Year In Review 2013: Toys for Naughty Kids

sn0blk

Let me start with this: I by no mean look down at people who publicly declare their hankering for some pankering in the form of PVC. But it’s a little bit distasteful when your lolipedo waifu is already stripped down to her skinny undies and now you complain that her raven locks are draped across her chest because it’s actually the tasteful sculpting decision? Instead of whining why don’t you do something about it, like hire someone to make a makaizou version?

What I want to say is that figure collection brings your desires to the fore. It is a purifying fire to be a serious figure collector. What drives people buying figures has a lot to do with how well (read: poorly) they control their desires and impulses. It’s not a cheap hobby to get into and once you go beyond casual there is a mountain of headaches to deal with. But as they say, for where your treasure is, there your heart will be also.

Meanwhile here’s a target if you’ve got tomatoes. With the power of MFC, after a few years of serious figure collecting I know, for instance:

  • My favorite anime character design in a figure probably has these 5-6 traits: long, blond hair in twintails, wears thigh-highs and has ribbons somewhere. Maybe blue eyes. I really can’t disagree with this assessment.
  • I have a thing for Type-Moon (you all know this right).
  • I like GSC, Alter, Kotobukiya and Max Factory (you might also know this). By “like” I mean own the most in that order.
  • While Saber sits atop my “most figures from a character” list (that one is easy), the next 4 are Rin Tohsaka, Miku Hatsune, Ciel (Tsukihime) and Rinko Kobayakawa. It’s not a surprise but man how did I end up with so many Ciel figures? And I probably could do better with Rinko, although what’s out there is slim picking. Pretty sure all but one of my Arcu figures are actually Phantasmoon…
  • I own more flat chests than large breasted figures. (Probably because Miku counts as flat, I don’t know, she’s squarely in between.)

And I looked, where’s the “cast_off” tag? I guess I just don’t own enough of them.

But as I mentioned earlier, naughty figures (as in, figures exposing naughty bits) is an explosive new area of growth in the PVC fixed-pose figure market. And maybe it’ll bleed into the action figure side (see: figma/nendo/etc). For the longest time the quality of the average adult-entertainment-type figure is pretty low; they would focus on actual ero titles and make figures that are outright, uh, exploitative. The build quality is terrible and they would be priced > 10k yen. That still happens today, but now there is a new group of figures with naughty bits slowly creeping towards the mainstream in the form of more artistically appealing limited runs (like Native’s special order figures) or just characters from popular fanservice titles (yhelo thar Tama-nee, Ikkitousen, Queen’s Blade, etc) in which depending on how explicit it gets, various parts of the figure can be removed or replaced to make them revealing. While they are likely still expensive (partly because they are also more complex), the workmanship has improved drastically.

And this is in a way the reflection of market realities. Sex sells, and this newer porn-on-a-stick market shouldn’t surprise anyone. Looking from a different angle, the proliferation of 3D printing tech and better VR could also usher things in this direction. Things may have gotten a start a couple years ago but we’re surely in second gear with this cast-off stuff, if not third. I mean the blatant eroge stuff is now not even terribad (nsfw) (ok it’s still kind of bad). It has definitely gotten to the point where I buy cast-offs because the figure concept and sculpt quality is driving the purchase decision, not because you can get naked with it. I suppose you can always get naked with it, no matter what it is…

Otaku dirty laundry may not be pretty, and when it comes to airing said dirty laundry there are options! Even the most kimoi otaku have choices.

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Year in Review 2013: The New Age of Media Literacy, the Otaku Newtype

Makoto Kikuchi is always nice

Since I started “blogging fer reals” or whatever that means, I’ve been writing and more importantly, reading, what other people blog about surrounding the same interest topics. What I find is that it’s almost one to one in terms of what I find an interesting read to what the writer has to do in terms of their media literacy powers. It’s kind of interesting in that yes, some people who engage anime blogging this way do have academic experience in the humanities, but it is easier to see when the writer doesn’t have a background in that.

But no matter who you are, the importance of being able to really bite into media you consume and pull it apart for what it is, and more importantly seeing how it impacts the way you look at the world, is super important. I was talking with a friend about Lessig’s free culture since he wasn’t sure what “Copyleft” meant. In truth it is the legal illustration of the way human culture has evolved from folk and oral to mass commercialism. If we think of copyright law as the set of rules that governs commercial activity of entities that engages in trading human culture beyond the folk and oral traditions that accompanied us since the beginning of history, it is easy to grasp why the free culture movement is important–because almost everything written down that is read by someone growing up today comes from some form of mass media. This stuff, culture, is the substance that defines  us as a group, as human beings, and even as individuals. So we really owe it to ourselves to know what we’re consuming today.

But that is one realization far, far most people do not have.

If we assume that an anime otaku watches a lot of anime (which is a bold assumption to make in America, to say the least), then I think media literacy is a prerequisite of being one? Understanding tropes is like, 101 level stuff. It goes so much deeper, so much more than that. And it feels like a lot of the time I enjoy some crap-tier anime BECAUSE it is so interesting once you break it down into pieces. Like this year’s Oreshura and Oregairu. Or the classic Genshiken Second Season. Girls und Panzer and Arpeggio. Outbreak Company. Log Horizon. Love Lab, even. A lot of these shows are fun to watch on the surface, sure, but a lot of them aren’t either. But both types are enjoyable to me because they’re built on frameworks I can parse well.

It’s like the one core thing that makes watching post-modern media content enjoyable. It’s that beacon that shines in the darkness that is the sea of this unfiltered, unadulterated deluge of otaku crap.

At the same time, though, it’s weird reading into why people would want their Kuroyukihime uncensored and castoff-able. It’s already pretty much naked. Poor girl. I mean, like, if you can resign yourself as some lolicon-moe-sick kimoi otaku, the least you can do is to max your sub-class and gain something useful. Media literacy is one of these things. If you want to compare/contrast Kill la Kill with Utena, rest assured you won’t look any more stupid than any of these guys talking about how to get things more naked.

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Year In Review 2013: Small Packages

gdgd weapon trafficking

I didn’t watch gdgd Fairies back in 2011. I watched it late in 2012 (in winter?) after so many people saying good things about it. gdgd Fairies season 2 launched winter of 2013, so that came in timely. Right after that was a similar kind of show, Straight Title Robot Anime. Alongside those, we have Teekyuu, Yama no Susume, Aiura, Ishida & Asakura, among many others. There were also web shorts like Inferno Cop and Turning Girls. In short, I watched a lot of anime shorts this year, and maybe so did you.

I mean, the thing is, short anime has been around for a long time. There are probably more short anime today than there was 6 years ago, but it isn’t an explosively growing category. But we English-language speakers are watching more of it, because more of it are being made available. These shows typically don’t get the love, in a very literal sense, as longer, typical TV anime. So they are rarely watched by English-language viewers let alone fansubbed.

I mean, you gotta be pretty awesome to fansub gdgd Fairies or Teekyuu. And it takes a special kind of person to translate, say, Straight Title Robot Anime.

On the other hand I can see why people would sub Aiura. I mean, it’s like king crabs, the iPhone, and teenage girls’ legs. I don’t really need to go farther than that right?

Thing is, because these shows are so short and don’t pack that much of a punch (and even then some sure punched pretty hard, many were well outside of their weight classes), people just don’t talk about them. And maybe that’s just how it is.

osaka

 

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Madoka: Rebellion

Just to capture some highlights and impressions before it gets wiped out. Spoilers ahead.

Akemi Homura, Akuma ver

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Year in Review 2013: Introduction

It didn’t feel like Christmas until the calendar turned the corner on American Thanksgiving, which is really the main signal for American to switch gears from “normal” to “holiday.” Given this year Thanksgiving was at its latest possible date, the whole holiday feel sprung on me very suddenly. But it didn’t hit home until I saw this in the news.

People have already been rolling up the holiday preps. I see people doing end-of-year blogging (at least writing it, not publishing it) and what secret santa things. I will do my two cents worth of sprucing up the holidays here.

Chihaya, Miki, Haruka

Looking back in 2013, it’s a year when a lot of things came together. On the internet, I’ve been doing more writing than ever, and a lot of it is on Japanator. For better or for worse I’m kind of writing for them in a capacity that I imagined I would for the longest time. I guess this does mean I am now forced with the choices of cutting something somewhere so I can write more consistently. For better or worse, I am also watching more anime now than ever, which just means my novel reading has come to almost a halt. I think I finished 2 books in 2013. Blame it on LTE technology, I guess. And video games. Having all three Shiny Festa games on the iPad, or that I own a Vita now, or having the opportunity to crash through Project Diva and Ni no Kuni, stuff like that.

In some ways I wish I could’ve seen 12 Ghibli films in a month, again, but instead I will spend time getting ready. Or getting L@DY as they say. Thing is, I’ve been doing this crap for too long to shortchange the depth and passion of the Producer fandom. iM@S Ps. Nerds who love idolm@ster. Whatever. That has been kind of a thing this year more so than 2011 or 2012.

But that hasn’t been a theme, if you get what I am saying. What has been a theme is that slowly what excited me beyond anime and manga has consistently been simply things that enhanced the experience. Like meeting a seiyuu I like or going to a concert full of music from shows I loved. Both of these things happened this year (and somewhat surprisingly, every year in recent times). I mean, Otakon 20, man. If I didn’t already jumped the shark back in 2009 this would have been one awesome memorable Otakon, not that it wasn’t awesome. Cons are still tiresome but that is about as tiresome as not getting sleep; I could have skipped out on sleep to marathon some crap anime or play some video game, too. What I’m saying is just that, the totality of the fandom experience for the monetary enabled, hardcore otaku overseas has narrowed closer to the Japanese, in recent years, by some significant amount. And the simulcast business is just a small piece of that pie.

It’s just easy to point to Daisuki and Anime Sols, I guess, because they are entities out there promoting themselves. But this Producer-wannabe (I feel unworthy to truly partake in this fandom, but I will still make some business cards) is trying to board an airplane comes February to go see M@STER OF IDOL WORLD 2014. Having made a similar trip in 2013, it really kind of unsettles me in that I am not sure if, well, I will be ready for two Japan trips within 12 months. It feels that the logistic and legal hurdle between Japan and its distributed works are slowly but surely eroding. I guess that’s great if your business operates on hauling butts across the Pacific in giant flying metal cages. Or the Atlantic as I met my first UK Producer this year, heyo.

The “World Is All One” aside, I did have a good time in 2013. I just wish I could do my next trip not just purely to hit up concerts, as this trip is shaping out to be another “stay in Tokyo the whole time” kind of thing. I guess I could sight see on a day trip to go to… Mt. Takao or something. LOL. I mean they have a Yama no Suzume trail right? Right?

At least that hike is short.

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