The year was 1973, and a young anime studio named Madhouse began work on its first big series, an adaptation of a popular tennis manga called Ace o Nerae! or Aim for the Ace! as it translates in English. Running 26 episodes, it was directed by Dezaki Osamu and had character designs by Sugino Akio, a duo that continues to work together even to this day, including Rose of Versailles, the 90s Black Jack OVAs, and Space Adventure Cobra. They also worked together on every other anime adaptation of Aim for the Ace!
With that in mind, I thought it’d be interesting to just put the openings of each of the Ace series next to each other, if only to see how time, money, and experience have affected the same series over the course of two decades.
1973’s Ace o Nerae!
1978s Shin Ace o Nerae!
1988’s Ace o Nerae 2!
It might be a little unfair to compare openings, but I feel that doing so is a good indicator for seeing how an anime series wishes to be first seen. When you look at the 1973 opening vs the 1978 opening though, you can already see a world of difference. Character designs in Shin Ace are cleaner and more consistent, perhaps at the expense of some of the wild and untamed artwork that characterizes the original. Everything is also much-better animated, with fewer visible shortcuts being taken. Fast forward to 1988 and of course you can see a huge change, brought on by overall progress in anime, an OVA-level budget and changing visual trends in anime (and in real-world fashion). Keep in mind though that unlike, say, Cutie Honey, where each incarnation is done by a different studio and different people at the helm, Ace 2 has the same core team as the first Ace, and what you’re seeing here is direct evidence of how they changed over the course of 15 years.
I think the biggest difference between the original and the later series is that by the time of Shin Ace, the anime is actively trying to portray human figures in a three-dimensional space, and Ace 2 even moreso. If you look at the original TV series, even in the opening it never wants to tell you exactly where the characters are in any given moment. It feels closer to a manga brought to life, for better or worse. In that regard, I feel that the original has a certain charm that the others lack, the kind of appeal that comes from seeing just how much people could do with so little.
Really though, I just think they should have kept the hair from the first TV series throughout each incarnation. That includes the live-action series from a few years ago.
Animator Kanada Yoshinori died about a month ago, and as one might expect from the blog anipages, they have numerous articles dedicated to the man’s long and influential career, as well as prior articles from long before his death. The articles are all fascinating, as anipages articles tend to be, and they’re very accessible to even people who may like anime but aren’t very familiar with the people who make them beyond knowing the names of voice actors. I really recommend that you read them.
Of particular note to me personally is that Kanada worked on Zambot 3 and the movie version of Galaxy Express 999, two of my favorite anime ever. The Zambot 3 article on anipages talks about how the show was plagued by poor animation overall (and he’s right; often times the show looked worse than Mazinger Z which came out years earlier), but how you could still see Kanada’s hand in the episodes he worked on adding a level of quality to the production.
Kanada’s style is noted by a wondrous and playful approach to animation, which can be seen in this compilation video someone made of his best work.
I may be sounding like a broken record by now, but it’s totally worth having that reputation so that I can tell you about Vertical Inc Marketing Director Ed Chavez’s periodic talks on the various genres of manga and other related topics. This Wednesday, Ed will be holding a discussion on the topic of four-panel comics in manga, a genre which includes titles such as Azumanga Daioh, Hidamari Sketch, Lucky Star and K-On! Though I am not privy to any specific conversation topics, often times the discussion includes the history of a particular genre, how it does in Japan, any theories on what makes it work or not work, and then discussion on how it could work better in America.
I’ll be attending once again, and we’ll be meeting at Kinokuniya NYC, located on 6th Ave in Manhattan between 40th and 41st St at 6:30pm until 8pm.
Really, check it out, and contact Ed Chavez to say you’re coming.
A few months back I made a post mentioning the fact that the World Cyber Games USA finals would be held at the New York Anime Festival from September 25-27. A few weeks ago, the finalists were all decided via online tournaments, and there’s quite a few recognizable names. I’ll be there to watch for sure (unless it interferes with, say, a Tomino interview or press conference), as not only am I interested in seeing who gets to fly to the WCG finals, but also because this is a rare opportunity to combine two interests into one exciting event.
Anyway, the finalists.
Jacob “LzGaMeR” Winstead Made it to the Valor Tournament Round of 16.
Adrian “KawaiiRice” Kwong First-time WCG USA finalist.
David “Louder” Fells 3rd Place Winner at WCG USA 2008.
Geoff “iNcontroL” Robinson
WCG USA 2007 champion and moderator for Team Liquid, iNcontroL also appeared as a contestant on WCG Ultimate Gamer.
Greg “IdrA” Fields
The ESWC Asia Masters of Cheonan 2009 Champion, Idra is the only active Non-Korean professional Starcraft player in Korea and is known for his strong Terran vs Zerg.
Daniel “Nyoken” Eidson WCG USA 2007 2nd place finisher.
Sean “Day[9]” Plott
2005 WCG USA champion and considered by many to be the best Zerg in the United States, as well as the younger brother of Nick “Tasteless” Plott, the English caster for Gom TV.
Bryce “Machine” Bates Former WCG USA Finalist.
David “KingDino” Kent Former WCG USA Finalist. A former hacker who has since managed to redeem himself.
Dan “Artosis” Stemkoski
WCG 2007 3rd Place Winner and frequent WCG USA finalist, Artosis runs SCforALL, a site dedicated to bridging the gap between American and Korean Starcraft fanbases. Known for his strong Terran vs Terran and Terran v Protoss.
I know that watching Starcraft is not every anime nerd’s cup of tea, but I hope at least some of you take the chance to watch some high-level gaming in one of the most intense games ever. And for those of you cosplaying, I will implore you to take a look, just so that when they film the audience pans will be that much more interesting.
While not something I see as often as of late, I remember for a while noticing how people’s tastes in anime shift, particularly in their transition from new fan to fairly hardcore. What may sometimes accompany this transition is a desire to do away with the past and to deny how one used to be, specifically by ridiculing one’s former self for liking certain specific anime titles. The most common form of this is, “I used to like Anime X, but now I like Anime Y, and so Anime X sucks.” It’s that mindset I want to specifically address.
Obviously people’s tastes change over time, and the things you may have been in love with at one point may not hold your fancy years down the line. This applies to many things beyond anime, from food to relationships. I just find it funny though that people, in this case anime fans, would be so quick to divorce themselves from their pasts, to say that liking certain titles is not something they should be doing once they’ve discovered finer entertainment. Again, I’m not saying you can’t end up disliking something you used to like, but that to do so actively only leads to an endless cycle of dissatisfaction.
To this end, I was considering the life of a manga artist. Manga artists in general get better over time. Their art and their ability to tell a story via visuals improve or at the very least might change. Sometimes the shift is so subtle that you don’t notice how different the artwork’s become until you compare Volume 1 with Volume 20. Now let’s say a person fell in love with a manga at Volume 1 and kept reading throughout, and arrived at Volume 20 and then looked at the artwork in both. To his surprise, Volume 20 looks much, much better and by comparison Volume 1 looks unrefined, perhaps almost amateurish.
Then let’s say the fan, having been exposed to the quality of Volume 20, went and read another manga with art on the level of Volume 1, he would reject it because his tastes have become “better.” Which is all well and good, but what happens when he reaches the superior artwork of Volume 40? Or Volume 60? Does Volume 20 no longer meet his or her criteria? When will this ever end?
I’d like to believe that there’s a distinct difference between liking something less and disliking it altogether, but I know that people’s emotions, even my own, are not so easy to bottle and tame and act as if everything and everyone can get along. Even one of my heroes, Megaman creator Inafune Keiji, said that if one of his artists today brought artwork on the level of what he himself drew for Megaman 1, Inafune would call it terrible and reject it immediately. That’s the way it goes.
I’ve been doing quite a bit of drawing lately, and it’s gotten me thinking about the whole creative process, and the influence of one’s own age.
Recently, an old friend of mine found material for a video game we were creating back in elementary school. It had everything kids (or rather, we specifically) wanted in video games: tons of levels, tons of bosses, tons of neat gadgets and enemies. It was a game we’d spend time on nearly every day during lunch, thinking up new ideas for it. Honestly, looking at the stuff we came up with, I’m a little jealous of what we created back then. These were the unfettered mindsets of a pair of 10 year olds, where anything was possible as long as it made video game sense, and back then video game sense wasn’t very sensible.
Then one day something happened: we started to become teenagers. Now, when we looked back at our materials, everything seemed so kiddy. We thought, if our game was to go anywhere, we’d have to update it to make sure it didn’t look like the game was only for kids! Keep in mind we were like 13 or 14, and of course the hilarity of kids trying to make a game not for kids practically writes itself. This was the age of people accusing Nintendo of not appealing to the older demographics enough, and when Rare decided to revamp Jet Force Gemini and slap a few extra years onto its characters. So we made the characters cooler and tougher. We tried to give the bosses more realistic proportions, closer to Dragon Ball Z than Dragons of Blue Land. It wasn’t exactly 90s extreme, but it was something close to it.
Eventually high school came and we worked on it less and less until it dropped off entirely until more recently when we began to uncover our old materials. Now of course, looking at the things we came up with early on, and then how we tried to change it as we got older, I sort of want to slap my teenage self for accidentally trying to ruin a good thing. Not that I think my ideas as a teenager were all that bad either, but in this one case that teenage mentality was trouble.
I truly think that what we were thinking up at the lunch table back then could still appeal to kids today, though we’d have to apply a more cohesive design philosophy to everything. The goal would shift from trying to replace the products of our childish maginations with something more “mature,” to trying to refining or childhood imaginations and keeping it from exploding out the sides.
Then I hear people say, “Why do you watch an anime that’s meant for KIDS?” and the answer is obvious.
I spent last weekend watching some awesomely bad anime with friends. One title that stood out though, that is the very opposite of bad, was the OVA Baoh, based on the work of Araki Hirohiko, creator of JoJo’s Bizarre Adventure. This was not my first time watching Baoh, as it was actually one of the seminal titles that made me into an anime fan when my brother brought it home years ago, but it’d been well over a decade since I last laid eyes on the blue man who shoots needle lasers from his hair, and I was eager to revisit. It was an uproarious time, and it sports one of the best dubs ever. Listen to the Anime World Order review of it to give yourself a better idea of the glory of Baoh.
Just for fun, I decided to look on Anime News Network for a review of Baoh, and what I found was a terribly misguided summary of the OVA, with choice quotes such as this:
Making matters even worse is the show’s ludicrous habit of freezing the action mid-battle to display the names of BAOH‘s attacks. Do we really need to know that BAOH has just performed the “Reskini Harden Saber Phenomenon”? Is there a quiz after the show?
Now, I can obviously forgive this review as it comes from a less enlightened era of anime fandom (2003) and most likely the original writer has improved and matured since then, but it does bring up a recurring problem in the realm of anime discussion: Those who know little about a show’s content or genre discussing the work from a position of authority.
Anyone who’s watched action-based anime knows that the Special Move Name Displayed at the Bottom of the Screen is a common theme in such shows, and is often used for dramatic effect in ways similar to the combination sequence for giant robot anime. This is why the above quote is so off-putting; it shows a lack of knowledge of the type of show Baoh is trying to be, even if it doesn’t pull it off perfectly. I feel that it’s like criticizing a Power Rangers show for using spandex and rubber suits, or a harem anime for featuring lots of attractive girls. It’s a problem which still plagues ANN from time to time, though I understand that when you review professionally, you can’t always pick what you want to review.
I’m not saying that people should not discuss or review anime of genres and tropes to which they’re unfamiliar or for which they have a strong dislike, but that to do so while assuming a position of authority just makes a person look uninformed and trying to toot his or her own horn, rather than actually look at the work.
In summary, if you’re going to give a negative review of Twilight, you can complain about how you think the writing is awful. You can complain about characterization. You can complain about the portrayal of vampires in the story, or even lament the popularity of the suave, handsome vampire. What you can do but should not however, is complain about the fact that there are vampires in Twilight in the first place, because–Surprise!–this series is about vampires.
When it comes to the Super Robot Wars series, there tends to be an unspoken rule. For the big-budget main games in the series, such as the Alpha series, the cast lists are for the most part breadwinners and series that people have been anticipating to be in SRW, while for the games on other platforms they don’t expect to do really well with, they let the cast lists run wild and free, as is the case in the recent Super Robot Wars Neo, as well as Compact 3.
So I was thinking, “What series has practically NO chance of getting into SRW?” It’s getting kind of difficult to determine, with more and more shows managing to find their way in. Then I remembered one.
Getter Robo Go, Anime Version
The Getter Robo Go anime, adapted loosely from the manga of the same name, came out in the early 1990s and centered around a team of new Getter pilots in a new Getter Robo which didn’t use Getter Energy as its power source. The concept alone isn’t the problem, however, so much as the show is really, really lame.
Some will complain that the original Getter Robo anime was de-fanged compared to the manga, where Ryouma and friends are all literally violently insane people, but even with a nicer cast they were still pretty extreme, and they don’t compare to the character neutering that happens in Getter Robo Go. You don’t even have to read the manga to know that something is amiss here. It looks and feels like a failed attempt to bring Getter Robo into the 90s.
That opening I posted up there can be misleading, because with the vocals of Aniki the show seems awesome. Let me show you the FIRST opening (which people mistakenly label the second opening).
It’s no wonder they changed the opening!
So, the reasons Getter Robo Go has no chance in SRW (at least in its anime incarnation) are thus: Practically every SRW has Getter Robo in it, and with so many Getter anime available, why would producers pick the lamest one? On top of that, if you want that same robot design but awesome, you can just go with Shin Getter Robo vs Neo Getter Robo, which is a sort of retelling of the Getter Robo Go plot but with characters more in-tune with the original Ishikawa manga vision of them.
Of course, in the end, I would be glad to see Banpresto prove me wrong. C’mon guys.
It’s Friday evening in Japan right now, and that means the first day of Comic Market 76 has ended. Not living in Japan and not being able to fly over means I can’t join the hustle and bustle of sweaty nerds inching their way to tables full of fan-made comics, but for those of you who are and have been, I wish you the best of luck.
What’s most important though is the fact that people are still making Ogiue doujinshi. They’re not great in number, and apparently according to the catalogue they’re all located at the same table, but to you fineartists who are keeping the dream alive, I salute you wholeheartedly. I may or may not have friends who are willing to exchange my money for your goods, acting as a proxy for those of us with a passion for Ogiue and a love of supporting those who also understand Ogiue’s position of superiority in the world of anime and manga.
OGIUE MANIAX 