Category Archives: anime

The “Curse” of Redline’s Aesthetic

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Ever since before its actual release, Redline has been getting a lot of buzz among anime reviewers who have noted the look of the film, incredibly unique especially in today’s anime environment with a good deal of exquisite animation and attention to detail. The crowds are full of life and interesting alien designs. The vehicles used for racing are all incredibly stylish and showcase the wide array of personalities in the film. Redline oozes style and panache. However, for as refreshing as Redline‘s art is, it appears to be a double-edged sword through no fault of its own.

The “problem” with Redline‘s art is that it apparently makes people think the movie has no story, that it’s nothing but a pretty face, and has little to offer people who are interested in characterization and narrative. This is a mistake.

I’ll explain what I mean by just using the introduction to the film.

The movie begins with the Yellow Line race, a preliminary to the main “Redline” race which everyone in the galaxy looks forward to. The main character is Sweet JP, and based on the fact that it’s the start of the film, it’s easy to assume that we’ll know what will happen. If it’s a race designed to make JP look impressive, he’ll win. If he’s supposed to look like an underdog, he’ll lose. But then Redline throws us two seemingly contradictory bits of information. First, JP is a notorious for purposely throw races for profit. Second, JP really loves to race and has a passion for high-speed shenanigans. Just from that bit of information, the outcome of the race becomes ambiguous, as does JP’s character. How can a guy who fixes races enjoy himself behind the wheel that much? It gives Sweet JP a sense of mystery, and as the Yellow Line race builds up towards its climax, the question isn’t simply “will JP win or lose?” but rather “what kind of person is JP?” Would he give up money for the opportunity to enter Redline? It makes for a compelling protagonist, and it’s done with a good degree of subtlety.

I think part of the issue might be that Redline‘s frenetic, intense, and to some extent macho style makes people think that a show like that can’t have some heart, and even if the reviewers think otherwise, it doesn’t come across in the way they talk about it. While I do think that the aesthetic of Redline is such a prominent part of the film that if you dislike the way it looks you probably won’t enjoy it, I strongly believe that someone who is merely neutral towards the look of Redline can still get a ton of enjoyment out of it. Let’s not forget those potential viewers.

Ogiue Maniax on the Veef Show

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I recorded a podcast over at the Veef Show just this past weekend with Andrew of Collection DX fame, and it is up for your listening pleasure.

We talk about a number of topics, but it mainly focuses on things like space travel, the state of anime, and philosophizing about that most sacred of subjects, mecha anime. For reference, my Code Geass post that we mention is this one.

Apologies for the background noise on my end. If you’re curious, that’s the sound of Leidens Ontzet.

So in summary, this:

Plus this:

The End of Kaiji 2 and…Akagi???

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Kaiji 2 has ended, and while I won’t spoil any of the things that happen in the show, I want to point your attention to a particular moment in the final episode.

Here you have what looks to be a bunch of messages from artists/staff members/etc. with stuff related to Kaiji. But take a closer look up above.

Two Akagi images! And not just that, but the drawing on the left has some writing.

アカギ再び!!

or

Akagi Once Again!!

Is that a message of desire, or is it a hint of something to come?

I don’t want to get my hopes too up, but the possibility is there…

I was also amused by this:

The Interaction of Mecha Fandom and Code Geass as Mecha/Not-Mecha

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I was listening to the most recent episode of the Veef Show, where the argument that Code Geass is not a “robot” show came up by way of another podcaster, Anime World Order‘s Daryl Surat. It’s an argument that I’ve heard before from Daryl, whether it was through AWO itself or just talking with him online, and it all hinges on a simple statement: A show which does not focus primarily on robots cannot be called a “robot anime.” The direction the fanbase of Code Geass takes, one that emphasizes the characters in a variety of ways such that arguments about attractiveness and character motivations occur side by side, is used as supporting evidence. Seeing that I just appeared on the Speakeasy Podcast and endorsed Code Geass as a solid mecha show for people who feel a little put off by mecha though, I figured that it would be a good idea for me to say something. Also because I enjoy both the Veef Show and AWO and they’re cool dudes.

While I’m on the side that says Code Geass is a mecha show, I’m not writing this to argue in its favor.  Where one person draws the line between genres (or whether they choose to draw them at all) is predicated to a certain extent on their own preferences (the reason I put the qualifier of “a certain extent” is that obviously a show with zero robots and zero mentions or implications of robots would have a hard time justifying itself as one), and that argument can just go back and forth with no signs of budging. It happens to all sorts of genres, particularly science fiction, which may be appropriate given the subject at hand, but I’ll leave that alone for now. What I really want to do is look at some of the deeper layers of meaning behind the above argument about why Code Geass isn’t a mecha show, as I think it says some things about the anxiety that exists in a fanbase for a genre which perhaps fears irrelevancy. I do not think Daryl necessarily feels this way, but underlying questions still exist within.

The notion that Code Geass does not fall into the genre of “giant robots” is based on the level of presence that mecha possesses within that series. While they appear in virtually every episode in some way or another, they are not integrated into the main thrust of the story, thus the show does not attract fans through its robots, at least not in comparatively great numbers. Given this view, the first underlying element of this argument is a question, “Why isn’t Code Geass emphasizing the mecha?”

The answer can be presented with varying degrees of cynicism, and I will show two here on somewhat opposing ends. The first version is that their goal is to pander to a larger anime fanbase by placing importance on those character traits previously mentioned. Mecha are thrown in for flavor but not much else. The second version is that giant robots for the sake of giant robots do not capture the attention of a wide enough audience. Whether you’re more inclined to express this same idea as the former or as the latter, the commonality between them is the fact that giant robots as a genre, be they super or real or some kind of hybrid, just aren’t that popular anymore. So then the next question that comes up is, “Why aren’t robots popular?”

I don’t have the answer to that. All I can say is, for fans who got into anime because of giant robots, or those who lived in a period where mecha shows made up such a huge part of industry output that it became one of the genres inextricably linked to anime, the idea that robots do not capture the general viewing population’s imagination can be a bitter pill to swallow. The properties of anime that are bringing in fans now may not be what brought people to the table in previous eras. As soon as what you thought was popular no longer is, and you can’t quite figure out why things have changed, it can be baffling. How you reason through this change can depend on how you feel towards what has supplanted your old favorites, and it can be conveyed with different degrees of discontent.

At this point, it’s important to remember that giant robot shows that place enormous amounts of emphasis on the robots themselves and their influence on the story as a whole still do exist and are still being made. The problem with them, however, is that they are few in number, and that as a niche genre it appeals to a dwindling hardcore fanbase. I know that Daryl is also aware of this issue, as must be a great number of mecha fans whether they consciously realize it or not, and embodied in that feeling is the uncomfortableness of having gone from riches to rags, from being one of the premiere fanbases to a minority. I find that in actuality, the negative reaction towards categorizing Code Geass as a “robot anime” comes not from simply definition semantics and pedantry, but from what I think is perhaps the most central question underlying everything: “Why aren’t Code Geass and other shows doing more to convince people to like giant robots?” With that, giant robot shows must thus not only appeal to fans who already like the genre but also act as ambassadors to people who are less receptive.

For that, I point once again to that Speakeasy episode, because the whole purpose of that podcast was to talk about mecha shows that are capable of appealing not to simply those who are unfamiliar with the genre and just need to be exposed to it, but to people who have been burned by giant robots in the past. With some shows, the mere presence of robots can be enough for people to say “no thanks,” but if Code Geass attracts this large fanbase that is willing to stay even with robots continuously present within the show, then it must be doing something to not have them outright rejected. Perhaps all that is happening is that the robots are being conveniently ignored, but before people can even carry the potential to love giant robots, they should be able to tolerate them first.

Have you seen the “V8 VFusion?” It’s a drink whose purpose is to mask its vegetable content with fruity flavor. It’s even advertised by showing people who don’t like veggies drinking and enjoying it. You can make an argument that it’s not really a vegetable juice and you could even probably make a convincing case of it, but then I have to wonder about how much that distinction really matters.

Your First Ogiue Maniax Contest Winner

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About a month ago, I opened up a contest here at Ogiue Maniax to give away my favorite anime ever, Galaxy Express 999 (and also to give away Adieu Galaxy Express 999). In order to enter, you simply had to leave a comment talking about your favorite example of an anime or manga character growing up. I received many good entries, and it was actually difficult deciding who would ultimately win, but in the end I managed to narrow it down to one.

Congratulations, arianime.

I’ll let the winner speak for herself.

From a recent anime I watched, I’d have to say that Jomy from “Terra E…” is a perfect candidate for this question. When we first meet him in the series, he is, like many sci-fi protagonists, a sheltered child in a dystopian world (only he doesn’t know it). Over the course of a 26 episode story (and an amazingly short 3 volume manga!), he develops from this child to a leader responsible for the fate of an entire race of people. Most intriguingly, this growth comes with all the troubling moral ambiguity of adulthood.

As an adolescent, Jomy struggles with his unasked-for-power and its implied responsibilities to lead a lost tribe, whether he–or they–likes it or not. After all, Uncle Ben says it best: “With great power comes great responsibility.” Typical (but wonderful) sci-fi/hero movie fodder.

Once he overcomes his frustration at his apparent loss of freedom and decides to accept his duty to lead, Jomy has to learn how to actually do so. Along the way, he finds that his decisions–or rather, indecisions–have life-and-death consequences that he cannot foresee. While he naturally places great weight on emotion and sentiment, he soon realizes that sometimes, these life-affirming things also have immense costs.

His growth as a skillful leader, however, is not without repercussions. In fact, it takes him to deeply questionable places. At one point, he makes the grim decision to kill an entire squadron of surrendered POWs. Although it is clearly a difficult decision for him to make, we never see him waver from this decision or express regret. He internalizes the responsibility for this decision and forges on forward. To him, his charge to take his people to a promised land–a charge that has, in essence, been made for him by the sacrifice of others–has grown to something heftier than his own moral salvation.

The story presents this aspect of his development without necessarily validating it. If anything, it raises the question of whether he has gone too far–whether the responsibility he feels towards those who have gone before him has taken him to a place from whence he cannot return. Without spoiling too much, at one point the audience is made to ask, “were all these struggles and decisions made on a false premise and for an false promise?” The terrifying retort, of course, is “What if they are? Can you still justify them?”

Isn’t that a question that every adult needs to answer for his or her most difficult decisions?

 This response had a lot to it, but I was mainly struck by the description of Jomy as a figure who had to make sacrifices in the name of his own people, but that he never regrets his decisions or actions, because he cannot afford to do so. That said, I don’t think this is the only way for a child to “grow up,” but in this instance I thought it rung well.

arianime, I’ll be e-mailing you soon with the specifics of delivery and such. I hope you find the Galaxy Express 999 to be a journey, a never-ending journey.

A journey to the stars!

What a cocky saucy monkey this one is. All the gods were-

Scratch that last part.

No No Scrubs Scrubs

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I have a new Tumblr video for all you 90s music fans out there. I hope you are not a scrub and thereby will watch it.

Also, everyone should note that the winner of the Ogiue Maniax Galaxy Express 999 Contest will be announced this Friday! I hope everyone is excited.

 

Hanasaku Iroha: Takako and Enishi

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With a large portion of its cast being teenagers, Hanasaku Iroha has a good deal of interesting romances, but none are as cringe-inducing as the one between the young master of Kissuisou Enishi and the business-minded Engrish machine Takako. It is by far one of the most awkward relationships I have ever seen portrayed in fiction, and just seeing them interact with each other makes my face contort like I’ve been sucking on a whole lemon, but that’s also what makes it so fun to watch.

Enishi and Takako’s relationship is the kind where you know it looks different from their perspective compared to an outsider peering in. To them, it must be this wonderful thing where two people grew to love each other, but to everyone else (and that includes both viewers and the other characters in Hanasaku Iroha), their displays of affection induce a reaction similar to witnessing a 15-car pileup on the highway, only with a happy ending.

Because of all the awkwardness though, their romance comes off as strangely beautiful. The ideal partner is not someone who is perfect, but someone who can appreciate the real you on a deeper level, where they simply see you in a way no one else possibly could. This looks to be the case with Enishi and Takako, though I feel like the best reaction you could hope for from someone looking at the two of them is, “They seem to be a match for each other… I guess?” Then they make a face like someone just farted. it’s territory that no one wants to dwell in for too long, lest they come out more monster than man.

If I had to guess what Enishi sees in Takako, I think that her somewhat odd fashion, slight overuse of makeup, and frequent use of English phrases all speak towards a woman who is dedicated to success, able to perceive a goal and then do everything to reach it. Though it is really awkward to see her in action, that’s not how she looks in his eyes, and just the fact that he’s able to appreciate her because of (as opposed to in spite of ) the way that she presents herself in turn makes Enishi appealing to Takako.

Ogiue Maniax on the Speakeasy Podcast, Talking About Giant Robots

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I recently appeared on the Reverse Thieves‘ podcast, the Speakeasy, where we discussed the topic of recommending giant robot shows for people who have had negative experiences with that genre. If you’re not sure what that means, it is not referring to fans who have simply never seen any mecha anime and are just waiting to discover the glorious territory that is giant robots, but people who may have preconceived notions about the limitations of giant robot anime based on prior exposure.

Even though that’s the main topic however, I think there’s a little something for others as well, whether you’re a  robot expert or mecha newbie. Have a listen, and make sure to comment on either the Speakeasy or the Reverse Thieves’  blog.

The Fujoshi Files 24: Kanbaru Suruga

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Name: Kanbaru, Suruga (神原駿河)
Alias: Valhalla Combo (バルハラコンビ)
Relationship Status: Single
Origin: Bakemonogatari

Information:
Kanbaru Suruga is the basketball ace of Naoetsu Private High School who in junior high was part of the “Valhalla Combo,” a designation given to her and track star Senjougahara Hitagi (by herself) for their athletic abilities. A quick runner and capable of even delivering dunks, Her friendship with Senjougahara wanes after junior high due to a sudden change in Hitagi’s personality, as well as Kanbaru’s own confession towards her being rejected. The negative effects of this rejection are compounded when Kanbaru discovers in high school that Hitagi had begun dating one Araragi Koyomi.

Kanbaru’s most distinguishing visual feature is her bandaged left arm, which hides the furry demonic limb of a “Rainy Devil.” Originally mistaking it for a monkey’s paw, the arm still grants her wishes, only it fulfills her darkest desires instead of what she says aloud, and often does so violently. Its power is only subdued when the demon in her arm’s contract cannot be fulfilled.

Despite the seriousness of her situation, Kanbaru is quite forward and cheerful. She also identifies herself as being something of a pervert, being a self-admitted lesbian, fujoshi, exhibitionist, lolicon, and masochist.

Fujoshi Level:
Kanbaru’s room is filled with so many books that they take up the vast majority of space. Though it is unclear just how many books are BL and how many cater to her other tastes, it is a good indicator that her ability to collect and consume yaoi is nothing short of astonishing.

The Expanding/Contracting Anime Fanbase

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Floating out there in the general discourse are what seem to be two contradictory ideas of anime fans.

1) Anime is appealing increasingly to a smaller and more niche crowd of otaku, often through devices such as loads of fanservice or active use of moe. As such, the fanbase is becoming more and more a select group of adult men who grow older and smaller in number over time.

2) Anime fans are getting younger and younger, that anime is attracting a primarily female audience. Moreover, a lot of these young fans are not able to retain their fandom as they grow older. They hit a certain age and anime stops being their obsession.

So somehow you have a fandom that is both shrinking and growing larger, while the median age rises but also lowers or remains the same, and this is all being done with the same collective pool of works we call “anime.” On the surface, something doesn’t quite add up. The more I think about it though, the more I find this isn’t necessarily an irreconcilable contradiction. I mostly have impressions and hunches from observing anime and its fans, but I can think of some possibilities as to how these two concepts can co-exist.

It might be that some fans are longing for another period of anime, a self-defined golden age where anime was at its best.  If it’s not simply a matter of nostalgia or specific tastes though, then it could be that these fans are not finding what they want in either side, the young and general, or the old and niche where they might have once been able to easily. So the anime fanbase may not necessarily be shrinking overall, but the demographic ratios may be shifting in a way that’s troubling to some. This one does not necessarily have any flaws, but it seems more to be a mix-up of personal desire for general trends.

Another possibility is that the effects of anime’s move towards extremes in its fanbase cannot be felt immediately and that it will take some number of years to really see the fallout. Perhaps it would be the age at which the current otaku base starts to literally die off, much like some of the criticism surrounding the current state of American superhero comics. This one doesn’t quite feel right through, and I can’t put my finger on why.

Similarly, while the younger fanbase is increasing, they are finding their access to anime through inexpensive means, be it through outright piracy or simply watching things streaming. “The surest” way at the moment to make reliable profit is to hit the collection/merchandise-obsessed otaku, hence all of the light novel adaptations. The amount of money being generated by anime is not what it used to be and may never be at that level ever again, even if there are new fans.

Overall, I’m not really sure. These are incomplete thoughts and I don’t think I’m going to be reaching a solid conclusion any time soon. I’d like to hear other people’s thoughts.