Category Archives: anime

Not the X-Games: Anime Expo 2012

Posted on by

Anime Expo 2012 was my first Anime Expo and my first west coast convention. While I’m not one of those really thorough con veterans, I still found some interesting differences between it and the conventions I’ve been to before, both when compared to the bigger cons as well as the smaller ones. Located in Los Angeles, it uses its position to its fullest.

Industry

In a change of pace of sorts, I  somewhat foolishly attended fewer industry panels than I normally would at a convention. I say somewhat only because of the fact that, for so many of them, they largely amount to announcements (which appear within a minute on Twitter) and they have Q&A sessions which lack teeth. Sometimes you can get a good one, and I try hard to ask good questions when I can, but the more “official” it is, the less chance you’ll get a decent answer. The foolish part is the fact that I was accustomed to Otakon, where one must generally choose between autographs and panels, an only later found out that AX works on a system of giving people “skip the line” tickets for attending guest panels. Lesson learned for (hopefully) next time.

Despite those limitations, AX2012 was by far my most autograph-heavy convention experience I’ve ever had, which is a reflection of one of Anime Expo’s greatest strengths: the sheer amount of guests, particularly Japanese ones. I managed to get stuff signed by the staff from Madhouse, Animetal USA, Kajiura Yuki + FictionJunction, a limited autographed image from manga artist Toume Kei (who wasn’t attending but offered the images as part of a gallery), and probably the biggest one for me: an OVA of Legend of the Galactic Heroes signed by Horikawa Ryo, voice of Reinhard von Lohengramm. I happened to take a fantastic picture of him.

I did manage to go to a few panels as well. I went to the Animetal USA Q&A just to see that bit of spectacle (it was calmer than I had expected), and attended the panel for GoFA, or Gallery of Fantastic Art. GoFA can be described as an organization dedicated to taking anime and manga and giving it a sense of realism by creating products and opening galleries based on those works. The panelists showed off actual products such as glasses and watches based on the designs of anime and manga creators, and mentioned that artists such as Hoshino Lily (Mawaru Penguindrum character designer) and Fukumoto Nobuyuki (Kaiji, Akagi manga creator) have or will have gallery exhibitions in Japan. Apparently they’ve been a part of AX for a long time now, but this was their first time running a panel, a privilege they received because they’re actually producing a stop motion animation based on the artwork of Toume Kei (Sing Yesterday for Me). We got to see a very short preview, about which not much can be said because it lasted less than two minutes.

Another panel of interest was a manga workshop run by an actual manga artist whose name I sadly did not catch (though Peepo Choo’s Felipe Smith was helping to translate). I was unable to stay for the entire thing, but what I saw focused a good deal on anatomy, working from the idea that a solid foundation in realism is needed in order to deviate from it. While I don’t entirely agree with that assessment, I think it is nevertheless an excellent skill to foster and definitely a legitimate way to begin to create art and comics. I do wish that manga workshop panels and the like could move more towards paneling and page layout, but I get the feeling that character design is much more immediate has much more impact for the vast majority of people.

Concerts

I went to all three of the concerts—Animetal USA, FictionJunction, and LiSA—in some capacity, though could only stay for a small portion of the FictionJunction concert due to some scheduling conflicts (more on that later). Animetal USA had by far the smallest crowd, but an enthusiastic one nonetheless, and it was great to hear their take on classic anime songs from shows like Gatchaman, Mazinger Z, and Saint Seiya. I’ll admit, I’m not a fan of heavy metal (though that’s not to say I don’t enjoy it), but I’m glad I went. Later at their signing, the most impressive thing was that there was a real Animetal USA cosplayer, a girl dressed as guitarist “Speed-King” (aka Chris Impellitteri). What little I heard of FictionJunction was definitely excellent. I definitely wish I could’ve seen it all.

The LiSA concert is one of the highlights of AX2012 for me, because I went in only knowing her as the singer of the Fate/Zero opening but not particularly interested, and came out of it as a fan. Not only were all of her songs really good, but her practically-headbanging enthusiasm just filled the concert venue. Impressively, she managed to do the emceeing for her own concert almost entirely in English. I’m not sure how much of it was from actual fluency and how much was practiced and scripted, but she pulled it off regardless. She gave us the benefit of singing the opening to a new summer anime (that wasn’t even out yet), Sword Art Online, and the concert actually made me want to check it out despite only having a passing interest in it prior.

Non-Industry Panels

If AX’s main strength is its industry presence, its main weakness is a lack of interesting fan panels. While fan panels can always vary in quality, they tend to follow along the same basic goals of bringing fans together in order to share in a topic or to convey new ways of seeing the things we love, hat’s not to say that the fan panels at AX weren’t or couldn’t be interesting, but that the sheer amount of “official” panels somewhat limited the overall presence of fan panels. On top of that, many were workshops or something similar, but personally speaking I generally don’t go to conventions for workshops.

I attended the Bloggers and Podcasters Town Hall, not knowing quite what to expect, especially given the use of the term “Town Hall,” but it ended up actually being fairly accurate. Moderated by the Benjamin “Benu” Lopez of the long-running Anime Genesis podcast, the audience (including myself) discussed various topics, including the move to include blogging into a podcast and vice versa, as well as ways to break up the factionalism and cliques which often appear around groups of bloggers/podcasters. It was a fruitful discussion, and I got to meet a number of people I’d only read/heard previously, though I do kind of wish that we didn’t just talk about reaching out but also ways to refine and improve our existing work. As I said at the panel, I do believe that content is king.

Given that I’ve been a part of academia for a while now, I went with the purpose of attending as many of the academic panels as I could. At times, this caused conflict as I had to sacrifice seeing a certain guest in order to see what other researchers were working on, but I think it was well worth it. Even though other events clearly overshadowed the attendance of the academic track, there was something distinctly different about having it as part of a general convention instead of simply being a stand-alone academic conference. Mainly, I felt like presenters had prepared for a mix of academic and non-academic audiences, and it made the presentations a little more fun than what would normally happen.

The highlights of the academic track were the keynote address, where Professor Jeffrey Dym of UC Sacramento discussed his “History of Manga” class, and the “We Make Manga” panel run by Northrop Davis of the University of South Carolina. In both cases, the speakers really knew what they were talking about, and described the challenges they faced in creating their classes, how they designed their curricula, and what sources they used as the foundations for their classes. For Dym’s panel, the things that stood out to me the most were his lament that Ishinomori Shoutarou did not have more work out in English despite his legendary status and the fact that he hesitated on including sports manga in his class because of how little of the really groundbreaking series (Star of the Giants for instance) exist in English. For Davis’s panel, it was definitely the fact that he mentioned his class as being designed to somewhat mimic the editor system used by manga publishers in Japan, especially given the degree to which endeavors such as Tokyopop’s old OEL material lacked in that very area.

I think the attendance could have been stronger if the academic panels hadn’t been added so late. The large color guide didn’t even have those panels, and it was clear that despite the giant screens showing the updated schedules that many attendees ignored it. When I presented at my own panel (which ended up overlapping with the FictionJunction concert due to a 40 minute delay, thus eliminating my chance of doing both), it was to a rather sparsely populated room, which I honestly think could have been made more lively if only people knew about it (and if the concert didn’t start and end when it did). Overall, I think I did an all right job (I did a visual analysis of the manga 7 Billion Needles), I just wish more of you could’ve attended it!

Cosplay

I think I’ll say it: AX2012 was possibly the best convention I’ve ever attended in terms of cosplay. Not only were many of the costumes excellent, but I don’t think I’ve ever seen so much variety. Popular cosplay topics such as Homestuck and Hetalia!, while still very present, didn’t even come close to dominating the visual landscape of the con, and cosplays I had resigned myself to possibly never seeing appeared in numbers. Whereas previously I had seen zero Dragon Kid cosplays from Tiger & Bunny, this time I saw five.

I remember being the only person to clap for Dragon Kid at Otakon 2011’s Sunrise panel, so this was a pleasant change.

In addition, I thought I’d never see a Precure cosplay at an American con, but I was gladly proven wrong. Have you watched Heartcatch yet? It’s really good.

Anyway, I’ll let the rest of the cosplay speak for itself, though keep in mind that this certainly isn’t an accurate representation of all of the cosplay at AX2012, merely what I photographed.

Final Thoughts

So there went my first Anime Expo. If I had to do it over again, I probably would’ve found a better medium between panels and autographs, and I would’ve definitely tried to see more faces. Also, the Kinokuniya in LA is definitely better than the one in NYC.

Stand Aside, Book Smarts: The “Knowledgeable Girl”

Posted on by

While reading the Drops of God recently. I took notice of the supporting character Miyabi, a sommeliere-hopeful who assists the hero Shizuku, bolstering his seemingly supernatural sense of taste (literally tasting things with his mouth) with a larger knowledge of the wine world. In this setting, Shizuku’s genius, though achieved through years of work and forced training, comes across as of a deeper quality than Miyabi’s superior book smarts.

Miyabi falls into a character type I might refer to as the “Knowledgeable Girl,” a trope I see most often in shounen manga. This character is different from someone who’s simply smart or studious or is a bookworm. Instead, it is the character who seems to play two roles: the first is to have a solid foundation of knowledge so as to be useful when exposition is necessary, and the second is to have that knowledge contrasted with the hero’s more impressive abilities, as if to say that, while the hero lacks conventional knowledge, he is such a radical that he can overcome it, or that it’s only a matter of time before he picks up that knowledge as well. In a way, she is meant to be surpassed.

Probably the most prominent example I can think of is Sakura from Naruto, who, like Miyabi, criticizes the male hero for not knowing the basics, and whose book smarts are ultimately shown to be less powerful and important than the unique flavors Naruto himself provides. I bet you can think of many others as well.

I don’t think this is a character type doomed to mediocrity, as the key, I feel, is to actually give a true advantage to book smarts, something that just isn’t waiting to be trivialized. Female coach Riko from Kuroko’s Basketball (AKA THE BASKETBALL WHICH KUROKO PLAYS), for example, while very much in that supporting role, at least shows a strategic knack owing to her intense study lacking in the players. Tokine in Kekkaishi, more knowledgeable than her counterpart Yoshimori, is better at refining her abilities than at simply making things bigger and more powerful.

I wonder if it’s possible to argue that no character type is truly terrible and that it’s all in the execution? I’m sure I’ll be corrected rather immediately.

Operation Bring Devil Curry to the World

Posted on by

So it turns out that one of my favorite places in the world to eat, Go Go Curry, is teaming up with legendary manga creator Nagai Go to create a new super spicy curry. Called “Devil Curry” in honor of the 40th anniversary of Devilman, it is going to be a permanent fixture on the Japanese Go Go Curry menu.

These days, however, Go Go Curry is international, with stores in New York and Singapore. I know I want Devil Curry where I live, and for those of you who feel that Go Go Curry, while good, isn’t quite spicy enough, I’m sure you’d like to try it out too. The only choice then is to campaign for the international release of Devil Curry.

Every time you go to a Go Go Curry, tell them you heard about Devil Curry and want to have it on the menu.

For the times you’re not near a Go Go Curry, they also have twitter accounts: GOGO_CURRY and GOGOCURRYUSA

The only concern I have is that it might end up losing its Devilman connotations upon going abroad. I’m not sure how I feel about that.

I Love Smile Precure’s Banal Villainy

Posted on by

If you’ve watched Smile Precure, you’ve probably noticed that while the villains have an overall dastardly goal (revive their evil leader), most of the time their motivations are incredibly shallow and petty, something along the lines of “Eh I’m bored, what evil can I do?” Contrary to it detracting from their characters, however, I feel like it actually makes them more enjoyable to watch, humanizing them beyond simply the idea that they’re “bad,” while also still keeping them cartoonishly villainous. It also adds to the overall feel of the show as fun and enjoyable with a lot of big, vibrant personalities. In this sense, the villains are kind of like K-On!

Another thing I enjoy about the villains, Wolfrun, Aka Oni, and Majorina, is that they have a consistent theme as fairy tale villains which makes them a bit more memorable. That might not seem like much, but at least in terms of the Precure franchise it’s a significant step up. Previous series would utilize such memorable combinations as “a bunch of evil muscley dudes,” or “a plant guy and a gold guy,” and even probably the show with the best villain concept in the series, Yes! Pretty Cure 5 (whose staff I believe is also responsible for Smile) with its evil corporation (complete with evil salaries, evil promotions, and evil quarterly evaluations) basically turned into a mishmash of designs once they transformed out of their (evil) business suits.

Wolf, Ogre, Witch. It works, and the fact that they’re so dumb makes it even better.

Thoughts on Fandom Structure: Facilitating the Moe “Lifestyle”

Posted on by

In a recent conversation, I was presented an interesting question: why is that moe seems to engender the type of fandom which seems on some level staunchly devoted to it and has fans who can take attacks on moe personally? After some consideration, I thought of two reasons.

The first reason is that on some level, whether it be deep or shallow, I think moe fosters a very individual, perhaps even private connection. Regardless of the specifics and any sort of moral/aesthetic tastes, the idea (nebulous as it may be) begins to resonate with concepts such as catharsis, fantasy, sexual desire and identity, self-reflection, stress, and so on.

The second reason, and the one I’m more interested in for this post, has to do with the ease by which one can become a fan of moe. In a recent interview concerning Starcraft 2 fandom, commentator and personality Sean “Day[9]” Plott was asked why so many SC2 fans have a tendency to identify themselves as “Starcraft fans” and to put down other games as inferior products, to which he responded:

There’s a lot of people who are into Starcraft and it’s just become their identity because, honestly, there’s so much Starcraft content that you can watch it all day, every day, just like you can be into football or baseball. And so, rather than just say, “I like this,” they look down on other things.

I think these words can apply to moe as well, in the sense that not only is there so much of it currently available that you can watch and read nothing but moe genre titles and have your entire day filled, but that the system behind it actively promotes and encourages this sort of obsession. On the fiction-production side, you have this tendency towards characters who each possess easily expressed individuality, and so make it easy to define a favorite, and it’s a process that can be renewed with the next show and the show after that. On the merchandise side, you have figures, posters, limited edition DVD boxes, fan clubs, official events, and so on. If you’re into some show, there’s a good chance you can buy something related to it, and though there’s a lot of talk these days about how fandom is moving beyond expressing itself through simple consumption, it can’t be denied that it is still in its own way an expression of one’s self.

Obviously this model doesn’t only apply to moe or even just anime/manga, nor does every single fan of moe do this (and I want to make the point clear that I’m not characterizing an entire fanbase as having a singular mindset). However, when combined with that very personal connection which moe fosters, I think it creates a particular kind of devotion, which, while not entirely unique, more easily manifests itself as something just that personal.

Ogiue Maniax’s First Trip to Anime Expo!

Posted on by

Though not my first time in Los Angeles, it’ll be my first time hitting up Anime Expo, that monster convention whose size and majesty dwarfs all around it. In fact, it’s also my very first west coast convention, so while I know what to expect from a big convention, I don’t know if there’s anything particular this con in particular that I should be aware of.

In any case, I’ll be attending most if not all of the academic panels, and trying to go to the concerts if I can. I’ll also have my own presentation to give while I’m there on Saturday, as part of the Building Bridges Through Individual Texts panel. My presentation is titled going to be focused on the science fiction manga 7 Billion Needles.

My (tentative) schedule is as follows:

Friday

The Cutting Edge of Anime and Manga Studies (11am-12:15pm)

Why Do We Try So Hard? Anime and Manga Studies Roundtable Discussion (12:15pm-1:15pm)

The Origin of Anime Fandom (2pm-3pm)

Aniplex of America Industry Panel (3pm-3:45pm)

Animetal USA (WHO IS IT WHO IS IT WHO IS IT) (4:30pm-6:15pm)

Adventures in Teaching: “The History of Manga” (7:15pm-8:15pm)

Bushiroad Industry Panel (8:15pm-9:15pm)

Saturday

E-Manga: The New Style of Manga with Ryo Horikawa (11am-12pm)

Animetal USA panel (12:15pm-1:30pm)

Madoka Magica panel hosted by Aniplex (3pm-4pm)

Anime Bloggers/Podcasters Town Hall (4pm-5pm)

Yuki Kajiura/FictionJunction (6pm-8pm)

Building Bridges Through Individual Texts (8:30pm-10pm) (That’s me!)

Sunday

My Little Pony: Friendship is Magic Fan Panel (9am-10am)

Hamada, Morio, Tsunoki (Madhouse) (10am-11am)

LiSA Concert (12:15pm-2:45pm)

Right Stuf/Nozomi Entertainment Premieres (3:15pm-4:45pm)

What do Anime Fans do, Why and How? (5:15pm-6:45pm)

Supporting and Expanding Anime and Manga Studies (7pm-8pm)

Monday

Who knows!

So there you have it. For all you cool dudes I know, I hope to see you, and if I don’t know you, then I hope to at least meet you.

The Fujoshi Files 45: Aoba Tsugumi

Posted on by

Name: Aoba, Tsugumi (青葉 つぐみ)
Alias: N/A
Relationship Status: Single
Origin: Kannagi: Crazy Shrine Maidens

Information:
Aoba Tsugumi is a high school student with a long-time crush on her life-long friend, Mikuriya Jin. Upon seeing that Jin was living with another girl (his half-sister supposedly), Aoba has made a much more concerted effort to express her feelings for him. Knowing firsthand about Jin’s troubled past, Aoba is always looking out for him, even bringing over meals prepared by her mother. For this reason, Aoba also learned to cook,  though she has a very limited repertoire, her best two dishes being “fried eggs with vegetables” and “vegetables with fried eggs.”

Aoba is a sweet, practical-minded girl, though she can also be a bit of a romantic. She can often be seen fighting with her imagination, both in terms of things not to think and things not to say. A newbie to the world of BL, Aoba was suddenly introduced to the genre by Kimura Takako and Ookouchi Fujino of the Art Club. It is not an active part of her life, though.

Fujoshi Level:
At first shocked by the content of yaoi doujinshi, Aoba very quickly asked for more. In addition, her reborn consciousness has allowed her to view the close bond between Jin and his friend Daitetsu in a new, corrupted light.

It’s All Right to Be Weak

Posted on by

Though no one has ever said it to me before, I sometimes feel that my stance on various related topics concerning women in media may come across as hypocritical. I write a fair amount on the depiction of women in visual media, whether that’s anime or American comics or video games, but at the same time I’m also one to defend the concept of moe, often seen as the nadir of female representation in particularly Japanese media. It can be seen as a contradiction which ultimately compromises the arguments I make, but I would argue differently.

While I cannot reasonably argue that moe is faultless, the reason I don’t find my relative fondness for moe and my criticisms of misogyny to be all that contradictory has to do with the way in which characters impact a viewer. I believe that one of the core components of moe, that sense of weakness or perhaps even helplessness in a character (typically a girl), is not necessarily experienced solely as something external, a third party on whom the viewer acts as voyeur. That may factor in, certainly, but there is also a component of personal empathy, the depiction of weakness as a relatable point for those who may feel weak themselves, that is capable of being far more significant than simply the girl being cute or needing an older brother.

The capacity to portray weak characters is a good thing, in my opinion, and the problems of moe aren’t relegated simply to how girls are depicted but also how guys often aren’t allowed to be depicted. For whatever reasons there is a relative dearth of male characters targeted at men who are truly allowed to be weak and who are allowed to rely on others without having their worth as a man called into question either inside the works or by the viewers. This is why I’m fond of the supportive male character type you sometimes see in anime, because they manage to acknowledge their own limitations without issues of pride, and can both provide and receive emotional support. This is not to invalidate the more aggressive images of men of action, your Golgo 13s and Charles Bronsons, but I think there is room to expand both what can be done with men and women in entertainment media. In the mean-time, though, moe is having its positive effects.

That is not to say that moe is without its negatives and its problems in portraying women, and one thing that I have to acknowledge is that there are viewers, including moe fans themselves, who may bristle at the idea of a weak, helpless man (as opposed to girl), or might even be really aggressively sexist anyway. It is certainly not without its problems. In that regard, however, it actually reminds me of an essay titled “Never Trust a Snake: WWF Wrestling as Masculine Melodrama” by fandom and media scholar Henry Jenkins. In it, Jenkins argues that through the imagery of intense competition with a clearly defined goal (winning the title, beating the villains), pro wrestling provides a safe haven for the expression of “weak” emotions such as sadness and betrayal by couching it within the context of a hyper-masculine (and often extremely racist, sexist, and homophobic) setting, to which men in the US would be more willing to relate. They appear on stages and in front of cameras and audiences to loudly proclaim how others made them feel, driving home their characters in a conceivably therapeutic process. They’re shown to be physically superhuman, but prone to the same emotional scars as their audience.

Like pro wrestling, moe has its recurring issues, but I think sweeping it all aside under the single banner of “sexism” is over-simplifying some of the cultural and psychological dynamics at work. This is why I criticize certain portrayals of girls in moe without condemning it as a whole.

Gattai Girls 1: Gowapper 5 Godam and Misaki Youko

Posted on by

Introduction: “Gattai Girls” is a series of posts dedicated to looking at giant robot anime featuring prominent female characters due to their relative rarity within that genre.

Here, “prominent” is primarily defined by two traits. First, the female character has to be either a main character (as opposed to a sidekick or support character), or she has to be in a role which distinguishes her. Second, the female character has to actually pilot a giant robot, preferrably the main giant robot of the series she’s in.

For example, Aim for the Top! would qualify because of Noriko (main character, pilots the most important mecha of her show), while Vision of Escaflowne would not, because Hitomi does not engage in any combat despite being a main character, nor would Full Metal Panic! because the most prominent robot pilot, Melissa Mao, is not prominent enough.

—

Between its generic Monster of the Week stories, basic “defend the world from evil” plot, and its overtly toy-oriented design, the 1976 anime Gowapper 5 Godam by Tatsunoko Pro is a largely bland and mediocre giant robot series. Following the “Gowapper 5,” a team of five kids whose purpose is to “go on adventures” (really) and who discover a giant robot, even the normal saving grace of such a show, the giant robot itself, is lacking.

Though one can ignore the Rudolph nose, the titular robot is so blocky and aesthetically awkward that even the animators for the show who are otherwise skilled at producing action scenes cannot make Godam look impressive. Despite a handful of fairly impressive episodes which manage some good bits of characterization or interesting moral dilemmas, overall Gowapper 5 Godam would be even more forgotten than it already is if not for two reasons.

First, the character designs were by Amano Yoshitaka of Final Fantasy fame, who worked on many other Tatsunoko anime as well.

Second, it is the first ever giant robot anime to feature a prominent female character in a leadership position.

Misaki Youko transcends the “token female character” position in a number of ways. In addition to being the unmistakable leader of the Gowapper 5 (she wears the red uniform and her teammates consistently refer to her as such), she is clever, courageous, cool under pressure, a highly-skilled fighter (possibly the most skilled of the five), always dresses sensibly, and, perhaps most amazingly of all, never actually gets kidnapped or put in damsel-in-distress situations. She shows strong leadership even in moments of weakness, at one point willing to relinquish her position for what she feels is her own error in judgment, and is able to pilot Godam effectively and deal the finishing blow on multiple occasions to the enemy. Even today, such a character is a rare exception in the mecha genre (especially when you exclude those shows where all of the pilots are female), let alone in 1976.

However, while Youko as a character remains extremely capable, she is hurt by the fact that the show itself can never actually decide if Youko is its main character or not. Even the opening flip flops between emphasizing her as the most important character and focusing on the blue second-in-command, Gou.

Looking at who is most prominent when piloting Godam itself, a method which would work with just about any other giant robot show, doesn’t really apply here. While Godam is the centerpiece of the series, usually the Gowapper 5 go out and fight hand to hand or in their personal vehicles, leaving whoever is left behind to pilot the robot, whether that’s Youko or Gou or one of their three comically misshapen teammates. Much later in the series when they start to regularly pilot it all at once, Gou sits in the center chair, but then other times Youko acts like the main character, even being the one to directly defeat a major villain.

Because of the way that Youko receives fewer and fewer episodes devoted to her as the show goes on, I get the feeling that the makers of Gowapper 5 Godam originally wanted her to be the undisputed protagonist (with Gou as deuteragonist), but something had to make them backpedal, possibly as early as when they were making the opening. The fact that Gou, the character who has more of the look you’d expect from a giant robot hero, overall gets the most episodes dedicated to him (followed by the youngest character, Norisuke) makes me think that they determined that a female as the central character of the show was hurting their sales and that they had to do something about it. Moreover, the odd 36-episode length of Gowapper 5 Godam and the number of sudden introductions of new merchandise into the series in the last 1/3 of the show hints at a possibly troubled production or low toy sales which they would have to try and overturn. At the same time, the fact that Youko continues to be prominent even at the very end might imply that this was an on-going conflict throughout the show’s production.

As the first true female leader in a giant robot anime, Misaki Youko is in many ways a pioneering character. She is well ahead of her time to the extent that she may have been too much for the very anime she comes from. In that respect, she perhaps not only the patron saint of female protagonists in mecha, but also the patron saint of characters who transcend the quality of their own anime.

With Age Comes Grace and Also Less Punching

Posted on by

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.