The Fujoshi Files 122: Muryou

Name: Muryou (無量)
Alias:
N/A
Relationship Status:
N/A
Origin:
Fudanshifull!

Information:
A member of the middle school Kentei Academy manga club along, Muryou is friends with the club’s president. Muryou is a fan of the Tentel x Mikoto pairing from Omakase Tentel, though she can be very shy and embarrassed about it, especially around guys, whom she believes would only mock her.

Fujoshi Level:
While definitely a fujoshi, Muryou lacks experience at Comic Manga Market, which may indicate that she is fairly new to being a BL fan.

Popularity is Fleet-ing: Discussing Episode 1 of Kantai Collection on Riot Control Reviews

kantaicollection-fubuki-ep1

Despite having never played the game, I recently appeared on the Reverse Thieves’ Riot Control podcast to talk about the first episode of Kantai Collection with Alain. We just barely avoid turning the review into a Girls und Panzer podcast.

Download and listen here

Ogiue Maniax on the Veef Show Reviewing M3: The Dark Metal

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Once more I’ve joined up with mecha fan and toy collector Veef to review a Satelight anime. This time we’re talking about M3: The Dark Metal, a show which presents the combination of Sato Jun’ichi as director (Sailor Moon, Ojamajo Doremi, Kaleidostar) and Okada Mari as writer (Lupin III: The Woman Called Mine Fujiko, Aquarion EVOL, Anohana). It’s an interesting show with some…mixed results.

Podcast

The Melancholy of Anime Openings

As I imagine is the case with many fans of anime, one of the first things about anime that caught my attention, one of the things that helped make me into a fan, was the quality of openings. Whether it was the music itself or the animation that accompanied it, anime openings felt like they blew the cartoon intros I was accustomed to out of the water, not to mention the dubbed anime openings which populated American TV. This is not to say that anime music is the best music ever, but once upon a time I often felt that way.

Recently I began to reflect on this feeling. What was the appeal? What was different about them? The more I think about it, the more I believe that it has to do with the sense of melancholy, angst, and forlornness that often appears briefly in anime openings.

A lot of anime openings make the viewer feel as if they are privy to the characters’ inner turmoil. In some cases, this is almost the entire point of the opening: see, for example, the “Tsubasa Cat” arc from Bakemonogatari (warning, it’s kind of not work-safe). The Galaxy Express 999 opening above doesn’t even have characters in it. In others, this feeling will be concentrated into a single, perhaps introspective moment. Think of the first Gundam W opening and Relena in the snow, or the Slayers NEXT opening when Lina reaches for Gourry. This melancholy is even mildly present in the opening to Fist of the North Star until it roars into overdrive during the chorus, accompanied by images of Lin, Bat, and the other destitute wanderers.

However, its ubiquity doesn’t end there, as it will appear in shows you might not expect to care about that sense of melancholy in the first place, such as Bistro Recipe (aka Fighting Foodons) and Medarot (aka Medabots). The openings for these anime both feature brief scenes where the main characters appear to be lost on an emotional level, despite the fact that they’re largely absurd comedies vaguely built around the concept of competition. It even shows up in one of the openings to the Japanese dub of the 1990s X-Men cartoon!

On some level, I wonder if openings might be a make-or-break moment for some as to whether or not they become anime fans. It’s the kind of thing that can easily cause someone to exclaim from the rooftops that anime is the best, or to dismiss it for not being as aggressively powerful as, say, the 1990s X-Men opening!

This is not to say that having this quality automatically makes an opening better, even if it is what likely caught my attention every time. Rather, just the fact that so many openings in a whole slew of genres utilize it at least to some extent feels like it speaks to something more deeply ingrained into, if not Japanese society, then how anime is viewed by society. Anime has gone from having openings designed specifically for the show itself to becoming vehicles to promote musical groups and back again, and consists of both shows designed for large audiences and hardcore fans, and yet somehow these melancholic moments have persisted over the years through all of these changes. I can only believe that there is a tacit assumption that anime openings, more often than not, should on some level evoke a strong sense of sympathy in the viewer, and this influences their structure.

The Fujoshi Files 121: Buchou

Name: N/A
Alias: 
President/Buchou (部長)
Relationship Status:
N/A
Origin:
Fudanshifull!

Information:
The president of the middle school Kentei Academy manga club after Matsumoto Senri, she is friends with Muryou and hopes to join Matsumoto’s high school manga club when it’s her time to graduate. She is a fan of the Tentel x Mikoto pairing from Omakase Tentel, as well as the pairing of Matsu x Kiyo, Matsumoto and his best friend, Kiyokawa Atsumu.

Fujoshi Level:
Although clearly a fujoshi, her inexperience navigating Comic Manga Market may indicate that she has not been one for very long, or at the very least has not attended very many doujin events.

The Mystery of Stocking’s Virginity (or Lack Thereof)

The idea that otaku over-value virginity is prevalent. This sexism is not limited to otaku or even just Japan of course, and there are equivalents around the world in different forms, but whether it’s people getting mad over their favorite anime characters having had past relationships, or scandals over Japanese idols secretly dating, it’s become a valid point of criticism for otaku subculture. At the same time, I wonder if that mindset isn’t so cut and dry. Just as girls do not fall under a simple virgin/slut dichotomy, I think it may be faulty to view otaku as liking only one or the other.

The main title that has me looking over the otaku preference thing is actually Panty & Stocking with Garterbelt. It’s well-established, based on sales of merchandise both official and unofficial, that the sweets-loving goth Stocking is much more popular among Japanese fans than the sex-crazed Panty. This seems to fall in line with the general rhetoric that otaku hate non-virgins, as Panty as a character is defined by the sheer amount of sex she has. She has extremely shallow standards for men, possibly spends more time having sex than not, and will even have important conversations in the middle of sex with people other than the guy(s) she’s with. The image of otaku’s preferences would work out perfectly, if not for the fact that the show states that Stocking is also sexually active.

Stocking mentions during the series that she also has a love life. It’s not even that she’s only had long-term relationships, or is merely a non-virgin still hesitant about sex even after having it. Though she’s more selective than Panty in terms of men, she establishes that she’s been with multiple guys, and will candidly discuss with Panty that some were great in bed and others weren’t. In light of this, why do the fans prefer Stocking to the point that her figures will go out of stock while Panty’s will get discounted heavily due to lack of sales?

One possibility I’m considering is pretty much a matter of relativity. Within the context of individual shows, it becomes easy to categorize characters in comparison to each other. In a show where everyone is small and cute, the character with any sort of bust becomes the “big-breasted” one, whereas in a show where all the character designs are leggy supermodels there may be a different standard among fans. Because Panty’s head is filled with sex (as the opening shows us), and Stocking is not so preoccupied with the same subject, it becomes a matter of Stocking being preferable by contrast even though she probably has more sex than your typical female anime character?

Another possibility is that it just comes down to character design, that Stocking’s gothic lolita look and Panty’s blonde hair and cocktail dress are the main ways in which they’re judged regardless of what happens in the show. Or maybe it’s that, at a cursory glance, Panty’s sexual activeness is extremely visible (the first thing we see of her in Episode 1 is her crawling out of bed with a guy), whereas Stocking’s love life is not so prominent? Only by watching the show do you learn that Stocking is no stranger to the opposite sex either, but it’s possible to understand this about Panty from the anciliary material.

If you have any thoughts or opinions on this, feel free to leave a comment, as I don’t feel like I quite have the answers. I’m not really sure myself, but I get the impression that Stocking’s relative popularity shows that things aren’t as simple as otaku liking either only the “pure” or the “promiscuous.” There are other examples as well, like how Akihabara idol Momoi Halko married and had a child but is still beloved. I have to wonder then if there’s another factor at work, like an inside/outside-group dynamic (and I don’t mean strictly in the Japanese culture sense) which dictates that allows some girls, fictional or otherwise, to be okay no matter what while others are judged more harshly.

Best Anime Characters of 2014

BEST MALE CHARACTER

Iori Sei (Gundam Build Fighters)

Much like last year’s winner, Armin Arlert, Iori Sei is a character whose skills come from forethought, patience, and preparation. Unlike Armin, however, Iori Sei is in fact the protagonist of his own series, reflecting a more general trend as of late where those who would normally be considered side characters are entering the limelight. In this respect, Sei’s talents, designing and building exquisite plastic Gundam models to use in holographic simulated battles, are best seen when his designs are utilized in the hands of his teammate Reiji. His gentle personality both contrasts with and complements his dedication to honing and refining his craft, and while he eventually becomes a skilled “pilot” as well, it feels like a very natural progression. Also, his innocent romance with Kousaka China is adorable.

BEST FEMALE CHARACTER

Kiryuuin Satsuki (Kill la Kill)

The main rival in Studio Trigger’s popular series of 2013-2014, in order to understand Satsuki’s strength as a character it’s necessary to also be aware of the surface impression that Kill la Kill often first creates. The main motif of Kill la Kill is clothing and nudity, and Satsuki herself is no exception as early on in the series she dons her Kamui Junketsu, a sentient battle uniform, and proceeds to fight in an extremely skimpy and revealing outfit. At many points in the series, her body is on full display, and it is portrayed as very sensuous in its own right. However, when thinking of the character Kiryuuin Satsuki, what first comes to mind is not what she’s wearing (or not wearing), but her commanding presence, her ambition, her radiant confience, and ultimately her redemption. One of the strongest moments in the series has to be when Satsuki apologizes, taking a deep bow that humbles her yet also elevates her to even greater heights as a human being of iron-clad will and determination that nevertheless has room for love and compassion.

BEST DUO

Andy and Frank (Yowamushi Pedal)

Andy and Frank (pictured left and right) support, advise, and push Hokane Academy’s 1st-year sprinter Izumida Touichirou to strive for victory. Developing their strength throughout his training, one has to wonder where Izumida would be without the help of Andy and Frank; it’s almost impossible to picture him without them. Though they seem quite similar, what’s also remarkable is how each of them have their own unique yet complementary personalities. It’s what makes them such an incredible team.

Final Thoughts

While there’s nothing that clearly links these characters together (though Andy and Satsuki might have something in common), I found that my choices this year were surprisingly not that difficult. Especially in the case of Satsuki, while there are plenty of great female characters this year, such as Anetai Toyone from Saki: The Nationals, Koizumi Hanayo from Love Live! School Idol Project, or even her fellow Kill la Kill characters, Satsuki’s sheer presence dominated them all in my mind. Perhaps the most notable thing is how different Sei and Satsuki are in terms of personality, and that their paths during their series lead them in what might be called opposite directions. Sei, though talented, learns confidence, while Satsuki learns humility and the value of friendship. At the same time, both remain true to themselves and their convictions.

A Flying Pussyfoot or Two: Genshiken II, Chapter 107

Chapter 107 of Genshiken II mostly takes place on a train. Unlike Baccano!, there is no trail of dead bodies, thanks mostly to Yoshitake.

The crew is traveling to Nikkou, a popular domestic and foreign tourist destination, which happens to be located near Yajima’s hometown. As Kuchiki feels that his spotlight has been stolen by Madarame and the women who love him, Yoshitake placates his (somewhat justified) anger by playing with him various classic school trip games, like UNO UMO, at the same time she tries to encourage Madarame towards a romantic conclusion. Before arriving at Yajima’s place, Yoshitake reveals that she deliberately split off Kuchiki and Madarame into their own hotel room to keep boys and girls separate, except also intentionally failing to mention that Hato is considered one of the girls in this instance.

Genshiken can generally be considered something of an ensemble series, with a rough protagonist in each part. First it was Sasahara, next it was Ogiue, now it might be considered Hato. However, if you were to take just this chapter by itself, and define protagonist in the conventional sense as the character whose actions move the narrative forward, then Yoshitake is clearly the hero in this instance, setting the characters on their paths, or at least trying to do so. That, or she’s like Satan, purveyor of half-truths, hiding her ulterior motives by giving reasons that appeal to her targets’ senses. For Madarame, pushing him towards altruism by bringing closure to his harem woes and preventing any potential fractures in the club hide her simple desire to see her friends end up happy.

Not that I dislike Yoshitake, but rather, as Japanese blogger tamagomago once said, Yoshitake is very good at being the glue that holds a group together. Here she demonstrates that ability to full effect using her silver tongue, managing to set up two different groups that take on different dynamics depending on which guy is placed within them. Madarame surrounded by Angela, Keiko, and Sue is pretty self-explanatory, but as soon as he shifts over to Yoshitake, Yajima, and Hato, it becomes an opportunity to see how Hato and Madarame react to each other. At the same time, Kuchiki being with the other girls lets him somewhat fulfill his harem fantasy, if only in the most bare-bones manner.

Of course, the other characters get their own moments too. While Yoshitake is the one moving things about, it’s the others’ lives that are the concern. Angela makes her appearance after a long while, and in a few moments she gets tied directly into the developments of the previous chapters. Specifically, she has a duel of confidence with Keiko, which references the close call that Madarame had with her, and she gets her breasts fondled by Sue, who is still mad about Madarame’s comment about breast size. Despite being so far away, she still perhaps has a “chance.”

Another character makes her return in Mimasaka, Yajima’s old friend, only this time she has tiny hearts literally emanating from her being. Previously I had considered the possibility that her affection for Yajima might merely be platonic (or at least something like what Sue feels towards Ogiue), but this little detail changes things.  For one, it makes for a complex chain of romance where a girl likes another girl who likes a boy who dresses like a girl who likes a guy who recently had his heart broken and is currently popular with the ladies. We also get to see Yajima’s mother, who clearly resembles her. The chapter mentions something about genetics in terms of appearance, but I do find it interesting that Yajima’s mom is so much more cheerful than her daughter. Obviously their lives and circumstances are different, but it does make me a bit curious what her home life was like.

Ogiue literally took a backseat this chapter, staying out of the storm while on the train. One notable moment is that you can see her internal speech is still Tohoku-ben (Watashi wa zutto Sue to issho nandabeka…).

As for next chapter, the preview mentions that it’ll be centered around the Yajima household. I for one am curious when that Angela-centric chapter will happen. It’s really on a matter of when.

One last thing to mention: a new volume of Genshiken came out in Japan, and once again it comes with different store exclusives. This time, they’re Christmas-themed, and they feature Sue, Hato, and Angela, as well as a group shot.

The Fujoshi Files 120: Koujiro Frau

Name: Furugoori, Kona (古郡こな)
Aliases: Koujiro Frau (神代フラウ), FRAUKOJIRO, Frau Bow (フラウ・ボゥ)
Relationship Status: Single
Origin: Robotics;Notes

Information:
Furugoori Kona, better known by her internet handle “Koujiro Frau,” is the genius hacker and programmer of the popular mecha battle game Kill-Ballad. A hikikomori who tends to use internet lingo in real life, Frau is also obsessed with yaoi and erotic games, and will make frequent mention of them in everyday conversation, provided she’s talking to anyone in the first place. She is also known for her distinct laugh: duhuhu.

Unbeknownst to most, Frau is also the daughter of the director of the giant robot anime Gunvarrel, though her mother mysteriously disappeared after the show was abruptly canceled. Though reluctant at first, Frau eventually becomes a part of the Tanegashima High School Robotics Club, where her expertise helps the club to not only create a second prototype of their life-size giant robot, but also aids them in unraveling the elaborate conspiracy responsible for her mother’s disappearance.

Fujoshi Level:
In addition to her constant playing of yaoi games, Frau also frequently exclaims her desire to see her male club mates go at it, with her continued ramblings giving increasingly elaborate detail along the way. Frau is not only a fujoshi, but also one with very little filter.

10 Tips for Using Mega Man in Smash Bros.

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I’m not a super high level player, but I’ve dedicated a good amount of time to learning the intricacies of Mega Man as a character in Super Smash Bros. for Nintendo 3DS & Wii U. For those of you curious about Mega Man, or looking to use him as your primary character, here are ten tips you might find useful.

1) Mega Man is more durable than he looks

Mega Man may be small, but you might be surprised how much he can survive. He’s actually among the fastest-falling characters in the game, and above-average in terms of weight. This means he’s slightly harder to kill off the top of the screen than Ganondorf, and harder to kill off the sides of the screen than Mario. Combined with his tiny frame, it means that Mega Man can live for a pretty long while, and in this game the higher damage you’re at, the more knock-back your attacks have (this is often referred to as “rage”).

2) Mega Man is extremely maneuverable in the air

Mega Man moves very similarly to how he would in his source games, and it means that Mega Man is very “wiggly.” If you’re just using Mega Man exclusively you might not notice it, but pick a character like Marth or (especially) Little Mac and try to move back and forth in the air. It can feel like molasses compared to Mega Man. Because he also has a crisp second jump, the ability to act out of his Up Special, and high fall speed, it means Mega Man can quickly weave in and out while in the air. When combined with his heavy array of ranged weaponry, it can be a strong way to keep the opponent guessing.

3) Mega Man is a mid-range fighter, not a long-range one

The first thing you probably notice when using Mega Man is how many projectile-based moves he has. They occupy approximately 50% of his moveset, while other melee attacks such as the down tilt (Slide) and dash attack (Top Spin) are also designed to hit from afar by moving Mega Man forward. However, if you think you can stand on the other side of the screen and throw stuff at the opponent all day long, you’re in for a rude awakening. Not only do some characters out-range Mega Man (Link and Toon Link, for example), but his projectiles do relatively little damage. Instead, they’re best used as a means of getting close to the opponent, getting the opponent off of you, or covering your retreat, depending on what’s needed at any given moment.

4) Mega Man is about patience and slow, gradual damage

Related to the previous point, Mega Man is not a combo-oriented character, nor is he generally a heavy hitter. If you get too eager or brash with your movements, you will suffer because Mega Man doesn’t have as many tools for fighting at close range compared to other characters. Wear the opponent down with projectiles, grab and throw them as they’re trying to shield to get them in the air, and then, rather than expecting Mega Man to be able to immediately follow up with some ridiculously strong attack or long combo, use this time to improve your physical position relative to the opponent’s, or to gain a small lead. For example, slide into them as they try to land.

5) Pellets are your friend

Mega Man’s jab, forward tilt, and neutral air attack all mimic his basic attack from the Mega Man games, and while they do not pack much power they are extremely versatile. Pellets are very quick to come out, can neutralize most projectiles (including those reflected back at you), and can halt head-on approaches. It can also cover up some of his other weaknesses. When Mega Man uses his Up Special (Rush), for instance, he usually suffers some kind of cool-down upon landing that renders him vulnerable. One way to cover for this is to land while shooting, which offers you some projection. When fighting a character like Peach who possesses a strong ability in her signature float, you can shoot at her to keep her at bay, to damage her as she tries to retreat. Just keep in mind, again, that the range on the pellets is relatively short compared to your other projectiles.

6) Mega Man has only a few KO moves

Unlike a lot of characters, relatively few of Mega Man’s attacks are meant for outright finishing the opponent off. However, the few he does have can be extremely potent as long as you understand their strengths and weaknesses. Up Tilt (Mega Upper) is basically a shoryuken from Street Fighter: it’s quick to come out and can KO very early, but leaves Mega Man wide open to an attack if he misses. Back air (Slash Claw) is quick and reliable, but really only works as a final blow if the opponent is near or off the ledge. Down Smash (Flame Burst) is very strong but has a very small window of opportunity combined with long start-up and cool-down, which means it’s best used for punishing the opponent’s attempt to roll behind you. Up smash (Spark Shock) is quick, but lacks range and for a KO move is pretty weak. As for the last notable attack…

7) When it comes to Mega Man’s forward smash (Charge Shot), quality is better than quantity

I know that it’s tempting to use Mega Man’s charged forward smash to try and hit the opponent from a distance, but it’s actually not good for this purpose. The opponent can generally see it coming from a mile away, especially because it travels further the more it’s charged, and if you miss you’re very much a sitting duck. Instead Mega Man’s Charge Shot is best used intelligently. For example, use Charge Shot to catch an opponent rolling back, if they’re trying to recover after being knocked off the stage, or if they’re trying to land. This last one is especially important, because in this game if the opponent tries to air dodge too close to the ground they become vulnerable for a brief moment, perfect for a giant energy blast to connect with their face.

8) Mega Man is good at keeping his KO moves at full power

Smash Bros. has a system called “stale moves” where the more you use an attack the weaker it becomes, and the way to restore the power of your attacks is to use different moves. This is another area where Mega Man’s pellets shine. All of his basic Arm Cannon attacks all do low damage already so they are less affected by this system, and all it takes is a few rounds of fire to bring your other attacks back to their maximum potential.

9) Mega Man’s air attacks are great for air to air combat, but terrible for air to ground combat

Mega Man’s air attacks are all very potent against airborne opponents. Forward air (Flame Sword) and back air (Slash Claw) are both quick to come out, do not count as part of Mega Man’s body, and Slash Claw can even KO at decent percents. Up air (Air Shooter) and down air (Hard Knuckle) both count as projectiles and can finish the opponent off early in certain situations. However, with the notable exception of his neutral air mentioned above, all of Mega Man’s air options have long landing lag, which means that if he lands while performing an attack, it will leave him vulnerable. If you try to hit the opponent with a Flame Sword and they shield, for example, they can generally retaliate without you being able to do anything about it. This doesn’t mean you should never use them against a grounded opponent, but it should be as a punishment after they’ve whiffed an attack, or if you’ve tricked them into not shielding.

10) Metal Blade has  a ton of uses

This point could probably be expanded into ten different sub-points, but it’s important to understand just how versatile Mega Man’s Neutral Special (Metal Blade) can be. It counts as an item, which makes it unaffected by Stale Moves. It has different properties when fired as a projectile and when thrown, including damage (higher if thrown) and range (can travel eight directions if fired but only four if thrown). It can be used while Mega Man is running away. If you’re coming in from off-stage, you can fire Metal Blade to keep your opponent from coming after you. If held as an item, Metal Blade can be dropped instead of thrown; try using this against an opponent recovering onto the stage from below. Perhaps best of all, while the opponent can steal it from you, it means that as long as they’re holding the Metal Blade they don’t have access to their regular attacks, thus limiting their options.

I hope that this helps out you aspiring Mega Man players, either to look more closely at the character either or to start you off on your quest to defeating all of the proverbial Robot Masters around you. Keep in mind that these tips provide a fairly general overview of Mega Man, and that each point can be elaborated upon in much greater detail. I didn’t even really talk about the other special moves! Most importantly, don’t forget to have fun playing.