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When it comes to the anime Sabagebu! Survival Game Club!, a show about girls in a high school airsoft club, one of the more surprising aspects of the show is that it is in fact a shoujo manga. The anime even acknowledges this, pointing out how it runs in Nakayoshi, the same magazine that has featured series such as Cardcaptor Sakura.
As true as this may be, it is still easy to get the impression that the show still doesn’t quite look or feel particularly shoujo even when putting aside the whole survival game aspect of its premise. As it turns out, this is because while the show is indeed adapted from a girls’ comic, there are actually a number of differences between the manga and anime that result in a fairly different product in certain ways. This is not an argument for which is better or worse, merely a laying out of just how these two iterations are set apart from each other.
I find that there are three elements in particular, at least when looking at the early chapters and episodes, where the Survival Game Club! anime and manga differ significantly.
1) The Anime and Manga Simply Look Different
Both versions of Sabagebu! depict cute girls using fake guns, but they each take unique approaches. With the characters, the anime designs appear closer to something from a more male otaku-oriented work. The manga, on the other hand, utilizes character designs that appear flatter and more in line with the flowery aesthetic of a typical shoujo manga.
This contrast is also evident in how the anime portrays the girls that are meant to be more attractive, giving them a kind of round, three-dimensional curvaceousness that is not present in the manga. In the comparison image above, the anime version of the character Maya has a gravure idol-like quality to her, whereas Maya in the manga has a look more akin to a fashion model, or perhaps even a fashion drawing.
To be fair, most shoujo manga adapted into anime try to go for a more “neutral” look compared to the particular and well-known stylizations of shoujo manga. One need only look at the original Sailor Moon anime and compare it to its manga (or the designs of the recent Sailor Moon Crystal anime). Sabagebu! is no exception in this respect.
2) The Anime Pads Out Scenes from the Manga
In their review of the first episode, the Reverse Thieves mention that the anime feels like it’s adapted from a 4-koma (panel) manga even though the original Survival Game Club! comic does not utilize that format at all. While one could argue that this is just a matter of having so many 4-koma manga adapted into anime, I find that the real culprit is the fact that many of the scenes in the manga are extended in the anime. The result is that the connective tissue that carries one moment into the next in the manga is obscured by the added animation.
So far, this is often done by creating elaborate gun fight scenes where the manga ends up either showing less (or nothing at all), but this padding also comes from increasing the amount of mean-spirited behavior or by adding more cultural references. For example, here is a scene where the character Urara is acting upon her jealousy over the club president’s fondness for the protagonist Momoka by using a stretching exercise as an excuse to place Momoka in some painful wrestling holds. The manga and anime, however, approach things somewhat differently.
While in the manga the joke is supported through the characters’ dialogue (Urara falsely claims that she “doesn’t know anything about armlocks!”), the anime just piles on further wrestling techniques. The two gags are similar, of course, but the expansion seen in the anime is more akin to how shows like Azumanga Daioh have been adapted in the past.
The venomous behavior of the characters in the anime also ties in nicely to the next point.
3) The Protagonist’s Personality is Nastier in the Anime
In the anime, after Urara fails to separate Momoka from the club president, she goes off to cry by herself. Momoka follows her and offers her hand, only to do this:
This causes Urara to fall in love with Momoka instead, becoming a masochist for Momka’s sharp jabs, both literal and metaphorical. While in the manga Urara also ends up with a strange crush on her, Momoka does not engage in any sort of physical retaliation at all. In fact, whereas Momoka in the anime has a general philosophy of “payback” that heavily defines her character, in the chapters of the manga I’ve read this is not prevalent at all. Perhaps it’s a change that came over time, and was retroactively added back to earlier portrayals of Momoka when it came time to adapt the manga into anime.
This is not to say that Momoka is entirely a fair and meek shoujo heroine, but her personality in the manga is somewhat closer to what one might expect out of a girls’ romance comic… only without any real romance and with lots of guns.
Whether animated or on paper, the basic appeal of Survival Game Club! is how it brings a type of crass humor that is rare in the demographic/genre of shoujo, and does so through subject matter that is rather unusual. The key difference between the two is that whereas the manga juxtaposes its shoujo visual style with the content and its characters’ behavior, the anime takes the roughness of the cast to the extreme and changes the designs to be more in tune with other cute-girls-doing-things shows. Personally speaking, I think I prefer the manga’s approach more because of how bizarre it looks within that shoujo aesthetic, but I do have to say that there is some appeal in Momoka’s vindictive behavior in the anime.
Genshiken II‘s been running for a while now, and every so often I go back and look at the earlier chapters of the new series (would you expect me to do otherwise?). Upon a recent revisit, it hit me just how much the artwork had changed between the inaugural Chapter 56 and its immediate followup in Chapter 57.
For comparison, here is Ogiue in Chapter 56 on the left, and 57 on the right.
There’s a clear difference between the two versions of Ogiue (or any other character) that can’t be chalked up simply to the gradual evolution of art style that happened throughout the original Genshiken. This change, given just how drastic it is, was more abrupt, though one has to keep in mind that the real life gap between 56 and 57 was almost a year (Chapter 56 was originally a one-shot that got turned into the start of a new series).
Because of how much softer and more cutesy Chapter 56 Ogiue is portrayed, my suspicion is that Kio’s style was affected by his time working on Jigopuri. Indeed, Chapter 56 of Genshiken actually came out in the middle of his run on Jigopuri.
In fact, if you look at one of the characters in Jigopuri, the little sister Kaname (pictured left), she looks pretty close to the Ogiue of Chapter 56. What’s also kind of funny is the fact that Volume 1 of Jigopuri features an Ogiue cameo on the inside cover, and it’s clear that the Jigopuri style hadn’t fully taken over Kio’s artwork yet at the time he drew it.
I think it’s interesting how an artist can get so influenced by how they’ve been drawing that it makes it difficult to shift gears back to a different kind of story. It’s different depending on the artist of course, but I have to wonder how much effort Kio put into switching into a less moe-type art style. Something tells me it wasn’t easy.
Back when I was watching the Chihayafuru anime, I began to associate the show in my head with the American cartoon franchise Ben 10. Even though their respective subject matters are worlds apart, both featured fiery tomboys of elementary school age whose later appearances would involve a time skip to high school where their hair is longer and their personality a little more mature. But where the transition for Chihaya felt right for me in the sense that she seems like the same character only older (and thus different in some ways but similar in others), Gwen’s change inBen 10: Alien Forcewound up seeming like an entirely different character to me. Not only her personality but even her character design turned out to be significantly different.
Of course I know why this is the case: Chihaya was planned from the start to have this age jump, as the episodes involving her childhood are mainly flashbacks and setup for the story proper where Chihaya starts her own karuta club, while there was clearly no original intention to have a time-skip sequel to Ben 10. When Alien Force did come around, it streamlined some of the elements of the previous series and in the process wound up as something of a break from its predecessor. At the same time, however, the fact that Chihaya is in many ways a similar character to Gwen just made me more aware of how this sort of transition can be done well.
By the way, Chihayafuru season 2 was just announced today, but I swear that my posting this is merely coincidence. If I had that sort of power I’d use it for better things, like a Fujoshissu! anime.
Recently, I was compelled to watch the Kiddy Grade opening, followed by the opening to its sequel, Kiddy Girl-and. For those of you who have never seen either show, I can best sum up the series as being a “girls with guns, maybe” show in a futuristic science fictional setting, and probably one of the shows that sticks out in people’s minds when you say “Studio Gonzo.”
Actually, the shows can probably best be summed up by watching the openings, which I invite you to do. Don’t worry about it, I’ll wait.
The original was fairly popular back in 2002, and seven years later out came its sequel, which I heard was not that well-received even by the typical diehard Japanese anime fan. Regardless of success or lack thereof however, when I watch those openings back to back, I can feel the flow of seven years of anime history, more than I can with other comparable methods. I can watch all of the Cutie Honey and Gegege no Kitarou openings and perceive the changes that have occurred over decades, but I can’t feel quite as much as with Kiddy Grade. I think the reason this difference exists in me is because this past decade was the time when I as an anime fan (and many others) could watch new shows within days or week of Japan, a dream at best for most people prior to the advent of the internet. I was there, man. It was intense (no it wasn’t).
But I don’t think it’s just the fact that I lived in this period that gives me the sensation of time flowing. It’s a definite factor, no doubt about it, but I think there’s also something different about the qualities of each opening, not just the fact that they feature different characters with different personalities, but also the way they introduce their content. Thus, though I’ve seen both shows either in part or in whole, I’m going to be thinking about them purely from what their openings have to stay about them (though I will be using their names for convenience’s sake).
The Kiddy Grade opening aims to give a sense of intrigue while introducing its main characters as two mysterious and attractive ladies. Eclair, the brown-haired one, is leggy and busty and is portrayed as the “muscle.” The “brains,” Lumiere, is decidedly younger in appearance, and seems to be taken from the same quiet, blue-haired mold as Evangelion‘s Ayanami Rei and Nadesico‘s Hoshino Ruri, though with significantly more smiling. Every scene has them contrasted with each other in some ways, whether it’s Eclair shooting a gun vs. Lumiere throwing a wine bottle, Eclair standing on one side with her lipstick whip with Lumiere and her “data trails” on the other, or the “kiss” scene, again, to create intrigue, sexual or otherwise.
The Kiddy Girl-and opening on the other hand is anything but mysterious in its presentation. It seems to want to convey an everyday sense of fun, and the two main girls are decidedly sillier in the intro compared to Eclair and Lumiere. They also are less different from one another compared to their Kiddy Grade counterparts, with Ascoeur (the pink-haired one) and Q-Feuille (the purple-haired one) having closer body types, though it’s clear that the former is bubblier than the latter. Rather than being presented as enigmas, Ascoeur and Q-Feuille are up-close. Personal, even.
Of course I can’t ignore the music itself either. Music isn’t my specialty, but I can tell you that Kiddy Girl-and‘s song is clearly sung by the voice actors of the heroines, whereas Kiddy Grade‘s with its mellow tones is not, and both songs lend themselves to the descriptions I gave. While having the seiyuu sing the opening was nothing new in anime even before 2002 (Slayers, Sakura Wars, to name a couple), I’d say that they’re supposed to be singing as the characters in the Kiddy Girl-and opening.
So then what are the big changes that this transition between openings represents? Well I don’t know if I’d call them “big” per se, but I feel that the Kiddy Grade opening exemplifies what was typical of its time, and the same goes for the Kiddy Girl-and opening. The much more “futuristic” vibe of the Kiddy Grade opening leads to the future-as-typical feel of its sequel’s intro, in a sense representing an increase in slice-of-life/”the everyday,” as well as a move away showing narrative-type elements as a prominent reason to watch. I wouldn’t go as far to say that this is an example of Azuma Hiroki-esque breakdown of the anime “Grand Narrative” though, as that’s a lot more complicated than just “less plot in anime.” Of course, there’s also the feeling that “moe” has changed as well, as I think that all four girls are supposed to be “moe” to certain extents, and seeing how their “moe” is conveyed in those openings is probably more indicative of that seven-year gap than anything else.
Neither of the shows are particularly amazing or special, and are probably best described as “the median” or “mediocre” anime, depending on how kind you want to be. However, that’s exactly why I think their contrast shows the path anime has taken so well, because while it’s great to see how the really pioneering, experimental, and enormously popular works operate, looking at the middle of the road gives a good idea of how anime as a whole moves.
Marvel vs Capcom 3 successfully captures the look a fighting game about Ryu fighting Captain America targeted towards American audiences wants to have. It’s a grittier style when compared to the one used in Tatsunoko vs Capcom, which makes perfect sense. MvC3‘s aesthetic step in the right direction however reminded me of a similar attempt not so long ago, Mortal Kombat vs DC Universe.
Mortal Kombat vs DC Universe was an aesthetic failure. Just like MvC3, the game looked to bring together two sets of characters by uniting them under a more realistic visual style, but the end product was just a series of awkwardly stiff 3-d models and jerky animations.
What is going on with that torso?
Worse yet were the Fatalities, that classic trademark of the Mortal Kombat franchise, the violent killing blows which defined the series in the eyes of so many gamers. In MKvsDC, the Fatalities were not only toned down in brutality but also terribly uncreative regardless of the level of violence, especially when compared to the stylish Instant Kills of games like Blazblue.
My goal isn’t to just trash MKvsDC though, and of course I can’t really compare the gameplay to a game that isn’t actually out yet. I just wanted to point out that it’s amazing just how much two different projects came aim for the same basic goal and produce such different results. Marvel vs Capcom 3 is exactly what Mortal Kombat vs DC Universe wanted to be.