Category Archives: anime

Space Cases: Star Twinkle Precure

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The Precure franchise always goes out of its way to convey a positive, inspiring message. 2018’s Hugtto! Precure is all about telling kids that they can do anything and be anything. 2007’s Yes! Pretty Cure 5 focuses on dreams and aspirations. The recently concluded Star Twinkle Precure, then, centers around curiosity about the cosmos and the creative power of imagination, and I think it does a splendid job of marrying its ideas together into an enjoyable and uplifting series.

When the twelve Star Princesses (greater beings based on the Zodiac who are responsible for maintaining the universe) are attacked by an intergalactic force known as the Notraiders, they turn themselves into Princess Star Color Pens and send themselves across the universe to prevent their power from being taken. Three aliens, a girl named Lala, a blob named Purunsu, and a fluffy fairy named Fuwa, are tasked with retrieving and restoring the princesses. They travel to Earth, where they encounter Hoshina Hikaru, a human girl who loves to draw and loves the stars. Hikaru and Lala soon discover that they can transform into warriors known as Precures to fight the Notraiders. Along the way, they make new friends and allies, among them Cure Soleil (Amamiya Elena) and Cure Selene (Kaguya Madoka), as they continue their fight to save the universe.

Star Twinkle Precure is one of the most consistently strong Precure anime I’ve ever seen, with my biggest criticism just being that it celebrates the quackery that is horoscopes. I know it’s popular, though.

The characters–whether or not they’re heroines or villains, stars of side characters–are generally compelling and develop in interesting ways over the course of the series while still maintaining the cores of their identities. This even includes Hikaru, Cure Star, when often times the main heroine in these team-based magical girl shows often end up feeling somewhat generic. The series is also paced well over its 49-episode run, with more self-contained episodes rarely wearing out their welcome, and more plot-oriented episodes successfully building on one another. The theme of space travel means a strong sense of wonder and discovery both internal and external, and as the series progresses, the concept of “imagination” is explored in interesting ways–especially in terms of the heroines’ more positive use of imagination vs. the villains’ “twisted” imaginations that prey upon fears and doubts. The animation also rarely falters, and the big fights during dramatic moments in the series are nothing to sneeze at.

One of the important messages woven into the anime is inclusivity. Not only is there the basic idea of discovering and appreciating aliens from outer space such as Lala, but Star Twinkle Precure is the first series to have a human, Earth-born Precure who is not fully Japanese. Elena is Half-Mexican, Half-Japanese, with darker skin than the rest of the main cast, and her biracial heritage is highlighted in multiple episodes. A few episodes are even dedicated to her or her family dealing with feeling different from other Japanese kids. The only downside is that the series doesn’t come out and say “racism” or “discrimination,” but the implication is there, and it is powerful. I hope Precure eventually finds the courage to bring controversial topics right to its viewers without being so vague, confident that kids are smart enough to understand.

Of the Precures themselves, I’m fond of Hikaru’s love of the unknown and her catchphrase, “Kirayaba…!” but I think my favorite might be Lala, aka Cure Milky. I think her transformed outfit is really great in the way it conveys the space alien motif (namely, the clear shoulder bubbles), but I also like her backstory, about how she comes from a planet where a lot of thinking and doing is done for its people by computers, and how she wants to overcome that. But really, all of the girls are great here, and there’s no wrong answer. I hardly wrote about Madoka, but her story about carrying the weight of her dad’s expectations of perfection is something a lot of kids could benefit from seeing.

Overall, Star Twinkle Precure is just an incredibly solid series that I think communicates its messages and themes extremely well. I think it’s great for both newcomers to Precure and longtime fans alike.

One last important note: the second ending is basically Precure vaporwave, and it is fantastic.

Disney’s Red-Headed Robot Stepchild, aka Bring Fireball to the World, You Cowards

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Fireball is a quirky series of CG-animated shorts starring a snarky and aloof robot girl named Drossel. It doesn’t look out of place among other Japanese animation, except it’s made by Walt Disney Japan. Since 2008, Fireball has gotten a new series every few years. However, not only has it never been translated officially into English, but mainstream Disney (Japan or otherwise) seems reluctant to acknowledge its existence.

Sure, Fireball gets some new merchandise every so often, and they don’t skimp on the quality. The Chogokin and Nendoroid Drossels capture the character well. There’s no crossover, though. A few years ago, I had the chance to visit Tokyo DisneySea in Japan for the first time, and I was looking forward to checking out any Fireball merchandise they might have. After all, even if you can’t get anything at Disneyland or Disney World, I assumed that the country where the show was made would at least have something at one of their signature theme parks. I was wrong.

In terms of properties less prominent in the US, there was Duffy the bear—a hit all across Asia—but I wanted the Hatsune Miku with a boatload of sass that is Drossel.

Fireball isn’t alone in this regard. It’s not look Kim Possible merch is abundant at the US parks, and the amazing Gargoyles TV series seems to get only a begrudging nod. But even those two cartoons are available on Disney Plus, while Fireball remains inaccessible. Maybe if people can stream the series —I would even accept a dub (I say, as I sense the monkey’s paw curl)—people would see the show’s greatness. Then, I can visit Tokyo’s Disney parks again someday and walk out with a Drossel keychain or something.

Hey, I’m keeping my expectations realistic.

Simon’s Rival?: Ogiue Maniax Status Update for March 2020

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At the end of last year, I hoped that 2020 would turn out better. I’m starting to doubt whether that’ll happen. But before I get too somber, I’d like to thank the following Patreon supporters.

General:

Johnny Trovato

Ko Ransom

Diogo Prado

Alex

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

The big news of the day is COVID-19, the new and highly contagious coronavirus. Even within the specific realm of Japanese culture (let alone the rest of the world), it’s causing schools to be closed, anime and music events to be canceled, and even the Tokyo Olympics might not be safe. Asia is in a panic, cases of the infection are cropping up all over the world, and here in the US, an utterly incompetent executive branch is more concerned with the stock market than people’s well-being.

I don’t intend to panic nor cause others to panic, but I hope that everyone, no matter who they are, take care of themselves. Don’t try to power through sick days. Get the help you need. Get a flu shot to reduce the chances of your flu-like symptoms actually being the flu.

Now, back to your regular scheduled Ogiue Maniax update.

Blog highlights from February:

Mewtwo vs. Mewtwo: Notable Voices in “The Wonderland”

Two of the voice actors who have played Mewtwo show up in the same movie! Also, The Wonderland is great, and you should check it out.

Talkin’ About Shaft: Oogami-san, Dada More Desu

The end of a cute and racy manga about a girl with an incredibly dirty imagination.

The Source of Life: “Ride Your Wave” Film Review

Yuasa Masaaki’s new film is great, and its message powerful.

Hashikko Ensemble

Chapter 25 reveals more about Jin’s family, and the fears and doubts he has about himself.

Patreon-Sponsored

Play the Anime in Your Living Room: Discovering Anime Board Games and Card Games

A request to write about anime-themed games turned into a discovery of some quite creative traditional games.

Apartment 507

I wrote a little bit about Jimbocho, the book town of Tokyo.

Closing

Economic impact is inevitable, but I’m curious as to whether COVID-19 will have any creative impact in terms of the anime and manga that will be made. How appropriate it is that the current season of Precure, Healin’ Good Precure, has a medicine and environmental theme.

The Source of Life: “Ride Your Wave” Film Review

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While I never pretend to be some kind of distanced critic of anime, I find it virtually impossible to approach director Yuasa Masaaki and producer Eunyoung Choi’s latest film, Ride Your Wave, with any kind of staunch objectivity. It’s a heartfelt story of love, loss, and learning to see yourself in a new light, and having watched it right at a point in life where its messages and emotions resonate with me deeply and cause my eyes to well up, I have basically nothing but praise for this movie.

Ride Your Wave (aka Kimi to, Nami o Noretara in Japanese) follows Hinako, a bright and energetic surfer girl who wants to live on her own by the ocean. After her apartment accidentally catches fire, she’s rescued by a handsome fireman named Minato, and the two start a loving relationship. However, after Minato loses his life rescuing people from some dangerous waters, Hinako becomes unable to even think about the ocean, let alone surf. But then she discovers that she can “see” Minato in any water source by singing their favorite song, and it drives her to re-discover her happiness and her inspiration to keep on living.

Love is about as common a topic in fiction as you can possibly get, but I feel it’s actually rare to see characters who come across as genuinely in love with each other. There’s a kind of “dramatic love” you often see, and there’s narratives revolving around characters finding their love, but you don’t often see the kind of love borne out of small, everyday gestures that you find in real life. Ride Your Wave’s depiction of Hinako and Minato is extremely powerful in this regard, and the tragedy hits ten times harder as a result.

But much like Pixar’s Up (a favorite of mine), that’s only the beginning of the story, and where Ride Your Wave takes its characters is uplifting while acknowledging the pain and tears. It all feels so raw and beautiful—the joy and the sorrow alike. In recent days, I’ve found myself dwelling on the fear that comes with the possibility of suddenly losing someone you hold dear, without any warning, and Ride Your Wave prompted me to confront how I might feel if thrown in that situation. I don’t think I’ve quite felt this way since I watched Miyazaki Hayao’s The Wind Rises, which also struck me at just the right time to basically electrify me to my core.

I will make one note about the aesthetic aspect of the film. Ever since founding his studio Science Saru, Yuasa Masaaki’s works have hit a kind of accessibility not as present in his older works, and Ride Your Wave furthers this trend. But rather than being a concession to mainstream sensibilities, it’s more a compromise that uses the loose and expressive aesthetics characteristic of Yuasa to tell an emotional story about love, loss, and finding yourself again. It’s identifiably Yuasa, but this is not just a film for animation buffs, or those who like a more daring artistic style.

Ride Your Wave had a one-day-only theater release through Fathom Events, and I hope it gets a wider release. It really deserves every accolade it can get. Now, if only I could get that song out of my head…

Play the Anime in Your Living Room: Discovering Anime Board Games and Card Games

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When I think of anime and traditional games, e.g. card games and board games, the things that come to mind are Yu-Gi-Oh! or maybe something Pokemon-related. On the more hardcore end are games such as Weiss Schwarz, which allows you to build and cross over multiple series in a competitive TCG, or the digital card game Shadowverse, which carries an anime aesthetic.

What I never knew until very recently is the amount of anime and manga-themed games out there, as well as the degree to which they try to either faithfully capture the spirit of their source material or whatever idea it is they’re trying to convey.

The resource I found that gave me a bit of insight into how deep this rabbit hole goes is Hoobby.net’s Boardgamer section, which you can filter by “anime” or “manga.” Due to issues of accessibility and time, I haven’t had the chance to play any of them (and thus cannot actually give a real assessment), but I can appreciate their existence.

Some of the games focus on a broader theme from anime and manga. “Book Makers,” for instance, puts you in the role of readers of a shounen manga’s tournament arc, and you’re basically sending in reader surveys to determine which characters progress in the competition. Sadly, it seems like the game is out of print, or at least no longer has a functioning website. Perhaps the idea was too niche. Another game, “Light Novel Label,” has the player as a light novel editor fostering your authors.

Others are based on established properties, and it’s in that realm that the sheer variety of the games I found genuinely surprises me.

It’s one thing to have a simulated tactical board game based on Girls und Panzer. It’s a popular title and the competitive tank-battle motif plays perfectly into the format. Even the Love Live! board game isn’t terribly surprising, even if its concept of “make a sub-unit and gather more fans” is more of a stretch than GuP. Where it gets really wild is in examples like the Pop Team Epic card game and the Mayoiga: The Lost Village card game.

The Pop Team Epic card game, or more specifically the “Pop Team Epic KUSO [SHITTY] Card Game,” is actively designed to be hilarious but also kind of anti-fun–appropriate for such a trollish manga and anime series. In the instructions, it says, “Whoever remains is the winner. If all players are out, then Bandai Corporation is declared the winner.” The Lost Village’s card game seems to be a mystery/horror game where you play as five of the characters from the anime and try to survive your trauma, but anyone who’s seen that TV series knows that it does not lend itself well to a board game, and perhaps not even to an anime. The most important thing is that you can indeed play as the breakout “star” of the series, Hyouketsu no Judgeness.

Perhaps the most shocking game I found in terms of just existing is the board game for Genma Taisen, aka Harmageddon, from 1983. It’s not entirely out of left field, but I just never expected that anyone would have tried to distill that series into some kind of playable format, though the fact that it predates the Famicom might be a contributing factor.

A lot of the games don’t seem to have much longevity, which is tragic in its own way. Maybe someone will see one of the less beloved games and give it a second chance, and sparking some kind of second wind. Until then, they seem more like curios and conversation pieces.

This post is sponsored by Ogiue Maniax patron Johnny Trovato. You can request topics through the Ogiue Maniax Patreon or by tipping $30 via ko-fi.

Insane in the Menbre: 22/7 Anime vs. Youtube Thoughts

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When the anime for fictional idol group 22/7 was first announced, I wasn’t quite sure what to expect. My only exposure to them was through the Youtube channel of Fujima Sakura, one of the characters in the franchise. Played by Sally Amaki, a Japanese-American who moved to Japan to become an idol, the resulting videos were surprisingly off the wall. Videos like the one about using “menbre” as cutesy shorthand for “mental breakdown” set the tone for 22/7 in my mind as this quirky idol group that wasn’t afraid of gallows humor. Contributing to this was the fact that Sally Amaki herself would express on Twitter some of the challenges of being an idol and talk about her love of Flamin’ Hot Cheetos to the extent that fans threw bags of them onto the stage at Anime Expo. It was like 22/7 and Fujima Sakura peeled back just a layer or two of the idol illusion—enough to entice but not to ruin.

So I jumped into the first few episodes of the 22/7 anime wondering if any of the above would be reflected. To my surprise, the series has taken a completely different approach: a mostly serious show about conflict and self-doubt. Fujima Sakura is a prominent part of the series, but she’s not the main character. Instead, it’s primarily about Takigawa Miu, who’s portrayed as having a crippling lack of confidence stemming from childhood difficulties. There’s tension from the very beginning in ways that I don’t see from many other idol anime. To some extent, the dramatic nature of the 22/7 anime in contrast to the silliness of the Youtube channel feels like when you go between the Love Live! anime vs. the mobile game or the Drama CDs—only that difference is dialed to 11. 

I appreciate the anime’s take on things, partly because Miu is such a different heroine compared to those found in other idol series. Whether it’s Amami Haruka (The iDOLM@STER) or Kosaka Honoka (Love Live!), they tend to fall under this umbrella of “generally optimistic and cheerful girls who are pretty normal but try their best.” Starting with someone who’s struggling internally from the very beginning (and not just in an “I’m too plain” sort of way) is pretty refreshing. The anime also has other eccentricities that at the very least pique my curiosity, such as the mysterious “wall” that gives the members of 22/7 their orders. It reminds me of a similar entity in AKB0048, only it actually seems even more bizarre in the 22/7 anime because of the relatively mundane setting.

I’m not sure if this is the presentation of 22/7 its creators wanted all along, or if maybe it’s intentionally different in order to achieve a different kind of appeal, but it’s an attempt at doing something compelling. I don’t mind it, though one potential consequence is that Sally Amaki’s Twitter seems a lot cleaner and more professional, which might ironically take away from her and Fujima Sakura’s original appeal. Sometimes a diamond in the rough stands out precisely because of its situation.

Dongs of History: Golden Kamuy

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After two seasons of Golden Kamuy, I think I finally have an understanding of how I feel about it. A combination of historical fiction, action/adventure, slapstick comedy, multicultural spotlight, and cooking show, it’s a series that messes with conventional genre boundaries. If Golden Kamuy were a chef, it would be the kind who puts in more lemon juice when you ask for more sugar. Even so, I’ve come to really appreciate that it can be so jarringly disparate, as the work comes across as genuinely passionate and uncompromising.

Golden Kamuy centers on Sugimoto Saichi, a veteran of the Russo-Japanese War, and his pursuit of a hidden Ainu treasure. Having earned the nickname “Immortal Sugimoto” for his military exploits—namely his seeming ability to survive any wound or calamity no matter how severe—he teams up with an Ainu girl named Asirpa. Together, they form a powerful bond that takes the two through layers of conspiracy, eccentric enemies and allies alike, and greater understanding of each others’ cultures and customs.

It can sound like a fairly straightforward and serious work, but its mood can swing wildly from one moment to the next. Golden Kamuy can go from showing Sugimoto’s PTSD, to featuring Asirpa’s hilariously wacky faces as she cooks, to displaying a bloody and merciless battle, to presenting a seemingly endless parade of dick jokes, to focusing on a genuine and heartfelt moment between Sugimoto and Asirpa. Combined with an overwhelmingly large cast of characters who are individually memorable but also hard to keep track of due to sheer size, experiencing Golden Kamuy can sometimes feel like whiplash. But when all engines are running at full steam, there are few series that can compare in terms of excitement, comedy, and emotion. You just kind of never quite know what you’re going to get, except maybe “everything.”

As of Season 2 of Golden Kamuy, the stakes are higher than ever, and the series leaves me with a lasting impression of its bizarre charisma. Season 3 can’t come soon enough.

Jyushin Thunder Liger: The Impossible Gimmick

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January 6, 2020 marked the end of an era as beloved Japanese wrestler Jyushin Thunder Liger retired. His achievements are many, from innovating the Shooting Star Press (now seen in wrestling matches all over the world) to being perhaps the greatest junior heavyweight ever. One thing that stands out to me in his long career is how insane it is that he managed to embrace his ridiculous gimmick, his outward identity as a wrestler, and elevate it to the point of world-wide recognition.

Jyushin Thunder Liger’s name and look is taken from a manga and anime by Nagai Go, creator of Mazinger Z, Devilman, and Cutie Honey. This by itself isn’t unusual. After all, the wrestling manga character Tiger Mask became a real-life wrestler as well. But Jyushin Liger the fictional work isn’t about wrestling or even athletics—it’s about a boy who can summon and fuse with a “bio-armor” to fight evil. The anime isn’t even considered a memorable classic, and yet, Jyushin Thunder Liger somehow made it not just work, but took it over. Now, when you say the words “Jyushin Liger,” you’re probably more likely to get someone who knows the wrestler than the source material. His entrance theme is just the theme song to the Jyushin Liger anime (and makes zero sense in the context of pro wrestling), but rather than being considered hokey, it brings out raucous cheers.

Imagine if a 90s American wrestler was saddled with a Street Sharks gimmick—not even a big property like Teenage Mutant Ninja Turtles—and still wrestled as a Street Shark thirty years later until his retirement brought literal tears to people’s faces. Picture this guy coming out to “They fight, they bite, chewin’ up evil with all their might!” to a standing ovation. That’s basically what Jyushin Thunder Liger accomplished. The closest real equivalent I can think of is the Undertaker, who has played some form of undead wrestling zombe lord (and briefly a American motorcycle rider in the early 2000s) for the majority of his career. Or maybe if RoboCop’s cameo in WCW saw him transition into a regular wrestler who consistently put on great matches.

So here’s to Jyushin Thunder Liger and his global legend. Now let’s see if any new wrestlers come out as Bang Dream! characters.

Mewtwo vs. Mewtwo: Notable Voices in “The Wonderland”

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The Wonderland (Birthday Wonderland in Japanese) is a film packed with whimsy, imagination, and a tale of a young girl finding the strength to keep going. The movie is directed by Hara Keiichi (Miss Hokusai), and I really recommend it. 

But there’s also something about the film that delights me on a much more personal level: it features not one, but two different voice actors who have played the Pokemon Mewtwo.

In the role of Hippocrates the Alchemist is Ichimura Masachika, who voiced Mewtwo in the anime film Mewtwo Strikes Back, Mewtwo Lives (aka Mewtwo Returns), and Super Smash Bros. Melee. He’s known for much more than anime—being the original Japanese Phantom of the Opera—but it’s his performance as the Genetic Pokemon that is nearest and dearest to me. He brings a similar gravitas to his Hippocrates, though The Wonderland also allows a more comedic side as well. 

The antagonist of The Wonderland, Zan Gu, is played by Fujiwara Keiji—Mewtwo in Smash 4 and Super Smash Bros. Ultimate. He’s known for roles such as Maes Hughes in Fullmetal Alchemist and Holland in Eureka Seven. Zan Gu is actually more similar to Mewtwo, but Fujiwara doesn’t give the two the exact same vocal quality.

As an aside, if you want to hear both of them perform dialogue as Mewtwo, switch your copy of Melee and Ultimate to Japanese.

Having two Mewtwos is a rare distinction for any work, and it’s all the better that they give such stellar performances in a strong movie like The Wonderland. I’m not saying you should go see the film just for the acting, but they definitely make it even better.

Nijisanji, Hololive, and the Virtual Youtuber Kayfabe

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Since I last wrote about Virtual Youtubers close to two years ago, the scene has grown far beyond any one individual’s ability to keep track. One consequence of this, as I’ve come to learn, is that individual acts have started to form collectives that increase visibility for all. Two of the big ones are Nijisanji and Hololive, both of which utilize a less expensive approach called Live2D that is clearly less robust than whatever it is Kizuna A.I. has. I find the presence of groups like Nijisanji and Hololive to be curious intersections of how people interact with the internet in current times. 

Virtual Youtubers (VTubers) are essentially one part Hatsune Miku, one part livestreamer, and one part idol–the result is a kind of weird unspoken contract between viewers and creators where the notion of “authenticity” is relative rather than being some kind of absolute. One of the complaints that streamers often receive, especially if they’re extremely over the top, is that it’s all an act, and that they’re just playing to the audience in order to get more eyeballs on them. People like streamers with whom they can feel some kind of genuine connection, and a layer of “fakeness” can be a turn-off in that respect. But with characters like Tsukino Mito (Nijisanji) or Haato Akai (Hololive), there’s an obvious understanding that what you’re seeing and getting just isn’t a “real person.” At the same time, there’s still a desire that these characters aren’t fully constructed, and that some of the actual individual behind the anime mask will peek through just a bit sometimes. Fujima Sakura (who isn’t in Nijisanji or Hololive) is a prime example of this, though in that case, the person behind the character (Sally Amaki) is already well known, as is the fact that Sakura as a VTuber is part of a greater project: 22/7.

I mentioned Hatsune Miku here (and in the previous post about VTubers) not just because she’s a cute anime girl mascot who people collectively imbue with a personality and history, but because part of her charm is that her voice doesn’t sound entirely realistic. There’s an artificial quality to her that adds to her appeal, and to some extent, I can see this being the case with Nijisanji and Hololive’s VTubers because Live2D isn’t super-smooth. There’s a kind of choppiness that can drag you out of the illusion pretty easily, so you have to kind of let it work its magic on you. Perhaps it’s closer to pro wrestling in that respect. In a way, the flaws even lend themselves to a greater sense of authenticity, in that these VTubers are not presenting a supremely polished (and arguably overproduced) product. 

However, just the fact that Nijisanji and Hololive are these collectives adds another wrinkle. There’s this kind of understanding that cooperation is of mutual benefit to all those involved, but the fact that prospective VTubers basically earn the opportunity to enter these groups calls to mind the very nature of Youtube as a platform dependent on click-throughs and crossovers as a means to garner more attention. It’s not that different from something like Game Grumps, but the veneer of anime avatars makes VTubers a little more mysterious but also makes me wonder just where they’re all coming from. To what extent are they professionally honed products and to what extent are they amateur endeavors–and for that matter, does Youtube explode that difference?

It might not be such a bad thing that people can so easily become Virtual Youtubers these days. I myself have considered doing more Youtube in the past, but I’m just not a fan of putting my face out there for all to see. The way the members of Nijisanji and Hololive do it, on the other hand, provides an alternative for those who want to be out there without exposing too much of their identities. In a time when the difference between the online self and the offline self is all but disintegrated, doing this Virtual Youtuber thing can be an oasis of anonymity, albeit within a profit and attention-seeking environment.

This post was written based on a request by Patreon sponsor Johnny Trovato. If you’d like to request a topic, check out the Ogiue Maniax Patreon.