play. And I don’t drink.

Q4: Do you do something to pretend to be that character?

KM: The muse descends on you and you become the role, so to speak. Normally I’m a quiet person who bottles up things so I would “transform” as you say, as I act out my character.

KH: I don’t turn into a cat. Even last night, as we were talking late at night, we only see each other a couple times a year. I noticed that sometimes I get a feeling that when something is bugging Kotono, and I would call her and she would indeed be troubled. I think this is because during the four or five years we were closely working with each other, I picked up Luna’s power to sense when Usagi would be in trouble. I would call her up and she would ask how did I know?

Q5: In working in Excel Saga, how was it acting in such an energetic and spontaneous manner?

KM: Since Excel is a motormouth, I felt my lung capacity expanded during that show. It felt I had 4 lungs going. We didn’t do too many takes for the show, so usually the last take was the actual take. Most of the practice I had to do I did at home to make sure I don’t bite my tongue.

Q5: We read that the reason Gainax animated Ebichu is because of what you were reading during recording of Evangelion. Did something like this happen with a different show? That you influenced the production?

KM: There aren’t any shows that got influenced that way. How was the English version of Ebichu? With the censorship.

Q5: It was not released over here, we only heard of it from the internet.

Nice parry.

KM: Knowing there is an opportunity to say a lot of words you don’t get to say, I asked Anno for the role, and I got it.

Q6: Did you had to change your voice for the Excel previews?

KM: Some scenes they did that for an effect, but not for the normal recording.

Q6: That’s impressive.

KM: <Hahaha thx.>

Q7: Do you have a specific moment in Sailor Moment that is your favorite?

KM: When I was doing the role, I really get into the role and it matches well with the recording. When Sailor Moon saves Hotaru-chan, that was my favorite moment.

KH: My favorite moment is when the last episode was done, because I know I wouldn’t have to do Queen Beryl again.

Crowd: LOL.

Q8: <You doing the new Eva movie?> And how do you feel about doing a part you haven’t done in a long time, again?

KM: Everyone’s back for the movie, so yes I’m Misato again. In addition to a few new characters.

KM: It’s been 13 years. It took me a while to get back into character. The director wanted a more tense performance, although I was trying to do it as I imagined it. I originally wanted to do a retake on the same role but the director wanted the old style so I conceded and rewatched the original DVDs to get it back.

Q9: How many takes does it normally take you? Do you ever get to ad lib or change lines?

KH: In the studio, the first run-through we do we sit in our seat and watch the video. The second run-through is the mic test and that’s a rehearsal. Then we do the final take. A normal 30-minute episode will take 3 to 3.5 hours to record, at least back in Sailor Moon days. As for ad lib, it depends on the director.

KM: Normally you are not suppose to ad lib, but sometimes if you really know the character, you can do it as if you are the character.

Q10: Did you prepare yourself for Evangelion’s emotional ending? How did it affect you?

KM: I like to go to the recording with a neutral state of mind. At most just vocal warmup. I get my inspiration from the video footage. As for performing Evangelion, I got an instant source of topic. I can meet a stranger and talk about something.

Didn’t get the question?

Q11: <Ebichu is controversial.> Before going into the show, did you think it’s going to be controversial? Or just for the laughs?

KM: I never thought it would get a TV broadcast. But they did have TV codes, they censored it. For the DVD release it was uncensored. I’m very fond of the show myself, and I have some stuffed Ebichu at home. I hope you like it.

Q12: Whenever you are preparing a role, say it’s a sad moment, do you get overemotional or cry?

KM: When the character is laughing, I laugh; when the character is sad, I am sad. But you can’t let go 100% because your voice may go and if you cry you wouldn’t be able to perform. Also if there is a transition in the next scene, then you still need control to keep performing. I’m in control of the emotion ultimately.

KM: I’d like to ask this to Han-san…

KH: When I was doing Space Battleship Yamato: Be Forever Yamato, I cried at the end and I was apologizing to the director thinking I blew it. But the director went “No, it’s good!” and ended up changing the animation to match my performance. I had a delicious part of being Sasha in Yamato for my very first role.

And that’s that! What commences next is a mad dash to get into a line for autographing.

Autographing itself was not exactly eventful–there were flowers and candies given. Well, I guess there was this very cute moment when Mitsuishi was playing with a balloon animal with her daughter. Alex, Great SG and I ran into that Mexican guy (Q1) and chatted, also some other fans of Mitsuishi. Han and Mitsuishi were troopers and kept signing until the very end before they had to clear the room and take a 10 minute break for the next panel.

Which, hopefully, will be posted soon.

 

1 comment | posted in Conventions and Concerts, Seiyuu, Idol, Pop

April 26, 2008

Soundtrack of Our Lives

By omo

I am hardly the first person to ever blog about this, but what would the soundtrack of your life be like?

Maybe I should be a little more specific; open-ended inquiries like that are good ice breaker questions for airy-headed groups of people. But as I was walking down the street one morning the song I was listening to just struck me as a good match to the feeling and the visuals I was seeing.

In my own limited experience, music works with the visuals to achieve an intended result, at least in directing a film. As people listen to more music more often and more frequently, we can achieve the same — by seeing and listening to certain things, and to achieve purposeful results.

Perhaps listening to a pumping soundtrack while driving enhances your enjoyment even if you are just doing your weekday commute. Or listening to a strong melody that can help me me march down the street quickly. Or a soothing song to relax during some private break time.

It also has to do with your own enjoyment of the music as well. But I found that people who listens to music all the time tend to also listens to a wider range of music; maybe because that’s just how it works.Much like the science fictional future of our fathers’ generation, there are a lot of little, yet important aspects of today that people did not foresee. Just how many people are carrying around a personal media player today? The soundtrack question lights up differently when one can potentially be listening from a collection of sounds from a wide variety of sources? It’s virtually limitless if you take into account MIDs.

It’s almost Shirow-ish to think that our perception of reality is augmented by little things like this, but it’s the reality we face today.

Recalling the original Macross series, we see the effect of culture as represented by music on a race of people. Macross Frontier is just a timely reminder of how things have (and have not) changed since. Some of us are still high on protoculture, but a new generation of kids growing up will be taking that and inventing new things to do, new ways to explore the world.

1 comment | posted in Modern Visual Culture, Seiyuu, Idol, Pop

April 23, 2008

I Am a Bad Seiyuu Junkie

By omo

Confession: I watch anime, at times, purely for the voice actress.

It’s really sad. I almost wish I want my time back after some of these experiences.

I want to make a distinction, though. A lot of people like a certain voice–Norio Wakamoto is one popular example–because they like that voice and the way the actor does his or her thing. And that is great. There are some actors like that for me, too, and I would go out of my way to check out a show done by that person. What’s interesting is that a lot of people who don’t normally pay attention to voice acting still gets hooked by some of the more amusing performances, and that is remarkable. If I was Mr. Wakamoto I’d be surprised that all these non-Japanese speaking people like my works.

But what I’m confessing is worse. For example, as much as I’m all “notokawaiiyonoto” about it, I think Mamiko Noto’s boy voice really … isn’t all that. Perhaps the voice itself is exactly what the director wants out of that character, but it hurts to watch. Still, I’m going to watch Kanokon. And I respect the Ayako Factor. Or recall how Kawasumi did her Mahoromatic role with such vivid memory and superimpose that onto Kanokon.

Times like this I wish I was a green, mean pet alligator.

But being human, we are called to a higher level of existence. We should recognize how funny episode 3 of Kanokon was, not just because it lampoons, but because of how it lampoons and what it lampooned. Is this what people get out of radio shows? Or phone sex? WTB more Saito Chiwa lines. Or Mai Nakahara lines, if that’s more appropriate.

But all that is second to what some junkies get out of a fairly pedestrian comedy affair–by all means, don’t watch shows like this.

Why can’t these enjoyable voice actresses just work on shows that are worth watching? Nana Mizuki finally stars in a show that I can stand to watch, so I guess I should be glad for what I can get.

Maybe I should be content about Kanokon’s massive dose of fanservice, and watch Kanokon in silence. Sadly it just doesn’t work.

 

1 comment | posted in Modern Visual Culture, Seiyuu, Idol, Pop

April 16, 2008

Nine Years with Maaya Sakamoto

By omo

It’s weird, but today I thought about Maaya Sakamoto.

Her debut in Escaflowne was back in 1996, a journey of 12 years. I took notice of her pretty soon after that and was following her pretty much since then. Whoops?

But what was especially memorable to me was the song she released along with Platinum on the single, named simply “24.” If you recall Platinum was a bit of a hit and it rode the CCS wave during its hottest hour. That was 1999. I thought 24 was a cute song in a clumsy “lol engrish” way and the general idea behind the song was encouraging. I guess that was a time in my life where I had a lot of personal struggles, so it stuck.

Sort of like how every time I listen to Break of Dawn I think of Everquest, because I’d be listening to it hours on end on EQ binges. (…often when the dawn breaks…) Sigh.

Perhaps it is just that I listen to her music quite often, it’s gotten to a point where I’ve started to associate her songs to random memories I’ve had. It isn’t like I particularly like her songs, even if they are pretty soothing. It just sticks?

Still, what’s amusing is the continuing development of Sakamoto as a musician over the past decade or so since her first solo album. It’s hard to say for me, as I did not really keep a detailed tab on her career. And there was always the Yoko Kanno factor to consider. But others have, and that’s all we need.

But man, recalling seeing some early day videos of Sakamoto when she was barely out of high school, compared to her more recent sighting in musicals and in American con appearances… she’s doing well.

So why “24″? I thought it was a clever dual-use of the number both as a time notation and as an age limit. You can think of it in terms of the societal norms of women in Japan, but I think of it more generally–as a generation of young adults looking for direction in a rapidly changing world. Maybe you can interpret it differently. But that’s what is so great about it.

 

5 comments | posted in Seiyuu, Idol, Pop