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Ever since the April 1st Nintendo Direct, one of the biggest talking points in the gaming community has been the Smash Bros. Fighter Ballot, which asks everyone who they’d want to see duking it out with the likes of Mario, Pikachu, and Marth. You can tell it’s a big deal when actual video game companies are pushing their own characters explicitly or implicitly, whether that’s Shantae, Sol Badguy, Gunvolt, the Giana Sisters (who began as clones of the Mario Bros), or Banjo-Kazooie. My vote has been cast, and if you’re on the fence as to who might be interesting, I made a few posts last year detailing characters that I think would be cool in Smash Bros. along with their movesets.
(Or you could vote for NiGHTS).
Readers might find it odd that I’m talking about the Smash Ballot so late after it was first announced, as all of the news sites, blogs, and forums, were on that like white on rice in Hanayo (Love Live! for Smash?! Think about it), but I intentionally delayed my post on it to emphasize one of the most surprising and noteworthy aspects of this poll. Though it began in April, the deadline is October 3rd, which is the anniversary of Super Smash Bros. for Nintendo 3DS. That’s six months for people to make a decision, which means that this isn’t some flash in the pan popularity poll that goes up for a week to gauge interest in that specific moment, but rather a genuine question as to which characters have captivated generations of Nintendo fans in such a way that we want to see them slam plumbers and princesses into the abyss.
Not only that, but it was revealed that Nintendo is willing to take even 3rd-party suggestions, which opens it up to just gamers in general. As crazy and as impossible as it likely is, could someone like Master Chief or Scorpion make it into Smash Bros.?
I think one of the reasons why being in Smash Bros. is such a big deal is not only the idea that your favorite character appears in a crossover fighting game, but that the series as a whole has done such justice to its characters, at least for the most part (seriously, Ganondorf, where are your projectiles?!). Just look at Mega Man, Solid Snake, and Sonic, all of whom are not Nintendo properties but were given so many visual, aural, and gameplay cues that make them feel as if they’d been ripped straight from their original games. Mega Man’s crisp movement feels almost just like the NES, Snake’s explosives made him a unique experience in Brawl, and Sonic drives people nuts with his spinning hit-and-run style that makes every person feel as if they were shouting, “I HATE THAT HEDGEHOG!”
Not to say that other crossover games and the like don’t give characters their due. In fact, Mortal Kombat X probably has the best portrayal of Jason in any video game ever (not that there’s much competition). However, I think what Smash Bros. epitomizes above all else is just deep respect for the characters involved. To become a Smash Bros. character is to know you’re something special, or perhaps a time-saving clone, but it’s an honor unlike any other, and if video game characters were real it’d probably be like winning an Oscar.
I’ve written a blog post on Sailor Moon as my introduction to Japanese food over at the Waku Waku +NYC official blog. If you’re interested in me waxing nostalgic and rambling the way you expect out of Ogiue Maniax, take a look.
I’ll be a regular contributor to the Waku Waku +NYC blog from now on, so look forward to more posts from there in the future. As always, I will continue to devote myself to Ogiue Maniax as well.
If you’re curious, Waku Waku +NYC is an upcoming Japanese popular culture festival from August 29-30 in Brooklyn, NY. Unlike a lot of anime cons and Japanese events, this one looks to more thoroughly integrate food with Japanese anime, games, fashion, etc. If you’re even half as interested in eating and watching anime as I am, it might be worth your while.
With a lovable cast of characters, in-depth look into the world of anime production, and numerous references to famous creators and works, SHIROBAKO has been a darling of the internet anime fandom, particularly among those who consider themselves to be, if not among the most informed anime fans, then at least those who desire to be more informed. While SHIROBAKO is not the first anime to delve closely into its own industry, I believe it is the first full-on 26-episode television series to do so, and this allows it to show multiple facets that are involved when making anime, while also giving them room to breathe and to garner appreciation.
SHIROBAKO centers around Miyamori Aoi, a young animation production assistant at Musashino Animation Productions (aka Musani), a once-renowned anime studio that is trying to rebound and recover its reputation. Back in high school, Aoi and her friends in the school’s anime club created their very own animated short, with the hope of someday working together professionally to create it for real, which has led them each into different areas of the anime industry: 3DCG, voice acting, writing, 2D animation, and of course production. As each of them deal with their own struggles in trying to get closer to their dreams, which include wondering if anime is right for them after all, Aoi and the others learn about what it takes to make an anime, and all of the joy, stress, and sleepless nights that go into it.
P.A. Works, the studio behind SHIROBAKO, has a reputation for producing very specific sorts of works. Whether it’s True Tears, Tari Tari, or Hanasaku Iroha (which I love), many of their shows involve cute high school girls and a lot of emotional drama. It’s a formula that works for some but is like poison to others, and with SHIROBAKO we have a work that successfully toes the line between the two. These aren’t high school girls but rather young professionals, and though many of the women in the anime are purposely designed to be attractive, there’s more than enough focus on anime production that the show hardly feels like a cute girl/melodrama delivery system. In a way, because of how taxing anime production is (as has been revealed in numerous articles and interviews over the years), a bit of melodrama doesn’t seem surprising between people fighting back their tears so that they make an absurd deadline.
A more cynical part of me thinks that the girls are there to an extent to be the gateway to introduce those anime fans obsessed with cute girls to what goes on behind the scenes, and that the series in general is very much designed to promote the anime industry and encourage people to join. It’s also a problem that they don’t really acknowledge the enormous component that is the anime industry’s outsourcing of in-between animation to other countries including Korea, the Philippines, and India. However, there’s no denying that the series is rife with genuine information to learn and appreciate, and that the characters, regardless of their base intent have convincing personalities and stories as to why they’re in the art and business of making anime in the first place.
For the record, my favorite characters are Imai “Diesel” Midori (one of Aoi’s old club mates who possesses a strong desire to write for anime, a thirst for research, and an ever-enthusiastic personality), Toudou Misa (another club mate who works in 3DCG and has to decide if she wants to play it safe with her career or take a chance), and Sugie Shigeru (the oldest veteran animator at Musani who, while enormously skilled, doesn’t quite fit into the current era because he “can’t draw moe”).
As mentioned at the beginning of this review, SHIROBAKO is rife with references to both real people and real anime. Aoi’s favorite series is Mountain Hedgehog Andes Chucky, based on Mountain Rat Rocky Chuck. One episode centers around the importance of the Idepon films, or Space Runaway Ideon. Numerous posters seen in the background throughout the series include parodies of Casshern, Lunlun the Flower Child, Ghost in the Shell, and much, much more.
As for people, this is probably what gets people to scramble to anime production staff lists the most. The above-mentioned Sugie is based either on MADHouse founder and animator Akio Sugino, legendary animator Mori Yasuji, or some combination of the two. The real identity of Musani president Marukawa Masato is blindingly obvious to anyone who’s been to Otakon in Baltimore and attended a panel by MADHouse and MAPPA founder Maruyama Masao. Evangelion director Anno Hideaki and voice actor Itou Shizuka are among the many, many real industry veterans to appear in slightly altered forms in SHIROBAKO. Combined with the anime parodies it makes for a somewhat addicting game of “figure out the reference” that, unsurprisingly, appeals to a lot of fans who have devoted themselves to learning about anime.
The day after I finished SHIROBAKO I had a thought: often times when it comes to anime or other forms of media that fictionalize a given craft, technology, or profession, people who are deeply involved in those areas can easily nitpick these series in terms of accuracy. While I don’t have firsthand experience in the anime industry (though I’ve done a bit of work as an animation production assistant myself), I almost feel as if SHIROBAKO is defying the “well actually’s” of the world to say something. Who better to talk about creating anime than the people who create anime? Perhaps the answer is those whose voices haven’t been covered. Maybe we’ll next get a series from the perspective of the in-betweeners.
PS: I recently found out that the Japanese terms for in-betweens and moving images in general are the same: douga, just like what you see in Nico Nico Douga. Nooo, this isn’t confusing at all.
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This post was sponsored by Johnny Trovato. If you’re interested in submitting topics for the blog, or just like my writing and want to sponsor Ogiue Maniax, check out my Patreon.
It is a somewhat common mistake to assume that Japan as a wholly foreign and alien culture despite events such as the influence of China on its development, the appearance of Commodore Perry, and various interactions with nations such as Portugal and the Netherlands. However, no matter where it comes from, Japan’s own history can be considered unique (and just about any culture or area can say the same), and there are certain implicit and assumed elements that can permeate Japanese culture.
I was asked by Johnny Trovato to address broadly the subject of how theological differences between Japan and countries with more of a Christian history affect how anime and manga are viewed. Truth be told, even though I’ve watched plenty of series which reference religion and spirituality such as Neon Genesis Evangelion, Inari Kon Kon Koi Iroha, and Hermes: Winds of Love (don’t watch that last one), I’m not really an expert on the subject. I originally planned on tackling the subject from a fairly limited perspective, but fortunately I recently discovered a book called Holy Ghosts: The Christian Century in Modern Japanese Fiction by Rebecca Sutter. While it’s not quite on the subject of Japanese religions and beliefs, it did help me to realize an aspect of Japanese culture, media, and literature that I believe sheds a bit of light on how religious beliefs are used in anime and manga.
One of the more major lessons I took away from reading Holy Ghosts is that Japan has historically approached religion in a rather pragmatic way. Shintoist, Buddhist, and Confucian beliefs exist together in Japan, but only as far as they’re convenient. When Portuguese Jesuits arrived in Japan and sought to convert its people, not only did the Japanese sometimes interpret Jesus as a kind of “Buddha” that conformed to their own polytheistic views, but many of the daimyo who converted did so because the Portuguese also sold firearms. Spirituality exists, but it has existed to to serve the people, rather than having people be absolutely beholden to one or more gods. Even the idea of the Emperor as god was a response to the prominence of other religious beliefs being used as tools to control territory.
To take what is probably too big of a leap into the present day, I think we can still see this tendency at work when it comes to the utilization of religious aspects in anime. Evangelion famously features Christian imagery and mythology mainly as a way to provide something fairly exotic to Japanese viewers, while Spirited Away is just as much about encouraging young people to rediscover nature regardless of overt spirituality. This, I believe, is where a good deal of the confusion or dissonance might lie when it comes to how people in the United States and other traditionally Christian cultures interact with anime. Of course, not every person who lives in those countries is necessarily religious, and there has been plenty of media that plays fast and loose with the Bible, from Bruce Almighty to Teen Angel (I still love that show, by the way), but often there’s some kind of counter-play with the assumption that many people know at least the basics of Christianity and that there are plenty who firmly believe in its tenets.
I’m going to use two examples of media, one from the US, and one from Japan. Xena: Warrior Princess was a popular show when it aired. Having begun as a spinoff of Hercules: The Legendary Journey, it at first focused mainly on ancient Greece and the presence of Greek Gods. Eventually though, they decided to branch off and include Christianity in the show. Xena meets both David and Jesus, and any historian would probably tell you that it makes no sense. It didn’t matter in the show itself to a certain degree, but it was directly up against the value of Christianity in the US, and how accurate or (intentionally inaccurate) a work it was factored into how it was perceived.
Now contrast this with Devilman, the story of a teenager who gains the power of a devil so that he can fight other demons. Its creator, Nagai Go, stated that he designed Devilman to resemble a bat, even though that’s not quite the imagery people in countries more familiar with the idea of Satan and Hell would utilize. Eventually Satan himself appears, and he turns out to be a hermaphrodite because Lucifer has been described in some texts as being as such. However, the main value of Lucifer’s dual-gender appearance is visceral shock, and Devilman as a whole didn’t have to take into account how much its readers would be going to church every Sunday. Devilman, if I recall correctly, also mixes in various spiritual beliefs including Japanese ones, and it all effectively works to (on a somewhat pragmatic level) help the story along.
The idea that religion isn’t this overwhelmingly powerful subject in Japanese culture and society isn’t necessarily shared by all who live there, of course, but I think there’s a lot in the old adage that says, in Japan, you have a Shinto birth, a Christian wedding, and a Buddhist funeral. That synthesis of beliefs and the ability to mold them into whatever you want defies the idea of religion as this overwhelming, monolithic thing that cannot ever be altered, and anime and manga are proof of that.
Last month, the publisher Kadokawa Ascii Media Works announced a new manga magazine. Comic it advertises itself as a publication for “adult otaku girls” who “want more than just romance in their stories.” As if to emphasize its defiance of the common trope that manga for women revolve around love stories, its first issue came out on Valentine’s Day.
I find a few things fascinating about the premise behind Comic it. I’ve often seen readers, male and female, criticize shoujo and josei manga for being so focused on romance, that it seems to come at the exclusion of other possible and interesting narratives. However, it is quite intriguing that the demographic that is assumed to be most dissatisfied with the state of manga for female readers would be otaku, hardcore fans of manga. This also assumes that for many non-otaku readers, the state of manga, and romance in manga, is fine. Of course, the idea that there should be “more than just romance” also implies that the manga in this magazine will still feature love and relationships.
There’s another aspect of their advertising, however, that is less apparent. The term “adult otaku girls,” or onna otaku joshi, essentially indicates grown women who are otaku, but are still girls at heart. Though they continue to age, they’ve never let go of the thrill of being otaku. In a way, this seemingly feeds into the celebration of you that is common to Japanese culture and its portrayal in anime and manga, but I wonder if it’s also a jab at it, that youth is a product of the mind, rather than the body.
Below I’ve translated a chart included with the article on Natalie Comic linked above, which is designed to help readers figure out which stories in Comic it they’d enjoy. Note that all of the possible results emphasize the word “girl” instead of “woman” in the same manner as described above, and that there are some… interesting… yes/no questions on this chart.
According to the article, these categories indicate the following.
Kizuna Girl: You’re into families and brothers, and are moved by connections and bonds.
Mama Girl: You’re into helpless guys and the dramatic joy of seeing them change, as if you were a mother or older sister.
Fujoshi: You’re into buddy stories and past connections, and special relationships between guys
Subculture Girl: Though you appear to be just like everyone else, you’re actually a little peculiar, and you’re interested in philosophies of love that are a bit different.
I’ve yet to read Comic it, but I’m highly interested in doing so. I’ve already ordered a volume, and plan to review it for Ogiue Maniax in the future.
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This post was sponsored by Johnny Trovato. If you’re interested in submitting topics for the blog, or just like my writing and want to sponsor Ogiue Maniax, check out my Patreon.
The 1964 Tokyo Olympics are considered to be one of the most significant moments in Japanese history in terms of symbolism. Having lost World War II a couple of decades prior, and having experienced military occupation by the US as a result, the Olympics were an opportunity to show the world that Japan had gotten back on its feet and climbed out of poverty. One of symbols of this transformation is the famous bullet train, which came into service in time for the Tokyo Olympics.
It’s no surprise then that the 2020 Tokyo Summer Olympics are kind of a big deal. While Japan no longer has issues with proving itself to be a first-world country even in a decades-long economic recession, the government still wants to further its integration in international economy, culture, and politics. The subject of 3.11 will also still be relevant, and if Japan has not “proven” to the world that they have managed to overcome that disaster by 2020, they will certainly assert it by then. However, one particularly large and visible target for cleanup is Japan’s otaku culture, and they’ve already begun their move.
As I’ve learned from a series of public lectures at Temple University’s Japan Campus (thanks to Veef for the link), one of their targets is anime and manga, given their focus on using Japanese pop culture as a form of “soft power” over the past decade. As the Tokyo Olympics get closer, just the fact that the image of Japan as a haven for illegal pornography still persists to some degree means that the Japanese government, or perhaps groups trying to influence the government, will be pushing for lasting change on what can and cannot be depicted in anime and manga. This has a very likely chance of affecting otaku culture in Japan, though the degree to which these changes will last depends on how much creators and supporters of anime and manga can push back.
Any government will naturally want to present itself and what it represents in the best light possible, though keep in mind this does not automatically mean censorship; it is possible for such behavior to only affect media that comes from the government itself. However, because Cool Japan is government-backed, this can create a contradictions. Namely, what has attracted people to anime and manga culture in the first place has been its willingness to be subversive, degenerative, and controversial, both in the context of other cultures and in Japan. Concerns over anime being not just pornography but child pornography in the US and Canada are nothing new at this point, and more recently in Japan has passed the Tokyo Metropolitan Ordinance Regarding the Healthy Development of Youths.
I think one possible scenario is that the worlds of doujinshi and industry works will separate a bit more, maybe regress back to how it was a few decades ago. These days Comic Market is a big deal for both amateurs and professionals, with fan parodies being sold right next to videos displaying promos for the latest upcoming anime. A lot of names working professionally, including Satou Shouji (Highschool of the Dead, Triage X) and Naruco Hanaharu (Gargantia on the Verdurous Planet, Kamichu!) are artists who not only work in the (relatively) mainstream industry but also still produce both professional erotic manga and erotic doujinshi. While I don’t think many creators will go away, they might very well have to pick what side of the die they fall on.
Censorship levels tend to ebb and flow, and are even a bit hard to control even as laws exist in the books. While artist Suwa Yuuji got in serious trouble in the early 2000s for publishing Misshitsu, an erotic manga that was deemed insufficiently censored, Frederik Schodt, in his classic book Manga! Manga! The World of Japanese Comics, explains how Japanese artists in the 1970s and 80s got around the censorship of genitalia through the use of creative visual metaphors through very “trains going through tunnels”-type affairs. Even the use of mosaics in Japanese pornography has changed over the years to be less prominent. Artists find ways. As somewhat of an aside I do think it’s interesting that the series Denkigai no Honya-san features a government censor as a character who is also a fujoshi.
However, although I believe that manga creators are imaginative enough to find loopholes, I think what we’ll see is a serious effort to keep things from reaching this level on the part of the industry itself and otaku as well. In many ways, this situation goes well beyond the subjects of anime, manga, games, and otaku because Japan has a very real history with censorship.
Leading up to and during World War II, dissenters could get arrested or even killed for publishing material that was seen as unfavorable to the Japanese government. This has of course changed, but just as the memory of the war continues to be an influence on the 2020 Olympics due to the connection to the 1964 Olympics and the role it had in showing how Japan had “moved on,” so too does has the danger of censorship remained in the culture of Japan.
While this might seem to contradict the fact that Japanese pornography is indeed censored, that sort of thing is often just lip-service that some take more seriously than others. After all, unlike other countries where pornography is banned, this is an adjustment to the work itself and assumes that making things less visible also draws less attention to them. There’s a strange relationship between forbidding ideas and forbidding images, because at some point one transforms into the other, and with anime and manga we’re seeing one arena in which this ambiguity comes to the forefront. This is why people from manga creators Takemiya Keiko (Toward the Terra) and Akamatsu Ken (UQ Holder) to the maids at the maid cafe Schatzkiste have discussed the subject of censorship and what it can mean.
In the end I can’t predict what will become of otaku culture, but I think that we’ll see that it’s not as passive as is often assumed. People will fight for their right to consume and create the anime and manga that they want, and it will certainly not be a sad joke.
New York Comic Con 2014 was my first in five years. I wasn’t around for the dissolution and complete integration of New York Anime Festival. I did not see the claustrophobia-inducing crowds created by people sneaking in that nearly drove some of my friends to never, ever go back. I was not around as the aging Jacob Javits Center itself expanded as best as it could to account for not only this convention but others as well. My experience with NYCC 2014 is almost that of a time traveler, as what I have to mainly compare it to is an old existence, before this convention was being labeled as the San Diego Comic-Con of the east coast.
As much as a convention should be about being a magical and informative experience where fans connect to the media they love as well as to their peers, the first thing worth mentioning about NYCC 2014 is its use of RFID badges. I was informed of their inaugural usage last year, but seeing them in action made me fully aware of the boon they provide to both the convention goers themselves and the staff running the entire thing. Essentially, attendees must use a card to check in and check out of the convention area, which not only cuts down on the number of people who shouldn’t be there but means that there are plenty of opportunities to actually relax and take in the con experience. Just having a space that is outside the convention building itself but still part of NYCC was so beneficial, as it allowed attendees to catch some fresh air if they needed it. Though I didn’t know anyone personally who had difficulty handling large crowds (and the NYCC attendance population is around a staggering 100,000), I suspect having not only the front entrance but other outside spots may have been a life saver for some.
Of course, all of this is not to say that New York Comic Con 2014 was neither magical nor informative, as I found it struck a fine balance as a convention of industries, artists, and fans in terms of activities and opportunities. New York Comic Con is a for-profit venture, designed to make money and to benefit all of those who take part in it on the industry. For one thing this means greater industry presence in both the panels and the showroom floor, and fewer fan panels where enthusiasts can analyze and discuss particular interesting angles of the things they love. However, as much as I’m used to industry panels being fairly by the numbers affairs about shilling products (not that there’s anything wrong with it), at NYCC these panels, although different from fan-run events, still carried with them a lot more meta-discussion of the industry and what it means to be “in” comics. You have to expect the sales pitch to some degree, but it was rarely much of an issue.
For example, I attended a couple of panels about women in comics (be they characters or creators or fans or anything else), and it involved industry professionals of all sorts who didn’t necessarily all agree with each other discussing an important topic in a way that encouraged further conversation instead of necessarily having as their primary agenda the sales of their own products. In the “Women of Color in Comics” panel, for instance, you had both industry veterans and independent creators. One veteran emphasized the idea that if you want to change how the big companies see women, you have to know how to communicate in their language, bring portfolios that old white men would understand, while some of the freelance artists stressed the importance of being able to work for yourself to create the characters you want.
The women in comics panels were illuminating and informative overall, though I do have one criticism for a prevailing sentiment I saw: when asked about how to deal with men who aren’t even aware that there is sexism and discrimination in the industry and its fandom, the answer I saw most often was “who needs those guys, forget them.” I understand that dealing with ignorance getting asked “what sexism?” for the 1000th time is a trying, perhaps soul-draining experience, but I do think that it’s still a group of people who need to be addressed and who might honestly just not know.
It’s actually quite impressive how supportive of female fans and creators New York Comic Con was. In addition to the panels, there were large “Cosplay is Not Consent” signs that were noticeable but not terribly intrusive which aimed to prevent sexual harassment of cosplayers by appealing to the human brain’s ability to think ahead. I hear it was largely effective, though without context I do wonder if some people thought that the signs were saying that cosplaying was not okay.
Maybe this has to do with the number of artists, writers, and creators as guests instead of marketing folks, but in a lot of the panels I attended I felt that the audience was let in on their creative processes at least to some extent. Obviously they’re not taking advice from attendees, but it seemed like the answers reflected the personalities and styles of those who gave them. Notably, when manga artist Obata Takeshi (Death Note, Hikaru no Go) spoke, it was clear that he was not a people person, and was unaccustomed to the spotlight. When he explained how he worked, his answers were muddled like so many other artists I’ve met. In contrast, at one of the Image panels, Matt Fraction could talk up a storm and really present the job of comics writer as something not so much glamorous but intense and personal. While obviously I can’t agree with their sentiments, seeing the panelists at the European Comics Artists panel thinly veil their displeasure towards manga was also similarly revealing.
Before going to the con, I received some useful advice for attending panels: always line up an hour beforehand. It doesn’t matter how small a crowd you think a panel is going to get, because more likely than not you’ll be on the wrong end if you don’t play it safe. Bizarrely, the lines felt rather relaxing. They were times to rest one’s feet, to chit-chat with friends and sometimes strangers, and in my case to play against other people in Super Smash Bros. for Nintendo 3DS. I matched my Mega Man against others and had an exciting time. More importantly, though, the fact that the lines were able to remain these fairly civil affairs (aside from The Walking Dead panel according to what I heard at con feedback) indicates how effective this year’s organization was. At Otakon one year, I had a friend from England who found it mind-boggling that a place could be so bad at queueing. While I don’t know if NYCC could hold up to his superior English line standards either, I think it would have at least gotten a higher grade.
Overall, what might be the strangest thing about my NYCC 2014 experience is that I expected a rushed, frantic time where I would feel overwhelmed to the point of some bizarre euphoria. At times, coming down the escalator and seeing the absolute mob of people in the main lobby made it seem as if I were about to descend into a pit of madness. However, what I actually got was a relaxed, comfortable experience learning about the things I love and trying my best not to spend all of my money. Now if only I didn’t have to buy four 1-day tickets because all of the 3-day tickets sold out in like two minutes, then it would’ve been a lot better.
To conclude, here are some of my convention highlights.
- Attending my first Avatar (Legend of Korra) panel only to realize that it might be the last Avatar panel ever.
- Getting Obata Takeshi’s autograph on Volume 1 of Hikaru no Go.
- Obata would have liked to draw Otter no.11 as an actual manga.
- Meeting at last my long-time internet friend David Brothers.
- Asking Juanjo Guarnido (author of Blacksad) about whether the extremely popular comics that the Franco dictatorship in Spain used as propaganda still had any influence today (his answer was no).
- Being like, maybe one of two people to cheer for Tribe Cool Crew at the Sunrise Panel. I yelled so loudly one of the panelists immediately looked at me. Also, watch Tribe Cool Crew. My review of it is pending.
- TURN A GUNDAM LICENSED (also First Gundam). I was actually repeating Turn A Gundam like it was a mantra, as if I were trying to cast a magic spell. I guess it worked?
- Seeing all of the animators’ demo reels at the Kakehashi Project (The Bridge for Tomorrow) panel. A lot of the work reminded me of the more visceral art that often appeals to me yet is rarely found in anime. I especially liked the work of Shiroki Saori.
- Watching the US premiere of the Kill la Kill Episode 25 OVA. It was a great revisit of the series, and in one brief moment during one of Mako’s speeches I swear she transforms into Baron Ashura from Mazinger Z.
- Playing all that Super Smash Bros. for Nintendo 3DS with people.
The Japanese manga site devoted to free and legal distribution of out-of-print manga, J-Comi, has relaunched as “Zeppan Manga Library.” This change has been effect since at least July 10th of 2014, when the tablet app was updated to reflect this new name.
J-Comi was originally created by Akamatsu Ken, author of Love Hina, Negima!, and currently UQ Holder. As a show of his dedication to the project, he began by putting the entirety of Love Hina on the site.
Prior to the re-branding I had not visited the site in quite a while, so I don’t know for sure what changes have occurred as a result of this transformation. One interesting note, however, is that light novels are on the site now. While people might know about modern light novels-turned-anime such as Sword Art Online, Toradora, and My Little Sister Can’t Be This Cute, most of the light novels on the site are older, less commonly known titles, such as Hayami Shinji’s Summer Road,which was first published in 1988, and Arisato Akara’s Under Heavens Family from 2001. I haven’t read any of the light novels yet myself, but the idea of approaching different sets of tropes compared to contemporary light novels sounds pretty exciting.
The sexy category is not to be confused with the site’s adult section.
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.
Between the Negima creator’s J-Comi, Viz and Kodansha, the defunct JManga, or the recent Crunchyroll Manga, the quality of official digital manga readers has varied tremendously, but they all lack one feature I keep wishing for. I want to simply be able to magnify or shrink the page quickly and conveniently on a regular computer without having to use magnifying glass icons which either make everything super big or not at all. Most preferably I would like to be able to set my mouse’s scroll wheel to shrink and enlarge the page for when I want to get a closer look at a particular panel or set of panels.
I know that it’s easier on tablets, and when I do read manga on a tablet it’s just a pinch or a finger drag away, and that digital readers are made more for tablet users, but I just think having this option would go a long way in making the reading of manga on a desktop or laptop so much more natural and convenient.