The funny thing about blogging for as long as I have—almost fourteen years, at this point—is that you never know what old entry might somehow get excavated and arrived from the massively convoluted ball of information that is the internet. Or rather, you never know which of your posts managed to have the right accidental SEO to actually survive and be on the front page.
This month, All Elite Wrestling held one of their big pay-per-views, All Out. It was an event with many surprise debuts such as Bryan Danielson (formerly Daniel Bryan) and Adam Cole, and among those appearances was New Japan Pro-Wrestling’s Suzuki Minoru. I myself was watching and yelling at the screen as soon as his music hit, but when I decided to just check my blog stats on a whim, I noticed a huge spike in hits. The reason: Hundreds of people were finding my 2018 blog post about Suzuki’s entrance theme, “Kaze ni Nare.” Somehow, some way, that post is still on the front page when you google the song’s title.
Anyway, I hope the following Patreon sponsors take flight like birds and risk their lives to become the wind:
A serious and personal reflection on a moment that changed many lives, including my own.
Chapter 44 sees the characters unite in full force, and reveals the softer side of Kousei.
Kio Shimoku’s Twitter has been buzzing with preparation for both his collected-volume releases in September. In a rare treat, he’s actually been retweeting fans who are supporting both Spotted Flower and Hashikko Ensemble, which is how I got retweeted by the man himself!
By next month, the fall anime season will be in full swing. All the big sequels and follow-ups like the new Demon Slayer, JoJo’s, and 86 have my attention. However, the fact that Sunrise is trying their hand again at a new mecha series has my attention. Will Kyoukai Senki be any good, or will it land like a wet fart? The fact that it’s impossible to predict given Sunrise’s track record actually has me more excited.
The final Smash Ultimate DLC character is in just a few days! My dreams will always be with NiGHTS (no pun intended), but I’ll be happy with anyone.
Lastly, speaking of October, New York Comic Con 2021 is on. If you’re going, know that NYC requires full vaccinations for entry for those eligible to get vaccinated. Stay safe.
Much of Kio’s tweeting this month has had to do with the fact that Hashikko Ensemble Volume 7 went on sale on the 22nd, and Spotted Flower Volume 5 is out on the 30th…on top of Chapter 44 of Hashikko! There are lots of inevitable scheduling woes, but he’s actually also been responding to and retweeting readers in a concerted fashion for the first time.
Hashikko Ensemble Volume 7 cover check. Kio seems fine with it.
All Spotted Flower volumes have a plastic cover jacket with characters in clothes that obscures a second paper cover jacket with the characters in underwear. Kio gives a sneak peek here.
Kio mentions that there are store-exclusive extras for Spotted Flower.
Kurotaki Mai in a bunny outfit, as a late celebration of Bunny Day, but also to promote the new release.
The next chapter of Hashikko Ensemble has a ridiculous amount of lyrics and musical effects, but while the work seemed to never end, it’s finally almost over.
With the work on both upcoming volume releases more or less over, Kio decides to do some cleaning.
Kio discusses with 18+ manga artist Ikuhana Niro (who also publishes in Rakuen: Le Paradis) about ways to abbreviate Hashikko Ensemble and Spotted Flower in Japanese. Ikuhana uses HashiAn and SupoHana, while Kio originally uses Hashikko and SupoFura, but also Spotted in hiragana or katakana. Supote is brought up, with the idea that it sounds like Ponite (ponytail).
The Rakuen: Le Paradis Twitter account chimes in that Supote is one sale 9/30.
Kio responds with thanks to those who tweeted about supporting the release of Hashikko Ensemble, Volume 7. He doesn’t quote tweet readers all that much, so it feels special.
A fan mentions that they’ve always liked Genshiken and stuff, but only recently got into Hashikko Ensemble and wish they did so sooner. Kio tells them to enjoy it at their own pace.
Kio mentions that there are store-exclusive bonuses for Volume 5 of Spotted Flower. (I’ll be getting the Ogino-sensei ones from Melonbooks and Animate.)
A drawing used for promotional store displays for Volume 5.
Kio talks about how intense the Basso Masters from Hashikko Ensemble are.
Kio talks about how he couldn’t find any footage of a three-girl group singing “Zenryoku Shounen.”
Showing his drawing of the Chorus Appreciation Society performing “Etupirka” versus an actual performance.
In response to a TSUTAYA bookstore showing its display bookshelf for manga artist panpanya, Kio responds that it’s sandwiched in one hell of a place, given the shelves on each side (Blue Lock, Demon Slayer).
Kio up until recently still was not a fan of Kurita Kan’ichi as the voice of Lupin III ever since he took over the role in the 1990s. However, he’s noticed that rather than sounding like an imitation, Kurita’s performances now have a weight and seriousness that has allowed Kio to finally accept his Lupin.
Kio sees Five Star Stories models and reminisces about when he built his first resin-kit Akatsuki from that series.
Kio retweets an article talking about a journey with toy soldiers that began from a panpanya manga.
Kio talks about the good work an “Akio-san” did on photos. What it means is still unclear.
This was a pretty tweet-heavy month for all the reasons above. I get the feeling we’ll be seeing less for October, but you never know. I also posted these highlights right before the 9/30 release date of Spotted Flower Volume 5, so I’m sure I’ll be covering a lot just from that!
There are two success stories to tell about the 1981 giant robot anime Six God Combination God Mars. The first is about a combining giant robot that was better as a toy than as an animated figure in motion: toy sales were strong enough to extend the series beyond its first year, but the awkward stiffness of the titular God Mars itself is something of a running gag (as seen in the YouTube comments here). The second, and I think the one that should get more attention among English-speaking anime fans, is about the tremendous influence of God Mars on Japan’s female anime fandom and doujinshi scene. In a time when pairing same-sex characters from your favorite series was not yet the full-on cottage industry it is today, God Mars was a cornerstone title alongside Captain Tsubasa.
I personally came to know about God Mars twenty years ago, although knowledge about the two aspects of the series came at different times. It was a collection of giant robot anime openings around 2001 that introduced me to the show and its impressive-looking mecha, but it was actually 2004’s Genshiken Official Data Book (of all things)that first brought to my attention God Mars’s popularity with women. Years later at Otakon 2010, voice actor Mitsuya Yuji mentioned among his most popular roles a character from God Mars named Marg. Now, I have the entire series on physical media thanks to Discotek (with 25 episodes up for free on TMS’s Youtube channel), and I’ve finally come to understand what made God Mars one of the granddaddies of fandom pairing in Japan.
Simply put, it’s Marg. Once you know about him, it becomes crystal clear why a female fandom around God Mars developed.
Marg is not the main character. That honor goes to Myoujin Takeru, a guy with psychic powers who discovers that he is actually an alien named Mars sent from the planet Gishin to destroy Earth. However, Takeru manages to defy the evil Emperor Zul and use the very weapon originally meant to eliminate Earth to instead form God Mars and beat back the Gishin Empire. Along the way, he discovers many truths about his original home world, including that he has a long lost brother—Marg—in Zul’s clutches. The dramas that emerge from their familial relationship include attempts to reunite, the pain of separation, and even the crossing of swords due to various plot contrivances.
Marg is ridiculously beautiful both inside and out. He has lush locks of long green hair, and eyes that can express the deepest kindness but also the most fervent passion. His voice is gentle yet powerful, and his forlorn communications with Takeru express a longing and desire to see Takeru—unless he’s being brainwashed into being the enemy, of course, at which point his anger is spine-tingling. Whenever Marg shows up, he becomes the most captivating figure on screen.
Given that we’re talking about shipping and coupling, it’s not entirely accurate to pin it all on Marg. The popularity of a series among female fans traditionally hinges on the relationships between characters rather than singular personalities, and Takeru himself is no slouch. Not only does he look like a more handsome version of many a 70s robot protagonist, but he is perhaps the angstiest hero ever to grace a giant robot anime. Sure, Shinji from Evangelion is traumatized and depressed, and Heero Yuy from Gundam W is dark and brooding, but they don’t angst the way Takeru does. Naturally, more often than not, that anguish has something to do with Marg. And yes, they’re brothers by blood. Whether that was an additional awakening for fans in 1981, I’m not sure. I wouldn’t be surprised.
Even before God Mars, there were plenty of good-looking and charismatic secondary characters in mecha anime. Between directors Tomino Yoshiyuki and Nagahama Tadao, they all but cornered the market: Prince Sharkin (Reideen), Garuda (Combattler V), Prince Heinel (Voltes V), Richter (Daimos), and both Char Aznable and Garma Zabi (Gundam). The key difference between these major rivals and Marg is that the latter is so many things in one. He’s an adversary at some times, but at other times he’s basically a damsel in distress.
There is something I need to make clear: Unlike so many later anime, which could be constructed from head to toe with a female audience in mind (or at least pay regular lip service to that side of fandom), God Mars is still built on the foundation of a toy-shilling kids’ anime. It is 65 episodes long, and not every episode is exactly compelling. There’s an unsurprising inconsistency in terms of the show’s quality with respect to storytelling and animation quality. In addition to the notorious stiffness of God Mars the robot, the anime is rife with fights between characters with psychic powers that revolve around dramatic poses in still shots in lieu of actual movement—a style of action scene the book Even a Monkey Can Draw Manga mocks for its laziness. And dashing canon hopes of brotherly love, the series pairs Takeru with a female character, albeit one with a connection to Marg. In other words, back in 1981, fujoshi had to walk uphill both ways to get their BL shipping fix.
Even so, a girls’ fandom emerged out of God Mars, and plenty of evidence exists that the creators became aware of this audience eventually. The TV series keeps finding ways to bring him back in different forms. A 1982 movie recap of the first 26 or so episodes reduces the screen time of other supporting characters in favor of more Marg, and the poster advertising the film even features him prominently (see above). A later OVA released in 1988—well after God Mars’s heyday—centers around Marg entirely. A look at God Mars merchandise reveals both official and unofficial works where Marg takes up a lot of real estate.
When I was going over my own prior history with God Mars, I omitted one thing: the game Super Robot Wars D for the Gameboy Advance. God Mars is one of the titles included, and in the game, you can manage to not only recruit Marg to your side but also have him pilot an alternate God Mars from that 1988 OVA in which he’s the star. Once together, Takeru and Marg can perform combination attacks like the “Double Final God Mars.” I can’t help but wonder if there were both kinds of God Mars fans working on this game, bringing together the hopes and dreams of those whose lives were changed in some part by God Mars and its two successes.
Though a little out of season, I’m going to be fulfilling a Patreon request and continuing the All Hallow’s Eve-themed anime posts from September. Here’s a look at Aikatsu on Parade! episode 5, “Lucky Halloween.”
Kiseki Raki and friends are in the original Aikatsu! universe, where they enter an idol costume contest that naturally includes singing and dancing. Highlights are both the show and the characters giving Akari some props, and Mirai Asuka’s off-brand Spider-Man costume.
I’m not deeply connected with Aikatsu! fandom, but I somehow get the sense that Akari isn’t considered as memorable as other protagonists. In a sense, she’s like the Pretty Cure Splash Star of Aikatsu!, with the unenviable task of following the influential original. In this episode, all the characters express a kind of wonder and amazement at her, and there’s the feeling that she’s made a lot of progress relative to where she began—perhaps more than any other heroine.
As for Asuka, given her love of Halloween it makes perfect sense to make her a big part of the episode. Her impish attitude is a perfect fit, though she doesn’t seem as keen on trying to prank people here. Her choice of costume is undoubtedly memorable, and it makes clear that Spider-Man is now considered recognizable in Japan. Yes, there’s the old live-action Toei series with the giant robot and all that, but I suspect this is more because of the Marvel cinematic universe. The not-quite-the-same finger-point web-slinging is a nice touch.
I hadn’t thought about it before, but this is the first Aikatsu! Halloween with a costume contest. Pretty much every other one has been about tricks or games, so having another variation on how to celebrate the Holidays is interesting. As for Raki’s costume, which is basically a giant composite lucky charm, it’s very on-brand for her. I feel like a joke could be made where Raki turns into a luck-obsessed lunatic with a mindset similar to Gudako from Fate/Grand Order. Knowing Aikatsu!, it could actually happen.
There’s one glaring omission in this episode: it takes place in the original series but there’s no Yurika in sight. The vampire goth is pretty much synonymous with Halloween, so I wonder if they’re saving her for Halloween 2020. After all, it’s not unusual for an Aikatsu! anime to run for two years.
And who knows? Maybe we’ll see an off-brand Thanos next year.
This post is sponsored by Johnny Trovato through Patreon. If you’d like to request a topic, consider becoming a patron!
Note: This post topic was requested by Johnny Trovato through Patreon. If you’d like to see a particular topic on Ogiue Maniax, consider becoming a sponsor.
One of the interesting things about the 2014 Aikatsu! Episode “Halloween Night Party” is how it showed that the holiday was relatively new in Japan. Characters repeatedly translate the English “trick or treat” into a Japanese explanatory sentence as if to hammer home the concept. The first few seasons of Aikatsu! didn’t even have Halloween episodes. But it’s been five years since then, and while it hasn’t been a straight line, the concept of “Halloween” is integrated into Aikatsu! pretty thoroughly. At the same time, the degree to which they embrace Halloween varies significantly, as if it’s unclear from year to year how much they should push for Halloween.
2015’s “YOU! GO! KYOTO!” perhaps barely qualifies as a Halloween episode. Instead, the focus is on a trip in Kansai, where the main trio gets together with Hattori Yuu, a friend of Akari’s who’s made a name for herself as a “tour guide idol” of sorts. The girls help her out with a Halloween special, and they do a themed performance as a follow-up. The lack of “trick or treat” is noticeable.
2016’s “Halloween Magic” returns to the Halloween episode format from 2014, albeit with an entirely different cast of characters in Aikatsu Stars! Not only do they bring back explaining what “trick or treat” means, but they even include a special competition just like in “Halloween Night Party.” This episode stands out to me more than any of the others simply because of Rola’s taiyaki outfit, seen above. Taking a relatively serious character and having her go around in the most ridiculous getup without even batting an eye speaks to her character having a certain charming roundedness. I have to wonder if maybe the concept of Halloween needs to be introduced again for newer, younger viewers coming in. Also, while “Halloween Night Party” made a reference to Michael Jackson’s “Thriller,” “Halloween Magic” has one of the characters moonwalk while doing MJ-style “Whoo!”s, as if to say that the King of Pop is as much a part of Halloween as pumpkins and candy.
2017’s “Halloween Surprise” from Aikatsu Stars! places extra emphasis on the “trick” in “trick or treat,” albeit without actually using the words. The second half of this particular series involves a rivalry with another idol school, so the idea of competing takes on a new dimension in this Halloween episode compared to previous ones. Here, participants lose when their heart rate goes over a certain level, so the two sides have to try and scare or surprise one another. It’s kind of a twist on the original formula, and it does a decent job of acting as the stage for a bit of character growth on the character Koharu’s part. There’s a greater emphasis on using Halloween as an opportunity for pushing storylines compared to previous years. Also, for some reason, they reuse the costumes from the previous year. Could it be out of convenience (they already have the character designs laid out), or perhaps the costumes were just that popular?
2018’s “Aine’s Halloween Panic” from Aikatsu Friends! Incorporates Halloween into the show pretty thoroughly without drawing a ton of attention to it. Aine, the most recent heroine, has split off from her Aikatsu partner Mio so that they can train separately and come back stronger than ever. For this purpose, she plays the part in a TV special of a girl who discovers her senpai is a witch. The magical focus is the clear tie to Halloween, but once again there’s no “trick or treat.” In fact, there’s only one trick, as Mirai (seen above) tries to scare a couple characters during the episode. They treat Halloween as the most natural thing—is it a sign that it’s approaching Christmas in terms of cultural integration in Japan?
Looking at all these episodes, a couple things stick out to me.
First, it really is a shame that Yurika, the vampire-inspired idol from the first series, didn’t get any Halloween episodes when she was a more common character due to the relative lack of exposure for the holiday.
Second, the notion of “trick or treat” as a package deal seems to ebb and flow, but its constituent parts, i.e. pranks and candy, remain. One thing worth pointing out is that the tradition of going door to door to trick or treat never took hold in Japan, so maybe it’s no surprise that it would end up as something less codified. That being said, I’m aware that even in the US, trick or treat (especially in big cities) is more organized these days for safety purposes.
So what remains is the aesthetics of Halloween, costumes and all, with a cultural twist. That includes a taiyaki costume, and there’s even one girl in Aikatsu Friends! who dresses as a jiangshi (Chinese hopping ghost popular in Japan). Also, I guess Michael Jackson is part of that aesthetic as well.
Given that the pattern for Aikatsu! Halloween episodes exists, but that each year puts its own spin on the idea, I’m curious to see what direction this year’s takes. Because 2018’s Aikatsu Friends episode took a less upfront approach, could this one be more in the classic style? And with the new giant crossover series Aikatsu On Parade! on its way in 2020, Halloween Idol Activities might very well combine the styles of all previous shows.
Introduction: For the second year in a row, I’m combining my Reverse Thieves’ Anime Secret Santaentry with my Gattai Girls review series—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.
The year is 1988, and the long-standing image of giant robots in anime fluctuates between either fantastic heroes and gritty, expansive science fiction. In this environment, one multimedia franchise decides to ask a simple yet potential-laden question: how does a society police its citizens in a world where mecha are commonplace?
In the near future of Patlabor, humanoid robots are commonly used in various industries, the police have also decided to incorporate mecha known as Patrol Labors into their forces. Patlabor follows Special Vehicles Unit 2, a ragtag bunch of eccentrics who solve Labor-related crimes. While there are multiple iterations of Patlabor, including anime, TV series, OVAs, and films (all of which apparently have branching continuities), this review will be focused on the first OVA series, titled simply Mobile Police Patlabor, but also known as Patlabor: The Early Days.
At first, Patlabor presents itself as a fairly low-stakes works, with its eclectic cast of officers and mechanics trying to deal as much with each other as the crimes they’re supposed to prevent. However, it gradually reveals concerns that are deeper and broader than first expected—provided you peel back the curtain a little bit. Over the course of the seven episodes of the first OVA series, those “Labor crimes” (not sure if pun intended) often speak to underlying social issues in Japan such as the struggle between pacifism and militarism that has affected the nation since World War II.
Such themes are the wheelhouse of the OVA’s director, Oshii Mamoru, and he gets even more philosophical about the intersection between technology and society in his Patlabor films. Here in the first OVA, though, Oshii doesn’t go nearly as hard on his pet topics, and the result is a comparatively much more straightforward story. The OVA is much more willing to be a police drama with some underlying political messages, and thus more approachable for those who might feel the films to be too overbearing.
But it’s also impossible to shake the idea that Patlabor cares relatively little about what it presents on the surface, especially when it comes to the treatment of the ostensible protagonist, Izumi Noa. If one were to guess what Patlabor is about from just the opening alone, one would assume that Noa is the star of the show, as she relaxes with, takes care of, and fights in her beloved Patlabor, Alphonse. In fact, she’s the only character who appears in it at all! Yet, somehow, the clear poster child for Patlabor as a whole only ever has a semi-major part at best in any of the episodes.
It’s not as if Noa is portrayed as useless or incompetent or in need of big, strong man to rescue her, but her general character—tomboyish robot lover with a knack for piloting—seems to have the least connection to the series’s underlying focus on the intersection between politics and technology. In contrast, Shinohara Azuma is the son of the president of a Labor-manufacturing company, while Goto is the deceptively intelligent and wily chief whose past has him confront the militaristic elements of Japan. Even the other prominent female characters, Kanuka Clancy and Nagumo Shinobu, seem to get more screen time than Noa because they’re tied much more deeply with the police system. Ironically, the woman who was to be the heroine by virtue of her neutral and apolitical passion for mecha ends up feeling more like a side character.
Overall, Mobile Police Patlabor seems to embody much of the OVA spirit that permeated anime in the 80s and 90s by providing an opportunity for projects to go in unique and interesting directions. The result is a fascinating series, but also one that seems in conflict with itself at times.
Christmas is a different holiday in Japan compared to the United States. Even putting aside the religious vs. secular aspects, December 25th is traditionally seen in Japan as more of a romantic occasion featuring cake and fried chicken, and various anime and manga throughout the years have reflected this. That’s why I was surprised to see that the Christmas episode of Aikatsu Friends!—aptly titled “Merry Friends Christmas”—feels so at-home with a more American conception of the holiday.
The episode begins with drawing lots for a big idol tournament. Once the matches have all been decided, each duo goes out to practice and to shore up their weaknesses. The portrayal of “idol activities” is always a highlight of the Aikatsu! franchise, and watching the two goth girls weight-lift using an oversized die and a black crystal ball to shore up their weak stamina reminds me of why I enjoy these shows. What’s more, I like that it doesn’t dedicate the entire episode to Christmas, as it minimizes the sense that this is a one-off break from the main story. The celebration is woven into the overall momentum of Aikatsu Friends!
Heroine Aine decides to invite her partner Mio and their rival teams to have a fun Christmas party, and there’s just something familiarly heartwarming about the gathering. The exchanging of presents, the overall sense that the competition doesn’t overshadow their friendships, and the festive mood would fit right in with US Christmas TV specials—but with all of the morals about kindness and giving merely implied instead of said outright. It’s the sort of execution that makes me wish Aikatsu! could get a real foothold outside of Japan, even though I realize that its success is tied in heavily with the arcade games.
As with every Aikatsu! Christmas, they end with a rendition with of “We Wish You a Merry Christmas” with a characteristic rap section that talks about turning a holy night into a party night. At this point, and I have to wonder what the reason is behind keeping the song from year to year. It’s not a bad thing, but I would have expected them to switch it up from series to series—maybe some “Jingle Bells” or “Deck the Halls.” Maybe it’s just what the fans expect, and hearing the latest generation of Aikatsu! stars give their own take on the song is itself a tradition.
Overall, it’s an excellent Christmas episode from Aikatsu Friends, and an excellent way to set the mood for the holidays. It also makes me wonder if the image of Christmas has changed in Japan! That investigation will have to be for another time.
This post was sponsored by Johnny Trovato. If you’re interested in submitting topics for the blog, or just like my writing and want to support Ogiue Maniax, check out my Patreon.
11 years of Ogiue Maniax feels…strange. Because it comes right after the 10th anniversary milestone, it feels a bit like a new beginning. I’m honestly not entirely sure how to approach celebrating 11 years, so I’m going to be pretty off-the-cuff with this post.
Sometimes it hits me just how much time has passed. Titles that I remember being the hot new thing back in 2007 are now seen as retro classics by a huge portion of anime and manga fandom. What’s more, the way we approach fandom has changed entirely—case in point, YouTube has gone from being the strange new thing to being the place fans go to for anime reviews. As someone who stuck with writing for the most part, it’s been interesting to see the rise and fall of anime blogging. The fact that my blog views are roughly around where they were in 2008 feels like I’ve made a return back to the early days, but everything’s different. The world, the internet, even I’m not what I was 10 or 11 years ago. That’s not necessarily a bad thing, mind.
As much as I’d like to be able to reach more people, I’ve come to realize that trying to follow the trends of what you should talk about can be like a shackle on your creativity and autonomy as a creator of content. It’s not necessarily easy to talk only about the latest and hottest thing, but on a personal level, I would find it to be stifling. If I’m interested enough in a current show to say a couple of things, then that’s great. But I’d rather not feel forced or compelled to hit on a specific subject just because it would get more eyeballs on me in the short term. Besides, you never know when the thing you did in the past will come sliding back into the spotlight. Just this past month, I suddenly saw a huge uptick in visitors to Ogiue Maniax. The reason: LeSean Thomas linked to my interview with him from Otakon 2016.
This might all seem unusual to say when I’ve had my own Patreon for the past few years, but there’s a reason I’ve set up my highest-tier reward in a particular way. It’s $30 because I don’t want it to be absolutely impossible for the typical anime fan to afford, but I don’t want it to necessarily take over the blog either. I also give myself the freedom to approach any and all topic requests on my own terms, so I can take these requests as both a way to give back to any patrons who decide to take me up on that offer and as a personal learning experience. It’s very easy to get trapped in a particular mindset or view, and having someone literally say, “Well, why not check this out?” can be very helpful.
That all said, I have had to make adjustments to Ogiue Maniax, especially in being careful with my language and approach to writing. This blog, at its core, is a way for me to explore ideas, and it’s part of the process to throw out half-formed ideas to see whether or not they stick. However, as I get older, and as the world around me changes, I feel a greater responsibility in terms of how my words (or lack thereof) might encourage harmful behavior from others. I still feel it important to ask questions about how we as people interact with anime, manga, and all threads related to those topics, but there’s a certain benefit of the doubt I can no longer give to geek culture as a whole. I saw the early seeds planted in fandom that have driven campaigns of racism, misogyny, and downright misanthropy in this world, and I considered myself separate. I keep thinking about all the times I failed to speak up, or all the times I may have inadvertently defended dangerous mindsets, and I feel almost compelled to make up for my errors.
Man, that got heavy.
I guess I’ll end off by saying this: Ogiue Maniax has been an 11-year reflection of myself as a work in progress. It’s an experiment full of successes and failures (and increasingly fewer Fujoshi Files…) where a conclusion still cannot be seen. But I’m also encouraged by this, and I feel that it’s taught me some important life lessons. No matter where we are, we always have the chance to change and to better ourselves. Don’t base your own worth or the worth of your achievements on comparing yourself to others. See only who you were yesterday, and try to move forward from there.
In the spirit of the month, I was asked by Patreon sponsor Johnny Trovato to look at one of the Halloween episodes of Aikatsu! I chose episode 106 of the original series, which takes place after Akari has become the new main character. It’s a fun episode characteristic of all that is good and enjoyable in Aikatsu!, though a few elements stood out in particular.
Whenever the characters say, “Trick or treat!” they immediately follow by explaining in Japanese what exactly that means: “If you don’t give me candy, I’m going to play a trick on you!” It’s a redundancy that not only has to make up for the language barrier—a little kid might not know the English words—but also speaks to the fact that Halloween as a concept is still relatively new in Japan. If you look online, you’ll find articles talking about how it didn’t get any traction until the 21st century, and now it’s featured in multiple anime.
I wouldn’t read too deeply Aikatsu!‘s interpretation of Halloween—I reckon it’s as much tinged with the Idol Activities spirit as anything else. If the episode didn’t feature some wacky game that highlights all of the characters lovable quirks, then I would’ve been shocked. That’s where Aikatsu! consistently shines, though. You just know that if they’re doing a Halloween episode, vampire-style Idol Toudou Yurika is going to have a moment. They even make the expected (and desired) joke that Yurika wearing a cape and fangs while exclaiming that she’ll suck your blood isn’t that different from how she normally behaves.
“The day Yurika visited your Halloween party was the most important day of your life. But to me, it was Tuesday.”
I watched this episode semi-isolated from the rest of the series, so I don’t know exactly what has transpired beforehand. However, it reinforces something I’ve felt about Aikatsu! in general, which is that the first season’s characters seem to have the most clear-cut personalities, which makes it easier to do these silly one-off episodes. I still don’t always quite get what Akari and her friends are supposed to be like. They seem a tad more subdued, which can work better over the long term but maybe isn’t as attention-grabbing at first sight. https://www.youtube.com/watch?v=sOnqjkJTMaA#t=9m5s
It would be remiss of me to end this post without mentioning the teacher, Johnny Bepp, and his unnamed homage to Michael Jackson. With a vaguely “Thriller”-esque piece playing in the background, Johnny-sensei encourages the students to do the famous zombie dance (or whatever it’s called), which exhausts every student around—except Akari. I would think that a dance sequence from one of the finest performers ever would be absolutely grueling for even the girls at an idol academy, though in hindsight I guess this is actually a bit of characterization for Akari as a girl with immense stamina. In this case, I don’t know if it’s the “obvious” gag per se, but the payoff is again reliably satisfying. Kudos, Aikatsu!
Given that this episode is quite a few years old at this point, I am curious to see how the Aikatsu! Halloween episodes have evolved as the holiday itself has become more popular in Japan. Maybe that’ll be something for next year!
Happy new year to all! Amidst a topsy-turvy year, what have been your favorite shows? 2017 might go down as a surprisingly robust year for anime, and I hope to see an industry that allows creativity to rise to the top. After all, the better anime is, the more there is for this blog to talk about.
Going into 2018, I’d like to thank my Patreon sponsors, especially the following.
Sue Hopkins fans:
Hato Kenjirou fans:
Yajima Mirei fans:
New Year’s is of course the time for resolutions, and while I tend not to make them, I want to hold myself accountable this year.
As I’m interested in improving my language skills, most of my resolutions are focused in that area. I want to have true Japanese literacy. I’m fairly fluent overall, but I’m still not technically “reading newspapers without help” proficient—which is how Japanese literacy is officially defined.
I also want to improve my Cantonese, learn Mandarin Chinese, and/or reach a greater level of Dutch. I’ve been practicing the last one in the Duolingo app for a while now, to try and make up for my lack of true fluency when I lived in the Netherlands. My goal is to be able to read Dutch comics. Ik wil lezen Nederlandse strips.
I know they say not to try and learn more than one language at a time, but I just want to do everything, I guess.