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Power Fantasy? Overlord Is Overpowering

Battle Maids or w/e

The question is, as stated:

Considering how much people bitched about the JSDF exercising overwhelming force against armies of chumps with swords, and how many viewers argued Kirito was overpowered in Sword Art Online, I wouldn’t have expected Momonga to get a pass. He’s constantly overestimating the abilities of his enemies and dismantling them with embarrassing ease despite handicapping himself time and again, yet nobody seems to have any qualms about that. My theory is that it’s because he’s really tall and speaks (externally, anyway) with an authoritative voice. That and being a big skeleton guy. I’m pretty sure Tony Robbins had a chapter on that.

The answer? Overlord differs by spinning the narrative towards what I call “world building.” Momonga’s unmatched prowess is not rooted in a sense of vulnerability. SAO and others are criticized because their narratives leverage their powerful protagonists through lenses in which mere mortals like me can sympathize with. (The fact that there is a damsel in distress and not some equally badass level one billion demon to pair with Kirito is all you need to address the feminist critique, although on those grounds Overlord fares poorly as well.) Momon, on the other hand, is a thorough lich, complete with all the leanings and quirks we have come to expect a lich who plays as a guy trapped from another world. At any given time throughout these first 9-10 episodes, he has no real skin in the game. Pun aside, Overlord stresses this by actually ignoring the “he’s trapped in another world and can’t escape” part.

Instead, we are invited by Overlord to learn about this strange new world ala Log Horizon’s styles. (Which, by the way, should share the same scrutiny about power fantasies.) It becomes world building as we learn with Momo-Boney-Goals or whatever he calls himself. We go on adventures with as much attachment as I do with my FFXIV character (who has been sitting in neglect for over a year). In other words, not that much. In that sense, we don’t really feel both the vulnerabilities or share in the same kind of delight of Momonga, as he crushes the truly worthless things beneath his left pinky toe bone. I guess in a way we are invited to take delight when scrubs are put down by something legitimate, but I think the schtik of Overlord is to exaggerate that gap so it becomes disfigured from what we’re used to: it becomes world building, to explain how things work.

GATE, in contrast, invite us to enjoy, celebrate, and watch it for precisely that gap. I would raise my hands when asked if a modern army machine-gunning 12th century footmen and knights on horses is a major reason why I watch the show.

In the story of Overlord we are not asked to pity or sympathize with Momonga, but more his allies, like the people who were slain ruthlessly after trying to befriend him. Or his pet hamster. If Momonga is God, then Overlord reincarnates him as a Coke bottle in subcontinental Africa; we watch it for the cast of characters around him and await what happens at the end. Or maybe Momonga is like the Mars Rover Curiosity and his foes are like rocks in front of a vaporizing laser? I’m grasping here.

PS. Hara is great in this, but I see where he’s coming from.

PPS. So-bin is good stuff.


LLSIF vs. SS?

War never changes.

The mobile free-to-play rhythm game IDOLM@STER Cinderella Girls Starlight Stage (Deresute or SS for short for now) launched a couple days ago, but with a lot of leading-up. People who pre-reigstered for the Android version can redeem a code for in-game currency. Since the iOS version isn’t out yet, you can still pre-register for that and get the same deal when that version launches. Go to the link up there.

The hot take? Deresute largely riffs on LLSIF (the link takes you to a beginner’s guide in English), which is the short hand I will use to explain how the game works. Instead of love gems, you have star jewels or whatever you call it. It translates to about 50 star jewels per love gem, to give you an idea on the prices. 2500 heart jewels for a 10-pull, but all the 10-pulls have a guarantee SR or better.

Cards in SS break out similar to the original Mobamas game, N, R, SR, SSR. You “awaken” cards by maxing out the affection on the card, then awaken it via using certain items required by that card for awakening. Awakening increases the card’s max affection and levels.

And besides that Deresute is a rhythm game based on consuming stamina to do “lives,” actually the similarity with LLSIF ends there. The rest of the game is the logical extension of marrying a F2P Rhythm Game with Mobamas.

BIG DISCLAIMER: This game has not yet have its first event yet, and events are what all these F2P games are about. So this hot take is definitely incomplete and only for novelty.

What I really want to point out are first, how Deresute improves on the LLSIF formula, and where Deresute actually is not like LLSIF and more like Cinderella Girls the original mobage. And I’m going to compare a 2-day old F2P platform with a 2-year old one.

  • Deresute has notification support…mainly for level timers in the chibi room and stamina full. Where’s LLSIF’s?
  • Deresute guarantee SR pull is always available. LLSIF not so much, although it has more variety of pulls now, like the ability to get URs directly.
  • Deresute improves on the Mobamas formula again by keeping affection but removing the 2-card kakusei rule, adding another layer of gameplay.
  • Deresute SSRs have real background artwork. And SRs. Blows the crap out of LLSIF in this department.

Shibuya Rin @ Shibuya Scramble Crossing

Moroboshi Kirari

  • The chibi floor. Or whatever it’s called.
  • I think even the graphics in the 2D live mode blows LLSIF away, to say nothing of the 3D mode. The 3D mode is definitely neat but mostly  eyecandy only.
  • Uses BNID for porting your game, so you can actually play on multiple systems. There are some downsides to this but the upside outright wins for anyone who’s lost a LLSIF account…
  • Does LLSIF story mode have autoplay? Access to audio in the log? Deresute does.
  • Deresute has skippable tutorial. It’s a dumb, minor point, only relevant to re-rollers.
  • Everyone is equal (minus the few unvoiced idols in this game) as far as their representation in the game goes. This actually means each idol have a much more developed story once you unlock their individual ones. The fact that LLSIF is tiered and focuses on the core 9 is not a plus or minus, but there isn’t much to say about everyone else in that game. It’s a content thing. Of course there is more pure content in LLSIF given its age now, but I wonder by how much really.

I think none of this is really special? LLSIF is 2 years old but that game feels dated even back in 2014. The overhaul helped but that clock has kept on ticking. Now we’re just finally getting something similar to compare with as to what things ought to be like.

Of course there are also downsides to this game compared to LLSIF. The player base, the large number of cards you could possibly get (and good luck! You will need unlimited amounts of that!) now compared to somewhere north of 200 in SS. There are more songs, by far. There are more modes of play, even outside of events. But then we consider one game is 2 days old, it all seems like here we have a game that will catch up and surpass LLSIF in probably another 6 months.

The real test, I think, is how Deresute is still JP only. Will it get ported? It’s entirely likely given that trademark file, and doubly so if Scamco want to copy LLSIF’s plan for success. I would think anyone who paid attention to what IM@S things has happened oversea would guess this will eventually make it out of Japan.

And I think they have a winner on their hands; as long as they don’t screw it up, anyway.


Wota Hatin’

Happy Birthday Fuka!

This is a write-up of an exemplary eventer. It is also probably the best way to introduce the concept to a wide audience. Just to say you go to cons every weekend or once a month doesn’t mean anything to anyone who hasn’t done it before, so it has to be spelled out. For example, Otaben explains his finances as such:

Yep, I thought, spending around $500 a month on CDs sounds difficult. “Yeah, I bet it can be,” I said as I imagine how this hobby might set him back over time. “Well, I hope I’m not being to brazen to ask, but how much money do you spend in one year?”

Surprisingly, he didn’t hesitate answering for a second. In fact, he looked proud. “Last year I spent about 1,000,000 yen (approximately $10,000 USD). This year, I think it will be more than that. I can openly declare that it will increase proportionately with my income. Now, my maximum limit is 1,000,000 yen. I also have savings and I always try to make sure I have money for other stuff. I don’t spend all of it. Maybe 20 to 30 %.”

“Here is a rough breakdown of that 1,000,000 yen: 400,000 yen for CDs (handshaking event tickets/votes for election), 400,000 yen for transportation and accommodation for events, the rest is spent on goods and other things.”

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Million Live Crash Course

In the year 2015, it is the war of idols. Actually, it’s the war of mobile games. The battles wage across battlefields all over the world, and I’m just here to write about one of them.

There are two schools in mobile games. The newer term for the first class, social games, is really just a cover term for mobage because it’s kind of trademarked in Japan. Well, that aside, the idea behind these games is content delivery. The other type of game is the mobiles games that has some kind of gameplay baked in, but also deliver content around it. Think of it like a sliding scale of pachinko machines or what you might find in a casino. On one end it’s just a RNG, on the other end you have minigame puzzles and what not, like solitaire or blackjack or IIDX (you get the idea), that the numbers change based on what “cards” you have or whatever.

By content, I mean things like the idols that I love. Or rather, the narrative material in which depicts these lovely characters. It’s stuff I will ignore for now because you can find out about it via the well-stocked Project IM@S wiki and the greyer namassuka site.

What this post will cover is the long play, mid-term play, and short-term play goals of the IDOLM@STER Million Live that I stick by. It may not be the best way, and I don’t do anything that blatantly violates the TOS (no botting or multi-accounts or RMT etc), so I welcome anyone with a better approach to let me know. I won’t go over account creation either because I assume you are savvy enough to do that in order to play this game. The only caveat I will make here is that trading is disabled if you don’t confirm with a Japanese phone number, which makes certain things more difficult. I’ll call them out as necessary.

1439767696180

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Why Otakon 2015 Shrunk

I was reading the ANN Forums thread for this post. Why? Because reading the Otakon boards on the same topic doesn’t get you the same kind of discussion, and I’m not sure where else I can read to see people chime in with their 2c. The key takeaway in the forum was that Bronycon, which is the MLP con that runs in Baltimore just before Otakon (traditionally the week before) had about a 500-people increase. Most people attribute to the decline in Otakon’s attendance between 2014 and 2015 to also several other factors such as the pre-reg issues this and last year, the price increase, and the less-than-stellar guest list, and most of these were unmentioned in the ANN column.

The Bronycon increase is important as a control, because that con, presumably, has a similar age and location demo as Otakon, and I’m assuming it did not have a price hike or a prereg debacle. Maybe there are some factors that made it different than Otakon in the context of this discussion, but it’s hard to see them at a glance.

From WUGBAN 4

That ANN Ask Justin article is basically, fear mongering, according to a certain person who is a big Eva nerd. I partly agree with him after that factoid. Partly only because I don’t think Justin is wrong in his central point, just the way that post came across seemed that way. Maybe it’s just my confirmation bias, but nobody I went to the con with was that concerned about the Baltimore riots in August. We were definitely concerned about it in May, but it helps that I know somebody who works in the City and he is pretty much not concerned since the riot days. I certainly didn’t pay it any mind while I was there, as I never go out of the inner harbor anyway. If that article was fear-monger-y, it was likely unintentional and reflects Justin’s personal biases.

I would have believed aforementioned Eva nerd less if that ANN article had facts to justify that the con attendance dropped not because of other things unrelated to the civil unrest (and I understand why Justin wasn’t thinking about these other things), or in general, based less on hearsay (and not even hearsay of insiders or people in a position to “know”). For example, anecdote about the pool of blood is simply unnecessary and, why is it even there? I can see why some may accuse that article of fear mongering.

The real reason, I think, has more to do with other events and cons. Justin applied his experience with AX and how after years of failure people still came back, and that’s sensible. Despite fare increases, botching pre-reg and at-con reg, screwing up line control, dicking with GOH treatment, endless management drama, and countless other screw-ups, AX kept growing. Maybe this is why he didn’t list any of the factors Otakon goers thought that could attribute to the issue. Unlike any other US cons though, AX is in a very different boat, as there’s nothing quite like it. Now that it has rocketed out in terms of star power, compared to any other North American con, it can afford to keep screwing up and people will continue to return. AX is also located in the largest asian nerd demo region in North America, which guarantees lots of interested attendees at any given year.

Otakon, on the other hand, now seems to fall in line with cons like Anime Boston, ACen, Anime North, and even Anime Next when it comes to guests and attendance. And unlike the US Northeast, and despite the repeated attempts at starting something, SoCal remains firmly in AX’s grasp, as it distinguishes itself from the other non-anime, mega nerd events in the area. Otakon locals can get their fix from established and familiar events like Magfest, Katsucon and Anime USA, and that’s not to mention the smaller ones in the area. People in a 2-hour radius have a lot of options, including cons down south, up to Boston, or even Toronto/Montreal (which both have 20000+ anime cons now!). Even if you go by the numbers, The DC metro area is 3rd largest in the US and the SD/LA metro area is the largest. The demand out west is much larger and less supplied, so to speak, than the one in DC/Baltimore.

And this is a relatively recent thing. Just going back 5-6 years, other than Katsucon, these other events were nascent and unremarkable. As there is only so much nerd money in this pot, and with the new Otakon price hike in 2015 ($100 at door), it’s going to hit a point where people will stop coming because of all these factors, including the persistent crowding due to the con outgrowing the facilities and other perceived negative experiences.

So my hypo is simply that the con-goer landscape in 2015 is drastically different than even 2010. There are more events that vie for our disposable incomes. Con-goers are more sensitive to pricing and other negative factors such as how a con is run. Not to mention, at some level, AX anecdotes don’t apply to Otakon? One common thing that comes up is the increased fees for Otakon as compared to AX. AX 2015 had a $60 entrance fee for 4 days while it hosts paid large events (like the Masquerade). But it’s an apples-and-oranges thing as even if you don’t go to any of the paid events there is plenty else, free, to do at AX. (I mean, %-wise, most AX attendees probably don’t go to these paid events, as the largest of these halls only hold like a 5th of the total attendees?). I’m not entirely convinced that one AX admission dollar goes less far than one Otakon admission dollar. It’s probably close value-wise, which makes the cheaper of the two much more attractive.

Another factor that could have impacted the Otakon attendance is the fact that Otakon this  year ran in July, which is the same month as E3, SDCC and AX. That’s a packed month if you are from the west coast. And I feel the people who are most likely rattled by Baltimore’s rough patch since the riots are most likely people from way out there…