Category Archives: moe

Voting has begun

Posted on by

Midnight (in Japan). The hour is upon us.

http://changi.2ch.net/vote/

Ogiue’s Saimoe 2008 Second Preliminaries: August 1st

Posted on by

Ogiue is among the many characters in the first round of second preliminaries for Anime Saimoe 2008. She has some stiff competition ahead of her, so if you truly believe Ogiue to be the Moest then you should take some time out of your day to vote for her on AUGUST 1st, 2008 which to many of you will be JULY 31st, 2008 because Japan is in its own timezone.

The official voting area is located on 2channel on its Voting Board, usually labeled something like アニメ最萌トーナメント2008 投票スレRound＃＃.

The threads close automatically at 1000 posts or if they exceeed I believe 512kb so watch out.

To learn how to participate, please consult this earlier post detailing the steps needed in order to cast your vote in Saimoe.

Oh, and for those of you who are waiting for the main tournament, all I will say is that if you do not vote for Ogiue here, then she will have no chance of getting into the main tournament.

Oh, and Hyuuga Hinata’s up too, though shounen jump characters never really stand a chance, which is a shame.

The Legend of the Running Yuno

Posted on by

As some readers might notice, I finished the original Hidamari Sketch anime only a few days ago in order to prepare myself sufficiently for the new season, Hidamari Sketch x365. It turns out that nothing would have prepared me for x365.

It is Hidamari Sketch to the extreme, but in the most soft and pleasant way possible. Because it’s Hidamari Sketch after all.

Supposedly Shinbo received huge sums of money because of the DVD sales of Hidamari Sketch (thanks Japanese otaku consumers), and with that giant pile of cash, which I assume was given to him in either some sort of non-descript briefcase or a giant sack with a prominent dollar sign, he made a money bath and rubbed it all over his body.

After those 10 hours, he went and created eye-exploding animation.

I am not kidding, if you haven’t seen the new season and you’ve watched ANY of Hidamari Sketch, I recommend checking it out.

Every time I go to watch another show I find myself gravitating towards Hidamari Sketch x365 episode 1 just to watch the animation again.

In fact, I think I’m going to do that right now.

A new legend is born, and she is…Running Yuno.

Also Sleeping Yuno and Jumping Yuno.

(Guest starring Upside-down Miyako).

Anime Saimoe 2008: Preliminary Affection

Posted on by

Once again we in the anime fan community are faced with the ultimate contest of the gods, the Anime Saimoe Tournament. Run by a mighty engine that can be a god or a devil, Saimoe pits the anime girls against each other to see who the otaku of the internet deem to be the most moe character of that year.

In recent years, foreigners have been encouraged to vote, and as such an English translation of the rules have been posted, as well as a Chinese one. Just as a warning, the instructions are kind of cryptic (“Voting will occur in the voting location”) so it can be pretty confusing. 2channel uses a rather unusual thread system where posts are locked and archived after 1000 replies, so keep in mind that there is no SINGLE Saimoe thread.

It’s not really feasible for me to keep updating the voting threads constantly, so I’ll leave that to the popular anime forums, unless it really matters to me.

Currently, the tournament is undergoing preliminaries, where voters can choose who among the ENTIRE pool of female characters of 2008 are worthy enough to get into the tournament proper. The most important thing to keep in mind here is that Ogiue’s preliminary round is on July 22nd, 2008.

When it gets near Ogiue’s voting date(s) I’ll further clarify what needs to be done, but keep her in your mind and in your heart.

Skin-deep Personality: Thoughts on the Categorization of Anime Girls

Posted on by

As anyone who reads this blog would know, I like girls in anime, and I like moe. However, there are times when even I question the kind of conversations that arise from talking about female characters and what effects they’re having on fans.

Growing up, I was taught various lessons on beauty, namely that inner beauty trumps simple appearance. “Don’t judge a book by its cover.” “It’s the inside that counts.” Adages such as these shaped the idea that while physical beauty is more prominent in society, emotional beauty, personality, and character are considered to be deeper aspects to admire. While I do not discount physical beauty in people be they fictional or otherwise, this idea of personality trumping looks is something I still believe in. In anime, especially with the current prominence of moe, something which I think is much more personality-based, with moe visuals derived from personality, this seems to be the case.

However, with the increase and proliferation of moe terms, it can sometimes feel like character traits are no different from physical traits. Calling a character a tsundere becomes not much different from calling a character a busty redhead. Personality can become just as simplified as appearance and turns into something very immediate, very at-the-surface, and easy to fetishize. Liking a character for their personality becomes just as shallow as liking someone because they have nice legs.

Sexualization isn’t the thing that bothers me. Rather, it is that the type of sexualization that can occur as a result of this categorization of traits makes it difficult to see if someone actually genuinely likes a character or not. If I ask someone why they like a character, and they say, “Because she’s a shy twintail tomboy meganekko,” then I myself wonder, “Is that REALLY why you like them?” If an entire conversation is spent simply throwing out these categories as descriptions in lieu of actually talking about the characters, it can give the impression that these characters are undeveloped and shallow. Maybe they actually ARE that shallow sometimes and it’s all in good fun, but it still creates the feeling in me that personality becomes just another facet of a character to get gratification from, rather than something to cherish on a deeper level.

This is I assume a personal thing, and I don’t expect others to necessarily feel this way. I’m not faulting anyone for doing this, nor am I criticizing the existence of otaku vocabulary, as I do this myself pretty often. Still, there’s this gnawing bit of doubt that can occur when I see it when I think a real dialogue or discussion should be occurring.

Various Thoughts Concerning American Cartoons in Japan

Posted on by

I recall at some point someone (possibly me) asking my high school Japanese teacher what animation she watched as a child. I think everyone was expecting an answer like Tetsuwan Atom or Candy Candy or something, but her answer was “Tom and Jerry.” She was apparently quite fond of it as a child growing up in Japan.

American cartoons have a long history in Japan, what with Tezuka idolizing Walt Disney, but today we’re at an interesting point in this cartoon exchange. Rather than American cartoons inspiring Japanese ones, or Japanese people being “secretly” responsible for American cartoons, both countries are well aware of the other’s creative exports, with anime becoming a fairly common word in English (is it that Pokeyman stuff?!), and American cartoons making their way to Japanese cable.

According to Craig McCracken, Spongebob Squarepants is a huge success in Japan, doing much better than his own Powerpuff Girls, which necessitated the creation of Powerpuff Girls Z to try and appeal to the Japanese market better. South Park has also found some popularity, and it makes me wonder if the appeal of South Park and Spongebob in Japan is the absurdity of their characters and situations.

I used to joke that I would start subbing “The Boondocks” into Japanese at some point. A lot of the humor of Boondocks, like South Park in its later seasons, is very political, using the (relative) innocence of children to illustrate a point about society, so I thought it’d be amusing to try and translate this aspect for a culture that is not intimately familiar with race relations in a country with so much history and diversity in this regard.  Suffice it to say, I was shocked when I found out that Boondocks had in fact been dubbed into Japanese. Still later, the second season of Boondocks was moved from a Korean studio to Studio Madhouse, one of the most famous animation studios in Japan. To what extent were the people watching on Japanese cable able to understand the deeper meanings involved in Boondocks? While I don’t really have an answer, I can’t help but wonder about this every time I hear Riley say, “Niigaa.”

Cartoon Network has its own station in Japan, and through it many old classics are brought to Japanese viewers, as well as newer shows such as Teen Titans and Samurai Jack, two shows which are inspired by anime to varying degrees. A more recent show to come out in America and to hit the shores of Japan is Ben 10, the cartoon by Man of Action about a 10 year old boy with the power to turn into different aliens who fights menacing aliens with the help of his grandpa Max and his cousin Gwen (pictured above). As far as I can tell, Ben 10 is not widely popular but it does have its fans, and some have even drawn fanart. Not surprisingly, it seems as if most of them are primarily fans of Gwen before anything else. I get the feeling it’s because she is surprisingly moe for a western cartoon character. Some call her “tsundere,” though something about that description doesn’t quite line up. Maybe a new term is needed.

“American Tsundere?”

The Tsun to Dere Ratio

Posted on by

For better or worse, tsundere are an increasingly common character type in anime, and as stated by the illustrious Shiraishi Minoru, they generally come in two flavors: traditional tsundere who are tsun and slowly become dere, and modern tsundere who switch between tsun and dere frequently. As one might expect from referring to the latter as “modern,” that type of tsundere is more common these days.

This isn’t about discussing which one is better or worse though. What I wonder about is why there has been this shift in the first place. I don’t think it’s as simple as otaku wanting instant gratification or that their attention spans are getting smaller, though those things could actually be happening. Could it be in its own way a fight to make more female characters with an aggressive side to them, or an attempt to soften aggressive characters? Maybe the answer lies somewhere in the middle, as any fan of tsundere will tell you that the appeal comes from the combination of the two sides, though I think they will disagree on specifics.

In thinking about the appeal that the tsundere has for viewers of anime, the notion of risk/reward comes to mind. With a modern tsundere, it is very obvious when a character is acting “dere.” The first instance of the switch from tsun to dere happens very early to establish it as part of their character. For a more traditional tsundere, the switch happens much later. The traditional tsundere also tends to be less abusive towards their love interests than the modern variety. Do you get strong love after much effort, or do you get a strange, convoluted love regularly such that you’re not sure if the girl is interested at all?

In looking at traditional vs modern tsundere, their specific appeal is actually pretty different. A traditional tsundere can be won over by a guy through sheer effort. Even if she doesn’t like him at first, the guy tries so hard to be the man for her that she is moved by his genuine interest in her. It appeals to the nerd in the sense that what they lack in good looks or charisma they can make up for in passion. A modern tsundere however is more like a girl who is secretly shy, a girl who is afraid to admit that she like a guy. This is more for the guy who believes that maybe, just maybe there is a girl out there who likes him but neither side is brave enough to initiate conversation.

Effort vs Potential.

Time vs Space.

Baccano Uguuuu~

Posted on by

The typical joke leveled at Kanon and other similar shows is that the characters’ appeal can be summarized by calling them “damaged goods.”

I find myself watching Baccano! (and the extra episodes which have started coming out recently) waiting for the moments which show just how off-kilter or mentally deranged some of the characters are. And every time they bring in a new and even more damaged character it just makes me want to watch more. Ladd Russo and his twisted code of ethics (if you can call only wanting to kill people who don’t want to die a “code of ethics”), Graham Specter’s endless rambles, if there’s a manly equivalent to the “damaged goods” type of moe this must be it.

Misuzu tripping on the ground and Rail Tracer covered from head to toe in blood?

Totally related.

Dai Gurren Dango Dai Kazoku: Kyoto Animation’s Clannad

Posted on by

Oh, Furukawa

More than any other company in the world, Key associated with the concept of moe. It is responsible for revolutionizing the visual novel with its heavy emphasis on tragedy and empathy. The heroines of Key games are deeply flawed (some might say too flawed), and to care for them is to feel the pain of your own existence. Their fantasies come with a price.

Kanon and Air, two of Key’s most famous works, were adapted into animated series by Kyoto Animation with great success. They remained faithful to their original source material while adapting them to fit the needs of the television series format. In 2008 they took on the third of the “Seasons” tetralogy (each major Key game takes place in a different season of the year), Clannad.

Clannad is the story of Okazaki Tomoya, a young man in his senior year of high school, whose aspirations in life have been rapidly fading away ever since he had a falling out with his father a few years ago. A chance meeting with Furukawa Nagisa, a shy, soft-spoken high school girl with a love of anthropomorphic snacks, and her desire to re-establish the defunct Drama Club puts Tomoya on the path to rediscovering what it’s like to have hopes and dreams.

The gentle Furukawa Nagisa, the starfish-obsessed Ibuki Fuuko, the introverted genius Ichinose Kotomi, the athletic and aggressive Fujibayashi Kyou, and the dangerously powerful Sakagami Tomoyo comprise the main heroines of Clannad with significant story time devoted to all of them. Behind them is an even larger cast of secondary and minor characters, chief among them being Sunohara Youhei (Tomoya’s best friend), Fujibayashi Ryou (Kyou’s twin sister), and Nagisa’s parents. However, don’t take my brief descriptors as evidence of the characters being shallow or underdeveloped. They are all given time and room to express the many facets of their characters, even the minor ones.

Delving into the characters’ pasts can at times become overly reliant on exposition, and though I am a fan of exposition in general I’ve found the best moments in the show come from when Clannad does not present you with all of the facts. The most notable example that comes to mind is a moment where Youhei, in an angry outburst, hints at the reasons why he and Tomoya became best friends. No more explanation is necessary to understand Youhei’s character at that point in the story.

Clannad is Key improved through years of experience. It doesn’t break any genre conventions, as it is still, at its heart, an anime based on a relationship-heavy visual novel, and it has its cast of cute, moe female characters, but it and the people at Kyoto Animation did try some new things to set it apart from the other Key adaptations.

Clannad, while still very much a conventional Key-style moe drama, does do a few things different from its predecessors. Aside from a few exceptions, there is less emphasis on the supernatural. Also, Kyoto Animation structured it differently compared to Kanon and Air. While there is a strong focus on each of the main heroines and the series can be divided into chapters, the girls do not suddenly stop mattering when their story arcs finish. Nagisa’s story is the most notable, as it is developed throughout the series, from episode 1 on. It clearly puts her in the position of the Clannad heroine, though based on any remote amount of information or even the events of the first episode this should not be a surprise or a spoiler to anyone.

The character designs in Clannad are much like the ones used in Kanon and Air, and they are the most prominent aspect associated with Key, even more than their penchant for supernatural tragedy. There are no surprises in this regard, though the school uniforms are much better designed compared to the ones worn in the previous two major Key works, and the spring-time setting of Clannad results in a more subtle atmosphere for backgrounds and overall artwork. The series also has a surprising amount of animation for a show so heavily based on words, but at this point it’s par for the course with Kyoto Animation.

Clannad is not entirely based in sorrow and anguish, and in many respects it is lighter on the tragedy than the previous Key series. It has more than its fair share of comedic moments, most notably with Fuuko, and it blends the lighter and heavier sides of its story with a sort of deftness that’s not easy to achieve. More than likely, this is the result of both Key and Kyoto Animation gaining experience working with these types of narratives.

If you’re not a fan of the Key-style moe, then Clannad is probably no exception. Clannad is the flavor of Key distilled and refined, and those who treasure its taste will be pleased.

Why I Like Ogiue, Part 4, or Being a Man who is a Fan of Ogiue

Posted on by

As I stated in my previous post, I spoke to the Ninja Consultants at New York Comic Con, and among the topics we discussed were of course Genshiken and Ogiue. Erin pointed out to me that, as far as she knows, the majority of Ogiue fans in the US (or at least in the New York area) are female, and being a male Ogiue fan is kind of an exception.

Ogiue being more popular among girls than guys makes perfect sense, actually. Female anime fans would of course relate to the fujoshi that is Ogiue. It’s all obvious, with hindsight.

And yet, this fact didn’t really hit me just how rare a breed I am until Erin mentioned it. And I know that there are other guys out there who like Ogiue, just not as much as me, which I’m sure is a huge shock. The real point though is that it seems like not many of them are big, big fans of Ogiue, at least not compared to the number of girls who are.

What makes Ogiue stand out to me so far above other characters is the fact that I’ve been very fond of her every step of the way. From her brash, one-armed introduction to the club, to the revelation of her psuedo-real-life fantasies and denial of such, to her gradual softening and then hardening, to her acceptance of herself and her relationship with Sasahara, I was pretty much a fan from day one as anyone who’s read this blog will know.

And all along, I’ve been evaluating Ogiue from the perspective of a male otaku, not that I can evaluate from any other. And of course, I’ve also been doing this with every character I see. I don’t plan on talking extensively on gender roles in anime any time soon, but it just leaves me thinking about my position among anime fans at large, half of whom are female.