The Relevance of Older anime to Newer Anime Fans

This month, I was asked to write about “the relevance of older anime to newer anime fans.” The short answer is that older anime is always relevant, even if newer fans don’t think it is. I’ll leave the criteria for “older” up for interpretation, but no matter whether it’s one year or 30 years, looking back on the anime that came before is a way to gain perspective on this form of art and entertainment that enthralls us so.

When a fan only watches what is newer, there’s a risk of developing a very skewed sense of what anime was, is, and can be. It’s easy to assume certain ideas are entirely new and have never been explored before, when in fact there’s a whole back catalog of shows that take on those topics. For example, the surface reputation of Gundam as vaguely “giant robots do fighty army things” can often color people’s views of what the franchise is actually like, and actually taking the time to look into those older series can broaden one’s perception.

In other cases, it’s easy to think that it’s “always been this way,” when certain stylistic or narrative tendencies are in fact the product of continued development reflecting the changing times. I recall being a young anime fan in the 90s, when most of what we got were short OVAs meant to be proof-of-concept adaptations for manga that doubled as advertisements. Often, they didn’t make any sort of effort to acclimate new viewers, so many fans were under the assumption that most anime were visually beautiful but unfollowable nonsense story-wise. We often failed to understand that it was simply what we received.

The above examples aren’t necessarily about looking backwards, but the point isn’t to position “older anime” as “better.” Not only is that highly subjective, but there are strengths and faults to anime made in any era, as well as cultural assumptions that might be controversial in hindsight. Rather, the important thing is to look beyond one’s current purview.

I understand that it’s easier said than done to get into older anime and not have it feel like a “chore.” It shouldn’t be “watch this show from 20 years ago because it’ll make you appreciate newer things—to hell with your own enjoyment!” Moreover, there are so many forces at work that directly and indirectly discourage newer anime fans from looking backwards. The newer shows take up all of the mental space through advertisements and social media discussion and who knows what else. If watching anime is a social experience for someone, it can become difficult to convince friends to abandon the opportunity to keep up with current trends. And while good aesthetics are in the eye of the beholder, older shows can at first look dated and thus lack relevance to a young, modern person. But for those who can overcome those hurdles, the reward is a more expansive library to potentially love and learn from.

This is actually why I’ve begun to think that remakes aren’t such a bad thing. Notably, Devilman Crybaby has re-introduced a classic manga to the wider world, and people have embraced it. The visuals might not be standard anime by any definition, but they’re fresher and more contemporary than what came beforehand, and they help fans to understand that the stories told in the past can still be relevant and powerful even if they look like they’re from a bygone era. If done well, it can encourage fans to break out of their shells and see.

See more, see wider, see further.

This post was sponsored by Ogiue Maniax patron Johnny Trovato. If you’d like to request topics for the blog, or support Ogiue Maniax in general, check out the Patreon.


The Fujoshi Files 178: Zombina

Name: Zombina (ゾンビーナ)
Alias: N/A
Relationship Status: Single
Origin: Monster Musume: Everyday Life with Monster Girls

Zombina is a member of M.O.N., a monster girl task force that deals with monsters who break the law in regards to the Interspecies Protection Act that allows monsters to live in the human world. As a zombie, she does not feel pain, and is able to lose body parts without it seriously affecting her negatively. Zombina is clever, utterly without inhibition, and a lover of firearms. However, accuracy is less important to her than being able to cover a wide swathe with bullets. She also enjoys zombie movies.

Fujoshi Level:
Zombina is a “rotten girl” both in the sense of being a decaying corpse and a lover of BL. She especially loves Levi x Eren and Bertolt x Eren from Attack on Titan (itself a zombie-esque manga), and hopes to go to a yaoi doujin event someday.

Ponkotsu Kyonyuu: The “Busty Failure” Character

Over the past few years, a new-ish character archetype seems to be emerging in manga. As far as I know, there’s no widely accepted term in Japanese or English, but the two common words used to describe them are kyonyuu, or “giant-breasts,” and ponkotsu, or “piece of junk.” The former word is pretty self-explanatory, but the latter likely requires some explanation.

A ponkotsu character is described by the Pixiv Dictionary as a type of moe female character who seems cool and capable on the surface, but is a comedic wreck on the inside. Two examples of ponkotsu characters in recent memory are Kawashima Momo from Girls und Panzer, the student council vice president who tends to panic in high-pressure situations, and Aqua, the “useless goddess” from KonoSuba! In fact, one might argue that all of the characters in KonoSuba! count.

The small trend, then, seems to be pairing the ponkotsu type with a large chest. I’ve found who qualify for that criteria are Shidare Hotaru from Dagashi Kashi (above), the titular character from Magical Sempai, and Takizawa from Bijin Onna Joushi Takizawa-san (both below).

As heroines, “busty failure” characters appear to share many of the same physical characteristics and mannerisms, even when ignoring chest size. In particular, their facial expressions seem to exist on a spectrum ranging from “incredibly smug” to “profuse blushing,” with these characters most commonly falling somewhere in the middle. Also, they’re frequently incredibly intense individuals.

Given their beauty and their curvaceous figures, there’s an obvious sex appeal component to the archetype. What’s unclear is why this exact combination has taken traction, in contrast to the standard moeblob, e.g. Asahina Mikuru from the Haruhi. For example, clumsy dojikko types are a dime a dozen, but there’s plenty of characters of all chest sizes who fall under that umbrella. Perhaps there’s something fascinating about having these girls be, in a sense, “mentally clumsy.” Maybe it’s that having these girls be “perfect” physically provides a powerfully arousing contrast with how easily flustered they are.

Thoughts on Shinkalion, the Robot Anime Designed to Promote Bullet Trains

Shinkansen Henkei Robo Shinkalion is the most blatant advertisement in cartoon form that I’ve seen in a long time. It’s so upfront with its true purpose—promoting Japan Railways’ shinkansen (aka bullet train) system—that it’s right in the title. But I actually don’t mind the extreme shilling of Shinkalion all that much, and it’s for one simple reason: the Japanese train system, including its shinkansen, is astoundingly good.

The hero of Shinkalion is a young boy named Hayasugi Hayato, a total train otaku. Hayato discovers that his dad, ostensible a Japan Railways (JR) employee, works for a secret division dedicated to fending off monsters attacking Earth. In an emergency, Hayato becomes the pilot of a Shinkalion, a super-advanced train that can transform into a giant robo, and helps his dad in their fight against the forces of evil. Naturally, all Shinkalions are based on actual, real-world shinkansen trains. Incidentally, one recurring gag among Japanese Shinkalion viewers is referring to the series as a reverse-Evangelion because it’s about a young pilot who can’t wait to support his dad on his mission to fight off monstrous invaders.

It’s not just the Shinkalions themselves that are selling Japanese trains to the audience, as nearly everything about the anime talks up the country’s rail service. Hayato’s family name, Hayasugi, is a homophone for “way too fast” in Japanese—a reference to the high speeds of the shinkansen. His catchphrase, “I’m Hayasugi Hayato, the guy who always makes it on time!”, is based on the fact that the Japan rail system is famously on-schedule. Whereas other train systems around the world might see a 10-minute delay as “reasonable,” a five-minute difference is considered “extreme” in Japan. This is part of why train otaku exist, as it’s not just the mechanical aspects of the trains themselves that hold appeal. The precision and complexity allows enthusiasts to imagine riding from one part of Japan to another while planning the most perfectly efficient route possible.

While Shinkalion is indeed mainly about high-speed trains, it also advertises for a few other things. There’s tourism, the natural extension for a show about trains, with the ending theme showing various famous landmarks across Japan. While I haven’t researched it, I’m confident that all locales presented are reachable by shinkansen. Then there’s the Google product placement. Not only is one of the characters a popular Youtuber, they even use the term Youtube and show it off. The strangest promotion is the fact that the Vocaloid, Hatsune Miku (or a convenient alternate version of her), is a pilot in the show—and she’s actually voiced by the Hatsune Miku software! In this instance, it might be JR that’s benefiting from the association instead of the other way around. The result is that Shinkalion is a kind of marketing black matter. The characters would have to be plastered with logos like NASCAR racers for it to go any further.

I’ve taken bullet trains, and they’re an amazingly comfortable experience. I’ve taken regular trains, and they’re so reliable it makes coming back to New York City’s subway system almost feel like culture shock. If this fairly generic giant robot cartoon wants to sell me on shinkansen, it can do that all day long. That said, I would be wary of Shinkalion becoming propaganda for JR as this perfect entity, because there’s evidence that it isn’t. Glancing at reviews on Glassdoor, there are multiple negative comments about the companies being extremely conservative businesses and thus stifling its own growth. Perhaps the efficiency of the system comes at a (human) price.

Still, I can enjoy Shinkalion for what it is. This 500-yen Shinkalion model kit I bought is a testament to that.

Back from the Future: Ogiue Maniax Status Update for June 2018

I’m back after an exciting honeymoon in Tokyo. It was a grand ol’ time full of food and nerdery, and also spending way too much money on otaku goods. For example, I actually bought all of Heartcatch Precure! on DVD—albeit at a huge discount. (I promise I didn’t just do Precure-related things, honest.)

I’m happy to answer (most) questions about staying in Japan to the best of my ability, so send ’em in!

But before that, I’d like to thank my sponsors on Patreon and Ko-fi.

A big thank you too…


Johnny Trovato

Ko Ransom


Diogo Prado

Sue Hopkins fans:


Hato Kenjirou fans:


Yajima Mirei fans:


I still had some posts go up even while I was away, so here are my favorite posts from May:

Darling in the Franxx and Choice in a Sexual Dystopia

Some people think the show is greatness itself, while others think it’s hyper trash. Here are some of my thoughts.

Project Z Revived! “Hakai-oh – Gaogaigar vs. Betterman Part 1” Novel Review

My review of the latest Gaogaigar light novel, which is actually the long-awaited sequel to Gaogaigar Final!

“Flukes”: Competitive Rigor vs. Sustainability in Esports

How important is grabbing an audience vs. absolute competitive integrity in esports?

Hashikko Ensemble

Chapter 4 continues the kooky sense of almost-camaraderie.


Gamblers’ Paradise: “Uma Musume: Pretty Derby”

My feelings on the new horse girl-themed anime and the expected franchise surrounding it.


As you might expect, I plan to have a ton of blog posts concerning my trip to Japan. It won’t be a full on travelogue, but I plan to have reviews of doujin events, reviews of series I picked up, and more. Who knows? Maybe it’ll even bleed into July!

The Respectful Pervert: The New Ogler Archetype in Anime and Manga

Miroku, pervert monk from Inuyasha

In today’s environment, the “pervert with a heart of gold” anime and manga archetype has not aged well. While characters such as Great Teacher Onizuka, Miroku from Inuyasha, and Saeba Ryo (City Hunter) are ultimately presented as those who will fight for what’s right, their willingness to cop a feel or lift a skirt becomes less and less charming in consider the current age. They’re ultimately fictional characters, so they can afford to be flawed, but one person’s “acceptable quirk” is another’s deal breaker. They’re not automatically villains or abusers, but they can be increasing difficult to rally behind—and I say this knowing that Ryo, for instance, is classically quite popular with female readers. But I don’t think the solution is to pretend perverts don’t exist, or to portray them negatively, and in fact, I find that anime and manga are slowly moving towards a new type of ogler for the current age.

Before continuing, I understand that my discussion of the “well-meaning pervert” is rather heteronormative, owing to the fact that these characters are derived from a tradition of hyper-straight male protagonists. When you change the dynamics of gender and gender representation, the topic enters a whole new dimension. I’m open to thinking more in that direction, but it goes beyond the scope of this post.

The “respectful pervert” actively acknowledges his love of women’s bodies, but doesn’t step over crucial boundaries—a devoted believer in the mantra “look but don’t touch.” From this cloth, two recent and prominent examples are Space Dandy from Space Dandy and Sword from GARO: Vanishing Line.

Space Dandy with Boobies waitresses

Sword from GARO: Vanishing Line, paying respects to large breasts

Both will regularly express their love of breasts, but will remain more or less cordial. Dandy mostly indulges in his fascinations at “Boobies,” a restaurant whose purpose is to allow and encourage ogling, without physical contact. Sword’s tendency to offer a prayer of appreciation for nice breasts might potentially draw unwanted attention, but his overall actions do not encroach on women’s personal space.

This new-type pervert might not be to everyone’s tastes, but I find that vis significance stands out more when comparing him to another attempt to dial down the pervert archetype: the passive harem protagonist. This archetype is perpetually in a position of convenience to have things happen to him as a way to resolve the character of responsibility. A lack of direct intent, e.g. “Oh no, I tripped fell into her breeeaaasts!!!” means self-control as an issue is ignored. In contrast, the respectful pervert is active in his expressions of sexual desire, but ultimately shows restraint. Power remains in the women’s control, without pushing the onus of responsibility onto them.

What do you think of the respectful pervert? Is it one step forward, two steps back? Is it a character you can get behind? I’m curious to hear opinions from anyone and everyone.

Gamblers’ Paradise: “Uma Musume: Pretty Derby”

My Little Pony: Friendship is Magic may be the most prominent cartoon about horse girls, but Uma Musume: Pretty Derby is bringing a different angle. Instead of wide-eyed ponies, it’s human-horse hybrids in the vein of anime catgirls. Instead of a children’s show reminiscent of magical girl shows, it’s a strange hybrid sports/idol anime focused on racing and dancing. As a result, Uma Musume: Pretty Derby veers closer to Girls und Panzer than Twilight Sparkle and friends.

Having watched the first two episodes, Uma Musume: Pretty Derby succeeds in being a sports show. It’s got an underdog main heroine with untapped potential, plenty of characters (perhaps too many) with a variety of personalities and competitive styles, and a sense of forward progress while keeping intrigue strong. For example, just what is up with protagonist Special Week’s adopted mother? She gives me a “mom from Aikatsu!” vibe; maybe that’s not a coincidence given the idol aspect of Uma Musume.

Taken on its own, the anime seems like a reliably strong show. However, much like Girls und Panzer, the point of potential concern is what happens when one looks beyond the cartoon itself and into what it’s supposed to advertise and accomplish. For Girls und Panzer, it’s possible glorification of the military. For Uma Musume, it’s gambling.

Uma Musume is a moefied version of horseracing, a popular betting sport. But it’s also part of a multimedia franchise from mobile games juggernaut Cygames, makers of Granblue Fantasy. When it comes to lootbox/gacha systems that drive players to empty their pockets, Granblue Fantasy is one of the grandmasters, and the chase for those slim 1% chances for ultra-rares is especially enticing for those vulnerable to gambling addiction. And yes, there’s an Uma Musume: Pretty Derby mobile game on the way.

So essentially, there’s a dangerous final form of Uma Musume that could become a reality someday. This monstrous version would involve going to the racetrack to watch and bet on the ponies while also playing Uma Musume and trying to get the right gacha gifts for your favorite horse girls. To use an ancient internet joke, they put a slot machine into your betting, so you can gamble while you gamble. It’s not gotten to this stage as of yet, but I have my eye out to see where Uma Musume will go.

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 support Ogiue Maniax, check out my Patreon.