I made an appearance on the Reverse Thieves’ podcast to talk about the first episode of Glitter Force from Saban Entertainment, the Power Rangers-style adaptation of Smile Precure!
What happens when Cures become Glitters? Apparently a lot of constant never-ending dialogue.
I’m surprised we didn’t make more Saban opening theme jokes, but can’t win ’em all.
I’ve been a fan of Pokemon since before I first picked up Pokemon Red all those years ago. Since then, I’ve made an effort to play at least one game from each generation of Pokemon games. While I don’t mind the repetitive aspects of the franchise, and I appreciate the changes they’ve made in terms of storytelling, multiplayer, and more, after 15 years of fighting gym leaders and saving the world I wanted to spice up my Pokemon experience.
Then I remembered this post I made back in 2010. The gist of it is that I always thought that the addition of Pokemon Contests was unfulfilled potential. While it’s presented in the anime as an alternative path for trainers who don’t care about Gym Leaders, in the games it always played second fiddle to the main path to the Elite Four. However, with the release of Omega Ruby and Alpha Sapphire last year, I decided it was the perfect opportunity to change my approach: I would become a Pokemon Coordinator.
I would also play in Japanese because the Pokemon games give you the option to choose now. “Why not?” I thought.
What would a “Contest Run” of Pokemon entail? Essentially, rather than my primary motivation being gym badges, I would instead value the earning of contest ribbons. While I would fight the Gym Leaders, foil Team Magma, and more, these would be more means to an end. Instead of caring about my Pokemon’s battle stats, I would mainly focus on their essential Contest qualities: Beauty, Toughness, Coolness, Cleverness, and Cuteness.
When Steven asked me if I was motivated to take on the gyms, I even answered, “No.” He seemed quite surprised!
One outcome of this path is that my Pokemon almost perpetually had impractical movesets, whether for single or multi-player. To give you an idea, here are a couple of my Pokemon towards the end:
Albania the Swellow @Red Scarf
Coolness Champion
Aerial Ace
Fly
Brave Bird
Quick Attack
Chiba Mamoru the Masquerain @Pink Scarf
Cuteness Champion
Bubble
Water Sport
Sweet Scent
Bug Buzz
Those aren’t just the movesets of someone who has no idea what they’re doing, they’re chosen so that each Pokemon has 3 moves according to their Contest specialty, (Bubble, Water Sport, and Sweet Scent are all “cute” moves in Pokemon Contests), and even their items, the scarves, boost a Contest quality but provide no benefit in battles. It really made me feel like I was grooming my Pokemon to have little to no practical skills, and that they could only survive in the lofty world of pageantry.
Of course, as it was a single player campaign I didn’t put in a Smogon level of research into all of this. I’m sure that any TRUE Contest aficionados could tear me a new one. I mean my management of berries and blocks (the things you feed to your Pokemon to improve their contest stats) was terrible!
One cool new addition to Omega Ruby and Alpha Sapphire that made the Pokemon Contest path feel more significant was the introduction of a new character: a world-famous Contest Idol named Lisia (Lutia in Japanese). As the premiere Pokemon Coordinator and the one who sets you on your path to competing in Pokemon Contests, she becomes a motivating factor. Lisia was my goal, my aspiration, and the reason why I continued to make my Pokemon as clever and beautiful as possible. By the time I earned all 5 Master Rank contest ribbons and earned the chance to take on Lisia and her daunting Mega Altaria (Dragon Dance is amazing in Pokemon Contests), I had reached my own personal Pokemon League.
In the end, I became an overall Contest Master and even took on the Elite Four and Steven. Though I could also add “Pokemon Champion” to my list of achievements, in my heart it was more of a nice epilogue than the true climax of my journey.
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In recent years, diversity in representation of peoples has become a frequent topic of debate among fans of animation and comics. Whether it’s the rise of Steven Universe and its positive portrayals of strong female characters, or the increase in panels on women in comics, minorities in comics, and more at New York Comic Con, there has been a strong move both from fans and creators to make sure that tokenism is never a thing, and that the Rule of Three (see the video below) doesn’t stop any group from finding themselves in cartoons.
In 2014, at a Women in Comics panel at NYCC, one of the panelists mentioned the importance of learning how to communicate with the old, white men who run these companies if people want to make a difference up top. The following year at NYCC, a Diversity in Comics panel had multiple industry members talk about how management across multiple companies are realizing that other groups besides the white, male demographic are customers and are worth appealing to. Ultimately, people are communicating in the language that executives understand most of all: money.
However, while the net result seems to be in favor of a strengthening of cultural diversity, there’s a question that nags at the back of my mind as I see the talk of a changing tide. Are those executives, those old, white men, actually learning why cultural diversity in comics is important, or are they simply seeing it in terms of potential sales? Part of the reason why comics appealed to that white, male demographic for so long, aside from latent racism, was that it was seen as a reliable market, but catering too much to that aging audience has stymied its growth among the population at large. This means more attention is paid to women, LGBT, racial minorities, and more, but does it just all come down to the bottom line?
My fear is that, if diversity is simply seen as the latest ticket to profit, that if comics and animation start to be less successful, will the companies and their heads be just as quick to jettison the desire to bring different groups of people to comics? Are we ultimately beholden to entertainment media as a product of popular culture in a capitalist society?
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One Punch Man has been a hit, both with the people who have long championed the manga, and with those discovering it through its animated adaptation. The story of Saitama, an invincible superhero who literally finishes most of his fights with “one punch,” the series puts a great deal of emphasis on humanizing its Superman figure. It handily deflects the classic criticism of invulnerable protagonists as “boring” while also drawing from both Japanese and American superhero traditions, and I think it’s worth exploring what it does to make Saitama a sympathetic figure.
To talk about a Superman-type character is to also naturally bring up the Man of Steel himself. Originally conceived with incredible strength and speed and gradually transformed into a being that could move planets and reverse time, much of the past three decades’ stories concerning Superman have been finding ways to make him human. Zack Snyder’s Man of Steel film focused on the psychological and emotional struggle of having to hold back all the time, something shared with select episodes of the Justice League cartoon. Superman has been reduced to the point of being not quite so omnipotent, and also turned into a brooding teenager for Smallville. Numerous “what-if” scenarios have made him Soviet, nearing death, old and out of touch with the youth, and alternative takes on Superman-esque figures have dealt with mental problems, become amoral, and more. Even other superhero-themed series such as Tiger & Bunny and My Hero Academia will build in flaws into their Supermen, though the fact that they’re in the distance means that it’s more about how their image and reality compare.
One Punch Man ties Saitama’s ongoing turmoil to the fact that his astronomical power levels have made him unable to fulfill his heart’s desire, which is to be pushed by a powerful foe and go beyond his upper limits. He wants to feel like Son Goku being brought to the brink by Frieza. He wants to be Ryu from Street Fighter, constantly pursuing the next challenge. He draws from that popular tradition in manga and other Japanese media about the thrill of the journey, and yet while Akagi brushes with death before defying it, even that is denied when it comes to Saitama. Even if we’ll never as powerful as that, I think it’s easy to understand why this would be so painful.
Perhaps the more important element is that Saitama is kind of an idiot. The fact that Saitama doesn’t quite think through his position in the world (or perhaps choose to actively ignore it) brings a certain quality that reminds me of the earliest Superman comics and stories, back when he could only leap tall buildings in a single bound. If you look at the very first Action Comics, Superman spends a lot of it bullying the bullies. There’s a certain satisfaction in the fact that Superman’s personality and character aren’t so elaborate, that there isn’t almost a century of material exploring his psyche. One Punch Man achieves something similar by just having Saitama’s morality have good intentions but generally be kind of vague. He hasn’t thought too much about his role as a superhero other than that it’s “fun” (or at least should be), though at the same time it puts a twist on that basic desire to be so powerful that no one can stand in your way.
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When thinking about game creator Sakurai Masahiro’s desire to celebrate gaming through his Super Smash Bros. series, one significant missing piece of gaming history thus far has actually been PC gaming. Even with the plethora of third-party characters, most recently Cloud Strife, all of them have been console-based.
If there could be one character who would represent PC gaming in Smash Bros., who would it be? It’s a ridiculous question and kind of unfair to PC gaming, but ultimately I decided on Thrall, the heroic orc raised by humans, from the Warcraft franchise.
The reason why I picked Warcraft as a representative is because not only are its characters and games extremely popular, but it covers two different genres that blossomed on the PC: Real-Time Strategy and MMORPGs. Thrall, in turn, is the most iconic character of Warcraft.
I’ll admit, I never really played any Warcraft or World of Warcraft games, so I needed a good deal of help from a more knowledgeable friend. From him, I got the idea that Thrall would be kind of a mix of Robin and Dedede, a heavy hitter up-close with lots of powerful ranged attacks whose strengths are tempered by relatively poor mobility.
All of Thrall’s attacks come from Warcraft III, where he is a heroic Farseer, though the animations would be more in line with the recent Heroes of the Storm. Chain Lightning, rather than being area of effect, homes in on one opponent after the other, doing less and less damage per trip. Earthquake is similar to Bowser Bomb, except it can also trip nearby opponents. Side B would work like Zelda’s Phantom Strike, except that the recovery would be quicker and it would stun instead of damage the opponent, somewhat like a long-range Mewtwo Disable. Lastly, Windfury lifts Thrall up in the air, and before he lands his aerial attacks come out twice as quickly, replicating the higher attack speeds the move grants in other games. In a way, it functions similarly to Bowser Jr.’s Abandon Ship move, giving greater mobility and more dangerous offensive power.
Though Thrall does not learn Bloodlust in his own games, it is a representative ability of Orcs in Warcraft, so I believe it fitting to be his Final Smash. Instead of him casting it on himself, imagine Orc Shamans casting it on him instead. Bloodlust would provide a boost to movement and all melee-range attacks, with enhanced effects.
Well that’s it until Tuesday’s final Smash Direct! No matter what characters are chosen, I’ll still try to find time to do more of these, simply because I enjoy making them. I do have another PC gaming representative in mind, but we’ll see if people find it interesting. If you could put any PC gaming character into Smash, who would it be?
Previous Characters:
King K. Rool (Donkey Kong Country)
Princess Daisy (Super Mario Land)
Great Puma (NES Pro Wrestling)
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I decided to make a couple of videos showing some Mewtwo things in Smash 4. Tell me what you think!
On an October episode of IGN Esports Weekly, the Fighting Game Community’s Mike Ross and Smash Bros. Melee statistician Tafokints briefly discussed the differences between Melee and Street Fighter. It’s an interesting comparison that’s worth watching as a whole, but what I want to focus on are the following two statements (emphasis mine):
Tafokints: A Melee player is going to really focus on mechanics, right? Concepts like stage control and footsies become second nature in the game, because you can get away with just playing fast, and getting to mid to high level. I would say you could even get to Top 32 at a national [tournament] just by being technical, and having little understanding of the fundamental concepts of competitive gaming.
Mike Ross: Learning [Street Fighter] made [Bobby Scar] a way better Melee player…. He didn’t realize how smart of a game Street Fighter was…. He had to think about his opponent so much more in Street Fighter, like you do in Melee…. You’re not running around the stage, you’re really up close to your opponent the whole time, so you’re constantly having a dialogue with your opponent…. Once you answer to yourself what can you do, the next best question is, “What does he want?”
Just to be clear, both parties believe that their respective games have technical requirements and require smart play at the highest levels. While Melee has this large mechanical wall to climb, once you’re at the summit matches between top players can be considered intriguing debates featuring the sharpest of wits. For example, take a look at top Melee player C9 Mang0’s review of a Grand Finals match versus another one of the “gods” of Melee, MVG Mew2King. In it, he goes over the intricate dialogue that occurs at super high speeds and involves rapid-fire decisions:
In this respect, I want to posit the following: if fighting games are like a dialogue or a debate, then learning the mechanics of a game is like learning a language in the first place, and in this respect Melee is an enormously difficult language to learn. It’s like reading written Chinese, or learning Icelandic (which I hear is quite the challenge): certainly within the realm of possibility to become fluent, but mastery requires dedicated study and practice. As you improve at a language, it’s like the world opens up to you. You go from recognizing words to being able to read sentences, then novels and poetry. You discover the intricacies of how to piece thoughts together to form more complex ideas. This, I think, is where much of Melee‘s appeal comes from. To fans, wavedashing, dash dancing, L-canceling, DI, shine canceling, Scar Jumping, and more aren’t just Smash Bros. lexicon but the very grammar and vocabulary that lead to infinite possibilities of expression.
Basically like learning Fox
If that’s the case, however, then many players never truly learn to debate with their opponents. Those who consider the mental aspect of the game from the start will have the opportunity, of course, and that mental interaction is pretty much required at the tip-top level of Melee, but let’s go back to what Tafokints and Mike Ross had to say. Though there’s an upper limit, in Melee you can become a decent competitive threat without ever learning the mind games, but in Street Fighter you are taught to focus on mastering the art of dialogue from the very beginning. In contrast, what Melee will more often amount to is a debate where someone who is fully fluent in its language is overpowering someone who’s still just learning how to string a sentence together.
Again, to a Melee player, this is the charm of their chosen game: it is a complex and difficult yet beautiful language. Melee is a subject worthy of aesthetic appreciation, and those who reject it or see it as unnecessarily convoluted are simply not putting in the necessary work. With that being said, where Melee in a sense falls apart is when a player or indeed a game designer wants the central goal of their game and improvement at their game to be not so much the continual mastery of grammar, but a firm focus on the thrill of the debate or dialogue itself. Even if it is a simpler language, even if it takes less to learn overall, if one is able to immediately engage in the act of dialoguing, then that competitive game has achieved something rewarding. Rather than leaving that aspect to only the most skilled and talented players, it now becomes something that more people can experience. This, indeed, is where games such as Divekick, Smash Bros. Brawl, and Smash Bros. for Wii U come into play.
In the YouTube comments of the non-extended version (I don’t recommend you actually take a look), a lot of the debate descends into whether or not Melee is a “real” fighting game or not. The worn-out arguments of it being a party game without anything in common with “true fighters” are brought out, and in turn many of the defenders of Melee fall into these old traps. They will talk about how Melee is actually this enormously difficult game to learn and master because of its technical barriers, and will wear it as a badge of pride, while simultaneously talking down the other Smash games for lacking in this quality. They have essentially cornered themselves into a position where they are playing by their opponent’s rules. Whether by ignorance or by intentional scheming (most likely the former), Melee‘s detractors attack its integrity, but many of its supporters only know how to respond with, “But look at how intricate our language truly is! Can’t you appreciate that?” while failing to take into account that what some see as the true beauty of a language is when it leads to fruitful conversation.
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At long last, after many years and 35 volumes of manga, I have finished the exhilarating, hilarious, ugly, and beautiful shogi manga known as 81 Diver. Its bizarre narrative and even stranger art work captivated me from the very beginning, and now that I have seen this series to its end (one of the three series I followed intently that have concluded recently), I want to write to confirm that 81 Diver not only ends strong but in many ways either matched or exceeded my expectations.
81 Diver is the story of Sugata Kontarou, a failed shogi [Japanese chess] player who has taken up gambling through shogi to make ends meet and to fulfill his love of the board game. One day, he decides to order a maid service to clean up his apartment, and discovers at his doorstep an absolutely voluptuous redhead as if out of a fantasy. However, this maid has another identity as Akihabara’s strongest shougi player and a gambler just like Sugata. Known as “Ukeshi,” what translates loosely to “master of defense,” Nakashizu Soyo (as we later learn her name) has her own mission in life: to avenge her brother and father who were both killed by shogi.
As the series progresses, the characters wind up not only challenging and befriending a variety of powerful shogi players and for some reason martial arts experts (actually it’s because the author Shibata also wrote Air Master), but end up in a tournament to save the world from the Kishoukai, the “Demonic Shogi Organization.” The amounts of ridiculous twists and turns this series goes through are almost too many to count. As crazy and as strangely epic as this sounds, however, what really makes 81 Diver special is that the art looks like this:
When discussing the character Kiryuuin Satsuki in Kill la Kill, I once wrote that she has so much presence and so much inner strength that it is the very first thing you notice even as she’s wearing the most ridiculous and revealing outfit possible. I find 81 Diver‘s portrayal of Soyo to be of a similar vein. Sometimes there will be pages of her character where half of it is occupied by a shogi board and the other half is taken up by her enormous chest. At the climax of the manga, her breasts become one of the central points of conflict. And yet, her raw shogi power level is what stand out most about her.
The difference is that, while Kill la Kill achieves this through incredibly well-rendered, stylized, and intense artwork, I ended up including 81 Diver as one of the many titles at my Otakon 2015 panel, “Great Ugly Manga.” On some level, this is clearly on purpose, but it’s also clear, especially given Shibata’s guest essay manga in Gundam: The Origin, that he’s making the best out of what he has, and what he has is a lot of spirit and not a lot of conventional drawing talent.
I would not call 81 Diver an intentionally feminist or progressive work, especially given all of the attention given to girls’ bodies, but it is notably diverse in its cast. There’s an admirable homosexual character who isn’t stereotypically flamboyant, who also dresses like a tokusatsu character and shoots rocket punches. There are also numerous romances between unlikely individuals, and what stands out most is the strange romance between Kontarou and Soyo that portrays them as equals above all else.
When you look at many shounen and seinen manga, there is often something of a lopsided relationship where love interests aren’t allowed to be as prominent in the particular subject focus of the manga (be it sports, fighting, or whatever). Not so with 81 Diver. Though Soyo is dressed in maid outfits throughout the series, and though she will sometimes playfully call him “master” as a callback to how they originally met, at the end of the day they are bonded by their mutual skill and passion for shogi. In fact, when the series begins Soyo is clearly Kontarou’s superior, and when they are able to play again much later in the series, it is one of the most satisfying duels I’ve ever seen in manga.
As mentioned by the characters, the characters fight as if they’re communicating their love through the game of shogi itself. When you see the two of them play, you genuinely don’t know who’s going to win because, even if you set aside the idea of skill in favor of narrative progress, both characters have convincing reasons why they need to win. Ultimately, I love the way they resolve all of this, but I won’t say more so that it remains a surprise for readers.
I could probably write a whole series of posts on 81 Diver, and in fact I’m quite tempted to do so. Suffice it to say, 81 Diver comes highly, highly recommended from me. If you can get past or even embrace the terrible (or perhaps terribly endeaering) artwork and style, it becomes one of the funniest, surprising, and involving manga you’ll ever read.
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NiGHTS into dreams… is my favorite video game ever. No matter how many hours I put into Pokemon or even Smash Bros., NIGHTS always has that special place for me. Even before Melee came out, well before the start of this blog, I had begun to picture how NiGHTS as a character would function in Smash Bros.
NiGHTS into dreams… is a game about two children who fight to save the world of dreams from the evil forces of Nightmare with the help of a mysterious androgynous dream being, a rebel “Nightmaren” known as NiGHTS. The game evoked a real sense of flight while providing vivid dreamscapes for worlds. Though fairly obscure by today’s standards, you’ll still find people who love the game. For many, it was synonymous with the Sega Saturn, and even the Seha Girls personification of the console has NiGHTS-like features.
The biggest challenge with NiGHTS is that they’re a flight-based character, and I don’t even mean that they “can” fly, as is the case with Kirby or Pit. Rather, NiGHTS’ whole identity revolves around flying, and it’s pretty much the only thing they ever do during gameplay. There’s no walking, running, or jumping—it’s either flying or bouncing into things. Given Smash Bros. and its sumo-style gameplay, that wouldn’t be very fair if left unchecked.
With that in mind, I thought it best if NiGHTS did not have 10 jumps or whatever, and instead would have relatively fewer multi-jumps (4 mid-air jumps, one less than Kirby or Meta Knight) that were supremely maneuverable. As you can see in the upper right hand corner of the image, NiGHTS wouldn’t get just a small bump from each jump, but would be able to make curves, weave in and out, and more, with each successive “jump.” On the ground, NiGHTS would hover, and many moves, as well as their dash, would give NiGHTS a low profile.
NiGHTS as I picture the character is nigh-impossible to edgeguard, especially because all four of their specials are recovery moves, with some packing impressive killing potential, similar to Meta Knight. In exchange, NiGHTS would probably be the lightest character in the game, even lighter than Jigglypuff who’s usually dead last, and would have low damage per hit.
Paraloop involves NiGHTS making a quick loop, though rather than NiGHTS’ body doing damage, it creates a vortex that can suck in opponents, damage them, and even KO at high percents. I decided to localize into a single special move rather than it having a constant presence on-screen, because while it would be an interesting mechanic, it might make NiGHTS too overwhelming in that the character would be able to fight without even pressing the attack buttons.
NiGHTS’ neutral special, Somersault Throw, is an extremely versatile move. A command grab where NiGHTS boosts forward slightly, grabs the opponent, then spins around once and throws them, the tricky element of the move is that NiGHTS can activate the throw portion at any point while holding the opponent. This means that NiGHTS can throw the opponent towards the nearest blast zone, including the bottom of the screen for what is effectively a meteor attack, or into a ledge for a stage spike. Also, just having a command grab that’s so strong makes shielding against the NiGHTS that much more dangerous.
Drill Dash and Dragon Persona (taken from NiGHTS: Journey of Dreams) are more similar to typical recovery moves, but each is unique relative to the other. Drill Dash can be slightly angled similar to Meta Knight’s Drill Rush (though is slightly better this way), while Dragon Persona’s direction can be controlled like Fire Fox/Fire Bird, only with wind-immune properties. This means that, if Mario or another character tries to push NiGHTS to foil their recovery, Dragon Persona can cut straight through it. Neither move is good for KOing, however.
As for Dualize, NiGHTS’ Final Smash, it’s based on the final battle in both NiGHTS games, where both child characters simultaneously fuse with NiGHTS. This would create a clone character that mirrors NiGHTS’ moves, creating difficult traps and greater damage potential. Think of it like Morrigan’s Darkness Illusion super in Marvel vs. Capcom 3.
Not quite a “glass cannon,” NiGHTS would try to out-maneuver the opponent into making a mistake, and then capitalize on it. Overall, NiGHTS would be a graceful character capable of giving any opponent the slip, with a tricky yet effective and surprisingly powerful play style.
For next time, the character I’ll be presenting will be a representative of PC gaming.
Previous Characters:
King K. Rool (Donkey Kong Country)
Princess Daisy (Super Mario Land)
Throughout Nisio Isin’s Monogatari series there has been a mysterious character whose motivations and origins are difficult to grasp. Oshino Ougi, who purports to be the niece (and sometimes nephew) protagonist Araragi Koyomi’s Hawaiian shirt-wearing mentor, seems to come out of nowhere and has a knack for planting thoughts into people’s minds and for getting them to unconsciously open up. Is she just a manipulator or something more? Given the series and its author, the latter is more likely, though either way what Ougi reminds me most of is the biblical devil, whose half-truths are designed to deceive men into making grave errors.
What stands out to me most about Ougi, however, is how much she resembles Ogiue from Genshiken. She has deep, black eyes just like Ogiue’s from the first series. She has a hair style similar to Ogiue’s when she lets it down, especially Ogiue’s look during Nidaime. Ougi also has a similar chest size and overall figure, and the fact that she’s sometimes a boy (in terms of sex, gender, or something else? It’s mysterious.) reminds me of Ogiue’s overall tomboy demeanor.
Drawing this comparison even closer is the fact that Ougi and Ogiue share the same voice actor, Mizuhashi Kaori (Mami in Madoka Magica, Laharl in Disgaea).
Check out this Ougi fanart by artist Dowman Sayman as well. Given the way they draw Ougi, especially her nose, she looks even more like Genshiken‘s fujoshi president.
Is it mere coincidence? Most likely yes. Even so, whenever I watch the currently-running Owarimonogatari and see Ougi, I can’t help but think of Ogiue Maniax’s namesake. Maybe that’s why Oshino Ougi has become my favorite character in the series.
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OGIUE MANIAX 