It Was Me, Jin! It Was Me All Along!: Hashikko Ensemble, Chapter 20

Why fight when you can sing? It’s Hashikko Ensemble Chapter 20!

Summary

Tsuyama (of the Mimi-sensei-loving quartet) and Orihara fight under the former’s mistaken belief that the latter sexually assaulted Mimi-sensei. Evenly matched, the situation is eventually defused when Mimi-sensei herself explains that nothing happened and Hasegawa lied about Orihara squeezing Mimi-sensei’s breasts. Tsuyama and his friends still discover it’s Shion who’s the true “culprit,” but at least a couple of them don’t seem to mind at all.

Jin uses the audience gathered from the fight to his advantage, and suddenly announces a 4 vs. 4 singing competition between the Chorus Appreciation Society and Tsuyama’s group.

We learn in a flashback that Tsuyama is actually a pretty good singer, but they’re not exactly ready for this contest. The music teacher Takano-sensei offers to help them. Also, unbeknownst to his friends, the gorilla-like Ogawa (nickname “Ogre”), goes to the Chorus Appreciation Society for help in learning how to sing better. The reason: he doesn’t want to hold the others back. Jin begins teaching him about how to deal with being out of tune.

Back in the present, Tsuyama’s group are about to sing “Cherry” by the Japanese pop group Spitz (Mimi-sensei’s favorite band) against the Chorus Appreciation Society’s “Viderunt Omnes,” when suddenly, Ogawa hands his microphone over to Akira, in what looks to be a shocking betrayal!

Not the Best Handling of Rape as a Subject

I want to preface this minor criticism by saying that I don’t think Kio Shimoku is trivializing or supporting rape in any way, and what I sense from the story is that this little fiasco is more about a false rumor run rampant. Hasegawa, for her part, didn’t even say the word okashita (variously “rape,” “violated,” etc.)–it was Tsuyama who interpreted it that way.

However, given the increasing awareness we as people have about women not being believed when it comes to sexual assault, having a girl like Hasegawa start this rumor is not the best look for the series. For me, it’s not a deal breaker, and I still love the heck out of Hashikko Ensemble, but it’s potentially playing with fire.

Anyone Can Improve Their Singing

Jin makes a helpful point this chapter about how getting better at singing in tune depends on how tone deaf someone is. A person who can recognize that they’re not singing well can, over time, learn to adjust. Someone who is tone deaf, on the other hand, will need another person to tell them when they’re off, but this can still be a path to improvement.

It gives hope to folks like me who are musically challenged.

Friendship Between Misfits

While I originally thought that Tsuyama and his friends might become antagonists of sorts, that doesn’t seem to be the case. Instead, what I see is a group of people who are kind of weird and arguably pretty creepy, but who have one another’s backs. I find it touching that Ogawa thinks so highly of Tsuyama (who encouraged him to work out so that no one could belittle him) that he would go to the enemy for help in learning how to sing. In a way, it’s like these guys are the cast of Genshiken, only all of them are like 10-15% Kuchiki. The clear path is for at least some of these guys to eventually join the Chorus Appreciation Society, but I wouldn’t be surprised at a few twists and turns.

Also, the fact that two of them are into yuri but two of them don’t seem to care that much makes for a small but interesting distinction among their group.

Songs

As Mimi-sensei talks about her fondness for Spitz, the following songs get mentioned:

“Cherry”

“Robinson”

“Sora o Toberu hazu” (“You’ve Gotta Be Able to Fly”)

“Viderunt Omnes” is also brought up again. Orihara basically refused to sing anything else.

Final Thoughts

Despite all the weirdness with Hasegawa, her running commentary for the Orihara-Tsuyama fight is a highlight of this chapter. The way she compares Orihara’s enormous strength to Tsuyama’s speed and technique fills me with glee.

I highly doubt that Akira is doing any sort of real heel turn, but I’m looking forward to how it pans out. I assume that friendship will win over all, and Shion will gain some strange new guardians.

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Masaka Fall in Fall Dato?!: Ogiue Maniax Status Update for September 2019

As autumn comes around once more, and the summer hear theoretically wanes (oh, that climate change), I’d like to say “thank you” to my supporters on Patreon and ko-fi.

General:

Johnny Trovato

Ko Ransom

Diogo Prado

Alex

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

Highlights from August:

At Otakon 2019, got the opportunity to interview with two Japanese voice acting greats, Furuya Toru and Inoue Kikuko. Both of them went great, and I highly encourage everyone, but especially Gundam fans to read them.

And I guess it was a very Gundam month, as I also wrote a piece about my intersecting thoughts between G Gundam and the current state of Hong Kong.

Hashikko Ensemble

Chapter 19 introduces a bunch of new and possibly antagonistic characters, expanding the Hashikko universe a little more.

Patreon-Sponsored

My Favorite Switch Games is pretty self-explanatory.

Closing

This month’s blog coverage is kind of dominated by Otakon, but that’s sort of an inevitability with it being such a big event, and one where I feel that I get the best coverage for interviews and the like. My plan is to do more anime and manga reviews/analyses, as well as a few unexpected topics.

I’m also considering simplifying my Patreon sponsor tiers, as the number gags I introduced to reflect Genshiken fandom might make the whole thing too unwieldy for newcomers. If anyone has thoughts on this, I’d like to hear.

 

Problematic Fans: Hashikko Ensemble, Chapter 19

I forgot to mention it last month, but the series has a Twitter account @hashikko_music. Also, Volume 3 is coming out September 20th!

With that out of the way, on to Chapter 19 of Hashikko Ensemble, titled “God is Dead.”

(I was thinking of adding the chapter title in these reviews. What do you think?)

Chapter Summary

The Hashimoto Chorus Appreciation Society has left Nishigafuchi, and they’ve taken away different lessons. Mimi-sensei discovers that the M-Con doesn’t require conductors, so her training and practice were unnecessary. Shinji finds out that extensive singing can really work out the stomach muscles to the point of pain. And Shion is reminded of how the memory of squeezing Mimi-sensei’s boobs is the key to her keeping her grip soft when playing piano.

In the clubroom, as Jin explains to everyone Nishigafuchi’s ability to minimize the amount of noise in their singing, Himari makes an appearance to deliver Orihara’s earphones, which she’s finally repaired. However, Himari is shocked to see the number of girls there, and after some awkward fumbling while handing over the earphones to Akira, the sheer amount of blushing going on triggers Hasegawa’s romance radar.

Meanwhile, as Mimi-sensei is advising the Volleyball (she wears many hats at school), we’re introduced to a kind of unofficial Mimi-sensei fan club. Its four members hold a grudge against the Chorus Appreciation Society because they’ve heard a rumor that one of the members has squeezed Mimi-sensei’s breasts, though they assume it’s one of the guys. They confront Akira and threaten him to tell them their target’s identity, but Akira, not wanting Shion to get hurt, decides to pretend that he’s the culprit.

However, Hasegawa interrupts and claims that Orihara is the one they’re looking for, even exaggerating the story to be extra obscene and extra gropey to troll them. Hasegawa reasons that they wouldn’t mess with Orihara, and this would end their whole endeavor. Unfortunately, she turns out to be very wrong, and one of the members tries to get into a fight with Orihara. Not long after, a teacher bursts into the faculty office and informs Mimi-sensei of a rumor that she was raped by Orihara, which causes her to do a literal spit take.

The Mimi-sensei Fan Club

The four members–Muro, Naga, Ouga, and Tsuyama–all seem to resemble animals, but I can’t for the life of me figure out if it’s supposed to be a specific reference. They don’t seem to fit Journey to the West, Momotaro, or the Four Symbols. If anyone knows what they could be, I’d be interested to know.

In addition, I like that the chapter points out how this little quartet is viewed with some disdain by other members of the school. They kind of come off as creeps, and you can practically hear the utter loathing in the voices of the Volleyball Club members when the four visit the club’s practice just to see Mimi-sensei. One of the members even calls Mimi “Mimi-kami-sama,” and they’re all obsessed with her large breasts, even more than the rest of the boys in the school. For some reason, they like to compare her boobs to different insect-like creatures, including pillbugs and large crustaceans known as Bathynomus giganteus. Doesn’t exactly sound hot, but…

Shion is the closest thing Hashikko Ensemble has had to antagonists thus far, so I have to wonder if they’ll somehow fulfill that function. Knowing the manga, though, I bet at least one or two (if not all of them) will somehow end up joining the main cast.

Another New Character! What Could It Mean?

The reason why Hasegawa is able to rescue Akira in time is because another classmate, Kurotaki Mai, mentioned the incident. Apparently, she relates to Akira because she also has an unusually deep voice, though Hasegawa thinks it might be something more. In fact, between Mai and Himari, Hasegawa has the impression that Akira is some kind of unrealized Casanova.

Speaking of Himari, I was wondering when she would show up again. The fact that she reacts with such shock at the amount of girls in their clubroom makes me wonder if she’s more nervous around other girls than guys. There’s a lot we still don’t know about her, but she does come across as shy and reticent.

There’s an amusing gag where both Hasegawa and Himari think of the other as looking mean, despite or perhaps because the two have different personalities. Is that another friendship in the making? And could Mai’s deep voice somehow land her in the Chorus Appreciation Society?

Deep Breath Languages and Non-Integer Overtones

I wonder what languages count as ones that require deep breaths. I only speak a few languages myself, and I can’t seem to think of any of them as requiring extensive use of deep breaths or strong use of stomach muscles. It’s a topic I’m fascinated to learn more about–I just wish I knew where to start!

Jin also explains that the key to the beautiful harmony that Nishigafuchi is capable of has to do with “non-integer overtones,” a term I don’t fully understand, but seems to imply an unusual harmonics of some kind. As Shion comments, it’s a difficult word even in Japanese (非整数次倍音, hiseisuujibaion). It appears to be more common of a term in audio engineering, which also speaks to Jin being the biggest sound nerd there is. I guess you could describe him as an audiophile, but that word doesn’t quite fit all the way, as he cares less about audio equipment and more about the science of sound and its interactions with the art of singing.

Wonder Cooooore!

There’s a weird gag in this chapter where the word “Wonder Coooore” keeps getting censored. It turns out that Wonder Core is an exercise machine promoted on Japanese TV.

It’s advertised around the world, including in the US through the Home Shopping Network, but it’s not nearly as funny or interesting.

Songs

No songs this month. Only conflict!!!

Final Thoughts

It’s a minefield to touch on the topic of rape in a joking matter, even if it all comes out of an elaborate misunderstanding (plus intentional obfuscation). I have faith that Kio won’t do anything truly in poor taste, but I still wanted to express some concern. We’ll have to see with the next chapter.

Amuro and Aina’s Excellent Adventures: Otakon 2019

Otakon has long been the anime convention I look forward to most every year. I like how it’s always had an great balance between fan and industry where neither side feels neglected, as well as a panel track that encourages in-depth exploration of topics. This year was no exception, with both great guests and a variety of interesting fan panels. Otakon has also settled into the Walter E. Washington Convention Center quite comfortably at this point, and I have few if any complaints about the logistics of the actual location. The only gaffe I will point out is that there’s still a good deal of miscommunication when it comes to autograph lines, but other than that, it was pretty smooth sailing.

With that said, on to the rest of the con report!

Interviews

I conducted interviews with two voice actors at Otakon: industry veteran Inoue Kikuko (Belldandy, Aina Sahalin, Kazami Mizuho) and legend Furuya Toru (Amuro Ray, Tuxedo Mask, Pegasus Seiya). They’ve been getting some traction on Japanese Twitter, which I find thrilling.

As an aside, I love the press area at Otakon in DC. Not only is it a prime cosplay photography space, making it a lively aspect of the con, but it’s so much more convenient than the old one, and makes it significantly easier to schedule activities.

Panels

Frequent Otakon guest and anime industry super veteran Maruyama Masao had a couple of panels where he went through pretty much every anime he’s ever produced. Most of it was fairly mainstream work from his three studios—Madhouse, Mappa, and M2—but there were a few rare gems like a short by Rintaro and Otomo about them bicycle racing each other. He also mentioned at what point he first started working with various directors and creators. Another thing I came away with was how the sex-and-violence-laden Kawajiri Yoshiaki OVAs of the 80s and 90s had hilarious trailers that would abruptly shift from non-stop action to claiming a beautiful love story was in there, complete with cheesy romantic pop.

Anime in Non-Anime was a fun and entertaining panel from Anime World Order‘s Gerald. Not only was it full of laughs, especially when it came to the news coverage of the Naruto run for the Storming Area 51 Facebook group, but it put into perspective how deceptively large the anime industry really is in terms of reach.

Am I Too Old for This? was a pleasant surprise. Rather than being nostalgic commiseration or an empty pep talk, the panel was an informed look at how the concept of adulthood can coexist with the seeming childishness of fandom. The main takeaway was that managing responsibility, whether that’s taking care of yourself or others (or acknowledging when you need help from others), is the contemporary benchmark of adulthood, and that fandom is compatible with this. There was also an important point about not revealing your power level immediately to uninitiated acquaintances, because you have to deal with the reality of how anime fans are perceived in general society.

Animation in Anime by Evan Minto and Nate A.M. was a varied look at both the history and implementation of conveying the illusion of movement in Japanese animation. I think the panel did a good job of dispelling the notion that there is only one good way to animate, and detailing how the particular challenges of animating in Japan (primarily budget and labor issues) resulted in creators having to do more with less. I wonder how many people came out of it eager to learn about legendary animator Kanada Yoshinori, whose distinct style lives on in the likes of Obari Masami, Studio Trigger, and others.

In 20 Years Ago: Anime in 1999 Daryl Surat of Anime World Order looked back on the year 1999, and the fact that it’s been twenty years alarms and frightens me. Regardless of my own insecurity over the passage of time, it was an effective panel at putting anime’s history into perspective. Some tech hiccups interfered with the panel somewhat, but it didn’t impact the overall enjoyment. He also showed a willingness to not put creators on an unnecessary pedestal, as he called out a famous director who likely exploited one of his voice actors.

My Panels

Nine years ago, I did a panel about this blog’s namesake, Ogiue from Genshiken, and since then, I hadn’t touched my favorite manga as a panel topic prior to Otakon 2019. But thanks to a series of rereleases of Kio Shimoku’s older manga, I was inspired to do a panel that didn’t just cover Kio’s most famous title but his entire manga career. Thus was born Genshiken & Beyond: The Works of Kio Shimoku.

Creator spotlights are not the most popular panels, so there wasn’t a large audience at first, and the next panel being JoJo’s meant those seated at the end weren’t necessarily there to see me, but I think I accomplished what I wanted in going over Kio’s varied and daring manga works. To my pleasant surprise, I even won over a harsh critic on the Otakon feedback forums.

I had a second panel as well, Star-Crossed Alien Lovers…in Robots! with Patz from The Cockpit and Alain from Reverse Thieves. It was a more relaxed panel than my Kio one, and was built around looking at various robot anime that highlight romance amid conflict. My hope is that the panel got people thinking, even a little.

For those who attended my panels, thank you, and I hope to see you next year. I’ve got some ideas in the works…!

Bradio Concert

Having watched the anime Death Parade and enjoyed its high-energy opening theme, I was looking forward to Bradio’s live performance at Otakon, and it delivered in spades. Their attitude and presentation drew me in, and their unique jazz/funk/disco-fusion style is hard not to enjoy. I loved the hell out of every song, and it’s clear the crowd did too, as I could see people practically compelled to dance to the groove. Bradio’s irresistible music is made all the better by the singer’s excellent vocals and sheer range—he pretty much did one song entirely in falsetto without losing any power.

I would see Bradio again, no doubt.

As an aside, I stopped in briefly for the Nujabes Tribute Concert, but wasn’t able to stay long enough to get a good idea of it overall.

Other Notes

I briefly stopped by the Saturday Morning Cartoons subtitled video room. Along with the dubbed video room, the idea was to replicat watching anime from the 90s with commercials. I watched Sailor Moon in Japanese, and like with so many other shows with a merchandise engine behind them, there were tons of Sailor Moon commercials during the actual show. I also got to see a commercial starring the best video game mascot ever: Segata Sanshiro. If I had more time, I would’ve liked to stay there a bit more.

Also, shout-outs to the dealer’s room booth that was selling Precure, Doremi, and classic magical girl stuff I got this fine piece of Princess Comet/Cosmic Baton Girl Comet-san merchandise, and I was definitely tempted to get more. A rare find!

And lastly, some cosplay.

We Never Learn: What’s Best vs. What Results in the Greatest Happiness

The two main heroines of the manga We Never Learn have a dilemma. Each is a natural genius in a specific field, but both of them want to specialize in a subject that is their Achilles’ heel. If they play to their strengths, they will have easier lives, and they might even change the world. But their hearts lie in their weak areas, leading to a conflict potentially familiar to many: what’s “best” for them isn’t necessarily what will make them “happiest.”

I think elements like this are why the series has succeeded in maintaining my interest. It’s an understandable struggle that goes beyond the basic harem fanservice qualities of the manga and anime, and while exaggerated for comedic purposes, is something that plenty of people both inside and outside of Japan have to deal with. Do you pursue the impossible dream, do you aim for stability, or do you try to find a middle point? If you achieve less but enjoy the struggle more, is it worthwhile?

It’s clear that We Never Learn supports is characters long-odds pursuits, even as the culture around the manga often says otherwise. I’m not entirely sure if there’s a deeper message overall, but it’s at least one that resonates with anyone who’s had to deal with the conflict between inner hopes and outer expectations.

 

Kyoto Animation: Ogiue Maniax Status Update for August 2019

What should have been a delightful month of convention goodness took a turn for the sorrowful due to the deaths and injuries inflicted upon Kyoto Animation. Recent news has mentioned that their server data was recovered intact and that most of their old series are archived elsewhere, granting a silver lining to an otherwise dark and cloudy July. It’s no replacement for the loss of so many lives, but it’s something.

In terms of the blog itself, I’m back from Otakon, and you can expect a couple of interviews with Japanese voice actors Furuya Toru and Inoue Kikuko, as well as an overall con report.

Thank you again to my sponsors on Patreon and ko-fi.

General:

Johnny Trovato

Ko Ransom

Diogo Prado

Alex

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

Highlights from July:

In honor of Kyoto Animation, I’m spotlighting the two posts I wrote this past month related to them.

Thoughts on the Kyoto Animation Tragedy

Locking Horns: Sound! Euphonium – Our Promise: A Brand New Day Review

Another sad moment also hit when Geoff “iNcontrol” Robinson of StarCraft fame died suddenly at the age of 33. I never met him personally, but I felt it harder than I expected to.

Hashikko Ensemble

Chapter 18 is a breakthrough moment for the Chorus Appreciation Society.

Patreon-Sponsored

Takamachi Nanoha: Transcending Yet Beholden to Her Childhood

My thoughts on the heroine of Magical Girl Lyrical Nanoha.

Closing

On the upside, the new Smash Bros. character is out, and he’s a ton of fun. The randomness of some of his moves is causing a good deal of debate, and I’m considering writing something about him with respect to this minor controversy.

Also, EVO starts today, with Smash Bros. Ultimate as the Sunday main event! What a time we live in.

Bringing It All Together: Hashikko Ensemble, Chapter 18

Can Akira overcome himself and finally sing in front of an audience alongside his peers? That’s the big question of Chapter 18 of Hashikko Ensemble. 

Summary 

Still at Nishigafuchi High School’s elite Chorus Club, Jin has declared that the Hashimoto High School Chorus Appreciation Society will put on a small performance of their own in front of the other school’s members. Orihara is against it, having noticed that Akira didn’t sing during their prior practice. Still, Hashimoto ends up going along with it anyway.

While there are clear strengths to the group, notably Jin’s singing and Shion’s piano-playing, it’s clear to the members of Nishigafuchi that they’re still not organized as an ensemble—it’s like four different people merely singing at the same time instead of together. Even then, it’s not really four, as Akira continues to stay quiet to the extent that Orihara takes over the entirety of the bass part. But as his club mates continue to sing, even Akira’s timidity begins to recede inch by inch, until he comes in at the very end, unifying the various sounds for a brief moment. Akira inadvertently matches the subject of their song, a star that’s small but manages to shine.

Akira Did It

As I read through this chapter, I really wanted to see Akira overcome his fear, but I genuinely didn’t know if he would. Page after page, they kept singing while Akira kept his mouth closed, and I found myself cheering for him to break through this wall. When it finally happened, I almost felt like I wanted to grab him by the shoulders, and yell, “You did it!!!”

Between suggesting Hashimoto sing in front of Nishigafuchi and encouraging Orihara to just do the bass part himself if need be, Jin is the main reason Akira is in a position to do more than lip sync. Putting him on the spot like that can seem somewhat mean, but I’d like to think that Jin notices Akira’s genuine desire to sing. Just having attention on Akira wouldn’t work, so it’s crucial that Akira be surrounded by his club mates putting their all into their performance—an open invitation to join them.

I believe Jin is clever and cunning enough for all this to be his plan. He can act naïve at times, and in certain ways he is, but there’s a sharp mind behind those eyes.

Culmination of Ideas

Near the end, when Akira finally joins in, Jin’s thinks about how everything is come together for their group. In doing so, he brings up a lot of the terms that have come up in previous chapters—high-pitched tones, low-pitched tones, overtones, and singer’s formant. It’s as if this chapter is there to bring together all these concepts, and to show that the Chorus Appreciation Society has managed a breakthrough. The rough direction that the series has been taking has tightened up.

I read a bit more about singer’s formant—the ability for a singer to sound louder than an accompanying orchestra despite that seeming impossible—and realized that a less technical explanation works in introducing the idea. Essentially, singer’s formant is what opera singers are trained to have, and Akira more or less has this quality to his voice without any sort of practice required. It’s his nine-tailed fox, one might say.

Four in Unison

An interesting thing about the art in this chapter is how it shows the characters at different angles in a way that emphasizes how uncomfortable Akira is, as well as how they’re all over the place as a group. The key angle, however, is when they’re facing left, as it gradually goes from being only able to see Jin and Shinji, to an imagine situation of all four silent, to eventually Akira joining in and completing the group. It’s not easy to convey the impact of a song through image and text alone, but I can really feel that unity and harmony (pun somewhat intended) in the spread above.

Songs

The only song this chapter is “Miagete Goran Yoru no Hoshi o” (Behold the Nighttime Stars) by Kyu Sakamoto. It’s the song they’re planning on singing for the MHK competition.

Final Thoughts

Akira seems to have finally found himself. Now I’m just wondering if his childhood friend Himari is eventually going to sing as well, or if she’s going to be outside the club forever.

I also continue to be entertained by Andou, the sadistic soprano. At the beginning of the chapter, she mentions wanting to here Hashimoto’s performance, but it’s clear that she’s motivated by a desire to see them flounder. To her, something like an out-of-tune band that knows how bad they’re doing is probably the ultimate pleasure. The core group of Hashikko Ensemble is plenty quirky, but this makes it seem like there’s a whole ocean of weirdoes out there.