Chala Head Chala vs. Rock the Dragon and the “Image” of Dragon Ball Z

In a recent blog article, I wrote about how the character of Vegeta in Dragon Ball Z is portrayed differently in Japanese and English, and how this has resulted in something of a divide among fans. The article was a surprising success, quickly becoming one of my most popular posts in recent memory, and the numerous responses I received (especially on Twitter) prompted me to think more about how Dragon Ball Z (and the Dragon Ball franchise in general) is perceived differently depending on how a person came across it.

Is Dragon Ball a gruff fighting series, or a heartful adventure? How big a role should comedy play before it goes too far? Many factors go into how the series is viewed, including whether or not someone started with adult or kid Goku, but I came to realize another influence: theme songs. On some level, I believe that the core difference between how Dragon Ball can be summed up in the contrast between “Rock the Dragon” and “Chala Head Chala.”

Before I delve more deeply, I do want to say that, while I prefer “Chala Head Chala,” my taste in music is not important here. Nor is the fact that “Chala Head Chala” came first. Tthe anime is based on the manga, which has no actual sound at all, let alone opening and ending themes. “Being the original” is not a sound argument to make. What I will be focusing on is mainly, how do each of those themes make its viewers feel?

“Chala Head Chala” feels fairly light-hearted, with quite a few odd lyrics (“If I discover a dinosaur in ice, I want to balance it on top of a ball” ???), yet there’s also a quiet sense of gravitas thanks to Kageyama Hironobu’s warbling voice. While the theme does suggest action and excitement, it emphasizes more a sense of “adventure” and “discovery,” though perhaps not to the same extent as the Dragon Ball opening, “Makafushigi Adventure.” Most of the visual imagery in the opening is concentrated on movement—flying and running. Motion is the key.

“Rock the Dragon” is all about heavy use of electric guitar riffs. The song puts all of its emphasis on high-octane thrills, and the the lyrics (as repetitive as they are) further push to the forefront the idea that this is not just a series with action, it’s the action series. Instead of the first image being a rotating dragon ball, it’s the dragon itself in all of its majesty and glory. All of the footage aside from that is fighting, fighting, and more fighting.

If I had to greatly simplify, I’d say that “Rock the Dragon” is more about “body and spirit,” and “Chala Head Chala” is more about “heart and soul.” They both introduce the same overall series, about Goku and his allies taking on ever-increasingly powerful threats to the Earth, but one revels in the fighting and the other suggests fighting as a means of expressing character. Because of this difference, I think it cements different core images of Dragon Ball in people’s minds, and this affects how subsequent works (Battle of Gods, Dragon Ball Super) are received as well. Looking ahead, the opening of Dragon Ball Super, “Limit Break x Survivor,” is actually a kind of middle point between “Chala Head Chala” and “Rock the Dragon” with a dash of “Makafushigi Adventure.” Could it be the theme that unites Dragon Ball dub and sub fans once and for all?

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Tonight was the Night: The End of VGCW, Video Game Championship Wrestling

Tuesday, May 10th, 2016 marked the final episode of Video Game Championship Wrestling, and the end of one of the most bizarrely enjoyable spectacles I’ve ever known.

VGCW was a federation that used the WWE video games’ “Create a Wrestler” feature to fill its ranks with video game characters, celebrity gamers, and even Vegeta and Nappa from Dragon Ball Z. Pitting not human opponents but rather (often incompetent) computer-controlled wrestlers against each other, VGCW stood out amidst a universe of “Let’s Plays” and eSports titles in ways few other phenomena could. VGCW was the flagship show for the VGCW Network, which also includes a women’s federation and a developmental one.

One of the more fascinating aspects of VGCW was the fanbase that surrounded it. Viewers in Twitch chat would cheer on their favorite wrestlers, despite knowing full well that their rabid typing would not actually affect the routines and patterns of the AIs. While story threads presented by the creators of VGCW provided the stakes for many matches, what has been really the heart and soul of this whole concept of video game AI wrestling is the ability for the fans to willingly give meaning to the actions of these virtual marionettes who represent out favorite heroes and villains.

While the same could be said of actual pro wrestling, the difference is that audience interaction there tells the wrestlers if they’re doing well and if they need to change anything to keep the audience’s attention in a predetermined match. In VGCW, match results are unknown even by the creators.

I remember seeing Little Mac redeem himself by knocking out Dracula and throwing him in a casket. I recall Phoenix Wright returning from captivity to vanquish his alternate-dimension evil doppelganger (affectionately known as Phoenix Wrong), an achievement celebrated by having Fall Out Boy’s “Like a Phoenix” play over the end credits (see above). I enjoyed seeing the Gameshark force the wrestlers to leave WWE 2K14 and enter the N64 game WWE No Mercy. Gabe Newell, founder of Valve, wrestled and defeated Jesus, teamed with Deus Ex 2 hero Adam Jensen, became an all-powerful villain, and died. Scorpion from Mortal Kombat is arguably the greatest champion of all time with his record six title defenses.

For the recent finale, the championship match featured Ganondorf, the only triple crown winner in VGCW history, against perennial underdog Zubaz—a rejected Street Fighter design popularized by the Super Best Friends YouTube channel who became a playable character in the bare-bones fighting game Divekick. On top of that, they actually commissioned former WWE announcer Justin Roberts to announce the match. Calling VGCW a wild ride would be an understatement.

My personal connection to VGCW lied not just in the excitement it brought, but also in that it helped me deal with tension in my life. When I first started watching VGCW, I was still living in the Netherlands, and due to the pressure of trying to finish my dissertation I could sense that my nerves were constantly frazzled. Watching anime and reading manga was fun, but it wasn’t relaxing because consuming titles caused my brain to keep firing on all cylinders. During this time, I found that what soothed the cacophony inside my head was episodes of VGCW. It was, in a certain sense, my version of “healing anime” such as Aria.

I have to give a shout-out to the defunct multiplayer spinoff called “NWTOH,” which first featured a bizarre entrance for obscure Final Fantasy VI character Banon. A shining example of what one might call “anti-cinematography” due to the non-sequitur nature of its transitions, Banon’s entrance can make me laugh so hard that I can literally feel the stress leaving my body every time I watch it:

Although the main VGCW show is gone, it leaves with successors and descendants. All of the more recent episodes are on YouTube, and a little digging around can uncover older ones as well. Women’s Video Game Championship Wrestling (WVGCW) is gearing up for its own finale. Developmental show Extreme Dudebro Wrestling (EDBW) still has some life left in it, and might just step out of the shadow of VGCW now. Belmont Wrestling Alliance (BWA), which will be live tonight, recently made its return, and it has perhaps the most eccentric and eclectic roster of all.

To Bazza, TOH, and everyone who worked to make me and the other VGCW fans sports entertained, thank you.

 

[Apartment 507] Is “Voltron: Legendary Defender” Copying Anime?

I wrote a post looking at Voltron: Legendary Defender and its transformation sequence compared to that of King of Braves Gaogaigar. You can check it out at Apartment 507.

A Couple of Mewtwo Videos For Ya

I decided to make a couple of videos showing some Mewtwo things in Smash 4. Tell me what you think!

Old Spice’s Isaiah Mustafa vs. Terry Crews is the Batman vs. Superman of This Generation

Commercials about deodorant are not a common topic on Ogiue Maniax, a blog dedicated to anime and manga discussion. However, one thing that anime, Old Spice in 2015, and superhero comics have in common is a love of crossovers in varying capacities. With Old Spice, this comes in the form of ads where its two biggest spokesmen, Isaiah “Hello Ladies” Mustafah and Terry “POWERRRRRRRRRRRR” Crews pit their respective deodorants against each other. It’s been a long time coming (and basically instant money for Old Spice), but what stands out to me about these commercials is just how much they actually pay attention to keeping their respective superhuman abilities consistent as they’re utilized to both entice the viewer and outdo each other.

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When placing characters into a crossover, especially one that involves a direct conflict, what’s important is maintaining the strengths and identities of the characters being brought together. Superman is immensely strong, unbelievably fast, and has a variety of astounding abilities, while Batman is extremely intelligent, excels at planning, and puts in more effort than anyone else. Detective Conan is a master of deduction and observation, while Lupin III is renowned for his deception and improvisation. When these characters meet, there is ideally a clever interaction that enhances their mutual reputations, and that’s what happens when Isaiah takes on Terry.

Both Isaiah Mustafa and Terry Crews exhibit reality-bending powers in Old Spice commercials, but they’re uniquely different when compared to each other. Isaiah’s “ability” is that he can quickly and seamlessly transition one environment or object to another without a moment’s notice, owing to his status as the ultimate ladies’ man. Terry essentially invades space through the sheer power of his intensely hyper-masculine personality for men, cloning himself, appearing where he shouldn’t, and even blowing himself up. What you see in these series of commercials is how the two try to one-up and counter each other with their specific skill sets, a battle of equals who realize that the other is just as potent and manly as the other, only in different ways.

Basically, while it’s always been clear that a lot of thought is put into Old Spice’s recent commercials, what we see here is an actual consideration for Isaiah and Terry as unique, superheroic characters. Isaiah can’t do what Terry can and vice-versa, and never is there a conflation of what the two are capable of. It’s the superhero duel the world has been waiting for, and in a way I hope it comes to define and influence all future crossovers in mainstream media and advertisement.

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Wrestling Video Games, Where Performance is Power, and Fiction is Reality

Though I don’t mention it often, over the past year or so I’ve become a fan and regular viewer of Video Game Championship Wrestling, a weekly show streamed on Twitch that uses characters from video games and has them play out both matches and stories similar to an actual WWE show, with free pay-per-views (an oxymoron yes) that cap off each arc. During this time, I’ve come to realize how interesting the concept of pro wrestling video games are.

Whenever a video game is based on a “real world” activity, be it shooting people, playing basketball, or building TCG decks, the games are designed to simulate some activity where the intention is to win or lose. With pro wrestling, however, the point isn’t to overpower the opponent but to put on a show, and to merely mimic the idea that these two wrestlers are really going at it. This is what’s known to wrestling fans as “kayfabe,” or supporting the illusion that everything happening in wrestling is 100% real, and to go off-script or to break that illusion is a “shoot.” In that sense, a wrestling video game is akin to a video game about Shakespeare, where you would have to perform plays in front of an audience and receive their applause.

The gameplay mechanics that go into these wrestling games are a reflection of this performative quality, especially as time has passed and things have gotten more sophisticated. In the “drama” of wrestling, matches go back and forth, wrestlers have “signature moves” that tell you when they have the momentum, and they have “finishers” that generally net them the win should they land. If you look at a bad old wrestling video game, like Wrestlemania for the NES, it fails to follow “wrestling logic.” You punch and kick and never use holds, while occasionally a power-up symbol floats by and makes you stronger. Very few of the wrestlers can even perform their unique finishers, and overall there was clearly little effort expended to make it “feel” like wrestling beyond slapping some popular faces on and making the background a wrestling ring. In contrast, more successful games of the era such as Tecmo World Wrestling do a much better job of replicating the idea of a wrestling match, by doing something as simple as giving the characters unique finishers and having dramatic cut-ins when used on worn-down opponents.

In the case of WWE 2K14 (which VGCW utilizes for its show), there are actual built-in “drama” mechanics such as the fact that a wrestler can make a “comeback” that replicates digging deep when the chips are down.  You have signature moves that can build up into finishers. All of the attacks are things that have happened in the history of the WWE (or at least in some sort of televised wrestling). While there is obviously a wide chasm of difference in terms of technological and graphical power between an old NES game and a PS3 game, what’s more important is that the latter is practically a game whose display is fundamentally based on “storytelling” rather than “competition.”

While this could be extended to, say, fighting games (which take a lot of cues from martial arts films and anime), with the wrestling game there’s a greater sense of mixing up what is real and what is fake because of the origin of the wrestling itself. As with so many things that dramatize combat, certain techniques would never work or would be too impractical in a realistic setting In the game world, but the wrestling video games take it a step further because supporting and maintaining kayfabe is in a way the key to victory. To win is to play along with the rules of wrestling as performance, and to do otherwise is perhaps in its own way a form of shoot.

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Smash Bros. vs Traditional Fighters and What Lies at the Core of Fighting Games

Fighting games at this point are decades-old. While it’s debatable what can be considered the very first fighting game, what is indisputable is which game is responsible for popularizing the genre: Street Fighter II. That game, as well as all of its upgrades, are the standard by which all other fighters are judged, and it’s had a profound effect on how people discuss fighting games in terms of gameplay and strategy. However, if Street Fighter II is the archetype, there are a number of deviations from it, and one that’s become increasingly popular in recent years has been the Super Smash Bros. series.

Whereas in the past these two communities, traditional fighters and Smash, remained fairly separate (and one even unfairly mocked the other for not being a “real” fighting game), over the past year with the release of the latest Smash Bros. games, this has begun to change. One curious outcome of this has been that, when it comes to Super Smash Bros. for Wii U, a number of notable traditional fighting game community (FGC) members have taken to it, such as EVO Champion Infiltration and commentators Ultra David and James Chen, but it has also received negative attention from many players of Super Smash Bros. Melee, what is widely considered the most technical and mechanically difficult game in the franchise. The reason I believe this disparity exists is not only because of a difference in terms of the games themselves, but also a difference in how these respective communities have argued for what makes their games great.

The arguments made by many Melee supporters as to why it’s the superior game tend to revolve around the slew of difficult techniques that expand the range of possible moves available, as well as a heavier emphasis on free-form combos. The idea is that, while Melee is simple on the surface, being a game that was intentionally designed to be more accessible than the traditional fighting game, it in fact hides layers and layers of complexity. What might appear to be a game that is competitively limited due to its simplicity is in fact only the first step into a demanding realm of technical depth and discovery. Super Smash Bros. for Wii U lacks many “advanced techniques” and is slower-paced, and is therefore seen as an inferior game.

Perhaps this reasoning is a product of the way in which the FGC would dismiss Smash Bros. as a whole as “kiddie games,” but, whatever the case, this is the rhetoric that has been built up from Melee, that simplicity makes way for complexity, and that complexity equals depth. In the documentary The Smash BrothersMelee commentator Prog likens the difficulty of Melee to Starcraft, a game that is also known for its mechanical difficulty that leads to a wider range of options for a player, with the idea that this leads to a kind of expressive freedom (though it should also be noted that the documentary’s director, Samox, chose to include that in the first place).

EG|PPMD—recent champion of Apex 2015, the largest Melee tournament ever—shares this sentiment:

EG|PPMD: Melee allows me to express myself on a very profound level. I am not just playing the character, I am my character. I am not just playing against my opponent, I am communicating with that person deeply and getting to know them on a very personal level and conversing on that level with the game as a medium.

Said differently, the depth and speed of the game allow me to really bring myself out. Competition is also incredibly fun! I would be really surprised if another game gave me this feeling, but that would be awesome if it did happen.

In contrast, the most prominent arguments as to why traditional fighting games are great take the opposite angle. Traditional fighting games are known for being difficult to learn on the surface, due to specialized inputs (quarter-circle forward + punch makes Ryu throw a hadouken, while just hitting the “special move” button for Mario makes him throw a fireball) and complex combos, but the prevailing philosophies are of the mind that the ideal core of fighting games, what makes them really worthwhile and competitive, is a foundation of simplicity and elegance, and that this is what leads to depth.

While the above video is super corny, it reflects the lessons taught by great players such as Tomo Ohira, who is featured in that video and is often argued to be the first king of Street Fighter II in its earliest days. For another example, take the fighting game player turned game designer David Sirlin, who argues that what makes fighting games games truly interesting is the level of mental interactions that come from “yomi,” or reading the mind of the opponent. Others such as Ultra David have argued that yomi isn’t as important as developing and executing a strategy, but the emphasis is still on the idea that technical complexity should ideally make way for something more basic and fundamental. This is what drives Divekick, a stripped-down fighting game that attempts to get to the core of fighters by limiting players to two buttons and emphasizing spacing and reads.

Although what I’ve shown above are not universally held beliefs by either community, I wanted more to show that they exist and are prominent parts of each community’s identity when it comes to their games. I also don’t want to give the impression that the communities believe that complexity vs. simplicity and their relationship with depth is black and white in either direction, nor that the games necessarily reflect the philosophies described above 100%. Rather, it’s more about how people visualize depth, and why the idea of depth becomes so subjective.

As for why all of this matters, there are two points to consider as to why traditional FGC members might praise Super Smash Bros. for Wii U whereas Melee enthusiasts might look down upon it. First, much like Divekick, the Super Smash Bros. games with their simplified commands have already removed a surface layer of complexity, and to many experienced fighting game players this is seen as a positive. Complexity hides an elegance of simplicity and what makes fighting games truly beautiful. These players want to introduce this beauty to as many people as possible, and Smash Bros. allows this.

Second, while previous games in the Super Smash Bros. franchise were developed by its director Sakurai Masahiro with a team that was more experienced in other genres, Super Smash Bros. for Wii U was developed with the help of Namco, which is known for fighting games such as Tekken and Soul Calibur. Although there haven’t been any specific statements made on this matter, I believe that the development team, rather than viewing Melee as their template, looked more to conventional fighting games for ways to add competitive depth to Super Smash Bros. and that the mechanics of the new game reflect this. In discussions with Dave Cabrera, a friend and someone much more knowledgeable about fighting games than I am, he had a similar impression. Ultra David and James Chen also state how they find Melee to be a more momentum-based game similar to the also-unconventional Marvel vs. Capcom series while Smash Wii U is more positional, similar to Street Fighter games.

The result is a clash of perspectives. On the one hand, the Melee community, which has developed its conception for what makes a good competitive game based on Melee and the idea of hidden complexity, sees Super Smash Bros. for Wii U as lacking many of the elements that made Melee great, and that it is therefore a lesser experience. On the other hand, the fighting game community, which bases its standards for fighting games on Street Fighter II and the idea of hidden simplicity, has in this new Super Smash Bros. something that exemplifies that concept while also catering more to their tastes. Whatever the reasoning, it’s clear that there are two different philosophies at work driving discussion.

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