Category Archives: thought exercise

Cardcaptor Sakura and the Alternative Canon: What is the “Clear Card Saga” Anime Following?

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When the Cardcaptor Sakura: Clear Card Saga anime announced, one of the questions asked was, would it be following the canon of the manga or the anime? Although the two versions share many similarities, there are also some notable differences between them. Now that the new TV series has been out for little while, it’s evident that they’re acknowledging the old anime…but I have my suspicions that this wasn’t always the case.

One of the tell-tale differences between the two iterations of the original Cardcaptor Sakura is how they end. While both involve an exchanging of teddy bears as an expression of mutual love and a temporary separation as Syaoran returns to Hong Kong, the anime has this happen at the airport, while the manga’s version takes place as Syaoran is riding the bus to the airport. Also, while the anime has them reunite in the second film, the manga immediately follows this with a timeskip where Syaoran shows up to greet a now-middle school-aged Sakura. This is roughly the point where Clear Card Saga starts.

Prior to the premiere of the Clear Card Saga TV series, there was a special OVA released as a way to bridge the old and new anime. As seen above, this OVA takes its cues from the manga by having the bear exchange take place at the bus, and then transitioning to the middle school timeskip. With this, I assumed the matter was settled. The Clear Card Saga anime would definitely be sticking closer to the manga.

Then episode 1 hit, and things didn’t quite line up.

When Syaoran shows up again in the manga and OVA, he’s wearing a Tomoeda Middle School uniform. In the new anime, he’s wearing street clothes. Maybe this is just a timing or aesthetic issue. Perhaps it doesn’t make sense for Syaoran to have a uniform after just moving back. Maybe the fact that they show Sakura at school before meeting Syaoran means he couldn’t be there (because she or one of her friends would’ve inevitably noticed him walking around in uniform). Either way, here is a discrepancy from the manga.

But they also flashback to the teddy bear exchange, and it’s at the airport! That’s a scene that explicitly calls back to the anime and not the manga. Maybe they just did that for the convenience of the people who watched the old anime.

The smoking gun comes in episode 2, when the characters are having lunch together at school. During their conversation, Tomoyo asks Syaoran how Meiling is doing. The reason this is a big deal is that Meiling never shows up in the manga. She’s an anime-original character, and one of the many elements used to turn a 12-volume manga into a 70-episode anime. Whatever the case may be, we have clear unequivocal acknowledgement that the old anime’s events are either partially or wholly canon in the Clear Card Saga anime.

So why make that OVA? I suspect that it served multiple functions. First, it might’ve bridge the gap between series, as mentioned above. After all, it’s been about 15 years. Second, it could’ve been used to get the staff and actors used to working on Cardcaptor Sakura again. Third, I really do think the anime was going to follow the manga more strictly, as a way to keep things simpler, but that they changed their minds at some point. If this were the case, maybe it was because they realized many had only ever seen the anime, and thus would be confused by the differences.

While the old anime appears to be canon for the new show, the question remains as to how much will actually be different from the Clear Card Saga manga. Referencing Meiling is one thing, but what about having her show up? Will the new anime have more clear cards than the manga, just like it’s predecessor? And what of the fact that Sakura’s dad is a partial reincarnation of Clow Reed—a fact revealed in the manga but never in the anime?

Personally speaking, I wouldn’t mind seeing Yukana reprise her role as Meiling and treating us to some Kung Fu fighting.

A Strong Foundation: How the Japanese Smash 4 Tournament Format Helps the Community

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Introduction: Japan, Land of Hidden Bosses

If there’s anything that the Japanese Smash 4 competitive scene is known for, it’s a high average skill level across its player base, as well as a great amount of character diversity. Many of the world’s greatest character specialists come from Japan—Ranai and his Villager, Kameme and his Megaman, Shuton and his Olimar, and a whole slew of powerful Duck Hunts. A lack of monetary prizes is frequently cited in online discussions as a reason why so many Japanese character specialists exist, but I think that’s just a starting point and not a sufficient explanation by itself.

On occasion, fans will point to the extremely volatile rankings at Japanese tournaments as proof of Japan being a haven for character specialists, while others will counter that the average format of Japanese tournaments (Best of 1 round robin pools, followed by Best of 3 double elimination often even into grand finals) is inherently inconsistent. However, while this inconsistency might be a strike against the tournaments themselves providing reliable results, I think the format Japan uses is actually a key factor in helping its player base grow and improve compared to the common formats elsewhere (double elimination throughout, starting Best of 5s much earlier in the bracket), especially when it comes to creating those intimidatingly strong character loyalists.

The Mother of Invention

One of the reasons Japanese tournament matches tend to be so much shorter than their North American and European counterparts is time constraints. Often times, these events last only one day at venues that cannot allow them to stay later. They’re working with what they have. Yet if you look at how they use that limited time, it’s clear that the format is designed to give all players the most amount of playtime possible. Best of 1 round robin means that, even if you don’t make it out of pools, you potentially get to face a far greater number of opponents than the two you would encounter in a double elimination bracket. Everyone, even the worst players, get to gain real experience against more characters and more play styles.

Fostering Young Lions

Top players in Japan seem to prefer the “Western” style more because it favors them—as the best, their skill gets better rewarded the longer the sets are. While not going in that direction works against the best of the best, it’s also clear that the Japanese tournaments are meant to be as hospitable to newbies as possible. In addition to the round robin format initially, there’s also something called the “B-class tournament,” which is a separate bracket for all of the players who didn’t make it out of pools. In other tournament formats, less skilled players are usually given a chance to improve by dedicating a section for non-tournament “friendlies.” The B-class bracket is an opportunity to continue to play in a tournament-style setting.

When Japanese Smash 4 tournaments first began, there was even a question of whether or not to restrict the stage selection to Omega stages—flat levels without any platforms—only because it was the only stage type available on Nintendo’s default online competitive format, For Glory. While the Japanese scene ultimately went away from this idea, it shows a desire to cater to newcomers. Combined with extremely reliable high-speed internet that makes Japanese online play better than other parts of the world, this means Japanese tournaments are a good environment for those who are considering transitioning from online play to offline events.

Best of 1: “Random?”

Another aspect to consider is that the Best of 1 format itself might help advance player improvement. Although Best of 1 matches are not preferred for showing who can win consistently, it does foster certain skills that longer formats do not, as once pointed out by fighting game commentators UltraChen. A player can’t wait until the second set to try and figure out their opponent; they need to do it now. Super Battle Opera, once Japan’s most prestigious fighting game tournament, used a Best of 1 format, and its players adapted to it. While a Best of 5 match shows who can adapt the best over a longer period, Best of 1 forces players to learn how to adapt extremely quickly, which in turn teaches them how to “gamble” better when the chips are down. This might be why Japan is somehow known for both more reserved play and riskier (but not necessarily aggressive) styles as well.

What’s more, the inconsistency of Best of 1 pools might actually help in giving more players experience as well. If the very best players advance every single time, this means that the lesser players do not get to feel what it’s like to move up the bracket and face increasingly tougher opponents. With the “randomness” of Japanese tournaments, many more players get to feel what it’s like to be in a Top 16 or Top 8 against the country’s best.

Conclusion

The Japanese format is geared towards expanding the Smash 4 tournament scene by being an inviting space for players of all stripes. Best of 1 pools and B-class side tournaments not only allow all competitors both strong and weak to experience a variety of players and characters, it allows character loyalists and champions (two groups which do have crossover!) to level up at a higher rate. Shorter matches also foster a certain type of adaptation, and the inherent volatility potentially gives many more players to get accustomed to playing at later stages of a tournament. Whatever the ultimate goal of a given player, the Japanese tournament format provides the foundation for a strong player base.

The Past and Future of Anime Blogging

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In many ways, anime blogging is a living relic. Born in the age when “Web 2.0” was a newly coined term and blogging in general was a young and exciting differentiation from the era of fan shrines and webrings, the anime blog was a way for writer-fans to establish an identity outside of enclaves such as forums and livejournal groups. Like the anime websites of old (and even the IRL anime clubs before that time), they filled a desire for information, appreciation, and criticism of anime and manga.

I think there’s a charm to the written word that allows it to endure and keeps it falling out of true relevance, and this applies to anime blogging. Certain ideas are better conveyed through writing (especially extremely complex ones that require a lot of small detail to fully explain), and certain people (myself included) are more comfortable with text than speech or visual performance. Writing will never truly go away because it’s just capable of so much with so little. Nevertheless, it is true that the amount of anime blogs have declined over the years.

I don’t have a falsely inflated idea as to the supposed “importance” of anime blogs in year past—it’s always been a niche. But where once an “Aniblog Tourney” existed not just as a popularity contest but as a sign of a loose “aniblogosphere,” the increasing prominence of social media platforms like Twitter, Tumblr, Facebook, and even something like Anime Amino have moved discussion back into more isolated communities. I think, on some level, “aniblogging” feels less like a distinct position than it used to. Perhaps it’s because so many anime fans these days are omnivorous consumers of pop culture that the “fan” is more important than the “anime,” but I think the rise and dominance of social media networks and alternative formats like YouTube also makes it less enticing for younger, enterprising fans to enter the field. In a “field” with a high turnover rate due to burnout and just the passage of time, not having new warriors to pick up the mantle means a gradual decline.

The anime blogs of today, whether they’re young and fresh or old and crusty, are contending with new ways to get one’s thoughts and opinions out to the world—alternatives that can be more attractive to would-be bloggers. In particular, the minor stardom that can come with YouTube can also mean potential income, perhaps even enough to earn a living. Anime fandom isn’t the only realm affected by this, but because anime is more niche than, say, gaming, it also means a smaller pie to share overall. Only a select few vloggers can get six-digit views, but it’s a lot likelier than accruing those numbers through blogging. For even the best and most charismatic writers, blogs are at best a partial or supplementary income. In other words, it’s never been easy to sustain a living just from anime blogging, for better or worse. At the same time, it’s also never been easier to actually make money from blogging thanks to platforms like Patreon. While I’m not exactly filling my coffers to the brim, my own Patreon has been a great boon.

All it really takes to write an anime blog is a genuine passion for anime and manga, as well as a desire to write one’s thoughts. It’s profoundly simple, which is why, even as anime blogging as a “thing” has waned, I think you still see the occasional challenger take on the endeavor. Writing is timeless. I don’t carry any illusions that it’s the path to fame and fortune, but it’s a space that remains open and welcome. If we want to rebuild the aniblogosphere, however, it’ll take a restored sense of “community,” no matter how nebulous and disparate it might be.

Once upon a time, anime bloggers debated the merits of “episode blogging” vs. “editorial blogging.” In hindsight, it seems so quaint.

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This post was sponsored by Johnny Trovato. If you’re interested in submitting topics for the blog, or just like my writing and want to support Ogiue Maniax, check out my Patreon.

Dominatrix Gameplay: The S&M Fighting Style of Smash 4 Bayonetta

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Bayonetta is generally considered the best character in Smash 4. While her strengths are many, her key trait is the ability to instantly turn the tables on her opponent’s assault and transform a disadvantageous situation into a chance for victory. As with many #1 characters in games, there have even been calls to ban her from competitive play, more than any other character in the game. But I don’t believe the outcry is simply because she’s “too good.” Rather, it’s about why she’s good. Her character strategies are akin to those of a dominatrix, and her denial of pleasure in Smash 4 is what frustrates many to the point of crying foul.

Heroic stories are often built on giving antagonists their just desserts. Whenever Stone Cold Steve Austin managed to corner Vince McMahon, fans cheered as Austin drowned his evil boss in beer. When Kenshiro in Fist of the North Star confronts Jagi, the satisfaction of having Kenshiro beat Jagi to death for all his injustice is a moment meant to scratch that revenge itch. The villain, by virtue of being a villain, must pay.

Looking at fighting games, it’s possible to label the top tier characters as the villains in the story of competition. They’re the fastest, the strongest, and the most dominant. So what happens when the “hero,” i.e. whoever’s fighting the top tier, finally catches up to this scoundrel? Well, it depends.

Take Fox, from Super Smash Bros. Melee. Widely considered the strongest character in that game by a margin wider than Bayonetta’s grip over Smash 4. But while Fox is basically a master of all trades, he’s also a glass cannon who, if hit, can be combo’d hard by many of the best and worst characters in the game. Stringing a series of attacks together and watching Fox’s damage percentage rapidly rise is satisfying. So is spiking him offstage and seeing him plummet like a rock to his doom. Making Fox pay goes a long way in providing pleasure to the player or viewer opposing him.

This results in a kind of “combo catharsis.” Even if the opponent loses to Fox, seeing a Marth or a Mewtwo chain grab him for a couple of stocks can still make it seem like the dastardly space animal was on the ropes, if only for a few moments. The villain barely got away! Even in loss, it’s possible to feel powerful—a quality that I believe is important in attracting and keeping players.

Bayonetta, in contrast, is intentionally designed to deny easy combos and follow-ups on her. Multiple jumps and ways to recover mean edgeguarding her is difficult. Afterburner Kick acts as an escape button for those trying to juggle her. Witch Twist deflects and draws in the opponent into a potentially high-damage or even fatal string of attacks. Witch Time actively punishes overly aggressive and predictable players. While it’s possible to land multiple blows on her, each hit requires about as much work as the last. Bayonetta stymies combo catharsis, making the release that comes with it incredibly difficult to achieve. Even in gameplay, she’s truly a dominatrix.

A unifying point between Bayonetta and Fox is another character notorious for denying combo catharsis: Melee Jigglypuff. A proverbial flyweight who makes up for its lack of diverse tools by stonewalling opponents through strong aerial attacks and deft aerial movement, Jigglypuff is so light that the opponent can usually only land one or two hits before it goes flying out of reach. And yet, when it comes to Fox’s reputation vs. Jigglypuff’s, the latter receives more scorn from players and spectators despite the fact that the former excels at nearly everything and boasts a much larger player base at the lowest and highest levels of competition. Catch Fox, and you can pound him for an extended period. Catch Jigglypuff or Bayonetta, and you might get just a single lick before you have to start all over again.

In spite all of the above innuendo, this is only an analogy, and I don’t think anyone actually derives sexual pleasure from playing Smash Bros.—though I could see it being just as satisfying. But at the same time, it’s clear that Bayonetta is, by design, hard to combo, and that one of the most popular and enduring elements of Smash Bros. and fighting games in general is the combos (or chains or strings). I don’t know if it’s intentional, but Bayonetta in essence works from an almost BDSM-like playbook. This doesn’t necessarily mean Smash 4 players are masochists, but those who still choose to fight Bayonetta are at least those who can manage to hold back their desire to just let loose.

Kino’s Journey: The Ubiquity of the Light Novels vs. the Scarcity of the Anime

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How do you end a series about observing humanity’s foibles with an action sequence involving a flock of angry sheep?

The answer is, “Who says it’s an ending?”

The 2017 anime of the light novel Kino’s Journey: The Beautiful World is garnering mixed reviews. This is partly because the series seems to be less focused on atmosphere and consistent theme compared to the 2003 version, despite them taking from more or less the same source material. One major point of contention with the newer series is its choice of final episode, adapting the story “Field of Sheep”—a story that borders on Schwarzenegger-in-Commando-esque antics featuring a ring of fire, driving through sheep in a jeep, and a dramatic lone gunman standoff with the woolly foes.

Because the anime clearly skips around chronologically from episode to episode, I decided to take a look at which episodes come from which chapters. Out of a currently 21-volume light novel series, most are taken from around volumes 7 through 9. “Field of Sheep” is by far the newest story, coming in as the final chapter of Volume 20. It’s likely even the latest chapter at the time the 2017 anime went into production.

It seems unusual to end a series on such an odd note, but that’s only within the context of the anime. Kino’s Journey rarely gets new adaptations. There’s the 2003 series, the 2017 one, and two films in 2005 and 2007 in between. It’s been 14 years between TV series and 10 years between animated versions. It’s possible that it’ll take another 10-15 years to get another one, perhaps leaving fans scratching their heads.

But for light novel readers, it can’t really be considered an end by any stretch of the imagination. Even though it’s the last part of Volume 20, the sheep story is yet another entry into the world of Kino’s Journey, which shows no signs of stopping. A new volume has come out pretty consistently (about once or twice a year) for the past 17 years. Volume 21 just came out in October of 2017. In other words, to the anime viewer, “Field of Sheep” is an unusual curtain call. To the light novel fan, it’s just another stop in Kino’s travels.

I have to wonder if the point of adapting that sheep episode last is just a way to say, “Read the light novel!” Except, it only works in Japan (or if you can read Japanese). For those abroad who rely on anime to get their Kino’s Journey, they’re left in an arguably baaaad situation.

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The New Year Isn’t Just For Show!: Ogiue Maniax Status Update for January 2018

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Happy new year to all! Amidst a topsy-turvy year, what have been your favorite shows? 2017 might go down as a surprisingly robust year for anime, and I hope to see an industry that allows creativity to rise to the top. After all, the better anime is, the more there is for this blog to talk about.

Going into 2018, I’d like to thank my Patreon sponsors, especially the following.

General:

Johnny Trovato

Ko Ransom

Alex

Diogo Prado

Viga

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

New Year’s is of course the time for resolutions, and while I tend not to make them, I want to hold myself accountable this year.

As I’m interested in improving my language skills, most of my resolutions are focused in that area. I want to have true Japanese literacy. I’m fairly fluent overall, but I’m still not technically “reading newspapers without help” proficient—which is how Japanese literacy is officially defined.

I also want to improve my Cantonese, learn Mandarin Chinese, and/or reach a greater level of Dutch. I’ve been practicing the last one in the Duolingo app for a while now, to try and make up for my lack of true fluency when I lived in the Netherlands. My goal is to be able to read Dutch comics. Ik wil lezen Nederlandse strips.

I know they say not to try and learn more than one language at a time, but I just want to do everything, I guess.

My favorite posts from December:

Gattai Girls 7: “Shingu: Secret of the Stellar Wars” and Moriyama Nayuta [Anime Secret Santa]

A combination Gattai Girls entry and Secret Santa review! Shingu is really good; you should watch it.

Spotted Flower and the Role of the “What-If”

This story about an alternate Genshiken took on some crazy twists recently. But how does its proximity to Genshiken affect our perception of it?

Japanese vs. English Yu-Gi-Oh!: How the Two End Up Being Almost Different Shows

Inspired by the recent Yu-Gi-Oh! marathon on Twitch.

Patreon-Sponsored

Aikatsu Stars! Christmas 2017 Thoughts


“We wiiish you a merry Christmaaas…”

Closing

2017 was a tumultuous year for many. I hope you stay strong. I look forward to a world where reason and compassion defeat hatred and bigotry.

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Kaze ni Nare: Why “Irony” Doesn’t Explain Suzuku Minoru’s Entrance

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I’ve been hooked on a certain song lately, called “Kaze ni Nare” by Nakamura Ayumi. The song describes the endless path of someone who fights to achieve their dream, who aims to fly into the storm like a bird and become the wind (kaze ni nare). It’s both inspiring and moving, conveying the idea that the path of a fighter is a lonely one.

It’s also the entrance theme of Suzuki Minoru, a legitimately tough-as-nails pro wrestler who’s been described to me as the Akuma of New Japan Pro Wrestling. Fans of Japanese wrestling love his theme, but on occasion you’ll find people confused as to why such a hardened fighter would come out to such a sorrowful tune. One article, while praising the song overall, even writes that the song is meant to be “ironic,” its incongruity a tactic to disorient opponents.

But irony is the last thing “Kaze ni Nare” is meant to convey, and that’s because the idea of a badass warrior being accompanied by forlorn, emotionally wraught theme music is familiar territory in Japan. Beyond pro wrestling, one need only look at anime for examples.

On a list of greatest action series ever, Fist of the North Star is always in the running. Its hero, Kenshiro, defends the innocent by pummeling ruthless thugs to death by using a legendary martial art. Kenshiro also cries at the plight of victims, and it’s in fact his ability to feel true sadness that allows him to unlock his school’s ultimate technique. Theme songs for Fist of the North Star include “Ai o Torimodose” (about the power of love) and “Heart of Darkness” (about a melancholy journey of no return). In a similar vein, the final battle in the Street Fighter II anime between Ken, Ryu, and M. Bison (or Vega, if you prefer) is set to “Itoshisa to Setsunasa to Kokorotsuyosa to,” a soulful ballad that’s also the best selling anime-related song ever.

Granted, there is a major difference between Kenshiro and Suzuki: the former is a hero among heroes, while the latter is often considered the ultimate villain in his world. He’s a strong fighter, but also willing to cheat. In Fist of the North Star terms, Suzuki is like a cross between Raoh and Jagi, with a bit of Souther thrown in. But “Kaze ni Nare” doesn’t really talk about honor or respect; it’s about ambition and dreams, and even scoundrels can have those. In it, you have the power to fight, but also the sense of powerlessness that comes with an aspiration which stretches beyond human grasp. It fits Suzuki Minoru, not in spite of his ruthlessness, but because of it.

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Best Anime Characters of 2017

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BEST MALE CHARACTER

Kevin Anderson (Tiger Mask W)

Whether in anime or pro wrestling, when you look like Generic Background Figure #45, there usually isn’t much hope for someone to make an impression. Kevin Anderson (pictured right) defies the odds, even despite the most incredibly generic name. A member of the dastardly Global Wrestling Monopoly, he’s a frequent teammate of the mysterious and nasty Tiger the Dark. But while Kevin is indeed party to some of the nastier elements of GWM, he’s also a loyal friend in an environment where backstabs and grabs for power are par for the course. When Tiger the Dark is at his lowest point, Kevin stands by him. Even when Tiger the Dark abandons GWM, Kevin takes it more as a betrayal of their friendship and fights to bring him back over. Poor Kevin.

BEST FEMALE CHARACTER

Mauve (ACCA 13-Territory Inspection Dept.)

ACCA is the kind of series where you can never tell who’s on what side—sometimes not even the protagonist himself. In a cast full of intriguing characters, Mauve stands out for her striking presence. The director-general of ACCA, an independent watchdog group for the Dowa Kingdom’s government, she holds a lot of power and has to match wits with figures even more influential than her. Mauve embodies brains, beauty, and the idea that brains are beauty, and it’s telling that even our stoic hero, Jean Otus, finds himself a bit flustered around her.

Final Thoughts

I think the qualities that have stood out to me most about the anime characters of 2017 are exceed their trappings and their archetypes, and just a greater sense of cleverness overall. Sucy from Little Witch Academia seems nasty, but she cherishes friendship in her own bizarre way. Both Sakurai and Morioka from Recovery of an MMO Junkie recast the image of the MMO player without delving into wish fulfillment fantasy or rejecting previous characters outright. Cure Macaron from Kira Kira Precure a la Mode is a highly perceptive and aloof teenage heroine—an uncommon combination in that franchise. Kevin is a nobody jobber, but his sincerity is real. Mauve casts a huge shadow on the rest of the story, but it’s more in the sense of Legend of the Galactic Heroes-esque political maneuvering over “innocent honesty.” As more and more characters challenge expectations, I look forward to what 2018 has to offer.

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Recovery of an MMO Junkie’s “Alternate NEET” and the Question of Responsibility

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Recovery of an MMO Junkie is a charming anime about a romance that develops between two MMORPG players, only without the need to trap them in the game. It’s a refreshing series in many ways, with one notable reason being its portrayal of its NEET main heroine.

NEET (“Not in Education, Employment, or Training”) is originally an English term that migrated over to Japan and is one of the many terms used to describe Japanese youths as a way to admonish their lack of drive. In response to this negative image, many anime, manga, and light novels have NEET protagonists rise to the occasion, get the girl, and save the day. However, even when they’re portrayed as lovable losers who become winners in a new world, they still have that aura of initial failure about them.

However, Recovery of an MMO Junkie‘s main character, Morioka Moriko, is not portrayed as being a sad sack who never went anywhere. Prior to her becoming a NEET, she actually had a lucrative office career. While they never explicitly say why she quit, it’s implied that something about the job wore her down over time, and that she left it for her own sanity. Where other series’ NEETS are often presented as people who never even try to enter adult society, Moriko is someone who could have walked down that path but didn’t.

The reason Moriko being a former working adult is important is that NEETs, hikikomori, freeters, etc., are viewed as irresponsible and lazy, as if their lack of employment and romantic success falls squarely on their shoulders. MMO Junkie suggests that maybe there’s something wrong with the corporate and societal culture that grinds people down. It’s similar to the arguments we see about millennials, except it’s been going on in Japan for even longer.

The English title, Recovery of an MMO Junkie, can sound misleading. It’s not about an MMO player getting over her online addiction, it’s about an MMO player using an MMO for self-therapy to help her recover her life. When she worked, it was her nightly reprieve. When the job became too much for her, she needed more extensive healing. Even adults need time to recuperate mentally and emotionally.

It’s Time to Yule: Ogiue Maniax Status Update for December 2017

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EDIT: Patreon has decided NOT to go through with the changes described below.

This month’s Patreon sponsor update is, funny enough, going to be about Patreon.

Before I go into detail, I’d like to give thanks to my Patreon sponsors.

General:

Johnny Trovato

Ko Ransom

Alex

Diogo Prado

Viga

Sue Hopkins fans:

Serxeid

Yoshitake Rika fans:

Elliot Page

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

Recently, Patreon has changed the way it handles patron subscriptions and creator payouts. There’s some controversy over the exact intent behind this change too–Patreon claims it’s to increase consistency of payments, critics argue it’s a greedy move to extract more money. Either way, what it means is that many users might end up paying more. Where a $1 pledge once meant you pay $1, it now means $1.36 per creator you support.

If you want to keep supporting Ogiue Maniax at your current pledge level, feel free to do so. But if the extra financial burden from this Patreon change is too much, feel free to lower your pledge amounts as much as necessary–even to $0.

One thing I’m considering is lowering my rewards to compensate for this change, so patrons can get the same perks for the same amount. Tell me in the comments or on Patreon.

My favorite posts from last month:

Teikoku State of Mind: Anime NYC 2017

It’s been a while since New York City’s had a dedicated anime con. Check out my thoughts on Anime NYC (spoilers: it was fantastic).

10 Years After: Ogiue Maniax 10th Anniversary

Wherein I reflect on a decade of anime blogging.

Raspatat at Koshien: An Iconic Dutch Snack at Japan’s Most Famous Stadium!

A snack from my time in the Netherlands!

Genshiken Re-Read

Return to Genshiken: Volume 6 – Eyes as Black as the Abyss

My favorite volume of Genshiken, period.

Patreon-Sponsored

Aikatsu Stars! and Nikaido Yuzu, the Ultimate Kouhai/Senpai

I was asked to write about my favorite Halloween anime, only to realize that most of them are Precure episodes. Go figure.

Closing

Kio Shimoku announced a new manga. Am I going to review it on Ogiue Maniax? The answer is “very yes.”

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