Absolute Destiny Cardpocalypse: Lostorage Incited Wixoss

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Combining the trappings of Yu-Gi-Oh! with the zero-sum world of Madoka Magica, the Wixoss franchise is an oddity among card game anime. Although based on an actual existing TCG, its narratives tend to be less “buy our things” and more melodramatic human relationships with an occult twist. The latest series—the bizarrely named Lostorage Incited Wixoss—continues this trend, but trades in the “be careful what you wish for” theme of its predecessors for a new challenge.

Overview

Clumsy Homura Suzuko and capable Morikawa Chinatsu are the best of friends, but when Chinatsu moves away the two lose contact with each other. Fast forward to when the two are teenagers, and both girls get involved with Wixoss, a collectible card game that appears innocent on the surface but has mystical origins. A handful of players are chosen as “Selectors,” pitting them against each other in a battle for their own memories. Players are given special cards with sentient girls called “Lrigs,” and whoever wins enough earn the chance to restore or change one of their memories. However, every loss destroys one of their memories. As a result of both becoming Selectors, Suzuko and Chinatsu end up on a course for a difficult and painful reunion.

Oh!! That’s a Card Game

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One of the key differences between Lostorage Incited Wixoss and the older Wixoss anime is that the latter were made before the shows’ creators had any idea as to how the actual game’s mechanics work. Much of it was therefore just used purely for dramatic effect. With this newer series, there appears to be much more of a coherent portrayal as to how the game is supposed to work. Where Selector Infected Wixoss and Selector Spread Wixoss used the TCG aesthetics as a vehicle for characterization and character development, Lostorage strikes more of a balance between the thrill of seeing two people face each other in a competitive environment, and highlighting the players’ stories. The key example of this is the “coin bet” system, where characters can wager special coins—essentially their “star chips” in the parlance of Yu-Gi-Oh!—to activate unique special abilities, with the caveat that this is literally putting their memories on the line.

Even as the show presents the game in a better light, however, one of the curious aspects of Lostorage Incited Wixoss that it shares with the other Wixoss anime is that they don’t exactly inspire a strong desire to play the TCG. It’s one thing when Yu-Gi-Oh! has its heroes fight against the forces of darkness, but when the game of Wixoss is portrayed as a source of endless anguish I’m not sure what feelings it’s supposed to conjure up in its potential player base.

Intimacy and Hatred

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The highlight of Lostorage is the complex relationship between Suzuko and Chinatsu, a corrupted twist on the concept of childhood friendship (with mild yuri elements) that offers vague glimmers of hope throughout. As kids, Suzuko looked up to Chinatsu as everything Suzuko wished she could be. When she gets her Lrig, she bases the card’s appearance and personality on her image of Chinatsu as someone to aspire. To Chinatsu, however, Suzuko is a reminder of the false facade of strength that she’s had to keep up since childhood Thus, much of the series is about Chinatsu trying to erase her own memories of Suzuko in order to destroy their friendship, while Suzuko attempts to save it.

This conflict is very different from anything in the previous Wixoss anime, and the fate of their friendship does drive the story along effectively. And yet a part of me also misses how unique Ruuko from Selector Infected Wixoss was as a protagonist. The strange joy she feels from matching wits against other opponents despite knowing about the horrors of the game was an interesting source of conflict, but I also understand that doing this again would’ve just been treading old ground.

Given this strange love-hate relationship between Suzuko and Chinatsu, Lostorage Incited Wixoss resembles elements of Madoka Magica even more than Selector Infected/Selector Spread Wixoss, with the two of them possessing a kind of Madoka-Homura dynamic. When I think about it further, though, it’s actually closer to an Utena-Anthy relationship from Revolutionary Girl Utena: a girl who wants to be the light of hope for another girl who falls further and further into corruption.

Overall

Much like the previous two Wixoss series, Lostorage Incited Wixoss provides a mostly dark, cynical twist on the typical “TCG anime” formula. What sets Lostorage apart is that the stories of the characters comes across as much more personal and interconnected due to the use of “memory gain/loss” as an overarching premise. It lacks some of the surprising punches of the old Wixoss, but is a much more stable and coherent narrative overall.

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Coast to Coast: Saga of Tanya the Evil

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It’s very tempting to categorize Saga of Tanya the Evil according to its appearances. What else would you do about a series where a Japanese man is reincarnated as a blonde magical little girl in an alternate universe version of Nazi Germany? Is it fetishizing the Third Reich? Is it making an argument for authoritarianism and militarism through the lens of contemporary anime tropes? Questions abound, and yet I find that this anime is very difficult to gauge its moral direction, if there is any at all.

Tanya is a little girl who in another life was a ruthless salaryman dedicated to staying the reliable course that is assumed of his profession. So devoted a company man is he that he fires one of his employees for a minor infraction. Believing in the superiority of a detached, logical mindset, he fails to anticipate that his ex-employee would be so despondent as to push the salaryman in front of a moving train. At that moment, the man receives a message from God but refuses to believe in the existence of a higher power, which prompts God to reincarnate him as Tanya.

As Tanya, she has kept her memories of her previous incarnation, and at only 10 years old joins the imperial military due to her extremely high magical aptitude. Similar to her previous life, she sees the military as the steady course to a comfortable life, but a variety of contrivances both divine and coincidental cause her to consistently put her life (and her beliefs) in peril.

Given this back story, it’s possible to argue conflicting points. For example, the refusal by Tanya to let God control her could be seen as a defiance of fate and religion, but the fact that Tanya is constantly denying the existence of a supreme being despite everything that happens might render it a point in favor of religion. For me, I find that the main point of conflict and confusion when trying to analyze this series is actually the question of whether it’s supporting Tanya’s mindset or criticizing it (or maybe both!).

Tanya’s desire for the most stable track in life, and the calculated way she goes about it, has the appeal of an older science fiction protagonist. Often, she’ll say one thing and think the other, and it’s usually in service of appearing like an upstanding member of society in order to further her own desires. However, the subsequent derails that keep Tanya from that comfortable life might be a criticism of the Bubble Economy mindset that has been the cause of much anguish ever since the Japanese recession began. Where once the path to success was all but assured for many Japanese salarymen, that foundation crumbled underneath them, leading to (among other things) a crisis of masculinity.

Perhaps this is the reason why Tanya is a girl in the first place. While it’s normally assumed that older male anime fans gravitate towards young female characters due to a desire to be with them, there’s also to some extent a desire to be them. The assumed idyllic life of cute girls, and the innocent mindset that is supposed to come with that, holds what I believe to be a particularly strong appeal to those whose lives are slowly ground down by the engine of corporate society. That being said, the fact that Tanya maintains her previous life’s Japanese salaryman/mildly sociopathic mindset seems more confrontational than those kinds of series usually are.

In this respect, the series that I think holds the greatest connection to Saga of Tanya the Evil, it’s actually Strike Witches. In terms of setting, the two are quite similar: alternate versions of World War II Earth where magic and technology come together to give young girls flight and military might. Strike Witches is much more in the vein of the types of series I described in the previous paragraph, because while the story is about war, it’s as if the world is an extension of the characters’ identities as cute girls. With Saga of Tanya the Evil, this concept is taken to its extreme. Tanya is akin to a Strike Witch if that world actually had the image of military machinery beyond lighter aesthetic elements.

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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.

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The Shonen Jump Meat Grinder: Why So Many Manga Die Young

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With a bunch of new Shounen Jump titles debuting as of late, I’ve written a new post over at Apartment 507 about the high turnover rate of Jump manga. Check it out!

Pimple Popping Manga: Chiyo’s Lips

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Though certainly not to everyone’s liking, hands-on acne removal is a very popular subject on YouTube (click if you dare, but it’s potentially NSFW). Often referred to in comments as one example of the “the weird part of YouTube,” it’s somewhat curious that it hasn’t emerged as some kind of sub-genre of manga or anime. In fact, the only title I can think of where pimple popping is a primary focus or narrative device is the manga I’m going to be reviewing today: Chiyo no Kuchibiru (or Chiyo’s Lips) by Iwami Kiyoko.

As this subject can be disgusting to a lot of people, I’m going to put this behind a cut-off just for the sake of your lunches. For those who don’t mind (or even enjoy this sort of thing), read on:

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Ishida Akira’s Amazing Voice Work in Showa Genroku Rakugo Shinjuu

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One of the best anime of 2016, Showa Genroku Rakugo Shinjuu, has returned for the Winter 2017, and with it some of the finest voice acting in recent anime history. Given that rakugo performers are themselves supposed to be able to take on many roles while telling a story, it requires the seiyuu playing these characters to have a great deal of convincing range. Nowhere is this more evident than in the voice of Ishida Akira, who plays Yuurakutei Yakumo the Eighth.

Ishida Akira has been a major player in anime since the 1990s, with roles such as Xelloss from Slayers and Athrun Zala from Gundam SEED to his name. However, what made me realize the sheer skill Ishida possesses is an audio clip of him performing seven different people, male and female, of all ages. From a young girl to an elderly grandpa, he can do it all. So, when he first appeared in Rakugo Shinjuu as Yakumo, I expected great things—an expectation that was fulfilled in spades. There’s a clear distinction in season 1 between Yakumo’s younger self in the past, and his elderly demeanor in the present.

To my surprise, season 2 turns out to show off Ishida’s chops even better. In this sequel, Yakumo is even older, and Ishida actually goes as far as to modify his performance to further show the passing of time. Often, I find that voice actors will have an “elderly voice,” but will not necessarily make the distinction between someone in his 60s versus someone in his 70s, for example. Ishida, however, does just that. His voice in season 1 had the weight of many years in it, but by season 2 it’s slower, deeper, and just a bit less coherent, as if that weight has finally started dragging his body down.

What’s even more impressive is when he performs privately for Yotarou (a.k.a. the new Sukeroku). Here, despite the strain it puts on him, Yakumo gives an extremely lively rakugo show. Pay attention to Ishida’s acting here, as he’s not just changing his voice to play younger characters as you would expect from any other professional voice actor. Instead, Ishida purposely plays a man in the twilight of his life imitating younger people as he performs. His enunciation is much clearer when he’s “on-stage,” but nevertheless has that characteristic elderly drawl. When he finishes and appears completely exhausted, and his voice reverts to “normal.”

Ishida’s performance is just one aspect of why Showa Genroku Rakugo Shinjuu is amazing, but it gives the series as a whole such a powerful presence. It’s great to see the guy in a role where he can really show the full extent of his talent.

The Fujoshi Files 166: Ayame

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Name: Ayame (アヤメ)
Alias: N/A
Relationship Status: Single
Origin: Hacka Doll The Animation

Information:
Ayame is a fujoshi who’s considering applying for Comic Market when she’s visited by the Hacka Dolls, semi-incompetent AIs who attempt to help people with mixed results. Though Ayame’s experience with them is mostly stressful, they help to inspire her to stick with her fandom on more than one occasion.

Fujoshi Level:
Ayame enjoys more typical bishounen-style BL, as well as beefier guys closer to the “bara” style of homosexual manga.

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Valentine’s Day “Dead Eyes Extravaganza”

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In honor of Valentine’s Day, that romantic holiday transformed in Japan into a way for girls to express their feelings for guys, I present an image mosaic of one of my favorite character traits: dead or empty eyes.

deadeyes-mosaicCreated using Mosaic Maker

Dead eyes, that is to say empty eyes without luster, are usually associated with characters who have been mind-controlled. However, I’m more fascinated by them when the characters who have them are in full control of themselves. Rather than being a sign of a loss of will, they’re often symbolic of something else. They can be intensity, trauma, otherworldly perspective/experience, or even a swirling madness. Just think about how all many of the characters in the image above have notably different personalities!

Do you have a favorite character in the image above? Is there a dead eyes character you’re a fan of? Let me know!

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Opposites Connect: 3D Kanojo – “Real Girl”

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3dkanojo-couple-small In 2013, I came across a shoujo manga called 3D Kanojo by Nanami Mao. Although I had some initial misgivings based on the title alone (it means “3D girlfriend”), the series ended up becoming one of my favorite manga. It recently finished just last year, so I’d like to give my overall thoughts about this excellent work.

The idea of a socially awkward young man winning the affections of the beautiful girl has long been a popular trope. America has seen Revenge of the Nerds, Beauty and the Geek, and the hyper-popular The Big Bang Theory. Japan has been home to Densha Otoko, and numerous manga and anime premised around this idea such as The World God Only Knows and Love Hina. Within these works are three recurring ideas: the nerd as underdog, the nerd as the nice guy vs. the jerks, and the notion that nerds carry hidden charms buried deep inside shells of social awkwardness.

One difference between the stereotypical image of the American “geek” and the Japanese “otaku” is that while the geek guy worships at the altar of characters who are live actors (e.g. Princess Leia), otaku go for the “2D girls” of anime, manga, and games. Reality, where actual “3D girls” reside, is thought to be a frightening realm that can eat otaku alive. So, with a title like 3D Kanojo, I had wondered if this might be one of those wish fulfillment fantasies where an otaku boy gets the girl just by being nice without any real substance, while the girl ends up as some kind of virginal ideal, a typical “2D girl come to life” scenario. Fortunately, within one chapter 3D Kanojo defies those assumptions, and shows itself to be a robust, considerate, and even progressive approach to this idea.

When the series begins, Hikaru Tsutsui is an otaku who is unable to handle social interaction outside of talking to his only friend, a fellow hardcore fan. His ideal girl is a magical girl from an anime. One day at school, he sees one of his classmates, the beautiful Igarashi Iroha, being accosted by a guy angry at Igarashi for cheating on him. When the guy tries to hit her, Tsutsui jumps in to defend Igarashi…only to get his ass kicked because he’s a wimp with no physical ability.

At first glance, this is ground already traveled by stories like Densha Otoko and Back to the Future—a chivalrous act by a geek shows the strength of his heart, and makes the girl fall in love with him. However, with 3D Kanojo, the relationship even at the early stages possesses a lot more depth. Many times, the girls in these stories only appear to be very sexually active but are actually secretly virgins, giving them a sense of idealized purity. Not so with Iroha, who freely admits that she was two-timing the guys she was with. Rather than shunning her for being a “slut,” Tsutsui accepts her for who she is, especially once the two of them spend more time together and are able to open up to each other more readily. What’s important isn’t that she’s had others in the past, but how they feel about each other now. And as the series continues, it becomes clear that their love for each other burns red-hot.

It isn’t all roses, of course. Romantic rivals show up for both character, such as an otaku girl and a handsome guy (it’s a shoujo manga, after all). Igarashi’s sexual experience isn’t a deal breaker, but it’s intimidating for a guy who, up to that point, didn’t even talk to girls other than his own mother. Tsutsui’s constantly questioning whether or not he’s good enough for her, but it’s important to note that she’s doing the same just as often. In spite of how different they are on the surface and even in many elements of their personalities, there’s a mutual longing for understanding.

While I thought highly of the series very early on, there is a particular chapter that solidified my opinion that 3D Kanojo is a great series. Most of the time, the story is told from Tsutsui’s perspective, but in one chapter it’s Igarashi’s head we’re in. Through her, we see her relationship history. As an extremely attractive girl, she’s had numerous suitors, but the apparent issue is that all of them only paid attention to her appearance. In this way, her looks became a curse. At one point, she had even tried to open up to a boyfriend, only for the guy to treat it as basically, “There, there. Okay, now that I’ve comforted you, are you gonna put out?”

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Here, it becomes plainly obvious what Igarashi saw in Tsutui. He isn’t just generally “nice” and “considerate,” he connects and empathizes with her on the level both of them desire. While occupy different strata of the high school hierarchy, both of them are familiar with being unfairly judged by their looks, and their ability to see what is truly inside each other is what draws them closer and closer.

Ultimately, even as the series goes through some fairly well-worn shoujo manga plot developments, the sheer robustness of this core relationship, as well as a solid cast of supporting characters, keeps the series from feeling old-hat. I felt a genuine desire to cheer on Tsutsui and Igarashi, not because they were “supposed” to be together as the main couple, but that everything they had been through together showed why they should be as one.

The last thing I’d like to mention is that 3D Kanojo technically isn’t the real title. That’s how it’s written out, but due to quirks in how the Japanese written language is used, it’s actually supposed to be pronounced “Real Girl.” In retrospect, the two titles fit this series perfectly. While Igarashi comes across at first as the mysterious girlfriend of the “3D realm,” her “realness,” both in the sense of her lived human experience and her candor, are what foster her romance with Tsutsui.

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How Dragon Ball Super Made Dragon Ball Better

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Surprising even to me, it turns out Dragon Ball Super is actually really good. I’ve written a small post detailing how Dragon Ball Super has improved upon its predecessors. Take a look!

Medabots vs. Medarot: A Case of Two Openings

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Though I was never a big fan of the show, I’ve been impressed by the Japanese Medarot (aka Medabots) opening theme. It’s surprisingly intense, and it hits with just the right hint of melancholy as anime songs tend to do. Imagine my surprise, then, when I found out that others who grew up with the show on TV in the US did not quite agree. If you take a look at the YouTube comments for the opening, there’s a pretty even divide between those who think the English opening is better vs. the Japanese one.

While nostalgia likely plays a big factor in many of these opinions, I believe that there’s something more, some essential differences between the two songs and the messages they try to convey. Essentially, while the English opening emphasizes “coolness,” the Japanese opening is all about “fiery passion.”

In the case of the English version, there’s a sense that “Robattling” is the hip thing to do. Get your gear, get your robot, and engage in this cool activity. In contrast, the Japanese song is focused towards the energy of youth, and that’s even putting aside the lyrics, which occasionally mention things being “white hot” and such. The song itself ends with the idea that the world of Medarot is one of intelligence and bravery.

The more I thought about this difference, however, the more it became clear to me that Japanese cartoons for children have historically seemed to be more willing to emphasize the value of being young. Be it Digimon or Cardcaptor Sakura or something else entirely, I get the sense that these openings want kids to feel like being a kid is fantastic. American openings for cartoons and other shows, on the other hand, tend to skew towards the desire for kids to grow up. While they’re not telling kids that it’s great to be a 20-year-old or anything, there exists a general marketing idea that kids do not connect with characters who are younger than them. Neither side exists at an absolute extreme, and you can find plenty of exceptions (Precure features characters in middle school while targeting elementary school children), but I can’t help but feel that this is what actually underlies the Medabots vs. Medarot theme song divide.