Category Archives: anime

Oshii Mamoru… and a Play About Tetsujin 28???

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Below is an article from the Mainichi Daily News’ website, translated for your convenience.

Actually it’s for my convenience as it lets me practice my Japanese, but we’ll leave that aside.

Tetsujin 28: A 500kg Iron Man Stands Tall! Minami Kaho Claims the Robot “Has a Life of Its Own” at Public Dress Rehearsal.

The robot manga Tetsujin 28 [Originally brought to America as Gigantor] by Yokoyama Mitsuteru (deceased) has been transformed into a play by Oshii Mamoru of Ghost in the Shell 2: Innocence fame. During the public dress rehearsal on the 9th, viewers witnessed the roughly six-meter-tall [approx. 19.7 ft], 500 kg [approx. 1102.3 lbs.] Tetsujin. They also showed the climax where main character Kaneda Shoutarou (played by Minami Kaho) rides in Tetsujin’s hand as the robot itself stands up.

For the theater edition of Tetsujin 28, Oshii Mamoru helped with both the script and production. Originally known as “Prototype 28,” the giant robot emerged towards the end of the Pacific War as a decisive weapon of the Japanese Army and is later revived in 1964 around the time of the Tokyo Olympics. The story tells of boy detective Kaneda Shoutarou, who takes control of the Prototype 28 in order to fight against a terrorist organization. After the dress rehearsal ended, Minami Kaho remarked that to her surprise she was able to sense life in the robot, claiming, “It feels as if it has a life of its own.”

The performance will be open to the public in Tokyo at the Galaxy Theater  from January 10 – 25. In Osaka, the performance will be at Umeda  Arts Theater’s “Drama City” from February 5 – 8. S-rank seats go for ¥11,000 [$121 US] while A-rank seats go for ¥8000 [$88 US].

Writer: Kawamura Naruhiro (I don’t actually know how you’re supposed to pronounce this name. If anyone could help that’d be great)

There’s Something “Different” About These Voice Actors…

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Back when the Soul Eater anime began airing, one of the big topics going around was Maka Albarn’s voice actor. Maka was Omigawa Chiaki’s first role in anime and it showed. Some called her voice work terrible or amateurish, I referred to it as a very natural-sounding voice. For those who haven’t heard it, when Maka speaks it sounds more like a young, soft-spoken narrator than it does a character in a show. However you judge it though, no one can deny that Maka’s voice was different from the usual.

At some point I decided to listen to the Soul Eater Web Radio Show (Maka Side), half curious, half wanting to practice listening comprehension for the JLPT2, and I was surprised to find out that Chiaki’s Maka voice is quite different from her everyday speaking voice. This meant that as natural and realistic-sounding as Maka’s voice is, it’s not just Chiaki speaking normally. I was impressed, but then I thought about how I wasn’t the best judge of Japanese voice acting, and a lot of the Maka voice’s detractors were Japanese people posting on 2ch and what-not. I’ve made progress over the years, but to really tell who’s good and who’s bad, I can’t do so with complete confidence still.

It was a few weeks after that when Anime World Order posted its review of Bubblegum Crisis. I had seen the show long ago, back when I barely knew anything about anime and my older brother knew guys in his high school who were willing to copy tapes for him, but it had been so long I barely remembered anything. I decided to re-watch the original Bubblegum Crisis, all of it, knowing that there was some bias for BGC among the AWO crew and not wanting to be too influenced by it.

Throughout the OVA series one voice really stood out among the rest: that of main character and most prominent Knight Saber Priss Asagiri. There was something about the way she intoned words, it almost reminded me of Jack King from Shin Getter Robo vs Neo Getter Robo. It sounded, felt different from the other voices which were all clearly talented but sort of blended together in the area known as “good,” like how Henri Cartier-Bresson may be one of the most talented photographers ever but his photographs were all good in the same exact way. It could be awkward at times, but Priss’s voice would always jump out. Then I looked up her voice actor, Oomori Kinuko and listened to the AWO episode (Part A) and found out that it was her one and only voice role, Kinuko being primarily a singer. “Oh,” I thought. And then I remembered Maka.

Maka and Priss’s voices are similar in many ways. Both are very noticeable when placed among their fellow cast members, and both have this style that really takes over a scene, for better or worse. When they talk, you notice. As such, both have this strange voiceover feel to them, where it sounds like they’re speaking directly to the audience rather than to other characters in their shows. Is this merely a product of lack of experience in voice acting? Did anime fans in 80s Japan have a field day with Kinuko’s voice work the way they do with Chiaki’s now? If more seiyuu sounded like Priss or Maka, would their lack of experience and/or talent stand out even more?

A Compromise of Visual Design: Watching Minami-ke Okaeri Episode 1

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I normally don’t like to do  “episode 1 posts” of any series, but I felt that I needed to respond immediately to Minami-ke Okaeri while my reaction and feelings towards it and its visuals are still fresh in my mind.

The show is done by the same company that did Okawari (asread) as opposed to the first season (Doumu), which is generally considered the “worse” Minami-ke show, but I read that asread was bringing some of the original staff along to work on this new season. Whether that’s true or not, it’s clear that Minami-ke Okawari is trying to be more like Season 1.

The visuals end up being a mix of the two seasons, with what feels like an overall lower budget. That sounds like an insult, but it really isn’t. I have no proof, but seeing as almost everything is suffering these days I’m almost certain anime is getting less funding too. The show tries to adhere more to the visual style of Season 1 with its sparse shading, but the highly saturated colors resemble Okawari a lot more, especially in the backgrounds. More than the differences in style and animation, the color scheme was what I think really set apart the first two seasons.

Some of the animation does seem stiff and not up to the level of the stuff in Season 1, but I think that’s also because I’d gotten acclimated to Season 1’s style. Watching Season 1 after watching Okawari, it took time for my eyes to readjust, and now watching Okaeri after not having watched any Minami-ke for a while, it might be simply a case of my eyes needing to adjust once more.

Even if their attempt to mix the look of Season 1 and Okawari doesn’t succeed in the end, I’ll at least know that they tried.

If they give more Minami Touma scenes, then that’d also be just dandy.

And joy.

The Viewing Format of the Future, TODAY (Not Really)

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Movies, television shows, anime, etc. from the past are being placed onto these newfangled formats, with words like Blu-Ray and High-Definition. These formats boast greater clarity than ever before, and letting you see things you never could before, or in some cases things you were never intended to see in the first place.

Watch a cel animation in Blu-Ray and you’ll see the dust and scratches. Watch movies from a few years back and it potentially becomes blindingly obvious what is real and what is not, what is CG, what is a matte painting. How much better-looking will video get in the future? How can creators prepare for this? They can’t, but they’re probably aware that in a number of years when the VHS is a distant memory they’ll have to deal with the fact that customers will be able to see more than they should. At the same time, there might be cases where a creator wishes he could show more but he’s limited by the film and video quality of his time.

So what if there was a way for the viewer could control the level of quality personally? You would be able to customize just how clear the image could be. Just like a program used with scanners, you’d be able to reduce dust and scratches, or leave them in. And creators can “recommend” certain settings which they feel are best for their works. Watch movies and anime as the creators intended, or simply ignore their suggestions and play by your own rules.

Controllable visual quality on the viewer’s end is something works both new and old would benefit from.

Legend of the Galactic Heroes in 50 Words

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This is a self-exercise to try and convey Legend of the Galactic Heroes in a few words. A later, more complete review may find itself here eventually.

In a war spanning the galaxy, two heroes emerge on opposing sides. The unorthodox Yang Wen-Li and equally brilliant Reinhard von Lohengramm must deal with not only the enemy light years away but also corruption at home. War, politics, philosophy, and love are intricately woven together in this epic tale.

Budget Heroes

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As fans of anime and perhaps animation in general, it’s pretty easy to spot when something is well-animated or poorly animated. While a little trickier, it’s also certainly possible to notice good visual direction in a show. What’s more difficult is being able to notice when a show’s funding has been used intelligently, or when the creators have had to make due with limited resources. The men and women responsible for such arcane trickery are Budget Heroes, and I think they’re deserving of at least some praise.

I have to say, I’m not that good at spotting the handiwork of a Budget Hero. However, I can think of a few instances.

Evangelion is sometimes ridiculed for having poor budget usage, resulting in clip show and recap episodes. Evangelion also frequently uses still images over extended periods of time. Some might call it lazy, but I would say that the way Gainax pulled it off gave these scenes a sense that the stillness was more than appropriate. There are elevator scenes, where characters will be standing on opposite ends, not moving, not saying a word to another, as the hum of the elevator resonates. It’s one frame and some noise, but it goes a long way in showing just how awkward that silence is. Then there’s the 60+ scene of EVA-01 holding Kaworu in his hand. Again, a still image, and yes they could have shown Shinji in the cockpit panicking and hyperventilating but they didn’t. I wouldn’t call it a purely artistic choice, but it’s at the very least intelligent use of limited resources.

A more recent example is SHAFT’s Sayonara Zetsubou Sensei. The show frequently experiments with unusual forms of animation, such as paper cut-outs, puppets, and clay, and sometimes it’s clearly to cut corners in animation. The show even pokes fun at itself for doing this, choosing not to hide behind the idea that it was artistic intention. Still, it’s really well done and I think it reinforces the overall off-kilter look and feel of the show.

This is not to knock the hard work of talented animators who have the benefit of funding to really pull off some incredible scenes. Talent is talent after all. And in the end, without doing any serious research into animators and studios, it’s difficult to discern who truly is a budget hero. For all we know, Musashi Gundoh had a budget of 100 yen and a pack of coupons and the animators were miracle workers. But I just wanted to remind myself and others that often times things simply do not go as planned and that animation isn’t cheap to produce, even at the comparatively lower amounts that Japan is used to.

Anime/Manga Political Compass

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Here’s a fun game for the whole family! All you have to do is go take the Political Compass test, but do so pretending you’re a specific anime/manga character. Ever want to figure out if Naruto is some kind of Leftist Liberal? Now’s your chance!

I’ve already done a few for you to look at and compare.

Kenshiro

Raoh

I encourage everyone to try it out with any character they can think of.

Best Anime Characters of 2008

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Once again, there’s only two categories. I would include a “BEST DEATH” category but I’d feel bad accidentally spoiling events from anime in such a dramatic fashion. So without further ado, I present…

THE BEST ANIME CHARACTERS OF 2008

BEST MALE CHARACTER**

Graham Aker (Mobile Suit Gundam 00)

It’s not easy being a rival character, and it’s even less easy when you’re in a Gundam series. Despite the odds, Graham Aker exemplifies the best in rivalry in a way that is rarely seen in anime.

Graham isn’t some rebel who can’t be contained, or a neutral figure with ulterior motives. He’s no Char Aznable, but that shouldn’t be held against him. He’s loyal to his allies, respectful to his enemies, and approaches every situation with unmatched fervor and determination. His skills as a pilot make him one of the most significant threats on the battlefield. Even when he’s severely outmatched on a technological level, Graham can never be counted out. He’s a rival character who actually has the  potential at all times to end the life of a main character without any convenient plot devices to cheapen his victories. Graham Aker has presence unlike any other.

Graham Aker is a thinking man’s beast. He’s passionate, but doesn’t let passion blind him from the truth. In the end, Graham’s most important trait is that he is simply unafraid to be himself, though he may change his name and then make everyone call him by said name. That’s just Graham Aker, baby.

BEST FEMALE CHARACTER

Sheryl Nome (Macross Frontier)

2008 was rife with good female characters, and unlike last year it was very difficult to choose just one. The more I thought about it though, the more I leaned towards Sheryl Nome.

Sheryl is attractive in a way that harkens back to 1980s anime series while still possessing a modern 2000s flair. She’s confident yet vulnerable, going from being on top of the world to carrying the weight of the world on her shoulders, and along the way all you want to do is cheer her on and be her support. But she doesn’t need your support, because she’s Sheryl Nome and nothing short of death will stop her from moving forward. Even when she’s hit rock bottom nothing can ever truly dampen her spirit.

There are some disagreements among the anime community in regards to recent anime and its treatment of female characters. Sheryl Nome is a compromise between these schools of thought. Actually, “compromise” is a misleading word, as there are no concessions made with her character. She has all of the strengths with none of the drawbacks. Sheryl Nome shows everyone, old and new, fan and detractor, what it means to be a strong character where strength does not preclude vulnerability or vice versa.

Final Word

Picking the “best” characters is never easy, and in the end, the concept of “best” as used in this sense is just an illusion. These aren’t even my favorite characters of the year, but I felt they had much more of an impact on anime as a whole, in addition to being characters I’m very fond of. It’s also pure coincidence that both Graham and Sheryl are from Gundam and Macross respectively, two of the biggest franchises in anime that are also giant robot series. Or perhaps not, seeing as both series dared to do more with its characters than anyone expected.

**What this actually means is, “Best Male Anime Character of 2008 who is not Kenshiro or Raoh”

It’s Fresh Precure, and it Finally Has Character Designs

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The fine folks over at Toei Animation have recently revealed that their newest Precure series, Fresh Precure, is more than just Very Orange as its official website used to indicate.

We’ve got some main characters now. Momozono Love is Cure Peach. She’s a dancer! Aono Miki is Cure Berry. She’s athletic and wants to be a fashion model. Yamabuki Inori is Cure Pine. She loves animals! All of them are 14 years old, in their second year of Junior High where almost all Precure girls start.

If you’ve ever wondered why I take an interest in Precure, it partly has to do with the way it’s alchemically fused girls’ anime and boys’ anime and otaku anime into a golem of profit and merchandising, all while still being reasonably enjoyable. What steps has Toei taken to continue to ensure profitability? Well, the new costumes seem to have a sort of maid theme, and I have to wonder if that delicate balance of fanbases is leaning ever-so-slightly towards the “otaku” side. The girls are leggier, look older than previous Cures despite being roughly the same age, and even appear to be bustier.

It might not be easy to notice the disparity off-hand, so I’ve provided a comparison image below.

The Precure girls post-transformation have always had more athletic builds, so the disparity between regular Nagisa and regular Love is even more pronounced.

Is it a new character designer or is it the same character designer with some modifications to her art style? Is this a reflection of the increasing average height of Japanese people? Or is it just part of a greater strategy to target people who have a thing for legs?

We’ll find out February 1st, 2009.

Sing a New Song, a Song of Generations: Macross Frontier

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Note: While I’m not going to make it a requirement to read my previous episodes 1-13 review, I’d still recommend it before reading this one. There’s also minor spoilers for the other Macross series, but that’s kind of inevitable if you’re already watching Frontier.

Macross Frontier is the newest series in the Macross franchise, celebrating the 25th anniversary one of the most fondly remembered anime series ever. While not the first sequel to Macross, it is also the one that, for better or worse, tries the hardest to translate the emotions of the original Macross through the lens of today’s anime.

The original 1982 Super Dimensional Fortress Macross asked its audience many things. What are you willing to do for peace? What potential does humanity have for growth? What role does culture play in understanding one another? Taking place in a time when the world had just recently discovered peace after years of war and turmoil, the people of Earth are confronted by an alien race of giants whose only purpose in life is to wage war. Though these “Zentradi” were superior to the humans in nearly every way, the one area in which they had no knowledge turned out be both their downfall and their redemption: culture. Introducing the Zentradi to concepts such as love and sorrow through the emotional singing of pop idol Lynn Minmay, in time the Zentradi began to co-exist with humans. Thanks to technology that allowed the Zentradi to shrink to human size (a process called miclonization), some even married across species and bore offspring.

Nearly 50 years later, the two races have integrated to the point that it would not surprise a person if most of their friends were at least part-Zentradi. In that time, the people of Earth have begun to actively colonize outer space, discovered the dangers of artificial intelligence, and encountered a species that was more spirit than flesh. The Macross Frontier is the 25th colonial Macross-class ship, entrusted to venture through the galaxy to find a planet with a hospitable environment on which humans could live. Amidst its travels, the Macross Frontier is attacked by a race known as the Vajra. Unlike the Zentradi who battled with the human race nearly five decades earlier, the Vajra are inhuman, insect-like creatures, with an unreadable hive mind. Reasoning with them is not an option.

Three people aboard the Macross Frontier hold special significance. One is Saotome Alto, a student and former actor whose feminine looks allowed him to pass for a female when performing. Due to the attack by the Vajra, he decides to become a pilot of a Valkyrie (the humanoid-into-jet transforming robot symbolic of the Macross franchse) to repel the threat. Another is Sheryl Nome, a famous pop idol originally from the Macross Galaxy colony who happens to be holding a concert when the Vajra invade. Stranded aboard the Frontier, Sheryl uses her talents to try and keep hope alive for the distraught inhabitants. Last is Ranka Lee, a girl with no memories of her childhood. Ranka is a huge fan of Sheryl, and is inspired by her to pursue a singing career of her own, though there may be more to Ranka’s singing than simply talent and enthusiasm. Alto, Sheryl, and Ranka all become friends but as time passes their feelings change, both towards each other and towards the battle against the Vajra.

Ranka’s older brother is a tough, no-nonsense Valkyrie pilot who tries to hide his job from Ranka to keep her from worrying. Alto’s fellow pilots include a mechanical wiz, Luca, and a ladies’ man, Michael, whose playboy tendencies infuriate his childhood friend, the Zentradi pilot Klan Klan. Klan Klan, herself a highly skilled pilot, suffers from the fact that miclonizing her also regresses her physical age, something which Michael pokes fun of her for mercilessly. Grace is Sheryl’s manager who also recognizes talent in Ranka. Nanase is Ranka’s friend and biggest supporter of her career, and also the target of Luca’s affection. These are among the many supporting characters of Macross Frontier. They intertwine with the primary characters and themes of the show while still making their personal stories feel important.

Macross Frontier’s character designs may lack the subtlety of Mikimoto’s (the original Macross character designer), but Ebata Risa and Takahashi Yuuichi clearly worked hard to tie visual design with personalit. They make it easy to recognize every character even if you barely remember them. I wouldn’t say they’re better than Mikimoto’s designs, but they at least reflect current concepts and conventions of character design without seeming stale in the process. The animation can go off-model every so often, but the same thing happens with pretty much every other Macross series. Macross Frontier also has some of the best use of CG ever in an anime TV series. Never before have 3-D graphics been so well-integrated into both the every-day environments as well as the epic, space-rending battles which so emphasize the significance and destruction of war.

Romance against the backdrop of war is the driving force behind the Macross franchise, and Macross Frontier is no exception, though it takes particular care to put everyone through periods of happiness followed by periods of duress, both mental and emotional, in order to reveal their true characters. How does humanity handle interacting with a race so unlike anything familiar that it is impossible to humanize them? How far can Alto run away from his past? How different are humans, really, from the Zentradi’s old ways? How does the confident Sheryl handle being shunted out of the public spotlight in favor of Ranka? Where do people stand in the struggle between freedom and security? Why does Ranka sing?

Whereas romance and war are the bones and muscles of Macross, music is the blood and nerves. Music is one of the most important aspects of the Macross franchise, so much so that Macross Frontier saw it fit to have two main characters as singers. Music is power. Music is what brought giants to their knees and peace after war, but Macross Frontier teaches us that even the benevolent power of music can be twisted in unexpected ways. The songs of Sheryl and Ranka perhaps say more about their characters than any lines of dialogue. Sheryl’s songs exude power and confidence with just a hint of vulnerability, while Ranka’s songs reflect the highs and lows of her emotions. Their songs are markedly different from the humble pop of Minmay, or the rocking ballads of Fire Bomber, toeing the line between human and inhuman, between authentic and manufactured, but ultimately leaving one with the sense that this is is new, that this is truly the music of 2047.

Macross Frontier is not just a modern Macross. It is not just a new Macross, nor is it simply the new Macross. From its music to its storytelling to its characters to its questions, Macross Frontier is New Macross. It is a series which carries on the francise’s 25-year-old spirit and accurately invokes this current age of anime and society.