We’re at November already?! I really can’t believe it’s this close to the end of the year when the summer months felt like forever. New York Comic Con is in the rear-view mirror, Anime NYC is up ahead, and I’m still struggling to keep up with the anime that’s out this season—including the long-anticipated Pluto (aka one of the best manga ever).
Due to a combination of a busy schedule and my silly brain, I’ve actually been struggling more than usual to write about anime and manga. I can’t seem to read manga fast enough to satisfactorily write about series I’ve been reading, but maybe I should just deal with it and write even after reading just a single volume.
It might also be because I’ve been diversifying my media choices (and watching a bunch of VTubers), but I feel it important to keep Ogiue Maniax as primarily an anime and manga blog.
Thanks so much to my Patreon subscribers for November:
There is an archetype in anime and manga that I’ve begun calling the “Emergency Heteronormative Character.”
In the beginning, many manga creators do not know where their comics will end up. Rose of Versailles was supposed to focus a lot more on Marie Antoinette than Oscar. Kinnikuman famously began as a superhero parody before it turned into a full-on wrestling manga—and all because its authors, Yudetamago, really got into the latter. A single storyline in Yu-Gi-Oh! about a trading card game permanently altered its entire trajectory. I think the same thing happens with series where character relationships are important.
Some love triangles know exactly who the end girl will be, whereas others might not arrive at an answer immediately (or ever). But I have also seen series where a particular character, usually a minor one, seems to exist just in case, as if above them is a message that reads “Break Glass if Heternormative Romance is Necessary.”
I have never read Slam Dunk, but I’ve heard about Akagi Haruko: the female love interest of the protagonist, Sakuragi Hanamichi. She is a fairly important character at the start (being the one to spark Hanamichi’s entry into basketball), and she’s even the focus of the anime’s extremely beloved first ending sequence. But over time, she recedes into the distance because the dynamics between the players themselves are what really draw people in.
The appeal of shounen sports series for shippers plays right into this pattern. Whether it’s Prince of Tennis or Yowamushi Pedal, there often seems to be a girl character who is like an anchor on the port of heteronormativity, allowing a manga creator to double back if need be. Even Saki has some of this energy in the earliest volumes. The character of Koutarou began as the sole male member of the mahjong club, acting as a potential male audience stand-in to witness the girls in their nonchalantly risque glory.
BL and yuri potential often drive a good deal of the relationship interest in series like the ones mentioned. However, the Emergency Heteronormative Character can even exist in series that are pretty heterosexual too. In Rokudo’s Bad Girls, you have Tsuyukusa Mizue, the only non-delinquent girl in the series. She’s meek and cute, and always worried about how the main character Rokudo seems to be turning to the dark side. And while the anime is on an accelerated timeline, the early part of the manga makes it pretty clear that she could have been Rokudo’s “saving grace” if the series had gone a little differently.
Emergency Heteronormative Characters aren’t automatically bland, and they can be fun and charming in their own right. That said, they often feel like the product of an author hedging their bets, and they typically shine less brightly because they are simply not meant to be in the spotlight as much. I also have to wonder if these characters exist on some level for in case a title needs a quick romantic conclusion should things need to wrap up quickly. However, as we further leave the era where nice and neat heterosexual relationships are seen as necessary, maybe the archetype will have to evolve into something else entirely.
The author of One Piece, Oda Eiichiro, once stated that he always wanted to make amanga series where the ending is the most exciting part. Right now, it looks like his flagship series could very well be heading in that direction. However, when I thought about whether this is possible, I couldn’t help but think about the fact that the graveyard of shounen manga is strewn with series that failed to hit that goal—if they even had a chance at all.
So many shounen manga, particularly popular battle manga, usually peak well before the end. While taste is subjective, I think it’s a common opinion across various titles. In Kinnikuman, the tournament to determine the king of Planet Kinniku is actually pretty good, but it kind of pales compared to the Akuma Daishogun arc. Fist of the North Star peters out after Kenshiro’s climactic clash with Raoh. Naruto and Bleach have many possibilities as to the best arc, but it’s definitely not their finales. L in Death Note is remembered far more fondly than other rivals. Even with Oda’s beloved Dragon Ball, Majin Buu is not usually the villain people would regard as the best or most memorable.
That’s not to say it’s impossible. Two answers I received when I asked on Twitter were anything by Fujita Kazuhiro (Ushio & Tora, Karakuri Circus) and Yu-Gi-Oh! Funnily enough, these two examples also came up in a private conversation I had on the same subject. Nevertheless, the odds are not in One Piece’s favor.
The reason for this hurdle is pretty simple, I think: Most successful shounen series end up getting somewhat zombified, as they’re expected to keep going for as long as they’re popular in the hopes of bringing in more readers. No matter how creative manga authors might be, or how well they can plan, it just gets increasingly difficult to run on all cylinders. On top of that, even if an author has a brilliant ending in mind, they might still get canceled early, or their attempts to force a finale are ignored. Toriyama, for example, clearly tried to finish Dragon Ball in the Freeza and then the Cell arcs, only for the manga to keep going.
One big X-Factor is that Oda is on another level in terms of long-term planning. His signature series is basically an armory full of Chekhov’s guns situated next to a clothing store dedicated to alternating shoe drops. If anyone can pull it off, it’s surely him, but when your manga has been going on for almost 30 years (!!!), that is a whole lot of anticipation to live up to. Good luck, man.
So…Can you think of any shounen battle manga that was at its best and most exciting by the end?
In August 2022, the online anime and manga store Right Stuf was sold to the massive anime streaming and licensing company Crunchyroll. Now, Right Stuf has announced that it will cease to exist and its contents will be integrated into the Crunchyroll Store as of October 10. With that comes what I (and apparently many others) believe is the end of an era. I haven’t felt quite this way since Geocities closed.
I first learned about Right Stuf Anime around 2005 or 2006, and have been a frequent customer ever since my first order: Eureka Seven DVD Volume 1. At a time when I didn’t have much disposable income, the sales they had on the regular were a great way to get more for less. Those sales were often based around a single anime or manga publisher, so it also became a practical method for familiarizing oneself with what a particular company had to offer. Although my memory is hazy, they might very well have been the first site I bought anime online from (It was either them or Deep Discount DVD).
Right Stuf didn’t always necessarily offer the absolute best deals. For example, in the time it existed, Amazon grew into an even bigger juggernaut of online retail. It wasn’t uncommon for items on Amazon to be better priced, but I stuck almost entirely to purchasing on Right Stuf because the company showed a lot of care for its products in so many ways. You almost never had to worry about damaged packaging, and they even went out of their way to eliminate the use of plastic and make it more environmentally sustainable. If you bought an item the day before it was part of a sale, you could email them and request the order be revised. And at the end of the day, the sales were still really good.
Not everything was rainbows, of course. I once had a package go missing and had to jump through a ton of hoops—including filing a police report—but the positives outstripped the negatives by a country mile.
Another strength was that the company always maintained something of an old school feel. A lot of the American anime culture over the past 15 years or so has been to incorporate more and more aspects of general geek fandom/media, and while those things are great, they can often overshadow the anime and manga aspects. The fact that Right Stuf was still dedicated primarily to Japanese pop culture after all these years (while still incorporating that more general fandom) was something I really appreciated.
I’m definitely concerned that without the Right Stuf brand and the weight of the customer expectations its fans expected, the savings just won’t be the same. I’ve looked at the Crunchyroll Store, and while I won’t knock them for providing merch in an easily accessible fashion, I never once thought of buying from there as long as Right Stuf existed. And even though I’m in a far different place in life compared to 2006, I know that’s not the case for everyone—especially younger anime fans (at least those who care about physical media) who’ve had to deal with things like a terrible economy wrought by a once-in-a-generation life-changing pandemic. And I just don’t expect the Crunchyroll Store to provide that more personal touch Right Stuf had.
Crunchyroll could surprise me. They could maintain a lot of what Right Stuf did, well, right. But the fact that they’re even shelving the Right Stuf name does not bode well in my view. I might give them a chance, but a chance is all they get. With Right Stuf, what I had was trust and faith.
The start of October means a new anime season, and there’s a lot of new shows I’m looking forward to. My main concern is having enough time for all of them. We’ve got manga adaptations I’m looking forward to like Shy, MF Ghost, Under Ninja, Migi and Dali, and Firefighter Daigo: Rescuer in Orange. Then there’s not one but two rap/hip hop battle shows in Hypnosis Mic season 2 and Paradox Live. And then Otona no Precure, the first sequel to feature past Precures as adults! For those who might be feeling tired of isekai, I think this season is gonna be one to remember—and even if you love isekai a ton, there’s still plenty to go around.
Thank you to my October Patreon subscribers below!
I don’t know if there’s a wrong side of ridiculousness, but I definitely know that Birdie Wing: Golf Girls’ Story is squarely on the right one. And with the series now finished, I wanted to do a review of Season 2 to wrap everything up.
(Warning: Season 1 Spoilers)
The plot of the first season is like something from a fever dream: An orphan girl named Eve participates in her country Nafrece’s illegal underground golf scene, where big money is on the line. One day, she encounters a Japanese girl destined to become her rival/romantic interest Amawashi Aoi. In order to fulfill their dream of truly playing against each other someday, Eve has to overcome all the crime lords involved through the power of her brute force approach to golf. During this time, the list of things that happen include: a rocket launcher assassination, an airship with a transforming golf course inside, and even a cyborg golfer. Eventually, Eve winds up in Japan and attends the same school as Aoi, an academy for people with dreams of going pro.
At the end of Season 1, we were left with a question of what kind of series Birdie Wing will be overall. It has so many components that it could lean just a little in any direction and become something wildly different. Now that Season 2 is done and the series is complete (for now), we have the answer: Birdie Wing is all about Maximum Drama, and it will use every tool in its arsenal to achieve this goal. These include: a disease that kills you if you play too much golf, convoluted family trees that boggle the mind, and special abilities passed down from mentors and long-lost figures from the past. What we have is not so much a sports anime or a drama, but a series that asks, “What if a soap opera had tournament arcs?”
I will give one small spoiler about Season 2: My prediction about them going into space to play golf never came true, despite the fact that “Amuro Ray” and “Char Aznable” essentially both exist in this anime. Nevertheless, it’s an enjoyable roller coaster all the way through, and how the series ends is actually brilliant in its own way. While I’m not going to say that Birdie Wing is perfect, or that it’s for everyone, I do believe that we need more anime of its kind in the world.
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, preferably 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.
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This is an unusual “Gattai Girls” entry. Sakura Wars is one of Sega’s most beloved video game franchises in Japan, and doing a review/analysis of it based on an animated TV adaptation will inevitably mean I can’t fully capture everything that makes the series what it is. Nevertheless, we have a solid example of an anime that fulfills the criteria of a mecha series with a centrally prominent female pilot, so here we are. As far as I know, the TV series follows much of the same plot, but there are some cases where major events (such as a certain heel turn) do not play out as they did in the game.
Sakura Wars takes place in an alternate Taisho-era mystical-steampunk Japan where people and technology thrive, but where horrible demonic forces also threaten the peace. The only people capable of fighting them on relatively even terms are the members of the Imperial Combat Revue: a group of girls who have the dual roles of being performers in musicals in the vein of the Takarazuka Revue and fighting as pilots of special spiritually powered mecha known as Kobu.
One of the points of appeal of Sakura Wars is that these girls are all interesting and memorable characters, but the face of the franchise is undoubtedly its namesake, Shinguji Sakura. To understand her general popularity, one need only look at Sega’s 60th anniversary popularity poll wherein Sakura got 3rd place behind only Sonic the Hedgehog and Opa-Opa from Fantasy Zone. What makes her so appealing is that she’s essentially the ultimate yamato-nadeshiko—the classical Japanese beauty—but without being a regressive character bound by conservatism.
(SIde note: While I acknowledge that the series is full of excellent female characters, the focus will be on Sakura as the main heroine).
When Sakura first arrives to join the Combat Revue in Tokyo, she’s like a fish out of water. Clad in a kimono, everything about her screams “traditional.” However, this is the Taisho era, a time of increasing embrace of certain Western values (such as marrying for romantic love). Much of Sakura’s growth over the series involves adapting to the cosmopolitan nature of her new environment and her teammates—allies who come from different parts of Japan and the world, and who hold different values—all the while still honing the swordsmanship and spiritual energy that has made her a recruit for the Combat Revue in the first place.
I don’t often devote space to discussing the voices behind the characters in these “Gattai Girls” entries, but I have to make a special exception here because Yokoyama Chisa is simply exceptional. Her voice carries such a range of emotions, from strength to vulnerability, from joy to sorrow, sometimes all at the same time. She’s the main singer in the Sakura Wars opening for this anime (as well as many of the games), and it really does feel like Shinguji Sakura is bringing the song to life.
I understand that romance is actually a significant part of the Sakura Wars games, as the player usually takes the role of a male captain who’s in charge of the squad. In the case of the earliest games and related media, that would be Ogami Ichiro, and I believe Ogami and Sakura are the most popular pairing. However, romance isn’t really a huge factor in the anime, and much of the story is focused on Sakura and the others developing bonds that help them to grow as people and warriors, as well as unraveling the secrets of the demons that are plaguing Japan. In this regard, Sakura is shown to possess immense inner strength, focus, and courage, all of which end up translating to becoming a great Kobu pilot over time.
The Kobu themselves look fantastic, their round shapes and steam valves capturing the setting’s aesthetic better than anything else. They’re distinctive, and their unisex designs means that no specific attention is drawn to the Kobu being piloted primarily by girls. Every character fights in their mecha with weapons similar to what they’d use on foot, and Sakura’s is a single katana. The power, will, and resolve to defend the innocent is actually part of Sakura’s appeal as a yamato-nadeshiko, but this is again presented less as a facet of an ossified woman and more an anchor she can use for stability when she needs it.
Shinguji Sakura is the kind of female protagonist who is often imitated but never duplicated. To be able to embody seemingly contradictory values of progress and tradition while truly betraying neither is a juggling act that can fall apart all too easily. She’s the surest sign that just because a character falls under a dominant archetype doesn’t mean they have to be boring or bland.
I’m five years late to the party. As others started playing The Legend of Zelda: Tears of the Kingdom, I decided to dust off my barely touched Breath of the Wild with the goal of freeing the Divine Beasts and taking down Calamity Ganon. I wouldn’t be going in totally ignorant (I’d seen others both play and beat it), but I still had to contend with my own poor sense of direction. And so here I am now, on the other side of glorious victory, here to detail my thoughts on a game everybody has already played.
I’m not the most hardcore Zelda fan. I have a history with the games—including playing the original NES game, Link to the Past, and Ocarina of Time—but I never really touched 21st-century Zelda. I know there have been various debates about whether the post-Wind Waker games have been too linear and uncreative, and that having Breath of the Wild arrive in this context was like a bolt of lightning. This open world game ends up being situated in an interesting place in the Zelda series, not only because it had never been done before, but because it both harkens back to and defies its predecessors. The free exploration feels a lot like classic Legend of Zelda, but the open-ended solutions for puzzles hits differently compared to earning a Hookshot and utilizing it throughout a dungeon designed around it.
I think my experience with BotW can best be encapsulated by the fact that my greatest challenges and frustrations were at the beginning of the game. As mentioned, I am directionally challenged, and throwing me into the middle of nowhere without many visual markers is a sure sign for me to never get a sense of my bearings. I was probably stuck up on the game’s first area, a low-stakes plateau, for far longer than I probably should have been. Still, once I managed to actually get stuff done, the game opened up to me, and I started to have a lot more fun.
There’s something very satisfying about just discovering stuff as you go on little detours, or looking at the map and seeing something really odd out on the edges of the land—“Is that a maze?!” The game rewards you for being curious, though you may get skill-checked by the nearby monsters. It’s one thing to be able to assess the strength of enemies, but when you have to factor in that your weapons and equipment can shatter and leave you defenseless, you really have to decide if trying to go somewhere is worth it. I often stubbornly decided it was, and would end up either killed or hanging on by the skin of my teeth. Did I have to fight that first Lynel? No—the game even explicitly says you don’t need to—but I wanted to try, and I was willing to lose 80% of my weapons to do so. It’s a funny feeling to look at your rewards against what you lost to get them.
Combat is a major part of BotW, as enemies are a frequent sight, and bosses require you to at least be able to function. I’m of two minds about the fact that the game gives you so many tools for one-on-one situations but then frequently pits you against many—I like that they don’t just wait kindly like in Ocarina of Time, but it is annoying nevertheless. I would also often wonder if maybe I was too powerful for an area with the equipment I had; I wanted to test my skills but it might have just been a matter of brute force. At the same time, I also didn’t necessarily want to be facing challenges masochistically underequipped. I understand that any powerful items I possessed were thanks to my own exploration, so it’s not like anything was unearned, but I still would have liked a better sense of where I stood in terms of mechanics mastery.
Overall, though, it was a very satisfying experience to play through Breath of the Wild. I’ve heard that Tears of the Kingdom is just a straight-up improvement in every way, which I’m looking forward to trying out sooner rather than later. I actually find it fascinating that TotK is such a direct upgrade, as that has never really happened in the history of Zelda. I’m curious to see how people assess BotW vs. TotK in terms of greatness: What do you value more, the pioneer or the refiner?
I don’t know if it’s the record heat waves or just the sheer amount of things going in life, but the summer has felt incredibly long. But now that it’s the final stretch, I’m sure I’ll be missing it soon enough.
During this time, I also managed to watch both Shin Ultraman and Shin Kamen Rider, so expect some reviews of those sooner than later. In the meantime, I’d also like to mourn the loss of gfycat, which provided many a useful moving record for both mirth and study. I didn’t use the site much for Ogiue Maniax, but I have been updating a few posts here and there.
September Patreon subscribers! Thank you to the following—
A post about the new Hololive dog twins and their preferred name pronunciations.
Kio Shimoku
Kio mostly talks about Elden Ring, but also, check out that high-resolution Ogiue art!
Closing
I watched the Hololive Summer 2023 concert, and it was a blast. There were some issues with the viewing platform that ended up with the entire Day 1 concert being streamed for free on Youtube for the next month, and I’m thankful for that because it meant being able to easily watch Holotori strut their stuff over and over. The fact that Day 2 has holoX’s performance of their new song, “Labyrinthine Labyrinth,” as part of the free preview makes me feel like I won a small lottery again. I also highly recommend checking out the last song in the Day 2 preview, especially those who love 80s anime.
And now Hololive Myth 3rd Anniversary is coming up! It’s amazing to reflect on how much time has passed, and how directly it’s tied to the COVID-19 pandemic. No, I will never forget about that.
At this point, Otakon is a given in my life. I have enough faith in the people who run the anime convention every summer that they will create a rewarding experience. But short of anything pertaining to Genshiken, Otakon 2023 ended up with a guest announcement straight out of my otaku wishlist: Iwao Junko, the voice of Daidouji Tomoyo in Cardcaptor Sakura.
And yet, somehow, Iwao was only the tip of the iceberg. Between Asamiya Kia (manga artist of Silent Mobius, Nadesico), Aramaki Shinji (mecha designer on Bubblegum Crisis, Magazine 23), Terada Takanobu (producer on Super Robot Wars), and even the sleeper hit that was Ikezawa Haruna (science fiction writer and the voice of Yoshino in Maria Watches Over Us), I feel like I three conventions’ worth of experiences.
Line Con No More
Otakon 2023 took place from July 28 to July 30, once again at the Walter E. Washington Convention Center in Washington, DC. It was coming off a previous year with record-breaking attendance, and two big questions were whether 2022 was a fluke caused in part by the US opening up again after the height of the COVID-19 pandemic, and how Otakon would handle the flow of foot traffic if it wasn’t. Long story short: Otakon actually surpassed its record this year, and the lines got noticeably better. While there were still a few hiccups here and there (like an unusually long wait to get my panelist badge due to a change in how they handled that process), it’s no coincidence that multiple people in the post-con feedback session praised the staff for fixing most of the congestion issues in a single year.
Fixing the lines was of even more paramount importance due to the weather over that weekend. DC was blisteringly hot; including humidity, there were times the temperature was reported as feeling like 112 degrees. Otakon needed to make sure people could get into that convention center quickly and easily, and they succeeded.
Lack of Masking Policy
I know it is incredibly difficult to put the genie back in the bottle, especially because “officially” COVID-19 is no longer a national emergency, but I really do wish Otakon would re-implement a mandatory masking policy. While I didn’t catch it at this convention, I was definitely in circles where the virus was present, and it would just allow more people to attend the con.
Industry
The guest list this year was truly packed, to the extent that I had to make some serious decisions as to what to spend time pursuing. Kawamori Shoji (creator of Macross) would have been near the top of the list any other year, but the fact that I had already gotten the chance to interview him in 2018 meant sacrifices had to be made. There were also a great number of manhwa artists at Otakon 2023, and as a general enjoyer of comics who is less familiar with Korean comics, this could have been a great opportunity to learn more. Alas, time was truly limited.
A good chunk of my time this year was thus spent on obtaining autographs because a lot of the guests are industry veterans, and some are getting up there in age. It may sound a bit morbid, but I’m worried that we’re going to lose more and more great figures in anime and manga, and I want the chance to see them and thank them before it’s too late. At the same time, I do worry that too much of my Otakon experience ends up being in autograph lines, and every year is a bit of a struggle in that for every wonderful thing you do, you know you’ll miss at least two other equally fantastic experiences.
Iwao Junko
One guest panel highlight for me was Iwao Junko’s, where she went over how she got into voice acting, her earliest days in the industry, and how she eventually made it into a full-time job. I have a detailed summary of the panel as its own post, and I also interviewed Iwao alongside her frequent music collaboration partner, Kawamura Ryu.
Mecha Guests
Another panel I was looking forward to featured multiple creators involved with mecha, including all the ones mentioned in the introduction. Just getting to hear them banter back and forth was entertaining, and you could tell that all of them would gladly talk your ear off if given the chance. One funny part of all this is the fact that Kawamori was clearly but somewhat surreptitiously drawing on his tablet in between answering questions—a fact that one panel attendee humorously called him out on (it turns out he was working on a project).
I got to sit down with two of the guests and talk more in depth: mecha designer Aramaki Shinji and Super Robot Wars producer Terada Takanobu.
Ikezawa Haruna
But there was one guest who was possibly the sleeper hit of the entire con: Ikezawa Haruna. While Ikezawa did her requisite panel about what it’s like to be a voice actor, she also did something incredibly rare for Japanese guests: run a panel entirely about one of her own personal interests.
In this case, it was a panel all about Japanese SF as compared to Western SF. Not long after she started, it was crystal clear that her knowledge was encyclopedic, and that her passion for the subject was through the roof. She probably knew more about science fiction in that room than the entire audience combined, and she made some interesting points about the essence of regional science fiction. For example, in the context of Japanese SF, she mentioned how xenophobia has become a big topic because it’s a major subject right now in Japanese society.
Ikezawa talked about how she actually prefers the term SF to “science fiction” because she thinks Japanese SF encompasses so much more—the abbreviation can stand for sukoshi fushigi (“a little mysterious”), speculative fiction, super fantasy, and so on. She also gave a variety of recommendations, including stories she’s written herself. These are Nova 2023 (an all-woman anthology), SF in 2084 (an anthology themed around stories that take place in 2084), the Naoki Prize–winning Maps and Fists by Ogawa Satoshi, Law Abiding Beast by Harukure Kouichi, and First, Let the Cow Be the Ball by Isukari Yuba. Unfortunately, all of them are in Japanese, but another story by Isukari, Yokohama Station SF is available in English.
Anime Screenings
While I was unable to attend the Discotek panel this year, I do think it’s worth mentioning the fact that they licensed all the Digimon Adventure movies, including both the original Japanese versions as well as the smashed-together film shown in US theaters. Not only is this the first time they’re all available in English, but Discotek did a special screening of them at Otakon. Sadly, I couldn’t attend that either, nor the showing of Macross Frontier: The False Songstress. That’s because I chose to watch the US premiere of The Tunnel to Summer, the Exit of Goodbyes, which I’ve reviewed here.
VTuber Presence
While there were cosplayers and artists who were repping the VTubers, there wasn’t much of an official presence (in contrast to Anime Expo, where it was a major force). That said, the group Phase Connect had a booth. I visited and bought an acrylic stand of Dizzy Dokuro.
Panels
Due to everything else going on, I shamefully ended up not attending very many fan panels this year despite that being one of Otakon’s best features. And for the ones I did, I could only see them in part.
I do want to give a shout-out to Anime in the Philippines, as it definitely taught me new things, and gave a window into a culture and fandom that I was largely unfamiliar with. For example, now I know that Mechander Robo aired there, and I learned about this:
I did present on two panels this year myself, though: “Giant Train Robots of Anime and More” and “Densha Otoko: Train Man, Modern Myth, Internet Legend.” The theme of Otakon 2023 was trains, so I decided to play along.
Giant Train Robots was a joint project between myself and Patz from The Cockpit. We both love mecha, and I also relied on his greater knowledge of the tokusatsu side in bringing this together, and I think the result was a fun and breezy panel whose goal was to entertain, inform, and leave the audience appreciating trains that turn into robots. We got a good-sized attendance despite being at 1030am on Friday, and I hope everyone enjoyed it.
The Densha Otoko panel was all me, and I had actually started thinking about doing it since the end of Otakon 2022 when they had announced the train motif for the following year. Densha Otoko had been such a phenomenon in the mid-2000s, and I was curious to both look back on that era and to see what was its legacy today. I seemed to get mostly people who had already seen or knew about it, but that was just fine with me.
I think Giant Train Robots actually got more attendance than Densha Otoko, and I find that interesting because it used to be that the evening panels were better attended than the morning ones, and that mecha panels weren’t terribly popular, at least back in Baltimore. And this is on top of us actually being at the same time as a different giant robot panel! I wonder if there has been a generational shift or something that would explain this.
Food
After many years, the convention center cafeteria was finally open, giving another option for those who want to get something to eat but don’t want to travel too far. I dropped in there once, and saw that there were three options: Japanese, pizza, and hot dogs/sausages. I went for the last option (which was pretty similar to what’s offered at Ben’s Chili Bowl) mainly because it had the shortest kind, and it was pretty decent. The Japanese food naturally had the longest line at an anime con, though I still remember Otakon staff claiming a long while back that the sushi was actually pretty decent.
But the best food in the Walter E. Washington Convention Center was still the Caribbean food stand, which was located at the far end of the Exhibit Hall. While all con food is inevitably overpriced, this place always feels like the best deal, and the meals feel well balanced in terms of taste and nutrition. I’ve had something from them pretty much every year, and they never disappoint.
Cosplay
Closing Thoughts
2023 was definitely a strong Otakon in spite of circumstantial issues like the weather. Most importantly, I got to meet Tomoyo.
That said, the amazing thing is that next year promises to be even bigger and more powerful because it’ll be Otakon’s 30th anniversary. I’m already brainstorming ideas for panels, and wildly speculating on potential guests. I feel like it would be the perfect time to get people who were big back in 1994, and I trust the staff running the show to bring in some big guns.
OGIUE MANIAX 