My Modern Take on the Tezuka Star System

Tezuka Osamu, the “God of Manga,” is famous for many innovations in comics and basically influencing the entirety of the manga industry we see today. His techniques for cinematic paneling, use of comics to tell long and drawn-out stories, as well as breadth and depth of topics basically helped define manga as we know it. Even the comics that tried to reject Tezuka’s methods were still a reaction to Tezuka’s work.

One technique Tezuka introduced is something referred to as Tezuka’s “Star System.” Tezuka grew up in Takarazuka, home of the Takarazuka Revue theatre where an all-female cast would give stage performances. Much like actors in a play, Tezuka’s characters would assume different-yet-similar roles across the manga he created, like Orson Welles playing Kane in Citizen Kane, Harry Lime in the Third Man, and Unicron in Transformers. However, the “Star System” concept never really caught on among anime and manga creators and remains something generally unique to Tezuka. “Generally,” I say, because I can think of at least one relatively recent example of the Star System in use.

My-HiME came out in Japan in 2004 sporting an almost all-female cast and telling a story of love and betrayal and summoning a mechanical dog to shoot ice shard bullets. Around the time it ended, there was news that a sequel was starting up, and that it would star a new main character instead of the titular Mai, pictured on the left. Instead, the protagonist would be the girl on the right, Arika, and to emphasize this point the last scene of the last episode of My-HiME shows Arika, like a hint of things to come. What people did not expect, however, was that the “sequel” to My-HiME was anything but a direct continuation of the story. Released as My-Otome (also sometimes spelled My-ZHiME), Arika’s story took place on what seemed to be alternate Earth completely different from My-HiME. Arika’s world had a sort of techno-medieval vibe, and in the story male characters were de-emphasized to an even greater extent compared to the previous series. The most interesting thing though, is that the characters of My-HiME were re-cast as new characters, similar yet different, without any explicit acknowledgement of who they were previously, not unlike actors in a new television series. Here in anime, Tezuka’s Star System manifests itself.

My-HiME’s Kuga Natsuki on the left, My-Otome’s Natsuki Kruger on the right

Anybody who sees the My series is sure to acknowledge that the show is designed to sell to a certain audience and to push figures and posters and all sorts of goodies on the demographic of guys who think anime girls are hot. Fanservice is not a stranger to My-HiME, and the re-using of characters from My-HiME in roles for My-Otome may seem like just an attempt to draw in the same audience who fell for the girls the first time. However, when you think of the characters a little less like actors and a little more like actor-idols, and incorporate the concept of (pop) idol worship, then the My-HiME Star System really shows itself as a modern, 2000s adaptation of Tezuka’s technique.

Incidentally, stars (the literal kind) are a common motif across the My series. It is the source of power for characters in My-HiME, and My-Otome was originally going to be titled “My ☆Maid” (pronounced My Star Maid). Whether this was a conscious reference or not, though, I can’t really say.

“Gundam Fighters” Flash-based Fighting Game

I’ve wanted to talk about this for a while but just couldn’t ever seem to get around to it. That ends today.

This is Kenkoudaa’s Gundam Fighters game, which crosses over Gundam heroes from multiple series in a humorous and highly referential 1-on-1 fighting game. Choose from Amuro Ray, Char Aznable, Setsuna F. Seiei, Shinn Asuka, Emma Sheen, and many more. The best part is, if your favorite character isn’t in the game now, there’s a chance that he or she will eventually be, because Kenkoudaa actually continues to update Gundam Fighters. Cagalli was not always in the game but around version 1.5 she was added to the roster. On top of that, she was recently rebalanced to make her a more effective character!

The controls for the game are very simple, and even though I said that they improved Cagalli there really are no grounds for actual balance. A is a basic attack, S and D are special moves, F is a super to be used when your meter is maxed out. Holding down on your keypad activates your shield, and holding A for the basic attack makes your character do an anti-shield attack. Some attacks can also be done in the air.

There’s characters to unlock and a variety of modes to play, so it’ll occupy you for some time. Or if you’re like me you can just go into training mode and take a look at the super moves!

EDIT: By request here are some more exciting screenshots!

Oh Me Oh My, Tomino to Be in NY

The New York Anime Festival announced its first major guest today, and it is none other than the creator of Gundam and one of the most famous anime directors ever, Tomino Yoshiyuki.

Having grown up in New York City, I was a bit upset that I was not able to meet him at Big Apple Anime Fest around 2000 or so, and thought I’d never have the chance again, especially because he’s not exactly a big name among today’s anime con crowd. But here he is again, and I’m going to make sure I bring my Zambot 3 box set for him to sign. Definitely.

I’ve spoken before about Gundam and how it’s not only influential to not only the anime industry as a whole but for me personally, and to have the opportunity to pick Tomino’s brain is something I can’t pass up. Like or hate his work you know he’s different from most others, particularly in the sense of his tumultuous career as hate turned to love.

Anime News Network has an interview with Tomino to go along with their announcement, and it’s worth a read if only for the following line”

Until I was middle-aged, I liked to cram my frustrations into my works. However, my mindset changed when I realized that anime is an entertainment medium, and it has to be something people look forward to. That line of thinking is plain to see in the Z Gundam movies.

In other words, the films were an expression of the fact that by nature, all people have both a positive side and a negative side.

Wow. I am looking forward to this.

Super Robot Wars NEO for the Wii ~Real Robots are for Suckers~

Weekly Famitsu has announced a new Super Robot Wars for the Nintendo Wii, and boy is the cast something. I don’t care who you are, there’s no way you could have possibly guessed this list. It is craziness incarnate.

Series new to SRW in bold.

Mazinger Z
Great Mazinger
Juushin Liger
New Getter Robo

Sengoku Majin Goshogun
NG Knight Lamune & 40
Ginga Senpuu (Galaxy Gale) Braiger
Zettai Muteki Raijinoh
Genki Bakuhatsu Ganbaruger
Nekketsu Saikyou Gosaurer
Kanzen Shouri Daiteioh
Shippuu! Iron Leaguer
Mobile Fighter G Gundam
Lord of Lords Ryu Knight

THIS LINEUP IS BONKERS!

Also, as you can see, there’s a bunch of super robots, and then a bunch of robots which may or may not qualify as real robots. This isn’t the land of sissy whiny boys, my friends!

For those unfamiliar, Raijinoh, Ganbaruger, Gosaurer, and Daiteioh are from the same “series” called the Eldran series, similar to how Exkaiser, Might Gaine, Gaogaigar, etc. are the “Brave” series.

It’ll be 3D instead of the normal 2D sprites, which some say is a death sentence for SRW games, but you know what? I LIKED SRWGC. And really, I will take 3D graphics because they gave us this psychocrazy series lineup.

What I find most hilarious of all is that on the Anime 3000 Giant Robot podcast that I participated in, I had a brief discussion with Mike Dent from R5 Central about whether or not Juushin Liger was a giant robot. I was like, “Naaaaahhhhh…!” and Mike Dent said that it was possibly a Powered Armor or a Bio Armor, but I think we agreed that we couldn’t really call it a giant robot per se.

WELL I GUESS YOU PROVED ME WRONG BANPRESTO/BANDAI/NAMCO.

What I’m looking forward to is Great Mazinger channeling a Thunder Break through Liger and creating-

Nah, too easy.

I’m also wondering if I’ve accidentally stumbled onto some terrible power where my offhanded comments actually affect the SRW series…

Catch Me Talking About Giant Robots on the Anime 3000 Podcast

I was a guest on the Anime 3000 podcast on a topic very near and dear to my heart: giant, monster-punching, war-fighting robots.

I was on there along with Gerald from Anime World Order, John-Paul from Fight Bait, and Mike Dent from R5 Central.

Sadly, due to personal obligations I was not around for the whole podcast, and came in starting at the section about Nagai and Ishikawa. If you want to hear me talk you can skip to that part of the podcast, but I highly recommend that you DO NOT, as the discussions concerning Imagawa and Tomino are also important.

Looking back at my picks for recommend giant robot anime for beginners, I realize my list has many flaws, such as Shows that are Too Long, Old-Looking Animation, and No Super Robots. I’m not sure how I would solve any of these though, so you’re stuck with what I gave you.

Download is available here.

Imagawa and the Pile of Money in Eternity Island – A Dilemma in Anime Direction

Imagawa Yasuhiro does not have very many works tied to his name in a directorial capacity, but mention the ones that he has worked on and you will tend to get very positive reactions from some very loyal fans. His most prestigious work is probably the Giant Robo: The Animation OVA series, an intense labor of love that took many years and many more delays to complete, while his most famous work in America is probably Mobile Fighter G Gundam. And in my personal opinion, he is an astounding director. Possibly more than any other director, he has the ability to take the endless dreams of childhood and translate them into something mature and complex while still remaining faithful to those childhood notions. So why does he get so little work?

We have his latest work, Shin Mazinger. You look at this series, and see a lot of areas that seem to suffer budget-wise. The opening consists entirely of reused footage. Scenes are repeated over and over, and a lot of shortcuts are used. However, the show is still amazing, and still coming out without too many hitches. Sub suggested to me that Imagawa is so much of a perfectionist that the more money you give him, the more likely your anime will never see the light of day because he’ll be too busy making his animators re-do everything to get that one moment just right. As mentioned above, he took practically forever to finish Giant Robo OVA, but he was also kicked off of Shin Getter Robo Armageddon for taking too long. But with Shin Mazinger, where his spending power is limited, Imagawa is forced to make decisions and the result is something that is both Great and On Time.

Imagawa is thus the kind of director to whom you could give 25 cents and he would make the most astounding animation ever that will challenge your very ways of thinking. Imagawa would take those 25 cents, create GEORGE WASHINGTON AND THE LEGENDARY EAGLE, and when the show reveals that WASHINGTON AND THE EAGLE WERE THE SAME FIGURE ALL ALONG (like two sides of the same coin one might say!!), you will notice that your ass is no longer in your chair.

Money is to Imagawa as Time is to Tomino Yoshiyuki and No Editors is to Kawamori Shouji.

Idea: A Comprehensive Guide to Essential Episodes

Mazinger Z. Galaxy Express 999. Ranma 1/2. Astro Boy. There are a lot of anime out there that are considered classics (and rightfully so), but the problem with getting into them is that they can be very, very long with anywhere from forty to two-hundred episodes and beyond. Because of this, trying to experience what made these shows great becomes a daunting task, especially when not all of them are “serial,” and instead have large chunks which are simply episodic and, while perhaps decent episodes, are not the ones that can really grab people by the heart and the lungs.

What I am proposing then is that a guide to these long shows be made, pointing out the episodes which are considered, while perhaps not “necessary” to the viewing experience, to be the apex of the show. That way, anybody who just wants to sample the show but in a meaningful way (not just watch the first episode or two and be done with it) can do so and fully understand the reasons that show is called a classic.

But I can’t do it alone.

When the main focus is to be absurdly long shows, no one person can watch everything to make sure that all bases are covered. I would need help. Possibly, I would have to get one or two people watching any given show and have them report back to me what they consider to be the “big” episodes, and then check it out myself to see just how good they are. Something like that.

Maybe this can apply to manga too.

I don’t have any episode lists to recommend at the moment, but I-

Wait, maybe I do.

LEGEND OF THE GALACTIC HEROES
RECOMMENDED EPISODES: 1-110

(Seriously, watch the entire show)

Deceptive Marketing and Copywriting

“In the future, boys will be boys and girls will be robots!”

“A story of love, dreams, and perseverance.”

“Slowly, Satou comes out of his reclusive shell, and his hilarious journey begins, filled with mistaken identity, Lolita complexes—and an ultimate quest to create the greatest hentai game ever!”

The above quotes are taken from an ad for Chobits, an ad for The Story of Saiunkoku, and the official synopsis of Welcome to the NHK, respectively. And while they’ve all got a certain catchiness or punch to them, anyone who’s seen these shows will tell you that, while the words in each are on some level true, they don’t really convey the complete appeal or feel of their stories.

I’m not exactly sure how I feel about this, other than the general sense that companies advertise their own anime and manga poorly, but maybe that’s merely by my own standards. I do fear that there is always a very real chance that because of the misleading advertising that it might lead some people to miss a show they might otherwise watch, or might lead to misunderstandings when a show doesn’t do well. To use a non-anime example, Avatar: The Last Airbender was marketed as if it were for young kids, but the story was sophisticated enough that it would at the very least be more suitable for young adult viewers. And, surprise, that’s where a lot of its hardcore fanbase is. First Gundam also had a similar problem where its initial run in Japan was not successful but when it caught the attention of older (as in older than 10) viewers, it picked up steam.

Is it all right to, in some sense, trick people into reading your book or watching your show? Is it simply a case that if you told most people that Saiunkoku was like, political shoujo, that it would turn most people away? Is this why Honey and Clover appears in Shoujo Beat when it’s targeted towards older female readers?

In that respect, does this sort of thing actually work? Is it actually pulling in new people who would be turned away from these works normally? Or is it perhaps turning people away who would otherwise be interested in reading the somewhat depressing story of a drug-abusing shut-in who feels his life is all but worthless?


Examples of Anime’s Cel to Digital Conversion

Though much less frequent these days as the anime industry has all but completely converted to using digital means to animate shows (Sazae-san I believe is an exception which still uses cels), it wasn’t so long ago that debates about the merits of cel animation vs digital animation were a common sight among certain groups of otaku. Those on the side of cels would accuse digital animation of lacking life and energy, those on the side of digital would ask the cel supporters why they liked having dust on their animation frames so much. These days, I think it’s fair to say that much like 2d vs 3d animation, or drawing with paper vs drawing with a tablet, each has its own merits.

It can be difficult to compare digital to cel in the sense that usually entire shows have been done one way or the other, but there are a few which were made during that transitional period between cel and digital, and so they too are transitional. A brief list follows, if you want to take a closer look.

1) The Big O

Season 1 was done with cel animation, the Cartoon Network-sponsored Season 2 was done entirely digitally. Some will say that the second season lacked something the first had in terms of visuals, possibly that everything feels too “clean.” Judge for yourself.

2) Galaxy Angel

Again, Season 1 was all cel while for Season 2 Broccoli decided to go digital. They also decided to cover up Forte Stollen’s cleavage but that’s a discussion for another time.

3) JoJo’s Bizarre Adventure (Stardust Crusaders)

In an odd twist, the later parts of the manga were animated in the 90s while the earlier parts were animated in the 2000s. Watching this show in chronological order can be very unusual.

4) Gaogaigar Final

Now this was really meant to be a big budget OVA and it shows. Gaogaigar Final began production in 1999 (with the first episode out in 2000), and ended in 2003. Being an OVA, there was a long period between each episode, so the jump to digital is rather sudden when watched side to side. This is probably the one that best exemplifies the power of both cel and digital animation.

The Mean Among Ends

Looking back at the anime that concluded in Winter of 2009, I have to say that I was quite satisfied with how all of the shows I watched had finished. I did not watch every anime that came out, but out of those I did, I felt there was a general trend of decent to great endings.

A funny thing about anime is that it has the reputation of giving the viewer incredibly good endings and incredibly bad ones, and often times fans can’t even agree on which endings are which. I could come up with a variety of hypotheses as to why people so vehemently disagree on the quality of certain conclusions (or lack thereof), but it really all comes down to personal experience, personal experience that says, for example, whether wrapping everything up by the end is a Good Thing, or if it would be better to leave some things open or to the imagination.

I think the mixed reputation for Anime Endings has very much to do with anime shows actually ending in the first place. I’m not saying this is a good or bad thing, but one of the oft-touted qualities of anime that got fans choosing it over cartoons and TV shows in their own countries was that anime tended to have endings which built upon events which occurred in previous episodes. Of course, as the general level of writing in TV shows has improved over the years there’s less of a discrepancy, but anime seems to rarely get canned outright with no warning to the writers and staff the way American TV shows do. The trend instead seems to be that if a show is getting canceled, the anime staff is told in advance so that they may try to cobble together something to finish the series off with, be it a cliffhanger ending or even the Ideon TV series’ Narrator Exposition Ending (it has to be seen to truly be experienced).

What makes a good ending? Something that says your viewing experience was worthwhile.