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One of the defining traits of director Imagawa Yasuhiro’s adaptive works is the way in which he takes a large mass of disparate information pertaining to a particular work and organizes it such that the themes and concepts are strengthened and made more vibrant through cohesion and consistency. With Giant Robo, it’s an amplification of the history of legendary manga creator and Tezuka contemporary Yokoyama Mitsuteru. With Tetsujin 28 (also originally by Yokoyama) it’s about highlighting Tetsujin 28 as a connection between post-war Japan and the militarism which had preceded this period. With G Gundam, in spite of the fighting tournament setting, it’s about the effects of continued conflict on the Earth. Shin Mazinger Shougeki! Z-Hen takes Mazinger Z’s iconic status as the super robot and shows just how much influence it’s had on the genre as a whole while also providing an argument for how Mazinger as a whole gives much food for thought if only one delves a little deeper.
What I find particular interesting about Shin Mazinger as an adaptation is the way in which Mazinger Z’s attacks themselves have been reorganized to strengthen the image of Mazinger. For example, take the Photon Energy Beam, Mazinger Z’s eye lasers. Generally they’re considered one of its weaker attacks, even often being the first and least-damaging move for Mazinger Z in the Super Robot Wars franchise. In Shin Mazinger, however, it is initially Mazinger’s strongest weapon When taking into consideration what Mazinger Z is supposed to be, a robot whose basic power comes from a combination of its Super Alloy Z (which the bombastic narration is very keen on making the viewer remember by deliberately repeating its name) and its miraculous Photon Energy power source. Tapping directly into the very thing that moves Mazinger Z only makes sense as a highly destructive attack.
When it comes to Mazinger Z’s arsenal and its cultural influence, however, there is nothing in all of the history of super robots with more imitators, successors, and homages than the Rocket Punch. What does Shin Mazinger do? For one, it makes the Rocket Punch the very first attack that Mazinger Z does in the show while giving it a fanfare worthy of the gods, but Imagawa doesn’t even leave it at that. He adds new elements to Mazinger Z so that the Rocket Punch, or a variation of it, is the greatest, most visually striking, and memorable thing that Mazinger Z can do. When Mazinger Z performs the Big Bang Punch, it literally transforms its entire body into a massive fist and becomes one with the Rocket Punch, such that Mazinger Z’s most lasting legacy (outside of the act of actually having someone control the robot from within) is also its most potent weapon.
Shin Mazinger takes Mazinger Z’s attacks and asks, “Why are these moves fun and exciting?” In doing so, it is able to play around with Mazinger Z as a cultural object and bring attention to not only what made it conceptually interesting to its fans in the first place, but also what potential still lies within it.
Kill la Kill for all of its visual creativity is a pretty controversial show, if only for its main heroine’s outfit and how it’s used in the series. Whether Ryuko’s uniform (or lack thereof) is a symbol of feminine power or yet another case of women being objectified in media is the point of contention. I find that it can be difficult to navigate the intersection between “exploitation” and “empowerment” in Kill la Kill, partly because when we think of those ideas we usually find them mutually exclusive to the extent that one can only grow at the expense of the other, whereas I actually believe Kill la Kill is honestly and genuinely trying to do both at once.
One of the key examples of this duality is in Ryuko’s transformation sequence, which ends in the pose shown above. Her uniform is ridiculously skimpy, but her actual stance exudes power and confidence, sharing more in common with the type of posing done by a tokusatsu hero rather than the almost fashion model-esque poses common to magical girl shows (and also JoJo’s Bizarre Adventure). It’s showing her body off to the world at the same time it shows off her will and determination.
Outside of Kill la Kill, of all the series I’ve seen which attempt this combination the one that tries the hardest is probably Shinkon Gattai Godannar. There, the fanservice is arguably more extreme and pretty impossible to avoid in its own right, but I find that its ideas and themes resonate with a desire for women to be the heroes of their stories. With either Kill la Kill or Godannar, it’s possible to “look past” the sexualization (or not), but neither the image of exploitation nor empowerment are necessarily merely in service to the other, as if one is an “excuse” and the other is the underlying true meaning.
It’s easy to think of the people who made Kill la Kill as perverts, and it’s maybe even true, but I wonder if the show is actually saying something along the lines of, “Hey, perverts can be feminists too!” Whether or not this approach is okay or not is of course still up for debate, and differs from show to show, or perhaps even episode to episode. Personally, I’m pretty okay with it but recognize the potential, positive or negative, in combining this imagery in that it can be appropriate and used according to the viewer’s wishes.
This year’s blog anniversary actually snuck up on me by surprise. Every year before this I had the sense to notice that November was coming up and November means time to celebrate, but this time around was different.
For a long time I’ve been considering changing the banner up top, but I keep hesitating on it. I made it on the fly when I first started, and it was outdated from Day 1, but something about it has me feeling that it maintains the blog’s identity. Simple, to the point, Ogiue. Will it finally change this year? Who knows, but I do have an idea or two.
On the anime front, I never thought we’d get to see another Genshiken anime. This blog actually began in the middle of the Genshiken 2 run back in 2007 (not to be confused with Genshiken Second Season which aired this year), so in some ways it’s come full circle. I think the fact that it sort of coincided with the lifespan of Ogiue Maniax so far makes me realize just how much time has passed and indeed how much otaku culture has changed in its own ways.
Moving forward, though I do always want to keep blogging I get the feeling that the next year may bring some changes to the blog. Perhaps it’ll be just a once-a-week post schedule, maybe it’ll be fewer prepared essay-style posts and more near-stream of consciousness posts (like this one!), or maybe it’ll just be more sporadic posting. I can’t predict the future unfortunately. As someone who has tried his hardest to maintain the blog as both a place where I could relax and challenge myself at the same time, keeping at it week after week has been important to me, and if I can help it I’ll continue to do so.
I still have plenty of things to say, and to ask.
Chousoku Henkei Gyrozetter is about a world where everyone can drive, including 8 year olds. Cars can also turn into robots called Gyrozetters. This technology comes from a prophetic tablet known as the “Rosettagraphy” which also contains a list of “chosen drivers,” kids with the attitude and will to drive the most “wicked cool” Gyrozetters in order to fight evil or corrupt fuel companies or whatever.
If it wasn’t clear from my summary, I think Gyrozetter is an odd show, but what I think is really strange is how typical it is without veering towards tedious or amazing or even average. Its mostly episodic format gives off “standard kids’ anime” vibes in spades, but it neither comes off as a refreshing take on the formula nor so rote as to be unentertaining. I find it difficult to talk about if only because I definitely enjoyed the show in a way which would have me looking forward to more, but it doesn’t feel quite special. People say that the hardest shows to talk about are the ones that are utterly mediocre, but when it’s “better than average, though not great,” a show like Gyrozetter poses its own review challenge. The robots/cars are fairly well-designed , the characters are fun and expressive, and both the episodic elements and the overarcing plot work well enough together. I think the best I can do though is to talk about some aspects of Gyrozetter which I found fairly notable.
First, is the endings which are pretty much Precure-style dance sequences but done with giant robots. It’s eye-catching if anything.
Second, even though it’s a kids’ show it spends a lot of effort on attractive ladies. Apparently in some interview the director or producer said something along the lines of wanting to make the show “erotic” but I don’t know how seriously to take that.
Third, the villains are an appealing part of the show, and though they start off fairly serious they get increasingly Team Rocket-ey as the series progresses. Curiously, as this is happening the plot is also getting more dramatic so there’s this almost schizophrenic feel to Gyrozetter which isn’t offputting but gave me pause every so often.
Fourth, it’s a boys’ show which develops the relationship between the main character Todoroki Kakeru, who’s very much of the Ash Ketchum-type (or Satoshi if you prefer) and his would-be girlfriend Inaba Rinne to a surprising extent. He’s 10, she’s 12 (or somewhere along those lines), and it’s actually really close to if Pokemon had spent more time overtly pushing Ash x Misty as a thing instead of just giving the vaguest of hints. Maybe that’s what’s oddly refreshing about the show even though it’s so formulaic.
Fifth, Mic Man Seki, who is literally voice actor Seki Tomokazu. His job is to hype up everything ever, and he certainly does a good job of it.
Sixth, the Valentine’s Day episode.
Gyrozetter is a bit different from other giant robot anime because it’s not based on a toyline or pushing sales to nostalgic older fans, but comes from an arcade game where you’re supposed to drive around for a while collecting powerups and then transform into a robot for a 3-on-3 battle. Apparently the anime didn’t do well, and I wonder if it was partly because the show’s format (children of destiny use their car robots to save the world!) was too different from the actual game, and I did notice that towards the end they tried to actively foreground the arcade gameplay in the actual anime. However, it seems like the arcade game itself wasn’t terribly popular and is going away, so maybe there’s plenty of blame to go around.
From what I’ve been told (by Kawaiikochan author Dave), the arcade machine is the embodiment of rad as the giant cockpit-like arcade machine will literally transform into a battle mode as you shift gameplay modes and do so in the flashiest way possible. I have to wonder if maybe the game was too much, as a lot of the popular arcade games for kids seem to be the super automated games where characters dance or fight on autopilot based on a special card you use.
In terms of favorites, the best robot design in my opinion Rinne’s second Gyrozetter, Dolphine. Its curved design makes for a pleasing sillhouette and its figure skating gimmick reflects Rinne’s own interests (her dream is to be an Olympic skater) in an interesting fashion. I can’t pick a favorite character but I was fond of Kotoha the bridge bunny (the one in green and glasses), Haruka, who is shown in the shot of the villains above, and the secretary character Kouno Saki.
If I stretched even further, I think I could say some things about how the show addresses the concept of destiny through the later developments concerning the Rosettagraphy, but I’ve said a lot more about a show I find to be “not bad” than I was expecting. With that, I’ll just end with some final screenshots.
I’ve been thinking a lot about female characters in anime and manga recently (not exactly a surprise, I know), and it’s something where, even if I don’t have a fully formed argument or point to make, I feel compelled to write something down. Forgive me as I meander through my own thoughts in an attempt to piece it all together.
About a month ago I was reading the comments section on polygon.com in regards to the portrayal of female characters in video games. I can’t remember which game they were talking about, but one commenter said something along the lines of, “You shouldn’t bring up Japan when trying to show strong women in video games because it’s such a sexist culture. Just look at anime and manga,” and it made me bristle. I do think Japanese culture is sexist in many ways, but the idea that this perception of Japan as sexist made it impossible for Japanese fiction to have really good female characters in this person’s eyes bothered me because I’ve seen plenty from every period of anime and manga.
I know it was just one comment on a video game article, but it got me thinking more broadly about what people see in anime and manga, and to what extent the image of anime and manga as sexist is fueled by what people want to see. I recently saw a comment that criticized Heartcatch Precure! for encouraging girls to be stereotypically feminine by having the character of Itsuki, who normally dresses like a boy, express a desire to be more girly. While I know there are plenty of examples of tomboy characters who end up feeling like they need to dress like girls to attract their male love interest, Itsuki’s story is more about how she suppressed the side of her which enjoys cute things out of a somewhat misguided sense of duty and responsibility. Yet, rather than taking this as the message, it was like as soon as the person saw the rough outlines of the stereotype, surely it would play out the same as always.
There are most certainly a good deal of works which go out of their way to objectify women for male consumption, but I just find that there are also plenty of instances of well-portrayed women and girls in anime and manga. Whether it’s Princess Jellyfish or Rideback, Kekkaishi or Gowapper 5 Godam, it seems like these female characters get ignored because they’re, somewhat ironically, not as eye-catching as a Queen’s Blade or an I Wanna Be the Strongest in the World! There seems to be this idea that anime = sexism, and while even the works I mentioned as strong examples aren’t entirely devoid of sexism themselves, I also don’t think it’s as simple as just slapping the misogynist label on Japanese media as a whole. Messages regarding women in anime and manga can be so diverse and divergent.
At this point I’ve seen a lot of 60s and 70s shoujo, and I’ve noticed a clear trend of mischievous tomboy heroines from that time period. Even putting aside an extreme example such as Oscar from Rose of Versailles who was raised as a man to uphold her family’s proud military tradition, you have Candy from Candy Candy, who’s adventurous and constantly challenging the conceitedness of the upper class, and Angie from Petite Angie, who is portrayed as an extremely clever detective. You have Ayuko from Attack No.1, whose aggressive desire to win at volleyball inspires the rest of her teammates, and Yumi from Sign wa V! who initially plots to sabotage her teammates because of how much she despises volleyball. Hiromi from Aim for the Ace, Lunlun from Hana no Ko Lunlun, Masumi from Swan, the list goes on and on. All of these characters have their fair share of personal agency (even if it’s not always an ideal amount). Given that the trend of the strong, mischievous tomboy was clearly a “thing,” and I do believe it continued in some form well beyond the 70s (Utena is an obvious one, but perhaps Lina Inverse from Slayers counts too, for example?), I just have to wonder about the disconnect between that and the perception of anime and manga as inherently misogynistic and where it may have come from.
Is it a matter of age of these older titles, that if people were able to access the works these characters are from, that they would change their minds? Is it that shoujo doesn’t act enough as the “face” of anime and manga? Could it be that, as much as we’d like to think we’ve gone beyond the stereotype, anime is still viewed as essentially “porn or Pokemon?” If the ratio were different, and there were just fewer fanservice titles or works where girls are basically a cheerleading squad for the heroes, would detractors be more charitable towards anime and manga, or is it inescapable as long as some titles are still like that? For that matter, to what extent does the western image of the submissive Asian woman affect and interact with how people see all female characters coming from Japan, and how does it differ from the similar stereotype as viewed by Japan (I can of course admit that it’s there too)?
What shapes people’s views of female characters in anime and manga? I guess that’s the question I want to explore the most.
There’s a general trend I’ve been seeing with male anime protagonists from light novels, or more specifically anime adaptations of light novels. In many of these titles, the main characters tend towards having passivity as a defining trait, sometimes to the point of “aggressive passivity.” Not to be confused with someone who’s passive-aggressive, or even someone who’s mostly passive and occasionally active (like Shinji in the Evangelion TV series), the aggressively passive protagonist is someone whose passivity is almost a badge of honor, either in the form of a passive special ability, a self-image in which passivity practically defines them, or a reputation for passivity.
Let’s look at a brief list.
- My Teen Romantic Comedy SNAFU: Hikigaya Hachiman persistently mentiones how the real world is harsh and unforgiving and how it’s best to kind of just coast through it with little ambition.
- Mayo Chiki: Sakamichi Kintarou has the nickname of “Chicken Tarou,” indicating what a pushover he is, which he tries to fight.
- A Certain Magical Index: Kamijou Touma, though not truly passive, operates on an extremely loose philosophy of “do the right thing, I guess.” In addition, his ability is a defensive one which neutralizes other superpowers.
- Monogatari Series: Araragi Koyomi helps others out, but his abilities as a vampire mainly manifest in his ability to endure pain and injury, and even his method of active help comes across as essentially philosophically passive.
- Ookami-san: Morino Ryoushi, Ookami’s partner, is someone who can only help fight from the shadows, as he fears direct confrontation.
- Suzumiya Haruhi: Kyon, though he eventually enjoys it, starts off talking about how much he’d rather not be having strange and crazy adventures.
If you look, you’ll also find such characters in non-light novel anime. This is somewhat different from the classic milquetoast harem lead, whose averageness is taken as a way to make him the everyman and the avatar of the reader, because often-times with these aggressively passive characters a lot of time is spent talking about just how average they are and how being average/passive is the way to be.
I’m not sure why this is the case, but I suspect it may have something to do with the “herbivore men” concept that has taken hold in Japan. Herbivore men are defined as guys who shun the life of wealth, success, sex, and family, the classic symbols of masculinity, and embrace a more passive lifestyle which shirks society’s expectations. This trend gets tied to a number of things by those curious as to why it’s occurring, such as the poor Japanese economy driving down ambition towards employment, and it’s possible that the protagonists described above are a product of this environment, that the people reading (and perhaps even writing) these light novels and watching their anime adaptations also see the traditional path of Japanese men to be fraught with lies and deception.
Of course, in many of these cases, it’s not like the characters sit back and do nothing, but that passivity on some level becomes a part of their characters, either as something to be celebrated or something to be worked on. If anything, even the sampling of titles above speak towards a broad range of viewpoints as to what passivity is and whether or not it’s something to be embraced or to be worked on.
This trend is actually why I think Kirito in Sword Art Online has become such a popular hero for anime fans both male and female. It’s not that the aggressively passive hero is inherently bad, but that in this environment an aggressive protagonist stands out that much more. In SAO, Kirito is an extremely skilled fighter who helps the downtrodden, attracts women left and right, and has a powerful reputation among those inhabiting the world, while also being gentle, considerate, and devoted to those he loves. He becomes the exemplary light novel hero for those who’d rather not have a passive protagonist.
Akagi recently made its official English-language debut on Crunchyroll. In light of this, I’ve begun to think about the character of Akagi Shigeru and his peculiar sense of ethics.
For the most part everything about Akagi revolves around the “gamble,” experiencing that life or death scenario where not even your wits may be enough to save you. He cares little for the law, for love, or even money, and in his pursuit of death he’ll even run out in the middle of the night and beat thugs senseless without any regard for concepts like “justice.” What’s strange about Akagi (aside from the obvious) is on a few occasions he will actually come to the aid of some poor individual who’s usually stuck in some terrible gamble where they’re losing money to unscrupulous vultures. This seeming sense of compassion appears somewhat inconsistent with Akagi’s amorality, but I think there is a definite logic to the character.
In order to understand why Akagi will help others, I think it’s important to also understand why Akagi will go to great lengths to break someone’s spirit. When Akagi sees someone getting taken to the cleaners, he sees not only the man being grifted but the grifters themselves, and in those manipulators he sees people who think they’re guaranteed to win no matter what. The idea of a zero-risk wager goes completely against Akagi’s ideal for what gambling should be. In his eyes, something is only a gamble when everyone has to put their lives on the line either figuratively or literally. It’s why he’s so disgusted with Fake Akagi, who uses number-crunching and probability to take the safest route and minimize loss.
This is what drives his major matches throughout the series, as Akagi finishes his opponents when they’ve given up the gamble and are going for guaranteed scenarios. Against the blind man Ichikawa, Akagi sees how he is willing to swap tiles out to create a safety net, and so severs those ropes through mind-boggling moves. Urabe tries to find a point at which he could simply run away almost risk-free, so Akagi moves to topple him by making Urabe doubt his own discards. Washizu is blessed by the gods with both luck and wealth, and Akagi takes it upon himself to instill fear in him.
When I analyzed the other major Fukumoto hero Itou Kaiji, I said that Akagi would probably be a little jealous of Kaiji because Kaiji may be closer to the gambling ideal than Akagi can ever be. In that situation, you cannot even rely on your own strengths, and Akagi, with that pesky thing called talent, requires more effort to walk the tightrope between life and death. Getting back to the downtrodden sad sacks of the world, Akagi doesn’t need to teach them what it’s like to fear or suffer. Life has already given that lesson better than Akagi ever could. So instead Akagi tries to teach them what it’s like to stare death in the face, because being a gambler isn’t about guaranteed failure either, but the willingness to move ahead, even if it’s one small step.
When the Robotech/Voltron crossover comic was announced a few months ago, my immediate response was, “Why?” Of course the answer is “nostalgia grab,” but there’s something strange about both of these works and their continued presence in the geek public eye (and perhaps even beyond that). Unlike Transformers which not only has a huge variety of toys both old and new, as well as a long history of cartoons both from America and Japan (not to mention the live action films), both Robotech and Voltron do not really renew themselves, aside from the occasional thing like the The Shadow Chronicles or The Third Dimension.
Though this speaks more about the people I associate with, I can’t say I’ve ever talked to anyone, online or offline, who is hardcore into either Robotech or Voltron. I know that there’s a Robotech community of course (they even have an official site for it), though I have little interest in it. With Voltron, I know people who have fond memories of it, myself included, but the foundation that Voltron has in geek culture seems not only deeper than Robotech‘s but to the extent that, when you say cool giant robot with a signature finisher, Lion Voltron is just the default, or it shares that spot with the Megazord from Power Rangers. It’s like Voltron as a source of nostalgia goes so far beyond itself that the vague perception of it exceeds the influence of the actual anime.
What’s funny about a show like Voltron and its emblematic presence in US geek culture as de facto super robot is that the process of dubbing and adaptation that turned the anime King of Beasts Golion and Armored Fleet Dairugger into Voltron: Defender of the Universe happened with different anime in different countries to similar effect. In the Philippines, Voltes V exploded with popularity. In France and Italy, UFO Robo Grendizer captured attention as Goldorak and Goldrake respectively (with success in the Middle East to boot). In Brazil, Gloizer X became O Pirata do Espaço, the country’s first real exposure to giant robots. While it’s possible say that this was all a matter of timing and that they’re all interchangeable in that respect, I do think that the specific properties of each show had a major impact on how each country perceived giant robots from that point forward (I’m less sure about Gloizer X so if any Brazilians want to help, feel free to leave a comment).
One thing that I do believe plays a role in how these series become more specific in their nostalgic output is the level of support the original works have in Japan. I visited France recently, and when I went into the comic stores I would regularly see displays of Grendizer merchandise. Whether it was the Super Robot Chogokin or the Soul of Chogokin or a chibi version, it was all straight from Japan, sitting prominently in the store. Grendizer has enough cultural presence in Japan that it can continue to get these toys and even a fairly stable presence in Super Robot Wars, whereas Golion has had to content itself with just one Nintendo DS appearance. In lieu of support from Japan, Voltron‘s had to carve its own place, and often times it’s not even from the company World Events which holds the Voltron license but from fans conjuring it up in their own minds. And while Robotech is an utter legal mess due to the way it stifles the presence of Macross in the US, if you put that aside part of Robotech‘s prolonged presence comes from the fact that its fans want new Robotech to constantly feel like old Robotech, whereas Macross changes according to the whims of its dark lord Kawamori Shouji.
Actually I wouldn’t mind at all if Voltron got a revival with a solid piece of fiction to support it which doesn’t rely too much on nostalgia. I know we got Voltron Force, but the less said about that the better.
Kill la Kill, the new anime from the creators of Gurren-Lagann and Inferno Cop, is pretty much living up to the huge amount of hype surrounding it. For me, there are a few areas pertaining to the visual element of the show which really stand out.
1) Kill la Kill excels at creative sight gags.
When it comes to works that are humorously absurd, often times we say they succeed despite themselves because the humor is because it takes itself seriously and doesn’t realize its own power. In contrast, we then say other works fail to capture this glory because they tried too hard. I find Kill la Kill generally hits that sweet spot where the humor is clearly intentional, but doesn’t go overboard in extending its jokes, so it’s even more possible to appreciate its cleverness.
Two scenes from episode 3 stick out in this respect. The first happens at the beginning of the fight between Ryuko and Satsuki, when their combined willpower literally blows away the surrounding bystanders. It’s a pretty typical sight in anime which wants to establish the sheer power of its primary characters. Then, in the next shot, Kill la Kill extends that sequence to the point of absurdity by having the bystanders’ bodies continuously flying through the air. The shot lasts for about 5 seconds, and during that time it’s easy to wonder if there are more bodies being blasted away than were actually standing there moments before.
The second is after the battle, when Satsuki says to Ryuko that in order to fight her she’ll have to go through her goons, her goons’ goons, and her goons’ goons’ goons. Kill la Kill sets the image up in a somewhat abstract fashion, much like one of those old dramatic Dezaki Osamu painted stills (which I just found out recently is called a “harmony” shot thanks to Anipages). Then, as the show switches to a bird’s eye point of view, you realize that Satsuki and all of her minions are actually standing there like they’re posing for a group photo.
These sight gags stretch their conventions just far enough to pull you out a bit, but neither of them overstay their welcome. Both of them use the screen to create strong images, which brings me to my next point.
2) Kill la Kill has strong image composition.
The series uses a lot of the extreme poses key to a Kanada Yoshinori-style animation, but even in still shots and pans Kill la Kill exhibits a lot of intelligence and creativity which both enhances the mood of the show while also encouraging an appreciation in the animation (or lack thereof).
This shot of Ryuko and the tennis club captain from episode 2 literally consists off two figures sliding and changing size against a background. There’s little to no animation, and yet the moment helps to create tension because the initial image of the two standing away from each other on the tennis court gradually turns into a face-to-face confrontation with the net acting as a visual separator between the two. I find it really impressive because it was able to do so much with so little, and it’s a trend you’ll see throughout each episode.
In the same episode, Ryuko confronts Satsuki. Satsuki begins to swing her sword and she grows to massive proportions on-screen to convey the idea that she’s a massive threat and that she’s much more powerful than she looks. Obviously from the context of the show she’s not actually getting bigger, and this sort of visual representation reminds me of two things.
First, is an American football manga mentioned in Fred Schodt’s Manga! Manga!, where a tiny Japanese player blasts through a massive American roughly five times his size. Second, is Fist of the North Star, and I don’t just mean the giant mohawk thugs. That series often exaggerates the size of Kenshiro’s foes yet shows them to be relatively even in size moments later, just to transmit danger.
3) Kill la Kill makes a lot of anime references but doesn’t overdo it.
This point relates heavily to the first.
Kill la Kill makes numerous references to old anime each episode, but doesn’t depend on them for success. In episode 1 Mako can be seen performing a Kinniku Buster from Kinnikuman on her little brother, but it’s never referred to by name, and there isn’t any sort of big fancy scene where she jumps from the air and lands with an impact. They save those moments for the actual fights.
A lot of the anime and manga references involve Mako, which makes me think that this is part of her purpose as a character. In episode 3, she goes to “shield” Ryuko but more to give a strange speech about how Ryuko should get naked. During that lively sequence this shows up:
That’s right, Kill la Killi threw in a Space Runaway Ideon reference (see 14 seconds into the video). Evangelion is known to be inspired in part by Ideon, and to have ex-Gainax employees bringing it out doesn’t surprise me too much. Again, the reference doesn’t linger too long, is more about the ridiculousness of Mako as a character, and is actually a little easy to miss.
There’s also the recurring use of stars blinking in and out in Kill la Kill. It reminds me of the opening to Evangelion, right before the title logo appears, and I really suspect that it’s intentional.
Actually, I think Mako herself is an anime reference, as her hairstyle and position as the main character’s best friend immediately reminded me of the character Maki from Aim for the Ace! Ryuko’s messier hair even somewhat resembles Aim for the Ace! heroine Hiromi’s style relative to Maki’s. That Mako’s first name is written in Katakana like Maki in the Aim for the Ace! anime, that she is a tennis club member, and that her membership sets up the conflict in episode 2 all point towards this being likely.
In each case the references aid the show but do not dominate it. If someone fails to get certain references (and given the amount it’s going to happen to pretty much everyone, including me) then it doesn’t unravel the humor or make the series any less visually strong. If a reference does get through, it is capable of becoming not only a matter of spotting the homage but also considering how Kill la Kill relates to that older work. For instance, there’s this interesting relationship between Kill la Kill, Gurren-Lagann, Aim for the Top! Gunbuster, and Aim for the Ace! that I’d like to unravel in terms of how these shows approach similar ideas.
I also have other thoughts about the narrative and thematic elements of the show, but I’ll save those for another time. If you want to check out Kill la Kill though, it’s being simulcast from a variety of sites: Crunchyroll, Hulu, and for international audiences, Daisuki.
I’ve come to notice that there are few female characters in anime with seductive personalities.
There are characters who are physically good-looking, characters who are proud of their appearance, characters who are in love, and characters who try to get closer to the person they’re interested in. Rarer is the type of female character whose mannerisms ooze fiery passion in such a way that their sexuality is more than simply their physical design.
Here’s a character who I think qualifies: Fuwa Aika from Blast of Tempest. Good-looking but not to an incredible degree, you can sense in her interactions with her boyfriend Yoshino not only the way she focuses all of her charm on him, but also the strong physical and emotional response that Yoshino has to Aika’s desire. It’s difficult to capture this impression in a single image.
Another lesser example comes from a few years ago in Macross Frontier. The character of Sheryl Nome is more sexy than seductive normally, but in one scene both she and Ranka Lee are trying to out-sing each other in order to demonstrate their interest in the protagonist Alto and why he should choose one over the other. In that moment, both Sheryl and Ranka exude strong desires which fill the space they’re in.
In thinking about this, I’m reminded of an old post on Heisei Democracy, in which Shingo states that lips aren’t moe. The argument is that lipstick denotes an assertive un-moe character, while lips in general are a sign of active sexuality which is counter to moe’s ostensible image of innocence. I don’t quite agree with that premise, and my discussion of characters isn’t limited to just those who would be considered “moe,” but I do feel like there’s something relevant in Shingo’s argument. There’s this rough idea that moe characters, even when they are attractive or overtly sexualized, at most tend towards conflicted expressions of desire (e.g. tsundere) or displays of innocence even in less “innocent” moments. If you then move the idea to being about the difference between sexual/seductive, maybe it’s not so unusual for seductive characters to be a rarity.