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King Kirby Over: New York Comic Con 2009

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New York Comic Con 2009 came and went, and all I have to show for it is some good memories, some good friends, and an autographed copy of Crisis On Infinite Earths. Good times.

I got to the Jacob Javits Center Friday afternoon, and with the benefit of a professional pass was able to enter the con without too much waiting. It was in this early period that I managed to get an autograph from Marv Wolfman, one half of the creative duo for the first Crisis series. I also got a chance to meet Peter Laird, co-creator of Teenage Mutant Ninja Turtles. I then looked for the panel rooms, but could not find them in time and missed one of the panels I wanted to see. Instead, I got to sit in on a panel devoted to building manga collections for libraries. Apparently the answer is “Kazuo Koike.” Sage advice that I will not argue against. I also got an autographed sketch from Mike Krahulik (Gabe) of Penny Arcade. He drew a Witchalok.

At some point I met up with Sub and other friends, and Sub and I tried to get tickets for the Friday showing of the new Yatterman live-action movie, but a deadly wall of raving fangirls prevented us from getting tickets. Apparently the lead actor playing Yatter-1 was one Sho Sakurai, a super popular j-pop boy band singer, and the fangirls were willing to do anything to get close to him. The Yatterman booth attendants had planned on bringing Sho Sakurai down, but when they saw the fangirl mob they told them that Sho Sakurai cannot come down in that current situation, and if they all left the area he would arrive. Naturally, this caused them draw in closer to the booth, and ultimately led to Sho Sakurai canceling his appearance.

Sigh, fangirls.  And I bet they didn’t even appreciate the Yatterman movie they diligently lined up for, and then squealed whenever Sho Sakurai was on-screen. Please do not tell me if what I said was actually true, because I’m really afraid.

We then saw the new Futurama movie (funny, not really good as a movie), and then ate at a nearby diner and talked about a variety of topics, as we all ranged from super American Comics fans to Anime fans and Sci-fi and everything in between despite being a relatively small group. Good fun for all.

Saturday’s crowd was, as expected, much larger than the Friday one. The first Saturday highlight for me was the Penny Arcade panel, as I have never been to PAX and thus had never seen them in person prior to getting that sketch on Friday. It was really a hilarious panel, and I recommend that anyone who gets the opportunity to go see them, even if you’re not much of a fan of Penny Arcade, as they know how to make a panel enjoyable.

The real high-point of NYCC Saturday though was a blogger dinner with many fine individuals, though the way we ended up sitting at the Tick Tock Diner, I spent most of my time with Sub, Evan of Ani-Gamers and the Reverse Thieves, Narutaki and Hisui and also Kohaku. Missing the Rodeo Burger of Burger King, I decided to construct my own. Also, the fact that you can order just plain cereal at a diner never ceases to amaze me. The topics of conversation ranged from Godfrey Ho Ninja Movies, Segata Sanshiro, Gold Lightan, and uh…teachers from our youth who turned out to be pedophiles…

Anyway, it was really great.

After dinner, some of us joined another group consisting of the Ninja Consultants, Dave (minus Joel), the paranormal Ed Chavez, among others, and we sang most excellent karaoke. Sub joined with me on a number of anime songs that began with Yuushaoh Tanjou! and included Ai o Torimodose! and Chala Head-Chala, finally concluding with KING GAINER OVER. We’ve done it before, but I think every time we try (key word being try) to sing King Gainer Over, it leaves us with a newfound appreciation for the song.

Sunday was relatively uneventful con-wise, though I attended the Penny Arcade How to Make Comics panel which was intended for elementary school students and ended up being populated by mostly adults. Funny how that works. The best part was that the PA guys did not change their lesson in any way.

Jerry: How long have you been drawing?”

Mike: (speaking to audience) Why, I’ve been drawing since I was YOUR age!”

Sunday’s con ended pretty much with me getting the last autograph given out by George Pérez, the other half of the creative duo responsible for Crisis On Infinite Earths, making my copy now Perfect. I actually had been looking for him all weekend, but some misinformation on the part of the con made it so that I had to rely on a friend to tell me exactly where he was located.

This is probably a good time to talk about some of the issues I had with the con, some legitimate, some simply personal preference. First was that there was NO schedule chart for the con on the website or with the con guide, and it made scheduling for anything impossible. At some point I just decided to abandon the notion of having a well-constructed plan for the day and just did whatever, as you may have noticed. Also the con guide itself was horribly out of date, which just compounded the problems.

New York Comic Con is a professionally-run for-profit convention, and it shows in many ways, not least of which is the fact that the Dealer’s Room is the centerpiece of the whole thing. Being located in NYC, home of Marvel and DC Comics, it allows them to get a lot of professionals and to really play that part of it up. This is good in that it gives you access to a lot of pros you wouldn’t meet otherwise, but the overall result is that a lot of the panels have a pure PR-type of feel to it, and only guys such as the Penny Arcade dudes can bridge this gap. Compare this with the also-professionally-run New York Anime Fest, which had its share of problems too but also had a greater fan aspect to it, with panels run by non-professionals.

NYCC is also, at least for me, a commuter con, and commuter cons feel very different from cons for which you stay at a very nearby hotel. I prefer the latter. I also have this strange feeling that the con floor is not good for walking as my soles were aching all day.

But I criticize because I love. Or something.

The con was over, but the day was still young, so a group of us consisting of some common friends, the Reverse Thieves, and Sub traveled to Kinokuniya and Book-Off, where we claimed many wonderful prizes. The highlight for me was another volume of La Sommelière and a copy of the Matsumoto Leiji manga Big Metal III. Sub purchased many excellent things, and I’m expecting him to review them all. YOU’D BETTER, MAN.

Riding the train home, saying my farewells (until next time), it was overall an enjoyable con, though murder on my feet.

I leave you then with this realistic rendition of Sho Sakurai fangirls at NYCC.

Be Mindful of Your Surroundings: Dennou Coil

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In 2007, Dennou Coil hit the anime scene and blew everyone (who watched it) away. Touting one of the most impressive production staffs in recent history, Dennou Coil went on to win numerous awards, even one that was not exclusive to anime. If you want a very basic idea of Dennou Coil and its level of quality, keep in mind that it won some of these awards alongside Tengen Toppa Gurren-Lagann. Dennou Coil however is nothing like Gurren-Lagann, general excellence aside.

In the world of Dennou Coil, the latest craze among kids are these special glasses which let them see a nearly both the real world and cyberspace mapped 1:1. This isn’t a Digital World that whisks you far, far away, this is simply a digital world. If there’s a garbage can in the real world, there will be on in the cyber world exactly where the real one would be, though for the safety of everyone it doesn’t work the other way around. “Dennou” literally means “Electric Brain,” and is one way of saying “computer” in Japanese.

The story focuses on two girls both named Yuuko, who each get nicknames based on the spelling of their names in Japanese and their basic personalities. Okonogi Yuuko, nicknamed Yasako for her gentle personality, is an elementary school girl who inherited her cyber-glasses from her grandfather, a man who was central to the development of the glasses. At the start of Dennou Coil, she has just recently moved from her home town to Daikoku City where her grandmother lives. Amasawa Yuuko, nicknamed Isako for her confidence and bravery, is a girl the same age as Yasako. In an environment where mischievous kids with a little bit of know-how in manipulating the virtual landscape call themselves hackers, Isako is known as a “programmer,” someone with intimate knowledge of the cyber world far exceeding the norm.

Daikoku City is a playground of sorts for those who wear the glasses, as kids compete with each other to find shiny, crude digital stones known as metabugs, which translate directly into currency in the virtual world, which translate into tool such as laser beam attacks and steel walls with which kids can participate in general shenanigans. Keeping them on their toes is a very robust and merciless anti-virus program named “Satchii” that will attack anything that doesn’t belong, which includes the illegal add-ons most kids are equipped with in Daikoku City.

Dennou Coil was produced by Madhouse, one of the oldest Japanese animation studios and responsible for an incredible range of works such as Ace o Nerae!, Cardcaptor Sakura, and Kaiba. The project is headed by Iso Mitsuo, a key animator for Giant Robo OVA and FLCL who is the head writer, director, and original creator of Dennou Coil. Animators include Honda Takeshi and Inoue Toshiyuki, both of whom have worked on Kon Satoshi’s movies such as Millennium Actress and Perfect Blue.

To say the least, Dennou Coil is a very impressive show.  The show’s themes and general feel are always changing, always keeping you on your toes. Sometimes it’s about kids having fun in a world meant for kids. Sometimes it’s about exploring the mysteries of the virtual world and outrunning Satchii. At one point, Dennou Coil turns into survival horror. And the amazing thing is, it all makes sense given the world of Dennou Coil. It is consistent without being predictable, and varied without losing focus. As I watched Dennou Coil from start to finish, I had one thought sitting strong in my head. “Ah, so this is what it’s like to have a show planned out from start to finish.”

You have shows which are described as “a little bit of everything,” but Dennou Coil, to paraphrase Chef  Boyardee, Jr., is “a lot of bit of everything.” It evokes a sense of discovery and wonder in the little things in life that I really enjoy in shows. The world of Dennou Coil is deep and robust, and the more academic anime fan could probably write multiple theses on some of the ideas present in Dennou Coil. The show’s major plot lines get stronger and stronger as the series progresses, and does so in a way where you can notice that they’ve been building up to the climax. Single-episode stories are also present, and they range from the silly to the heart-felt. Even the recap episode is entertaining as it takes place from the perspective of a character who normally doesn’t get to speak much. The storytelling is subtle without being excessively obtuse. Vital information is explained only as far as you need to know. The animation is amazing, with quality that is almost unheard of for a television series, especially in recent years. A great number of the staff members have extensive experience as animators and it shows, from the way characters interact with the environment to the way they express themselves to the world of Dennou Coil itself runs on a day-to-day basis. And the characters in Dennou Coil are among the best I’ve ever seen.  In terms of visual design and personality, the characters are distinct without being shallow, and the character  development in this show is on another level entirely. They learn and grow, they laugh and cry, the emotions that run through them all feel incredibly genuine, a “realistic virtual world” in a very different sense.

I have not re-watched Dennou Coil since finishing it, but I definitely know that it’s the kind of show that can be viewed repeatedly. Dennou Coil has a lot of depth from its animation quality to its writing, from its world to its characters, but that depth and sophistication has no high entry barriers. You can enjoy the show at any level, as it will reward you no matter what.

Wine Is in Her Blood: La Sommelière Volume 3

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The central theme of La Sommelière is that wines are capable of carrying special meanings for people from all walks of life, with very different levels of experience with wine. Volume 3 exemplifies this theme even more than in previous volumes. In this volume, the wine-tasting men are separated from the boys, L’espoir gets a new chef, old men get a new lease on life, and apprentice Sommelière Itsuki Cana learns that her father Itsuki Kouchi, whom she’s never met, was once infamously known among Japanese wine enthusiasts as the “Swindler.”

When the assistant of Japan’s #1 wine critic Minoshima Ryouichi visits L’espoir with revenge in mind, he instead is tricked into believing a bottle of Lieu-Dit Clos de Mont-Rachet is a real Montrachet. Shocked that he could fail despite all his time spent with Minoshima, Minoshima explains that the key to the deception was that the wine was served late. Chardonnay, more than even other white wines, is influenced heavily by small changes in temperature, and the increased dryness that resulted from a slightly warmer bottle of Clos de Mont-Rachet was able to fool his inexperienced taste buds. Minoshima then fires the assistant and kicks him out of the car. For Minoshima, fine wine is like fine art, and to be strung into a petty squabble over wine diminishes everyone involved.

In one instance, Cana comes across a self-proclaimed “genius chef” named Mizushima Kazuki who laments that not only is all wine terrible but that the people of Japan are unable to appreciate his cooking. Cana reprimands him, and gives him a glass of vintage 2000 Domaine Carneros Le Rêve, a California wine which won the title of “Best Sparkling Wine in America.” The flavor of apples, lychee, and carneros, a unique combination indicative of the diversity of America, shows Mizushima that perhaps the fault lie not with his patrons being unable to appreciate his cuisine, but rather with Mizushima being unable to understand the tastes of his customers. Grateful, Mizushima ends up being L’espoir’s new chef when their old one quits.

In another instance, Cana serves two decades-long business partners a 2004 Müller-Thurgau, a Japanese white wine from Hokkaido. The two men are shocked that a Japanese wine could be so delicious. Cana goes on to explain that the history of the wine was similar to their history as business partners.  The Müller-Thurgau vineyard began in 1975 with the goal of creating a respectable Japanese white wine. However, Hokkaido’s climate is unsuitable for making wine, and a general trend at the time towards red wine and away from white made it even more difficult. Despite these disadvantages, the Müller-Thurgau persevered and found success, much like them.

Finally, in the case of Cana’s father, an old friend of his named Saeki (a rich, wide-eyed, elderly man introduced in Volume 1) explains  to Cana that the reason he was known as the “Swindler” was because Kouichi was notorious for passing off cheap wines as valuable ones. To reinforce his point, Saeki shows Cana the wines that her father left behind as a legacy,  all of them inexpensive French wines such as Chateau Tour Des Gendres Bergerac Rouge. However, Cana immediately realizes that her father wasn’t trying to deceive people, he was trying leave behind the message that all wines have their place in the world. This point is made stronger by the fact that despite Saeki’s own extensive collection, these simple wines are nowhere present except in Kouichi’s box.

Wine plays a very significant role in La Sommelière. It dictates the pacing of the narrative, and educates while simultaneously enhancing the story and drama. The story now has two underlying plots: Cana’s pursuit of the mysterious benefactor John Smith, and the history of her father Itsuki Kouichi. The artwork continues to be very appropriate given the subject matter, and the conventional panel layouts lead the viewer’s eyes well. Everything works together to just make it a pleasant reading experience. Whether you read just one chapter or all of them, La Sommelière is the kind of story that lets you take in as much as you want.

Armored Trooper Votoms: Part 3

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In an interstellar war between the nations of Gilgamesh and Balarant, a woman designated “Proto-One” is the galaxy’s first Perfect Soldier. Genetically modified for battle and having her memories artificially placed to give her all of the necessary knowledge to be an efficient killer, she is highly prized as a military weapon and has been prepared for nearly every situation. However, her encounters with a stoic mercenary named Chirico Cuvie provide the biggest shock of her life: the emotion known as love.

Named “Fyana” by Chirico after an intense encounter in the anarchic city of Uoodo, they eventually escape the planet together at the end of the civil war in Kummen. There’s no time for a honeymoon however, as they are immediately abducted by an abandoned spaceship that seems hell-bent on reminding Chirico of his bloody past. Episodes 28-39 of Armored Trooper Votoms trace Chirico and Fyana’s lives as they both begin to figure out who they really are. We also get to see the other side of the war for the first time as the Balarant military makes its appearance.

I’ve criticized the romantic side of Votoms in my previous two reviews, but their time aboard the mysterious spaceship improves that aspect tremendously. You’re never really sure how they ended up in love, but now that they are, they love each other in a way that two soldiers unfamiliar with emotional response only can. The “Deadworld Sunsa” arc of Votoms is very different from the first half of the series, as it lets the viewer truly see for the first time the relationship dynamic between Chirico and Fyana. Previous mention is made of Chirico’s past as a “Red Shoulder,” but it is only now that we are given the knowledge that to be a Red Shoulder is to be a member of the most ruthlessly efficient and barbaric military group ever known. As both Chirico and Fyana are biological engines of death and destruction, it appears that their tacit understanding of each other despite barely knowing each other only brings them closer. Chirico is willing to fight to the death for Fyana and vice versa, and woe is the enemy who ends up in the targeting sights of either one.

The forced trip to Sunsa gives us the opportunity to see space battles in Votoms, and just as the tactics of warfare must change from city to jungle, so too must they be modified for a zero-gravity environment. Votoms isn’t exactly trying to be a 100% accurate depiction of inertia as it applies to fighting in space, but it does a good job of showing how both Chirico and Fyana must handle enemies that can come from any angle, and later battles on Sunsa show tremendous creativity without dispeling the realism that Votoms is known for.

Like the previous two arcs of Votoms, Deadworld Sunsa can be treated as a stand-alone series, but part 3 has far more connections to the underlying plot that drives the entire show. New characters introduced give the viewer a better understanding of the Perfect Soldier program and the nature of the Red Shoulder platoon. Old friends and enemies reappear, though not necessarily where you expect them. In every case, they impact Chirico and Fyana in myriad ways. By the end, the desire for the truth is what will compel you to keep watching.

East Coast Tokyo Baby Where You At: Hands-On with Tatsunoko vs Capcom

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Yesterday, thanks to a heads up from Sub, I got the opportunity to play Tatsunoko vs Capcom. Now, I’m nowhere near good at fighting games though I’ve played more than a few, so you won’t see any insightful comments on strategy and metagame and what-not.

Instead you’ll just see me talking about how awesome Gold Lightan is.

Ready for it?

Gold Lightan is very awesome.

I hear he’s not so good in actuality, but I really don’t care. Ryu threw his Shinku Hadoken at Gold Lightan and the Big G was all, “Whatever man,” and totally chopped him in the face. I also tried characters like Roll and Tekkaman (while narrating), and overall it’s exactly what I wanted out of TvC: A really faithful crossover.

Characters move how they should. When Casshern jumps back, he does the HIBIKE TATAKAE KUDAKE flip from the opening. Chun-Li’s Spinning Bird Kick is animated with grace and glory. As per the theme song, both Gatchaman characters have the Science Ninja Phoenix for supers. Sadly, Casshern does not have access to Friender Jet.

I tried playing Marvel vs Capcom 2 in college just against the computer, and I couldn’t even get past the 4th opponent. The game was confusing beyond belief. While TvC is cut from the same cloth, it also doesn’t seem nearly as visually distracting which I can only put down as a positive.

All in all, a great time and a good game, especially when I pretend Gold Lightan is a giant golden Mario and stomp on people like they ain’t no thang.

As a reminder: Gold Lightan? Awesome.

I also played Arcana Heart for the first time. It’s going to be the start of another post, but not the kind you might expect.


A Compromise of Visual Design: Watching Minami-ke Okaeri Episode 1

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I normally don’t like to do  “episode 1 posts” of any series, but I felt that I needed to respond immediately to Minami-ke Okaeri while my reaction and feelings towards it and its visuals are still fresh in my mind.

The show is done by the same company that did Okawari (asread) as opposed to the first season (Doumu), which is generally considered the “worse” Minami-ke show, but I read that asread was bringing some of the original staff along to work on this new season. Whether that’s true or not, it’s clear that Minami-ke Okawari is trying to be more like Season 1.

The visuals end up being a mix of the two seasons, with what feels like an overall lower budget. That sounds like an insult, but it really isn’t. I have no proof, but seeing as almost everything is suffering these days I’m almost certain anime is getting less funding too. The show tries to adhere more to the visual style of Season 1 with its sparse shading, but the highly saturated colors resemble Okawari a lot more, especially in the backgrounds. More than the differences in style and animation, the color scheme was what I think really set apart the first two seasons.

Some of the animation does seem stiff and not up to the level of the stuff in Season 1, but I think that’s also because I’d gotten acclimated to Season 1’s style. Watching Season 1 after watching Okawari, it took time for my eyes to readjust, and now watching Okaeri after not having watched any Minami-ke for a while, it might be simply a case of my eyes needing to adjust once more.

Even if their attempt to mix the look of Season 1 and Okawari doesn’t succeed in the end, I’ll at least know that they tried.

If they give more Minami Touma scenes, then that’d also be just dandy.

And joy.

Legend of the Galactic Heroes in 50 Words

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This is a self-exercise to try and convey Legend of the Galactic Heroes in a few words. A later, more complete review may find itself here eventually.

In a war spanning the galaxy, two heroes emerge on opposing sides. The unorthodox Yang Wen-Li and equally brilliant Reinhard von Lohengramm must deal with not only the enemy light years away but also corruption at home. War, politics, philosophy, and love are intricately woven together in this epic tale.

Sing a New Song, a Song of Generations: Macross Frontier

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Note: While I’m not going to make it a requirement to read my previous episodes 1-13 review, I’d still recommend it before reading this one. There’s also minor spoilers for the other Macross series, but that’s kind of inevitable if you’re already watching Frontier.

Macross Frontier is the newest series in the Macross franchise, celebrating the 25th anniversary one of the most fondly remembered anime series ever. While not the first sequel to Macross, it is also the one that, for better or worse, tries the hardest to translate the emotions of the original Macross through the lens of today’s anime.

The original 1982 Super Dimensional Fortress Macross asked its audience many things. What are you willing to do for peace? What potential does humanity have for growth? What role does culture play in understanding one another? Taking place in a time when the world had just recently discovered peace after years of war and turmoil, the people of Earth are confronted by an alien race of giants whose only purpose in life is to wage war. Though these “Zentradi” were superior to the humans in nearly every way, the one area in which they had no knowledge turned out be both their downfall and their redemption: culture. Introducing the Zentradi to concepts such as love and sorrow through the emotional singing of pop idol Lynn Minmay, in time the Zentradi began to co-exist with humans. Thanks to technology that allowed the Zentradi to shrink to human size (a process called miclonization), some even married across species and bore offspring.

Nearly 50 years later, the two races have integrated to the point that it would not surprise a person if most of their friends were at least part-Zentradi. In that time, the people of Earth have begun to actively colonize outer space, discovered the dangers of artificial intelligence, and encountered a species that was more spirit than flesh. The Macross Frontier is the 25th colonial Macross-class ship, entrusted to venture through the galaxy to find a planet with a hospitable environment on which humans could live. Amidst its travels, the Macross Frontier is attacked by a race known as the Vajra. Unlike the Zentradi who battled with the human race nearly five decades earlier, the Vajra are inhuman, insect-like creatures, with an unreadable hive mind. Reasoning with them is not an option.

Three people aboard the Macross Frontier hold special significance. One is Saotome Alto, a student and former actor whose feminine looks allowed him to pass for a female when performing. Due to the attack by the Vajra, he decides to become a pilot of a Valkyrie (the humanoid-into-jet transforming robot symbolic of the Macross franchse) to repel the threat. Another is Sheryl Nome, a famous pop idol originally from the Macross Galaxy colony who happens to be holding a concert when the Vajra invade. Stranded aboard the Frontier, Sheryl uses her talents to try and keep hope alive for the distraught inhabitants. Last is Ranka Lee, a girl with no memories of her childhood. Ranka is a huge fan of Sheryl, and is inspired by her to pursue a singing career of her own, though there may be more to Ranka’s singing than simply talent and enthusiasm. Alto, Sheryl, and Ranka all become friends but as time passes their feelings change, both towards each other and towards the battle against the Vajra.

Ranka’s older brother is a tough, no-nonsense Valkyrie pilot who tries to hide his job from Ranka to keep her from worrying. Alto’s fellow pilots include a mechanical wiz, Luca, and a ladies’ man, Michael, whose playboy tendencies infuriate his childhood friend, the Zentradi pilot Klan Klan. Klan Klan, herself a highly skilled pilot, suffers from the fact that miclonizing her also regresses her physical age, something which Michael pokes fun of her for mercilessly. Grace is Sheryl’s manager who also recognizes talent in Ranka. Nanase is Ranka’s friend and biggest supporter of her career, and also the target of Luca’s affection. These are among the many supporting characters of Macross Frontier. They intertwine with the primary characters and themes of the show while still making their personal stories feel important.

Macross Frontier’s character designs may lack the subtlety of Mikimoto’s (the original Macross character designer), but Ebata Risa and Takahashi Yuuichi clearly worked hard to tie visual design with personalit. They make it easy to recognize every character even if you barely remember them. I wouldn’t say they’re better than Mikimoto’s designs, but they at least reflect current concepts and conventions of character design without seeming stale in the process. The animation can go off-model every so often, but the same thing happens with pretty much every other Macross series. Macross Frontier also has some of the best use of CG ever in an anime TV series. Never before have 3-D graphics been so well-integrated into both the every-day environments as well as the epic, space-rending battles which so emphasize the significance and destruction of war.

Romance against the backdrop of war is the driving force behind the Macross franchise, and Macross Frontier is no exception, though it takes particular care to put everyone through periods of happiness followed by periods of duress, both mental and emotional, in order to reveal their true characters. How does humanity handle interacting with a race so unlike anything familiar that it is impossible to humanize them? How far can Alto run away from his past? How different are humans, really, from the Zentradi’s old ways? How does the confident Sheryl handle being shunted out of the public spotlight in favor of Ranka? Where do people stand in the struggle between freedom and security? Why does Ranka sing?

Whereas romance and war are the bones and muscles of Macross, music is the blood and nerves. Music is one of the most important aspects of the Macross franchise, so much so that Macross Frontier saw it fit to have two main characters as singers. Music is power. Music is what brought giants to their knees and peace after war, but Macross Frontier teaches us that even the benevolent power of music can be twisted in unexpected ways. The songs of Sheryl and Ranka perhaps say more about their characters than any lines of dialogue. Sheryl’s songs exude power and confidence with just a hint of vulnerability, while Ranka’s songs reflect the highs and lows of her emotions. Their songs are markedly different from the humble pop of Minmay, or the rocking ballads of Fire Bomber, toeing the line between human and inhuman, between authentic and manufactured, but ultimately leaving one with the sense that this is is new, that this is truly the music of 2047.

Macross Frontier is not just a modern Macross. It is not just a new Macross, nor is it simply the new Macross. From its music to its storytelling to its characters to its questions, Macross Frontier is New Macross. It is a series which carries on the francise’s 25-year-old spirit and accurately invokes this current age of anime and society.

He’s the Angry Video Game Otaku

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In a previous post I talked about how someone has had the courtesy of translating episodes of Yu-Gi-Oh!: The Abridged Series into Japanese and uploading them to Nico Nico Douga for the Japanese to enjoy. It turns out someone else has been doing the same with James Rolfe‘s most well-known internet phenomenon, the Angry Video Game Nerd (formerly known as the Angry Nintendo Nerd).

And just like with Yugioh Abridged, the fun comes from seeing how the Nico Nico Douga viewers respond to it (they love it), as well as seeing how his very American style of talking translates to a language which just doesn’t have the slang and syntax that English does. So how do you translate James’ expletive-ridden mouth into a language which simply doesn’t have the same take and history in regards to verbal obscenities? The answer is that you don’t.

Whoever the translator is, he’s opted for the spirit and not the letter. “Fuck” gets frequently translated to “kuso.” When there’s a long string of curses, the goal of the translation usually seems to be to convey his anger and not necessarily his exact language and often doesn’t even try to match the number of swears. And in some cases, certain puns or instances of wordplay don’t get translated at all to keep the subtitles simple and easy to read.

So sit back and take it up the ass in a foreign language, courtesy of Nico Nico Douga and Cinemassacre.

Planes that Never Land: The Sky Crawlers

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Oshii Mamoru, director of Ghost in the Shell and its sequel, is very well known in both the American anime fandom and the American artist’s community for his striking visuals, attention to environment and detail, and philosophy-charged narratives. With that in mind, I attended the US premiere showing of Oshii’s latest movie, The Sky Crawlers, adapted from a novel by Mori Hiroshi. Even if it didn’t turn out to be a good movie, I at least knew that I was in for something interesting. In recent years, the declining birthrate has beeen a major issue in Japanese society, and a lot of the suspects fingered have to do with the idea that the youth of japan is having a difficult time accepting the responsibilities of adulthood. The Sky Crawlers, being a movie about literally eternal youths,  seeks to address this topic.

The Sky Crawlers is set in the middle of a long war where battles are mainly fought up in the sky by small groups of planes. Kildren, humans who cannot age past a certain point, are a common sight on the battlefield. Kannami Yuuichi, a skilled pilot called into a small base in the middle of nowhere as a replacement, is himself a kildren. Upon arriving, Kannami is initially struck by a strange sense of déjà vu, especially around the female base commander and fellow kildren Kusanagi Suito, but is quickly drawn into the daily routine of a war with no end in sight, unsure of where life will take those who refuse to grow up.

Whatever the intended message is, the delivery used in Sky Crawlers is very unusual. Yes, there are characters. Yes, there is a plot that I’ve described to you. How much they actually matter to the movie as a whole, however, is something I am unable to determine, at least not without a second viewing. Major plot points are delivered quickly and casually, with no clear distinction that they’ve just occurred, and overall the purpose of the movie seems to go beyond telling a story about people doing things to achieve a goal. Whether it’s fighting, talking, relaxing, or having sex, the events in the movie and the elements of the story all intentionally blend together into a disorienting haze, like trying to recall what you ate or what you wore exactly ten years ago.

On a visual level, the movie is as expected of Oshii, who places a strong emphasis on environmental shots. Like his more recent works, Oshii continues to push the incorporation of 3-D and 2-D animation, and though the difference is glaring at first, your eyes will eventually adjust to it and treat it as being a natural part of the movie. The Sky Crawlers also does a very good job of making the viewer lose all sense of proportion. A seemingly endless sky separates one base from another, and for all the advanced technology incorporated into the planes, when they disappear into the clouds they might as well not exist.

I came into The Sky Crawlers expecting at least something interesting, but what the movie did was destroy my sense of distinction between interest and boredom. I kept watching, unable to tell if I was being entertained or if my mind was drifting away. My memories of this movie are blurry at best, and I can’t help but feel that this was the intention all along.