Yukari: A Stylish Rocket Girl

I don’t know how hard it is to tell geography by visuals when you’re in low earth orbit, but Yukari can do it. For some reason I got the impression that it is rather hard? For one, you don’t look at things north-up.

Eri Sendai’s performance as Yukari Morita in Rocket Girls is strangely familiar with a pinch of indignity and mild irritation. It took a while for me to find why but I narrowed it down to her role as Yuuhi from Neo Ranga. And in some ways, the mean streak continues on with Yukari when she fights and consents to the various trials and strangeness that makes a high schooler going into space something to be taken slightly more seriously (than not at all). More than a bunch of washed-up idol singers, at any rate.

But in exchange, maybe Matsuri should be in Wadaba Style instead? Maybe Rocket Girls should make reference to Lisa Nowak? Anime fans like determined girls with a streak of insanity, I suppose?

In some ways all of this pseudo low-tech sci-fi gets on my nerves like a confused bee grazing under a blooming Spring sky. Is it like Gundam? As in, an event several decades ago that changed the minds of the animators and creators forever? Are we bridging that gender gap? My parents saw the momentous Apollo 11 landing broadcast live across the world and told me about it when I got older, and most of you reading this blog probably hasn’t, or too young to remember. Is it just a staple genre that old Japanese guys buy to remind them the memories of fascination and dreams they had as children? I don’t know.


UFOTable Does Ending Right

The end is the beginning

BYE-BYE!

I can’t say if Manabi Straight! is the best thing since Sliced Bread (and I can’t recommend it to you unless I know a little about you), but it sure finishes well.

I haven’t been more so gratified by an end to a TV anime for as far as I can remember. It isn’t even a matter of expectation–I expected UFOTable to deliver–it’s just so sweet and it hits the spot so squarely on, that I even put off my original post for today just so I can splooge here.


Signs of Trouble

A couple years ago, Otakon had announced a “sign” policy that regulates the use and display of signs within the convention by the con-goers. This is particularly amusing if you read about that without any idea how it was at Otakon, and twice more if you do.

And for the most part, it’s something of just trivial, passing interest.

Said trivial, passing interest came to mind when I read that one US Supreme Court oral argument transcript about signs at a school. It’s in the local news this past week, and the long and short of it is that some student held up a 14-foot banner saying “Bong Hits 4 Jesus” during a school assembly to watch the passing of the Olympic torch in Alaska.

During the oral argument, the various Supreme Court Justices pitched hypothetical to illustrate their points about managing kids in schools, First Amendment issues, and to test the possible ruling they are considering. Expectedly, there were some good ones. I think Justice Scalia’s “bong sign” comment wins them all, but it just occured to me that these signs are, depending on context, possibly very, very funny things. It’s like, a non-computer representation of a funny image, printed on something.

yarly

And then Otakon came to mind. Otakon 2004(?) was when the signs went crazy. Walking through the main exhibit hall corridors at the right time of day on Saturday means you probably saw like a hundred signs, many of them small and crude, plastered on walls or held up by random idling people. Most of them are pretty stupid things telling you the nature of fandom and what it means to be a fangirl or fanboy; who needs no pocky or glomping. Whatever. That year Otakon hit 20000+ in attendees, if I recall correctly, so it was a bit out of hands.

But does that infringes free speech? Naturally the BCC (and most other con hosts) are private locations, so at the very least, US laws allow the private organizations to arrange and manage things like sign usage when it’s on private property, as opposed to public schools.

Nonetheless free speech is an issue. Perhaps not so serious, but most anime cons in the US still screen fansubs; panelists and attendees exhort all kinds of crazy opinions that do not reflect the organizations that host these panels. The expression of people with signs are mostly harmless, but can be a public nuance if they become fire hazards or create litter. Still, if you really want to be glomped, there’s no reason to not let other people know about it, I think. I guess as much as I might regret saying it, signs (when responsibly used) exhibits individuality and personality and adds a lot more to cons, in the same ways cosplayers and live performances in the halls do, and gives it flavor. Perhaps it’s another story as to if signs can be responsibly used, and what that means.

To me anime cons are valuable as a exhibition and expression of fandom. On top of being a consumerist orgy of niche retail products and a giant networking opportunity, it’s a precious expression of freedom of speech and the freedom of people being who they want to be. Retarded kids need be policed by con management, yes, but what’s lost is not insignificant.


Crouching Tiger, Hidden Pumpkins

Valiant

In retrospect, Pumpkin Scissors is a very well-executed concept. Too bad the concept is blah.

If anything at all, the fact that I’m writing about it means that there’s at least something redeeming about the show. I think, to be fair, the show did well as a character-driven series. We really got to know the cast and even the little episodic stuff injected periodically interesting side characters. Loli Chiwa episode was a lot of fun, as with the Stekkin episode. Not sure if the penis jokes were all that effective, though.

Still, that is no excuse for turning the last 7 episodes into a huge DBZ-like affair, with a single scene lasting across 6 episodes.

I think there’s this very enjoyable irony between the work Alice does as a noble (which she slowly discovers across the series) and the work she does for the army (which is well-explained when she describes how “Pumpkin Scissors” came about). Well, figuring out what I mean by that is half the fun, so don’t let me ruin it for you.

The idealized concept of Alice, however, is what is truly enjoyable about this show. Shizuka Itou did a wonderful job. Her character design panders just right (which is to say, very little but a lot at key moments). It’s a very simple idealist position. She challenges the gray ethical and moral areas and come up with some convincing answers, at least enough that you can think about it. She doesn’t back down from a fight, but is also smart enough to know her place.

What’s scary is that I see how much I can identify with the way she thinks and the values she subscribes to. That can’t be a good thing…


Manabi: The Real God Girl

You know the episode is good if you can squeeze 2 or more posts out of it :3 And I didn’t even have to try.

High as a Kite

Haruhi Suzumiya appeals to the earthly notion of God: someone who is powerful to craft reality through sheer power.

But the God I serve works it much more like Manami Amamiya, who makes miracles by putting people together–from friends to buddies–to do things that only buddies can accomplish. Manabi lives in a reality that is a fulfilled future, and she brings her prophetic “vision” of how things could be to inspire and bring people together. This is really what is so “heartful” about Manabi Straight.

What’s probably a little disingenuous is how apparent it all is in the show. They really make it clear with the whole seeing thing. To some end I derive a lot of joy out of watching Manabi Straight just out of my personal perspective alone. And nonetheless I think a fair look at episode 11 would suggest that the animation quality, while isn’t jaw-droppingly gorgeous as Haruhi Suzumiya 12, is well thought-out and fluid when it is necessary. The rocking out scene, to me, was better done because the body movements felt more natural, sans the strange synchronousness of the band. Granted, in a real live people tend NOT to move around as much, but I guess they had to do it to satisfy some notion of “good animation” by serving it up to the fans.

And it’s a dekkai zettai ryouiki jamboree, for real.

Seeing reality for more than what it is–beyond flesh and blood and the physical–is part of the human experience. People relate to each other, and that’s the foundation of society and meaningful human existence. Merely puppeting your surrounding to amuse yourself may be a lot of fun, but it’s a hollow thing at the end. No matter how much of a god Haruhi is she can’t meet her internal, mental, and psychological needs with just her powers alone. In fact her search for aliens and espers and time travelers goes to show that those are the sort of things we look for to fill our needs.

Granted, looking to Mikan to fill your needs is not that different than looking to Kyon to do the same, so well, there’s plenty of reasons to like both shows :)