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Stardust-6

I had an epiphany recently: Stardust the Super Wizard is the American superhero comics equivalent of the anime Chargeman Ken!

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Even if you’ve never heard of either title there’s nothing to worry about, as their first point of similarity is that they’re both obscure titles which have garnered fanbases specifically due to their lack of quality. Their second point of similarity is that little effort is made to expand on the characters themselves, as both Ken and Stardust can be defined as 1) heroes 2) who kill villains and 3) that’s it.

The third point of similarity is what allows them to be spoken of in the same breath (not that I think people have), which is that both titles are utterly irresponsible when it comes to the stories they present. I don’t mean that they glorify violence or that they don’t send the proper moral messages or that they’re limited by the cultures in which they were created. The reason why I use the word “irresponsible” is that both Chargeman Ken! and Stardust the Super Wizard consist of adventures where, if one were to stop and think about what goes on in them, they break down into a kind of pure spectacle that isn’t so much morbid or horrific as it is just somewhat…thoughtless.

Chargeman Ken‘s most infamous episode is titled “Dynamite in the Brain.” I’d recommend you watch the video above first (it’s only 5 minutes long) to get the full impact, but to summarize: the episode is about an innocent scientist with a bomb implanted in his head, but rather than trying to figure out a way to remove the bomb, Ken decides to just unceremoniously dump the scientist out of his personal jet. As Ken activates the trap door underneath the scientists, he quickly says, “Professor Volga, please forgive me!” as Volga lands on an enemy aircraft and explodes. The thing that really drives home the sense of thoughtlessness though is the fact that at the end of the episode the characters are talking about how Volga, the man Ken literally ejected out of his ship and watched as he exploded in mid-air, is looking down from the skies above. It’s like giving a eulogy for someone you shot to death five minutes ago and expecting people to take you seriously.

Stardust the Super Wizard, unlike Ken, has a seemingly infinite array of superpowers which have little rhyme or reason, but similar to Ken his application of them shows little in the way of foresight by the character or the creator. Just look at the punishment he dishes out to the villains of his story, where the issue isn’t that his solutions are strangely grotesque but that they almost exist in another dimension of thought.

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Both Chargeman Ken and Stardust the Super Wizard operate on a level beyond even GI Joe‘s image of sanitary militarism or the violent works of Nagai Go. And this is why they’d be the best crossover ever.

In Episode 23 of HappinessCharge Precure!, the character Cure Fortune reveals a new attack: Precure Oriental Dream. Cure Fortune appears in a Middle Eastern-influenced outfit and performs a dance that causes the enemy minions to fall over. Upon seeing this, I made the following tweet.

I was making a reference to a seminal book in post-colonial studies, Edward Said’s Orientalism from 1977. In it, he famously argues that the “Orient” is not a neutral description of an area of the world, but a conglomeration of various cultural, philosophical, academic, and imperialist modes of thought and action that position the “East” in such a way so as to define the “West” as superior.

That said, this is not me trying to demonstrate my knowledge. Instead, what I would like to point out is the fact that, as important as I’ve known this book is, I’d still never read it, and it was only after making the joking tweet that I decided to actually seriously sit down and look at Orientalism. Seriously, it wasn’t the fact that I should be aware of how my growing up in the United States while being Asian might have influenced my perception of Asia, nor was it being in the company of intelligent people who have used this book as the background for their own investigations into cultural perceptions that prompted me to open it up. It was a dumb joke I made on Twitter while watching a magical girl anime.

I’m not sure if I’m an awesome or a horrible human being.

While at this point we have an understanding of the concept of a “weak” protagonists in giant robot anime thanks to characters like Ikari Shinji from Evangelion, rarely are main robots allowed to exude an image of weakness and vulnerability as well. If we even look at Shinji himself, while he’s known for being passive and lacking in will, the actual EVA-01 looks monstrous and acts even more terrifyingly.

In most cases when there is a “weak mecha,” it ends up being a joke character’s ride, whether that’s Boss Borot from Mazinger Z or Kerot from Combattler V. In terms of actual main-focus giant robots, the closest this concept gets its maybe Dai-Guard the almost-literal “budget robot,” or perhaps the perpetually incomplete Guntsuku-1 from Robotics;Notes. Maybe the Scope Dog from VOTOMS counts because it’s so disposable, but like Dai-Guard it still at least looks strong.

Of course it only makes sense that mecha tend to be on the powerful side; they’re giant mechanical humanoids after all. It’s just something I’m starting to consider a potential limitation of the genre and an interesting space to explore.

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This is how I imagine King K. Rool (from the Donkey Kong Country series) would be if he were in Super Smash Bros. I’ve got at least a couple more of these on the way, so if readers are interested then they’ll have more to look forward to.

For King K. Rool, I made it so that each of his special moves references a different game in the Donkey Kong games produced by Rare, so Krown Toss = DKC, Blunderbuss = DKC2, Helicopter Pack = DKC3, and Punch Flurry = DK64. I’ve seen lots of other people come up with similar ideas, but what can I say? It makes complete sense.

While King K. Rool much larger than Donkey Kong in a lot of the games, I wanted to make them roughly equal in size so that it comes across as more of a rivalry between two powerhouses, as opposed to the David vs. Goliath feeling of Mario vs. DK or Mario vs. Bowser. K. Rool is not quite as strong or as quick as DK, and his movements are a bit awkward, but makes up for it with some nice ranged attacks.

Krown Toss is for space control and bits of damage, while the Blunderbuss is for KO power. The longer you charge the Blunderbuss, the more (randomized) projectiles it shoots out. Helicopter Pack is highly controllable but very slow and thus an easy target for edgeguarding, while Punch Flurry is good for clearing crowds but exhausts K. Rool afterwards. He doesn’t actually punch all that much in DK64 but I figured having yet another ground pound character would be overdoing it.

His Final Smash is based on the giant leaps he takes in DKC; I imagine it being fairly similar to PK Starstorm only that K. Rool himself is also a “projectile” in this case. Of course, he would have his running attack from the first DKC.

 

In discussion of anime online, it is not entirely uncommon for someone to say that a certain anime is “made for autistics” or that “autistics dislike this show because they’re unable to pick up on the subtleties of human expression.” While there is a clear problem in terms of turning the term “autistic” into this general sort of insult, I would like to set that somewhat aside and to honestly consider what the following idea: what if anime (or other forms of media) were intentionally made for autistic people?

This post has actually been in the back of my mind for a few years now but I’ve always felt uncomfortable enough with the idea of writing it. My worry has been that, in bringing up a serious topic such as autism that I know very little about, I wouldn’t be able to do it proper justice even within the very limited scope of what I want to explore. However, after recently reading a post by Alain from Reverse Thieves about how the desire for “good” narrative pacing in anime among different people is more of a “horizontal” structure of preference than a “vertical” hierarchy of superior vs. inferior taste, it prompted me to move forward. In part, this is due to the fact that Alain launches his argument from a video of a talk given by Malcolm Gladwell, and in watching more videos of him, I came across this video where Malcolm talks about the strengths and weaknesses of making snap judgments, where he explains that everyone has periods of what he calls “momentary autism,” or points at which people are incapable of “reading minds,” something most non-autistic people take for granted.

As far as my personal experience, while I am not autistic myself (though I’ve of course been accused of it as some point in my internet life), I did have a roommate who was diagnosed with Asperger syndrome, and he made me aware of what this concept of being unable to pick up on emotional cues really means, and how difficult it can be to deal with it in everyday life. While he explained that he himself had high-functioning autism/Asperger’s, which meant that he could participate relatively well in society, he also was unable to participate in the humorous banter common among our group of friends at the time. This was partly because of the difficulty in picking up social cues, but it was also because surprise and moments of improvisation can be downright frightening. Instead, he would read up on jokes and prepare them in advance, so that he could contribute to the laughter.

This idea has stuck with me for years, and over time it’s transformed into the question I asked at the beginning. Imagine what a true “autistic anime” would be, something that does not assume the ability to infer people’s intentions as a default, but says, “this anime/cartoon/movie assumes its main audience to have autism and attempts to be as fulfilling for them as what is expected of the majority of entertainment for non-autistic people.” Here, the horizontal structure of different preferences as equal would include those with the inability to pick up on others’ emotions easily. Or, perhaps to take it further, what if the majority of the people in the world were autistic and as a result most of our entertainment had to cater to such an audience if it wanted to be successful on a larger scale?

Of course, this is the point at which I should be presenting various conceptions of what such anime would possibly look like, but I’m at somewhat of a loss. I don’t remember if I actually read this somewhere or if I’m making it up in my head, but I recall seeing somewhere the idea that anime as it currently exists can often be appealing to autistic people because of the fact that in so many works characters announce their emotions very directly. I think the idea is that, when Naruto shouts that he won’t forgive Sasuke and his cartoonish face has all of its features exaggerated for instance, there’s little ambiguity. Perhaps there could also be something more structural in terms of narrative, so as to foreground surprises or even be designed to encourage multiple viewings such that the content becomes increasingly familiar but also has more to explore each time. I do not meant to encourage the stereotype, but I have to wonder if the way works such as Star Trek, Doctor Who, Gundam, indeed even Naruto have created fanbases that work off of re-watching these shows and delving into their tiniest details (often regardless of the context of character motivation) results in a similar appeal.

I think it’s easy to tell that my own ideas in this regard are kind of rudimentary and lack extensive research and familiarity with the subject of autism, but I wanted to express my own simple ideas in the hopes that someone more well-versed in the subject either personally or professionally might be able to tackle this subject better.

 

Just as Marilyn Monroe graced the first issue of Playboy, it’s often somewhat telling who a magazine gets to be their first cover girl. For the anime magazine Newtype which debuted in 1985, it turns out to be Cham, the fairy girl from Aura Battle Dunbine, and I have to wonder what message that sent at the time.

Honestly when I found this out I was pretty surprised. Perhaps I shouldn’t have been given the Newtype -> Gundam -> Sunrise -> Dunbine connection. And yet, of all of the female characters to be the visual centerpiece for a debut, Newtype went for the cute fairy girl as opposed to even, for example, other girls from Dunbine like Marvel Frozen (a prediction of Disney’s eventual purchase of Marvel nearly 30 years later?!). What could it mean, especially because she would be back only a few issues later?

I may not be the best person to speak on this. I never finished Dunbine, and I don’t have any real idea as to how popular Cham was at the time among anime fans. However, whether they were trying to appeal to a fanbase of Cham lovers or trying to push her as the next big thing (though at this point Dunbine had been over for a while), I feel as if Cham’s status as the inaugural spokesmodel of Newtype says something about where anime fandom was in Japan at the time and where it’s gone since.

You often hear about how anime’s changed and the advent of “kawaii” and “moe,” but where did it truly begin if it began in anime at all? Then you look and see that at the very start of this magazine for anime fans from 1985 and see a cute little pixie.

I’ve been living outside of the United States for the past few years, though funnily enough I’ve spent every 4th of July in the US. This year is an exception, but at the same time I will also be heading back home soon. So at least for the foreseeable future, this is my first and last Independence Day in Europe. What better time then to talk about America? I haven’t done that in a few years either.

Specifically, there are a bunch of thoughts related to Americans and anime fandom that have been whirling around in my head as of late, and I’m using this opportunity to try and organize them into some cohesive ideas. Not sure if I’ll succeed or not but that’s part of the entrepreneurial spirit or somesuch. AMERICA.

Two pieces of news that caught my eye over the past few weeks have been the announcement of a sequel and animated television series for Pacific Rim, and the fact that the recently revived Toonami block on Cartoon Network is doing better and better. In the case of Pacific Rim, one of the biggest talking points concerning the first movie’s release was that it didn’t do well in the United States, but in contrast found some success nternationally, especially in China. The idea permeating Pacific Rim and its “failure” was that it needed to do well domestically for it to have any real hope of continuing, but this news has shown otherwise. Scott Mendelson over at Forbes argues that this is the first movie that has received a sequel despite of its lack of success at the American box office, and may hint at the increasing importance of that overseas market. Various arguments have been made for why Pacific Rim didn’t click with American audiences, from idea that “mecha” isn’t a popular genre in either the US mainstream or among its anime fandom, to the opinion that it was just a bad movie, but there’s something intriguing about the idea the US is not the epicenter of this property’s future.

In contrast, it looks like anime is in a certain sense “rediscovering” its American fandom through Toonami. For a long while anime looked like it was on its way out of the American geek culture, as the presence of Japanese cartoons on Cartoon Network faded from their heyday in the early to mid 2000s. The “Toonami” concept itself, a block dedicated to anime and anime-like cartoons, even went away in 2008. And yet, whether it was because the folks in charge smelled profit in the air from anime once more or there was just some personal desire somewhere to bring anime back to the fore of Cartoon Network, Toonami has returned and is doing quite well.

Historically, anime has not needed its American fanbase. Sure, there have been a lot of viewers, but anime’s domestic market is Japan, and it also finds success around the world, in Europe, South America, and Asia. The US certainly has an online presence when it comes to anime discussion and enthusiasm, but over the years it’s been easy to get the impression that this fandom is a paper tiger, especially when it comes to popular shows among the internet fandom not translating to home video sales. Of course, this also has something to do with how expensive anime was for a long time (and still kind of is relative to other forms of media), but overall it wouldn’t be surprising if people perceived American audiences of anime as just somehow lacking. Now, however, not only are American viewers tuning in to catch Toonami and its latest anime, but the shows people are most interested in are also the ones that have developed large fanbases online as well.

It would be remiss of me to minimize the importance of the actual shows themselves, as I think regardless of anyone’s opinions of these anime, it’s fairly easy to see why series such as Sword Art Online (MMORPG plus swords and sorcery), Attack on Titan (violent post-apocalyptic world with large cast of interesting characters), and Black Lagoon (guns and action) would do well with an American audience even if all three are significantly different from each other. One thing that I find interesting, however, is that at least for the first two their Japanese fanbases are also quite substantial. In this situation, you have the support of a hardcore Japanese fanbase, a mainstream Japanese audience (especially for Attack on Titan), a hardcore international and American fanbase, and a relatively mainstream presence in the US as well. It’s as if the division between fan and casual has been collapsed, and interests that are often viewed as mutually exclusive now overlap.

So on the one hand, you have a property in Pacific Rim where the American audience turns out to not be as important as originally thought, and on the other hand you have in Toonami the rediscovery of an American audience that is, while arguably not significant, still good to have. I feel like there’s some connection or relationship here but I’m not exactly certain of what it is. One thing that might help is that I recently read an academic article from 1998 on Sailor Moon, which was written during the time that Sailor Moon was already a runaway hit in Japan and was beginning to air in the US. Though Mary Grigsby’s “Sailormoon: Manga (Comics) and Anime (Cartoon) Superheroine Meets Barbie: Global Entertainment Commodity Comes to the United States” is more about arguing how the series is influenced by cultural hegemony (essentially the continuous and subconscious reinforcement of how things are in society) yet somehow defies it, what caught my attention is the fact that a note at the end mentions how by the time this article was published Sailor Moon had already been a commercial failure in the US.

Sailor Moon was not the profit machine that the various companies supporting its US distribution had hoped, but in light of a new  Sailor Moon anime in celebration of its 20th anniversary and the clear continued significance it has to American anime fandom, it’s clear that the show has had an impact, and possibly that what was seen as a failure of the show at the time may have been more a failure of marketing. To some extent, this may have had to do with the cultural landscape of the US in the 90s. After all, in contrast to the revising of Sailor Uranus and Sailor Neptune from lesbian lovers to cousins back then, currently more and more people in the US are accepting or at least tolerant of same-sex relationships. However, there’s another important point to consider. In the Pacific Rim article, Mendelson also writes that “The deciding factor separating Pacific Rim 2 from Robocop 2 may be the passionate fan base of the former. It’s easier to talk financial parties into a sequel to a somewhat under-performing original if paying audiences actually liked said original.” Sailor Moon grew a powerful fanbase that the models for success at the time couldn’t properly account for. As the American anime fandom grows once more, now may be the time for both old and new fans to find some common ground.

 

 

 

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In December of 2010 I wrote a post about how I had finally achieved 3-Dan on the mahjong website Tenhou. Finally, after three and a half years, I have hit the next level and rose into 4-dan. The fact that it’s taken me this amount of time to get to 4-dan is either great or embarrassing depending on your own mahjong skills, but I realized that part of the reason I was finally able to break that barrier was that I had stepped away from the game for a while (unless you count posts about Saki or Akagi, I haven’t really posted much about mahjong lately), and that this has in some ways contributed to me being able to play better.

A few months ago someone asked me, “How do you not get angry when playing on Tenhou?” My answer was simple: I do get angry, all the time. Mahjong is a game that takes a lot of mental energy and so long sessions end up being quite taxing on the brain. Since about September of last year I’ve had to really focus on my work, so that risk that mental and emotional exhaustion that comes from playing mahjong wasn’t really worth it to me. During this time, I made occasional trips back to the table (virtual or otherwise) that reminded me of how rusty I become from playing less often, but also actually helped me to distance myself from mahjong and to improve my mental game immensely.

As with many things, one of the dangerous things about going on tilt in mahjong is that your “vision” in terms of what is possible or what is supposed to happen starts to narrow. When you’re not winning hands despite being in great positions, or when you feel like it’s totally “unfair” that you got screwed over in some way, it can cloud your judgment and cause you to make mistakes you may not have made otherwise. One sign I’ve learned to watch out for is when I get too desperate for pinfu. It may be the simplest hand in the game to achieve, but when I’m so obsessed with trying to win “anything at all” I realize I’m not actually playing mahjong. Stepping away from the game has helped me to realize this.

Another thing stepping away allows for, at least far as my relatively low level is concerned, is that it has helped me develop more versatility. Tenhou breeds a certain kind of mahjong player: someone who’s conservative in play, calculates risk extensively, and has a decent head for numbers. It’s the “proper” way to play mahjong, and so when on the Tenhou ladder you tend to learn to play against people like that. However, if thrown in a situation where others are playing “improperly,” doing the things that are suboptimal yet somehow winning anyway, I’ve noticed that a lot of better players have trouble dealing with this, including myself. What I realized eventually was that it was just as much my problem for not having the adaptability to deal with different types of players regardless of whether they pay no attention to theory and probability. It’s kind of like complaining about button mashers in fighting games or not being prepared for a Shedinja in Pokemon. “Nobody does that! You’ll lose more than you’ll win with that!” And yet, at the end of the day, you’re the one who couldn’t deal with it.

Speaking of fighting games, I recommend this video from fighting game community veteran James Chen on “reading your opponent.” I’ve skipped to the part where he talks about why “advanced” players tend to be kind of double-edged swords because they play too close to the theoretical optimal.

Perhaps the most significant if seemingly contradictory thing is that because I’ve distanced myself from mahjong, I’ve actually developed a better sense of my own style, how I want to play. Thus, when I managed to finally find not just some free time, but a week or two to where I could redirect my mental energy to other tasks again, I decided to get back on Tenhou and finally aim for 4-dan. There were of course many highs and lows, but I think that, as I explained to an extent above, trying to “make up for what you’ve lost” from one game to the next is the wrong way to look at it. The more you think, “I got 4th this one game, so I need to get 1st in the next two games!” the more likely you’re going to fall further down the hole. It happened to me quite a bit, as I hadn’t merely stayed in 3-dan the whole time, but actually moved between 1-dan and 3-dan as my own frustration got the better of me. Of course luck is a factor in this game, but not letting it get the better of you emotionally is also important.

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In the end, if I can get hit by a chihou of all things (SERIOUSLY A CHIHOU) and still rebound, then I feel pretty good about my future prospects. That said, I still haven’t fully memorized the score chart. Oops.

It’s been a few weeks since I took the opportunity to see Miyazaki’s The Wind Rises. For personal reasons I’ve been unable to write about it until now, which makes me a little sad since my memories of the movie are no longer as fresh. Nevertheless, the film made such an impression on me that I can still remember its effects on me, the mild trembling and near-existential crisis I experienced after leaving the theater that I feel compelled to write about it. This is because while other Miyazaki films have been beautiful, profound, poignant, heart-warming, and intelligent, The Wind Rises is challenging.

I’m going to spoil quite a bit. If you haven’t seen it, I highly recommend this movie.

The Wind Rises is a highly fictionalized account of the life of Horikoshi Jirou, inventor of the “Zero,” the most famous Japanese plane of World War II. We first see him as a child in love with the idea of flight, though sadly unable to ever truly take to the skies due to his terrible eyesight. Instead, in a dream where he meets Caproni, a famous Italian aeronautical engineer, he realizes that if he can’t fly the planes, then at least he can build them. The movie is thus the story of a man with a passion that stays with him throughout his life. The main issue is that he lives in the 1930s, and Japan already has an alliance with Nazi Germany. We know what Jirou’s passion will lead to, and this aspect of his story is how The Wind Rises confronts its audience with difficult questions.

There is a sort of romantic image surrounding the artist who lives for his craft, and over and over again the movie shows how Jirou would rather not think of anything but the plane itself. However, The Wind Rises juxtaposes this quality in Jirou with the era in which he lives. Given the imperialist and militaristic nature of Japan at the time as depicted in the film, it is clear where Jirou’s inventions will eventually take him, and yet given the context of his society, it’s also the only opportunity he really has to fulfill his dream. He makes the best of his situation, pursuing his life-long goal using the means available to him, and though on a personal level this can be seen as the emblematic of the adaptability of the creative human mind, it also comes at a very real cost of millions of lives, claimed essentially by Jirou’s imagination. At the end of the movie when Jirou returns to his dreams of the sky and we see the clouds in the sky transform into his greatest invention, there’s a clear sense of tension on the screen between the beauty of the Zero and the ugliness inextricably tied to it. This is why when I see people accuse this film of being militaristic, I feel as if they did not bother to actually see what was happening in the film.

Can art truly be made for art’s sake? This is one the central questions of the film, and The Wind Rises answers that this passion, as much as we might want to bottle it and isolate it from the world, is nevertheless still a part of it. Even the refusal to compromise ends up being a type of compromise in itself, and the film makes this point clear not only through Jirou’s profession but also his personal life. Falling in love with a woman suffering from tuberculosis in a time when there was no cure, throughout the movie they make sacrifices between their immediate and future happiness. When ultimately they decide to live together despite knowing that this will shorten her lifespan, the parallel is clearly established that, whether it is at home or in another country, Jirou’s passion in a sense destroyed lives. And yet, it is impossible to see Jirou as a “villain,” or as morally reprehensible. There is no guarantee that we would not have done the same thing, living in the here and now while hoping for a brighter future. Jirou’s choices cannot simply be divided into “right and wrong.”

The very fact that Miyazaki himself is an artist making some of the most successful animated films ever makes the ideas of The Wind Rises feel both self-critical and targeted toward society at large. One of the more interesting decisions for the movie was that Anno Hideaki, creator of Neon Genesis Evangelion, animator on Miyazaki’s Nausicaa of the Valley of the Wind, and otaku extraordinaire was cast as the voice of Jirou. Anno is no voice actor, and it shows in his amateurish performance, but I think this was a deliberate choice because Anno is also a “passionate person” as an otaku. Evangelion was Anno’s attempt to tell otaku to get out there and confront the world, and in certain ways the opposite happened, so I believe that Anno in the role of the protagonist speaks to the idea that otaku are generally considered obsessive people in some sense “cut off” from society. There is an earthquake at the beginning of the film, and when the ground begins to crumble and shake, it looks like the old Gainax style more than that of Ghibli, and I have to wonder if it was animated in this way to call attention to the otaku. As with Jirou, the question would be if we can call otaku a pocket of society, a subculture, or if that passion should be contextualized. It’s a confrontation with both otaku and non-otaku.

I saw this movie at a period in my life where many things are in flux. The future often looks uncertain, the present looks frightening, and more than a few people I’ve known have become ill or worse in recent years, and this movie hits me hard in those areas. Moreover, as someone who has spent his life in creative endeavors, whether it’s art or writing, I feel as if this movie peered straight into my soul, asked me about my life, and forced me to ask myself what a human being really is. In spite of this—or perhaps because of this—however, The Wind Rises may very well have become my favorite Miyazaki film ever (which has been Laputa: Castle in the Sky for the longest time). In fact, when I think about it, the last time I felt this profoundly affected by any anime was the masterful Turn A Gundam. If I had to summarize my thoughts on the film in three words it would be: beautiful, deep, painful. 

I recently finished Space Battleship Yamato 2199, the outstanding remake of the original Space Battleship Yamato. It’s a series deserving of an elaborate, detailed review to explain all of the thing they did to update the series and why the work, but this isn’t that review. Maybe it’ll come in the future, but what I’d rather talk about is a small revelation I had after I finished the series: Yamato 2199 is basically what Robotech fans wish they got.

The long-standing Robotech fandom is notorious for an obsession with minutiae. Every little detail in the series is scrutinized. Things are renamed to sound more “high-tech.” Every mistake in script and animation in the source anime (Macross, Southern Cross, Mospeada) is either ignored, retconned, or mentally transformed into something which makes technical “sense.” A whole slew of supplementary material exists to explain in a satisfying way to an audience who enjoys harder science fiction some of the sillier moments that come from the original anime.

While Yamato 2199 doesn’t go quite that far, it does accomplish a lot to smooth over some of the narrative and hazy science fictional bumps which littered the original version. Case in point, the ridiculous-sounding device that the crew of the Yamato must travel to Iscandar to pick up to save the Earth, “Cosmo Cleaner-D,” is rechristened the “Cosmo Reverse System,” and is given a technical explanation as to how it’s supposed to work. Moments in the original Yamato which were more for dramatic flair than anything else keep the drama but also add sounder technical elements. Aspects of the show barely touched upon originally receive elaboration in Yamato 2199, and where the old series at times looked like it was still trying to find what it really wanted to do, the new series has the benefit of hindsight to cleanly and efficiently aim for its narrative and thematic goals.

As far as I can tell, what Robotech fans really want is just Robotech as it was back in the 1980s with minor adjustments, and this is what really makes Yamato 2199 the ideal template for Robotech fans. Yamato 2199 is about 90-95% the same as the original in tone and feel, even though it is updated for the modern era to take into account social developments in the past 40 years and the character designs are a little more modernized. It’s this formula which something like The Shadow Chronicles does not appear to achieve, though it also helps to have a substantially higher budget and cleaner animation like Yamato 2199 does, to accomplish its goals.

Official sources for Genshiken Second Season

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