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 22, 2008

CLANNAD the Movie or Incremental Upgrades Leaves the Heart Wondering

By omo

I enjoyed the CLANNAD movie. But I realize it became a very narrowly tailored exercise in, well, dramatic reenactment of something that’s probably more powerful.

The problem with CLANNAD, and to some extent the Key anime adaptations we’ve seen so far, is that there is no way to traverse through all the key “checkpoints” without making a mess of the story. The story either loses some of the impact because of that, or the story just gets too convoluted for a straight-faced narrative.

In a more general sense, multi-pathing visual novels are like arcade racing games. Specifically, it’s those games that takes a couple tokens to play where you have to not only beat your AI opponents, but make various checkpoints to get more time. When you run out of time, even if you are ahead of the pack, you basically lose.

In this modular way to look at drama, where trying to hit every gut wrenching twist and turn becomes the purpose of an unstoppable, artfully sly narrative, we should see quite a few of those checkpoints in the duration of the story. But when as applied to visual novels, the difficulty arises when your checkpoints are not dotted across one race track, but in a city of one-way roads that necessarily limits you to only a subset of all possible checkpoints available in the game out of the total.

The approach in a theatrical adaptation is necessarily much more single minded. We want to go in and get it done in an hour-and-half. TV series can pursuit forks in the road, but movies lack the luxury of time to backtrack (so much).

And in exchange, the CLANNAD movie took us deeper and all the way through with Nagisa’s story. But at what cost? Was it worth it?

I think how you answer those questions will be the litmus test to determine what you enjoy the most out of an exercise in drama.

Perhaps more relevantly, with each iteration, each Key adaptation, both Toei and Kyoto Animation do a better job. At least that was my impression.

1 comment | posted in Clannad, Modern Visual Culture

April 16, 2008

Huggles Boggled

By omo

Blogging and journalism are like salt water and freshwater; to some anyways. Today, they are mixed; you can see the afternoon newspaper dying in the streets and reborn online with the likes of industry, pro bloggers and journalists who release bits of news in a blog format.

But are they suppose to? I guess this guy probably doesn’t think so. What surprised me was my own reaction about he being surprised at ANN’s relatively new tack in regards to internet reporting.

Li Mei Fong...by Asako Nishida

Undeniably true, however, is that ANN is getting more traffic the more they dabble in this so-called “huggle” readership. If you read the comments in that In Search Of post, one of the commenter mentioned this and, well, that’s what blogs are all about! At the same time, unlike other news blog sites that we might be familiar with, ANN is sort of in mid-transition between a more traditional news website to a news blog.

As one of the first major anime fandom company on the internet, I didn’t really pay ANN any mind because it utterly failed to serve my needs (mainly protonews and a source of industry hubbub which was primarily what AoDVD was for). At least, until their mighty encyclopedia started to gain momentum. As a factoid, the first anime entry in the database is Angel Links. That should give you a clue to its vintage.

[Coincidentally that was one of the first series that I’ve had the joy of watching the digital raws while the series was airing. (And the subsequent joy of dropping it.) Anyways.]

So, yes; if we took a look at what fan blogs are about this day and age, we’ll see how things break down:

  • Episode reviews, previews, retrospectives
  • News – Both straight-up news and entertaining news. Does Mainichi Daily News counts? But I was thinking more like, say, akibablog or Canned Dogs.
  • Special features – Like a March madness tournament. Like blogging about your company’s Blu-Ray strategy. Like a sound clip from Yukana. But usually just reports from cons–the home of the huggles.

A lot of blogs mix them up, including this one. But I think that just lays out the things you will see ANN do more of. Being a commercial entity they already have a leg up on getting special interviews, so as a potential reader I hope they can do more of those.

The role of editorial bloggers and editorial blogging, however, is something else. To an extent, the power of blogging comes from the ability to do whatever you want with disregard to any kind of professional standard. If quality writing, professionalism and speed are important things for any publication, why is ANN getting the readership it gets?

Perhaps a better way to see the big picture is to understand how people gather information using the internet. And quite simply put, as long as it isn’t a time intensive and otherwise pain in the neck kind of a thing, people are quite content reading the words of a recent ESL person versus someone who has been writing professionally for decades. What is important is the information within, and does the information in the format presented serves the needs of the person looking for it. Or at least that’s how I judge the quality of information.

But that’s just how I see ANN, as a source of information. Different people perceive ANN as different things, after all.

That’s blogging in a nutshell IMO. After that it’s just a long sliding scale from awful to awesome. We are here to serve our huggling overlords, and many bloggers double duty as both. It doesn’t matter how we call ourselves, our readers can tell the difference (so we believe).

After all, it is the non-Serious-Business nature of internet blogging that makes amateur production feasible; there may very well be no incentive for a person to improve his or her blog if there is nothing to gain from it…much like how ANN has no incentive to improve the quality of its services?

It might be healthy to be obsessed with your blog’s traffic after all?

 

1 comment | posted in Blogging, Modern Visual Culture