Category Archives: mahjong

Tsumo Times and a Ron Wait

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I was back in New York recently for a short while, a period that just so happened to coincide with the latest instance of my favorite mahjong gathering, the USPML‘s monthly open play events. Bringing with me exotic cuisine from beyond the oceans, I played my first offline mahjong game in many months.

It was good to see many familiar faces and even some new ones, as well as to learn that the USPML has only gained in popularity since I last saw them. Where once we barely were able to get sixteen players to fill four tables, we now had somewhere like 6-8 tables. I even saw an enterprising older woman there, learning the game amongst us young Turks. I wondered if she had experience playing an American form of mahjong and decided to expand her horizons. If that’s the case, she is a better person than me, who has no experience with mahjong outside of Japanese-style and one bad game of Taiwanese mahjong on X-Box Live.

I can’t say whether or not I’ve made significant improvements in my mahjong, but I did end up winning both games I played that day. The first was a rough-and-tumble game where I managed to win here and there and gain a small lead going into the final round. The difference was about 4000 points, so a mangan tsumo or a direct hit with about a 3 yaku hand could’ve knocked me off my perch, but I went for a quick, cheap, and most importantly closed hand. I purposely decided not to call reach as it would have made everyone overly defensive. In the end, I won with a simple pinfu.

The second game, I won a haneman and a mangan early on and held my lead by winning a large amount of cheap hands, many times with no yaku to speak of other than when I decided to reach. In a way it’s a dirty, yet effective way of playing. However, my victory is not the biggest story to come out of Game 2. That honor instead goes to my mahjong comrade, Dave aka Sub.

In an early round (it may have been the first), one of the players had called a closed kan. This was already dangerous, as it was a kan of the dora, but when this new dora indicator flipped over to reveal that it was a twin of a previous dora indicator, things got to a Washizu-level of bad. There, staring us all in the face was an 8-dora hand, an automatic Baiman, and who knew what else lurked within the the unrevealed tiles? Later on, we found out that this was a hand of much destructive power in more ways than one, as it not only turned out to be an 11-dora hand thanks to another kan that had been called, but that it was in position for a possible Yakuman, the Suu An Kou. But whether he got that standard Yakuman or not, the hand would’ve easily surpassed 13 dora, which would have given it equivalent power to a Yakuman. In other words, no matter how he would have won, he would have gained 32,000 points and potentially ended the game right there.

But Dave was a hero. Abandoning any notions of grandeur, he quickly called for some tiles. A few turns later, he won, and off the player with that amazing hand no less. Crisis averted. It was only after Dave’s smooth counter-offense that we realized how much danger we were really in. I may have won the game overall, but did I really?

See you guys around again. Playing has made me want to scope out the Dutch mahjong associations that I know exist.

The Powder Keg That is Three-Player Mahjong

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Looking to take a break from my typical online mahjong sessions without straying too far, I’ve begun dabbling in 3-Player Japanese Mahjong. It is arguably both more stressful and less stressful than 4-Player, and I wanted to just jot down my thoughts on the gameplay and dynamics of 3P mahjong.

Just to get my bias out of the way upfront, I find 3P mahjong to be inferior to 4P, and its primary strength is as a backup measure in case you can’t get a fourth player. Despite that, it is still very fun and captures much of the mahjong spirit, especially when you’re playing with some rad personages.

3P Mahjong is an incredibly volatile game, and this is primarily due to three reasons. First, is the revised role of the North (Pei) tiles. With no fourth player, North is considered a “neutral” wind, and now carries with it an additional property: if you have a Pei in your hand, you can exchange it for another tile. In doing so, you also gain an additional dora for every Pei you come across. Like all dora, these North dora cannot be the catalyst for a winning hand, but they can bolster one that’s already able to win. Incidentally, if you draw your winning tile due to exchanging a Pei, it counts as Rinshan Kaihou, only it’s better because you also have the inherent dora from the Pei itself. Rinshan Kaihou being her signature move and all, I’m sure Miyanaga Saki would have a blast with 3P.

Second, is that the game removes the Character (Man) tiles numbering 2 through 8.  With only the 1-man and 9-man remaining, this makes players far more likely to draw tiles of the same suit, a high probability made even higher when you remember that there is 1 less player than normal. Honitsu (Half Flushes) are incredibly common, and the normally fairly difficult-to-achieve and more valuable Chinitsu (Full Flush) is often well within the range of possibilities. It’s also the only time I have ever seen anyone get a Honroutou (only 1’s, 9’s, and Honors) or a Chinroutou (only 1’s and 9’s), as the removal of 2-Man through 8-Man means they don’t get in the way of those hands from forming.

Third, is the fact that 3P mahjong indeed has one less player than normal, so useful tiles have a higher likelihood of reaching you. When combined with the comparative ease of forming high-value hands and the boost given by North dora, and you have the volatile scenario of which I spoke. The game almost always reaches a situation where everyone’s sitting there with an absurdly valuable hand and everyone has the tiles everyone else needs to win. Of course, that means that just as you poised and ready to declare your victory and watch your score skyrocket, so are your opponents, and greed can definitely be your undoing. Also, as everyone has a greater chance of achieving tenpai generally, if you happen to have a particularly worthless hand in a round it hurts a lot more than it does in 4P mahjong.

The game does have some factors to balance out the precariousness of 3P mahjong, namely the prohibition of stealing tiles to complete a straight (chii), and the fact that everyone starts off with 35,000 points instead of 25,000 points. The former keeps hands from being completed too easily, and the latter acts as somewhat of a buffer against the frequency at which powerful hands appear. Just to give you an idea, I actually got a yakuman (32,000 point) hand once, and I still ended up placing in 2nd by the end. Still, I feel like these countermeasures aren’t quite enough, and while I generally enjoy having luck be a factor in my games, 3P mahjong feels like it has just a little too much luck and not enough things to mitigate damage in a bad luck situation the way 4P mahjong does. It gets your blood pumping.

The last thing I want to mention is the modification to scoring, where you get more points for having someone deal into your hand than you do from drawing the tile yourself, which never happens in 4P mahjong (Ron haneman is worth 12,000 while Tsumo haneman is only 9,000). In addition to being an interesting contrast with Chinese mahjong styles where self-draw is way more powerful than winning off of someone else’s discard, it also enhances the high-pressure feeling of 3p mahjong.

Aokimura Would Be Proud of My Mahjong

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Three months after my unceremonious descent in online mahjong rankings, I have managed to not only claw my way back to my original ranking, but also surpass it and move up to the next level. I am now a “3-Dan” on Tenhou, and I’ve learned a few lessons since September. Hopefully I keep them in mind so I don’t drop down again.

As much as it would appall Akagi, trying to go up the ranks on Tenhou encourages fairly safe and conservative play. The only way to actually lose points and risk dropping down is to get last place, so while being 1st is ideal, being 3rd isn’t so bad either as it means you are as far as you were last game. At the end of the day, if 1st place is way out in front, it’s generally not worth it to try and make a desperate counterattack, as it might just land you in 4th, something that has happened to me on many, many occasions.

In one match I was in 4th place in the last round. However, I was less than 1000 points behind 3rd place, and in this final round 3rd place was also East, meaning that if he wins he gets more but if another player wins by self-draw then he pays a higher price. So after seeing another player Reach, I simply abandoned my chances of winning and counted on that player drawing his winning tile, as it would allow me to barely get 3rd without doing anything. That’s exactly what happened in the end and I got away without losing any ranking points just by, as Sub likes to put it, “playing to not lose.” It was kind of dirty, but that was the reality of the situation.

Watch out though, as aiming for not-4th can be a trap in itself, as you can end up in a situation where you’re behind and desperately aiming for anything to keep you in the game, which in turn can make you prone to rash decisions. This is pretty much what killed me when I first dropped back down to 1-Dan, as you have the disadvantage of not only of letting your emotions get in the way but also giving up too soon. Doing so may even blind you from the fact that you could win if only you had the patience and clarity of mind to see that.

Though it might seem to contradict what I said about aiming to not lose, it’s actually all just a part of gauging your situation at all times. Let’s say you’re in 4th place. Ask yourself, in my current situation, what would it take to get in 1st? What’s the point difference? How likely is it for me to get a hand that can overcome that difference? If there’s no hope, what are my options then?

Now keep in mind that this is doesn’t have to be cold, hard logic. You don’t have to be calculating statistics, and can even be based on how the game feels at the moment. A small loss in points isn’t as bad as losing a lot of points, and if you’ve lost a lot of points you could always potentially drag down 3rd place. And if you drag down 3rd, you might be in range to get 2nd. There’s room for optimism, however small.

So while Akagi obviously scoffs at “digital” mahjong, that is, a style based on analyzing ratios instead of playing based on “feel,” it’s clear that going up the ranks in Tenhou isn’t all related to probability. Just as you’re trying to claw your way up to 1st, so is everyone else, and inevitably there are human traits to exploit, be they greed, fear, or even relying too much on statistics.

Though deep down, I feel like this is my limit when it comes to online mahjong. At 3-dan, getting 4th place actually makes you lose more points than you would gain if you had gotten 1st. Whether I can overcome such odds is something I’ll just have to see. Still, that I’m here in the first place is something I can be proud of, even if I’m not the best mahjong player out there.

Lastly, to celebrate:

Four Concealed Triples Contain Ten Times As Many Perils

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Almost a year ago, I wrote about how glad I finally was to achieve a San An Kou, or Three Concealed Triples, in mahjong. It is a hand where you manage to draw three sets of 3-of-a-kinds all on your own. When I first got the San An Kou, it felt like an eternity before I was able to achieve one. What I didn’t know was that getting its beefier older sibling would take a lot longer.

This is Suu An Kou, or Four Concealed Triples, and is highlighted in Saki episode 10, where perennial newbie Senoo Kaori mistakenly refers to it as a “Riichi Tsumo Toi Toi (All Pungs as the subs put it),”a hand which would be worth significantly less if you took her words literally. Like the Kokushi Musou and the Sho Suushi, it is a Yakuman and therefore one of the strongest hands in mahjong, possessing enough killing power to end the game in one shot. It is also significantly more powerful than the San An Kou, and to give you a basic idea of the sheer disparity, you could get six San An Kou in a single game and it still might not be worth as much as a single Suu An Kou.


Oh Kaori, this is why Sub and I made you our mascot for our mahjong panel.

Like all Yakuman, it is an exceedingly rare hand, and what I’ve begun to find interesting about Yakuman in general is that they can often be rare for entirely different reasons. While the Kokushi Musou is difficult to obtain because it is a hand that cannot be anything but a Kokushi, and the Sho Suushi similarly rare because the tiles in it are always valuable to someone at the table (and thus there is a very good chance that someone will hold onto them), the prospective Suu An Kou seeker faces yet another issue, one that I would simply call “temptation.”

Imagine that there was a 0.1% chance for you to win $1,000,000, no questions asked. So of course you take the opportunity, but as you move closer and closer to that cold million, another sign pops up:  “Go for $100,000 instead and your chances of gaining a cash prize go up to 50%!” Then another flashes in giant neon letters, “$200,000, 25% chance to win!” Similar deals continue to pop up over and over again and try as you might, you can’t seem to block them out of your mind. What should you do?

In a situation like that, I wouldn’t look down on anyone who settles for less. Hell, I would probably abandon the million myself, but that’s essentially the obstacle that stands in the path of those who seek the Four Concealed Triples. Along the way to getting that Yakuman, you are continuously enticed by hands that, while not nearly as majestic as the Suu An Kou, can still be quite good, and to ignore those hands is almost as insane as ignoring a 50% chance to get 100 grand for a 0.1% chance at a million. Here, the biggest obstacle is that you are constantly being steered away by appeals to your rationality and common sense, and when your aim is to take huge risks, that is perhaps the most dire threat of all.

Of course, the probabilities I’ve given are in no way accurate to actual mahjong, but I think they give you a fair picture of it. Call it embellishment for dramatic effect.

If Only It Were a Ra Tilt Instead

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A few months ago, after many hours of intense not-actually-gambling gambling action, I managed to graduate to the next level in the online mahjong client Tenhou. Then, two weeks ago, I squandered all of that and lost so much that I got demoted. From this experience I have learned many things.

When I was telling esteemed Anime News Network columnist and mahjong co-panelist Dave about it, he said that I must be “going tilt,” which I learned was poker lingo for someone whose emotions are clouding his or her ability to play well. At first I denied that this could possibly be happening to me, but in hindsight that was exactly the problem.

It all began when I actually became aware of the points system on Tenhou. On Tenhou, in addition to the scoring in the game itself, between matches you gain or lose what are essentially experience points. The better you do, the more points you receive, until you manage to break into the next level. Lose, however, and points are deducted from you. In my situation, I was just one point away from reaching the next rank, where even barely placing 2nd in a game would have been enough. Conversely, I lost the match hard and then proceeded to lose pretty much every other match following. I kept thinking to myself, “You were so close to moving forward! Just keep at it!” This eventually turned into desperation where I was trying to just win something, which pretty much had the opposite effect. And all that while, I was constantly looking back at my points. I became too obsessed with seeing those numbers go up and it completely affected my skill and it cost me.

While my life was not on the line, from this experience I can relate to Nangou in the first episode of Akagi. Nangou is in deep, deep debt to the yakuza, and in his mahjong game against said gangsters he is desperate for any sort of win, but this desperation also prevents him from accomplishing anything. He is too afraid to take risks when he should, and so behind that even a glimmer of hope for a high-scoring hand means he’ll go for it even when he has almost no chance of accomplishing it. It is not until Akagi himself arrives that Nangou is able to break the self-induced spell and play as he should, foregoing his frantic scurryings for a confident charge forward. For me, the realization hit when I ended up dropping down a rank.

From that, I looked at myself and figured out some of the tendencies that arise in me when I’m desperate. The first is to be bothered when someone declares riichi very early in the game. When one goes into riichi, it appears a bold declaration that they are about to win. Under normal circumstances I welcome the challenge, but when I’m going tilt it becomes almost nerve-wracking, and I get so eager to finish a hand that I easily throw away tiles I shouldn’t, as opposed to when I’m right of mind and am able to alter my hand much more readily. That leads me into the second sign, which is that I get too attached to achieving certain hands, and become too unwilling to deviate. This is more than just a matter of going for high-risk hands when I shouldn’t, because even the cheaper, easier to assemble hands can result in the same trap. When you’re aiming for pinfu (a hand that is special because there is absolutely nothing special about it) no matter what, pinfu starts to feel surprisingly distant. Even my favored ikkitsuukan (full straight) does its best when my hand gradually morphs into it, as opposed to when I am consciously aiming for it.

Although this can be attributed to simple probability, I have a rather occult feeling about it, which is that fear is a big problem in mahjong. Without the ability to overcome fear, the hand is often unable to progress and transform. Sometimes I have to be able to abandon a seemingly grand potential because in reality it is a stifling noose that keeps me and my hand from growing within the game.

Konya wa Hurricane

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Yesterday, soon after I made my post announcing my return to Ogiue Maniax, I decided to get in a game of online mahjong. I figured, it would be a good way to settle in, to get comfortable with my new surroundings in a way walking around taking in the environment doesn’t (though I did that as well so no hikikomori antics here).

While I did not do so well for the first game I played, the second game brought a very pleasant surprise.

What you see here is my second ever Yakuman against human opponents. Unlike my previous one however, it fortunately doesn’t require a whole lot of explaining.

For those of you who haven’t read my previpus mahjong posts, “Yakuman” are the highest-scoring hands in mahjong, and by extension also the most difficult to achieve. The one I achieved here is called “Sousuushi,” or the “Lesser Four Joys.” It’s also known as the “Lesser Four Winds,” as all of the tiles necessary to achieve this Yakuman are designated as the “Wind” tiles.

Now I have only been in the Netherlands for a few days now, but one thing I’ve noticed is that it is always windy. At first I figured it was just the time of the year, but according to the locals this is the norm. There’s a reason the Nether Gundam is a windmill, after all. Having scored a wind-based Yakuman while I’m in a country that’s known for being windy, I can’t help but feel that’s a sign of good things to come. Call me silly or perhaps even “occult,” but it gave me some joy after all. Not an overwhelming amount mind you, but it’s still there.

So what I’m saying is, if you’re in Ireland and you manage to get an “All Green,” you’re good to go.

Chun Lead

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To commemorate the different yet similar directions we’re all taking in life, kransom, Sub, and I decided to have a couple of sessions of 3-player mahjong yesterday. We sadly could not find a 4th person, but 3P does well in a pinch; this is exactly the kind of situation it was made for.

For the Otakon mahjong panel, Sub and I mentioned that he’s a little more of a “digital” player and I’m a little more “occult,” which is to say that he looks more towards statistics and probability and I play more with intuition. At least that’s what we like to think. I’m pretty sure we’re both actually pretty bad and these kinds of distinctions don’t apply to our low level. However, please humor me for a moment when I say that yesterday’s session made me realize that I am indeed more of an occult player than Sub.

In one hand, I ended up getting 3 of the Chun, or red dragon tiles, early on. This is a good thing, as it means my hand automatically has value and the ability to win. Then kransom discarded the 4th Chun, and in most cases I would have no reason to steal the tile as the action itself doesn’t make the Chun tiles any more valuable, and in fact in many situations is a bad idea. But I had a hunch, an odd feeling, that I should take the tile.

Now when you declare “kan,” or the fact that you have 4 of the same tile, you get to draw an extra tile. This turned out to be a dud, but soon I realized that my intuition was slightly off. The real surprise was when the next dora indicator was revealed, and it turned out that Chun was the new dora (dora being a sort of supplemental bonus multiplier in mahjong).

So suddenly my 1-multiplier hand became a 5-multiplier hand, bringing its minimum potential score from about 1300 points to 8000 points, and it all had to do with a sudden feeling. In the end, I ended up having a 16000 point hand.

Sometimes I talk to people who play Poker, and from what they’ve told me, the only approach to Poker is scientific or digital. I’m sure that’s fun, but I’ll stick to mahjong.

It was really a great game, and I’m glad to have comrades in both mahjong and anime.

Otakon 2010: I Don’t Believe It. That’s Unbelievable.

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At this point, having gone to Otakon for the past four years, I feel it safe to call myself an Otakon veteran to some degree. In terms of what to expect, this year didn’t feel that different from all the previous times I went, but a lot of things have happened to me over the past year or so, makes me think I’ll reflect back on Otakon 2010 particularly fondly.

Ogiue Maniax’s Panelist Debut

Otakon 2010, from July 30th to August 1st, was the first time that I came to the convention as a panelist. And I had two to boot!  It may have been obvious from all the posts I made about panel preparations, but I really wanted to do a good job and I really wanted people to come to the panels, so up until I finished both of them, I had been very nervous.

The mahjong panel, titled “Riichi: Japanese Mahjong, Anime, and You” was a collaboration between me and Sub over at Subatomic Brainfreeze. With a 9:30am Friday timeslot when a good portion of the con hadn’t even been registered, and a fairly obscure topic like mahjong, we were both worried that our panel attendance would amount to our friends and acquaintances, and while we would have been glad to teach them about mahjong, our real goal was to reach those people who were only barely familiar with mahjong anime. Fortunately, the turnout was better than we had ever expected, and while I am to understand that our panel room was the smallest of the bunch, we still managed to pretty much fill the whole room, getting approximately 160 people to listen to us talk about an old Chinese tile game and the way it works in Japanese cartoons.

The Riichi panel itself also went far better than we expected. Knowing how much information there was to convey despite the fact that we had already decided to cut large amounts of information, we had practiced the panel on multiple occasions, barely finishing on time. But while our practice sessions felt kind of strange and awkward, the actual panel itself had an amazing energy to it. Both Sub and I were playing to our strengths, playing off of each other, and we managed to give all of the information we wanted to while also keeping the audience entertained. We even finished early and had a good amount of time for questions! From this experience, I have learned that Sub and I make a good paneling team and I look forward to the next opportunity we have to do a panel together.

By the way, for those of you who were at the mahjong panel but were unable to copy down the URL for the additional mahjong resources, here it is.

My second panel was also on Friday, but at the opposite end of the day at 11pm. Entitled “Portrait of a Fujoshi: The Psychology of Ogiue Chika,” this joint effort between myself and Viga the Otagal was in many ways a culmination of what I had been doing on this blog. Last year, Viga challenged me to do a panel all about Ogiue, and that’s how we ended up on stage.

I understoood well that even if a good portion of the convention was into yaoi and Hetalia and the like that they would not be interested in deep character analysis, so while the panel attendance wasn’t as high as it was for the mahjong panel, it was still quite impressive, and once again we managed to play off the energy of the audience and each other and give a good presentation, with me giving a more subdued approach. Also, once again, where practice netted us a panel that had about 10 minutes worth of Q&A, the actual thing gave us three times the amount. While I wish we had prepared more, I think we did a good job of expressing what makes Ogiue such a great character and why we connect so well to her (and why you should too!).

When I think about it, doing a panel on a single character is unusually rare at an anime con. You have panels about Evangelion, but never is it a panel specifically about Ayanami Rei. I hope we can start a trend at anime cons, as I think it’s a worthwhile way of running things.

I don’t know if any video recordings are available so I apologize for those of you who were unable to attend but wanted to see them. I also want to say thank you, thank you from the bottom of my heart, to all of you who attended my panels. I hope you enjoyed them.

Now having panels at both extremes of the day has its drawbacks, but it also had the great benefit of avoiding conflict with the majority of events, thus freeing up the rest of the con for me. As is the case with every year, my primary mode of entertainment at Otakon is the panels, both industry and fan. Fortunately or unfortunately however, I found that there was still too many entertaining things crammed into a single weekend and I still had to sacrifice one panel for another.

Industry Panels

In terms of guests, I was not looking forward particularly to any of them this year, but I’m glad I attended the Q&A’s that I did as all of them provided incredible insight into the industry, with Mitsuya Yuji’s panel perhaps being the most informative of all. Attending his Friday panel, the voice acting veteran told us how voice acting became a “profession” rather than a side job for dramatic actors and how voice acting should come from the entire body and not just the voice. He also talked about how in the old days, if you flubbed a line, rewinding the film reel and readjusting everything was a huge pain, so mistakes were a big deal.

Throughout the panel, Mitsuya showed us what it was to truly be a voice actor, from passionate yells (he delivered a passionate “CHOUDENJI SPIIIIIIN” on more than one occasion) to voice changes to even the change in jobs given to you as you age and can no longer be the handsome male lead. Also, seeing as his debut voice acting role was as Hyouma, the main character of Combattler V, I asked him the question I had asked of Macross director Ishiguro and Gundam creator Tomino: What were your experiences with legendary anime director Nagahama Tadao?

Mitsuya gave us the impression that Nagahama was an incredibly passionate man. Gentle and understanding, he took his role as director very seriously and pushed Mitsuya to improve his performance. Mitsuya had originally tried out for both the lead Hyouma and the rival Garuda, and Nagahama made him redo his Garuda takes ten times. When asked if this was typical of a mere audition, everyone said that this was highly unusual. Mitsuya would later find out that all of this, from the audition to the strict voice sessions, were all signs of the fact that Nagahama had seen the amazing potential Mitsuya had and wished to nurture it into something greater.

Maruyama Masao was back again this year. The head producer over at Studio Madhouse, in my opinion the best anime studio there is, Maruyama is a staple of Otakon, but despite the fact that he comes pretty much every year, I look forward to it every time. This year we finally learned that Redline, the series he had been working on for six years which he also mentioned at numerous past Otakons, is finally getting a theatrical release in October, though its director also passed away before it could debut. Redline is  high-intensity anime, resembling the most elaborate portrayal of F-Zero ever, and Maruyama claims it will be the last truly hand-drawn anime ever.

Otakon was also the American debut of Welcome to THE SPACE SHOW, a feature-length film from the animation team which brought us Read or Die and Kamichu. As such, the creators were also there at Otakon, and managed to have an informative Q&A session. I gave a question targeting mainly Ishihama, the character designer, asking if he felt there is a trend in anime films to move towards simpler character designs which lend themselves towards looser and more whimsical animation. Ishihama responded that he believed there is indeed such a trend, but that there is also a counter-trend present, where more detailed, less fluid animations are also becoming popular.

As for Welcome to THE SPACE SHOW itself, the movie is quite fun but is too unfocused. The story of kids who travel into outer space in a way reminiscent of Galaxy Express 999, the film had opened up many good directions the story could have gone but ended not taking very many of them and losing a good deal of its potential. The film also dragged on after a while in a way where even the expertly animated sequences and wonderful set of aliens felt less exciting overall. At the Q&A session, we learned that this was the team’s first feature-length work, and in hindsight it really showed.

The only American industry panel I ended up attending was the Vertical Inc. panel with Ed Chavez and Peepo Choo author Felipe Smith. Ed, responsible for all of those Vertical Vednesdays I keep talking about on the blog, is about the most personable marketing guy in manga. While giving hints at interesting new titles coming in the future (including another Tezuka title), he also showed that he has some strong opinions on manga, stating that Vertical would not license Yokohama Kaidashi Kikou because “I don’t like it.”

Fan Panels

I had a lot of fun with the fan panels I attended, which mainly focused on exploring elements of anime and manga but I also attended some fun ones too. In the “elements” category there were three panels:  “You Don’t Like Moe and Here’s Why,” “The Changing Faces of Anime,” and “The Life and Times of Akiyuki Shinbo.” In the “fun” category, there was Anime World Order‘s “10 11 Anime You’ve Never Heard of But Must See,” the “Mecha Fan Panel,” and Megaman in Anime and Manga.”

The moe panel focused on the concept as a phenomenon and the meanings it gains as it has become a part of the industry itelf. It took a while to get off the ground but eventually found its footing, and the best advice I can give to the panelists is that more can be done to bridge the gap between what they are talking about and what the audience understands.

The Changing Faces of Anime panel, run by Evan Minto of Ani-Gamers, was a literal look at faces in anime, discussing changes in character designs over the years. It was a good panel which generated even better discussion, and it’s a difficult topic to tackle in only an hour.

The Shinbo panel, presented by wildarmsheero, showed that he had clearly done his research on the eccentric director and took a look at all the stylistic elements Shinbo loves to employ in his works. It ran a big long, forcing the Q&A session to be cut.

The “Must-See Anime” panel was very entertaining, though it was focused less on recommending good shows to anime fans and more about showing amazingly obscure anime that were difficult to obtain and had a lot of excitement value (but could still be good shows). I know that I’m going to track down Natsuki Crisis and other titles. Also, while obviously the clips themselves say a lot, it also doesn’t always convey some of the more overarching positives of a title, so more talking might be a good idea.

The Mecha Fan and Megaman panels meanwhile were fairly similar, giving the history of mecha and Megaman in Japanese graphic fiction. I won an old issue of Nintendo Power at the Megaman panel, and enjoyed the liveliness of the mecha panel, but I think that both could benefit greatly from delving even more into their topics. The Megaman panel also suffered from everyone reading from their scripts too much. It was very obvious that everyone at the panel was an expert in the field of Megamen, and I think removing the script would have made it more personable. On the other hand, it also showed the best Rockman.exe opening, so it’s all good.

Entertainment

While neither was truly the start or the end of the convention, I find that the opening ceremony and the Home Made Kazoku concert act as nice bookends to the con proper, mainly because of the positive impression Home Made Kazoku made on the audience at the former, which led to great anticipation about their performance for the latter. A hip hop-oriented Japanese group, their music and live performance was really infectious, and I think that music-wise it was a great success for Otakon this year, especially when I found out that the shamisen-playing Yoshida brothers managed to fill the concert area so tightly as to nearly be a fire hazard.

Speaking of fire hazards, the talk of the town was clearly the fire alarm Saturday Afternoon which forced all of the nearly 30,000 attendees to evacuate the Baltimore Convention Center. Given the general immaturity of the con crowd (including whoever actually pulled the fire alarm), I was pleasantly surprised to see people doing the right thing in the even of the fire: leave in a calm and orderly manner. Even the most rambunctious anime teen knows not to mess with this sort of thing, which brings a smile to my face.

Food and Friends

But going to a con isn’t just about the anime or the guests, it’s about meeting people and having a great time doing so. The con begins on Friday, but the con experience truly begins the Thursday before, from the point the bus arrives, and only really ends when we get back home. This year’s Otakon featured the return of glorious Brazilian Buffet, being amazed at the evergreen awfulness of G-Saviour while watching it in the hotel room, large gatherings with people relaxing and joking about, and amazingly deep discussions about everything anime and manga.

As I rode the bus home with my travel companions, we discussed for about four hours straight the very nature of enjoying anime and manga, as well as their qualities as creative forms of expression, and it made me realize just how much better conventions are when you add the human element to it.

I love it, and love makes Otakon better, I can guarantee you that.

Nandoga Nare: Let’s Get Ready for Otakon 2010

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Otakon is this weekend, and I am psyched. Not only that, but if you didn’t know before, I’m doing two panels this year. You’ll find both of them on the Otakon Schedule, but just to make sure, I’ll highlight them below.

Riichi: Japanese Mahjong, Anime, and You
Time: Friday, July 30 at 9:30am
Location: Panel 4 (Hilton Key 11-12)

If you’ve watched such popular anime as Akagi and Saki, you’ve been witness to the ancient game of mahjong– and you had no clue what the players were doing. Maybe you’ve even tried the game and found the complicated rules too intimidating. We did too! But we managed, and today we’re here to show you that it can be done. Let us enlighten you on the basics of Japanese style, or “riichi” mahjong, its appearances in anime and the entire genre of manga devoted to it, and how to play this fascinating game!

Portrait of a Fujoshi: The Psychology of Ogiue Chika
Time: Friday, July 30 at 11:00pm
Location: Panel 4 (Hilton Key 11-12)

Throughout the series “Genshiken,” the character of Ogiue Chika goes on a journey of development, tackling topics such as self-image, childhood trauma, and the many perils of being an otaku-in-denial. Come, if you want to really delve into the mind of Genshiken’s most psychologically complex character with a panel brought to you by the experts on angry fujoshi characters, Ogiue Maniax and Viga the Otagal!

Now I understand that the first panel is very early and the second panel is very late, but I think you’ll get a kick out of both, particularly if you are a fan of both Ogiue and mahjong (I’m sure there’s a lot of you out there).

I’ll also be running around with the above image around my neck. It’s a special badge for this year that I’ve put quite a bit of thought into. You might even be wondering, “Are those a random assortment of tiles below Ogiue to reference the mahjong side of things?” But they’re not.

The hand is a Hon Itsu, or Half Flush, signifying Ogiue’s self-image of “impurity.” It also contains bamboo tiles, as the Ogi in Ogiue means “reed,” with the added benefit of the 7 of bamboo resembling Ogiue’s paintbrush hairstyle. They’re all odd numbers because Ogiue herself is odd, and the east and north tiles are in reference to the fact that Ogiue is from “Tohoku,” the northeast region of Japan. Finally, the hand is also a Chii Toitsu, or Seven Pairs, because Ogiue is a fujoshi who likes to come up with pairings.

See you in Baltimore!

It’s Been a Long Time, But Let’s Mahjong!

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It’s been a few months since I’ve been able to attend, but tomorrow is another four-hour-long mahjong session with the guys over at the US Professional Mahjong League. I’ve had a whole lot of fun every time I’ve been there, and there’s nothing like playing the game in person.

If you’re in the New York City area and have some modicum of mahjong experience (having only ever played online is okay!), then you should come check it out. Don’t forget to RSVP on the official site.

Once again, it will be at:

Simple Studios
134 W. 29th Street (b/t 6th and 7th)
2nd Floor
New York, NY 10001

Map to Location

The event will be on Sunday, July 25th from 3PM to 7PM

Experience real tension with real mahjong!