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

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

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

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

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

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HatoZine, the Hato Kenjirou Fanzine, is Accepting Submissions

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Hato Kenjirou is one of the central characters of Genshiken whose struggles with gender and sexuality and overall cheerful yet reserved personality have earned him many fans. Some folks have decided to create a fanzine all about Hato, and while he’s not everyone’s favorite character (see name of blog), I think it’s really awesome and I encourage all Hato fans and perhaps even fans of Genshiken to either send something in or at least take a look when the finished product arrives.

Submissions are open for HatoZine, and are due on October 15, 2015. Make sure to check out the submission guidelines too.

As for myself, I indeed plan on writing something. Or have I already written something and just haven’t sent it in yet???

And of course, thanks to Alison Wilgus for telling me about HatoZine.

 

 

Story is Not a Side Dish in Love Live! The School Idol Movie

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Love Live! is huge, no doubt about it, and I would say deservedly so. Between the quality of the anime TV series, the appeal of its characters, the addictive nature of its mobile game, and of course the slew of songs produced, in a way it’s no wonder that Love Live! manages to attract both male and female fans in large numbers. I attended the New York City premiere for Love Live! The School Idol Movie, and as expected was greeted with a long line full of cosplayers, glow stick wielders, capes adorned with the characters’ faces, and just generally fans who love the main idol group so much that they practically treat the showing like a live concert. Watching the movie amidst an audience of differing values and perspectives, what I found most interesting is how the movie juggles all the various aspects that go into the franchise while maintaining both a fun experience and a solid narrative, and which speaks further to how malleable Love Live! is as a fan experience.

 

Synopsis and General Thoughts

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In the world of Love Live! are idol groups that represent specific high schools. Kousaka Honoka, a new attendee at Otonokizaki High School, forms a “school idol” group called μ’s along with eight other girls so that they can save their school from rapidly declining attendance and closure. Eventually, through various trials and setbacks, they not only manage to keep their school, but win the biggest school idol competition, the “Love Live,” defeating the defending champions A-Rise in the process. However, because they cherish the specific circumstances and experiences that brought them together, they decide that they will retire μ’s and its name. As the TV series, ends, however, they receive a note of great importance, leading directly into the film.

The note turns out to be a request to fly to New York City and shoot a live performance to promote a bigger and better Love Live, which results in the film being split into two parts: first, the trip to NYC, and then the build-up to a concert back in Japan. Given the first half, I find that there’s something special about attending the NYC premiere, especially because of how much care and attention they put into replicating New York’s landmarks at overall atmosphere. Jogging through Central Park, visiting the new World Trade Center, what stood out to me in particular were actually the restaurants. Visiting thinly veiled analogues for such NYC institutions as Junior’s (where they experience American cheesecake for the first time) and Japanese restaurant Kenka (where the surrounding St. Mark’s Place atmosphere is captured surprisingly well), it’s clear that the people responsible for the movie did their research, and in terms of capturing the NYC experience they did a good job.

As for the second half of the movie, it’s very much designed to conclude the story of the nine girls of μ’s, which in a way is a major surprise. Not only would it be obvious to have their adventures continue forever given their appeal (and I’m sure they’ll find a million ways to extend the overall life of the group), but the film doesn’t even mention the fact that they’re creating another anime with a new group of girls aspiring to be school idols. One of the criticisms of Avengers 2 is that it feels like a stopgap between two different status quos, and it would have been all too easy to feature the new girls in the movie conspicuously as a way to promote them. In fact, there’s nothing of the sort, at least as far as I can tell. This movie, whether it’s truly the end or not, at least feels like a conclusion to a long and entertaining journey.

As a film that’s supposed to be both the sequel and bookend to the story of μ’s, I find that Love Live! The School Idol movie strikes a good balance of calling back to beloved moments of the TV series, being its own story, and giving enough time and energy to each of the characters without having them overcrowd each other. Some figure more prominently into the main narrative than others, especially in the second half, but there was clearly a lot of effort made to keep the movie tight and not to bog it down with having to showcase each girl like it was a fighting game movie. Notably, entertaining musical numbers group the girls together by year (there are three 1st years, 2nd years, and 3rd years among the group), with one girl in each group being the “center,” and are in a way reminiscent of a Fred Astaire movie.

The Characters of Love Live! in The School Idol Movie and Beyond

A lot of the time, what makes Love Live! work is that the characters’ key traits allow scenes to practically play themselves out, and this comes across very well in the movie. For example, certain characters have their favorite foods. Kotori loves desserts and sweets, so naturally she would view America and New York as a never-ending wonderland. In contrast, Hanayo loves food in general but reveres plain white rice above all else, and suffers in an environment that emphasizes bread and pastries and considers rice merely a “side dish.” In such a circumstance, the normally quiet and reserved Hanayo would act out. It only makes sense for Umi to be a nervous traveler, for Maki to be flustered by a close interaction with A-Rise’s leader Tsubasa, and so on. It’s moments like these which capture the appeal of the characters so well, while tying them into the story.

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There are a lot of different values carried in Love Live! fandom, and given people’s differing opinions on favorite characters (Hanayo is the best), level of interest in yuri, amount of fondness for idols in general, and more, it occurs to me that one of the strengths of Love Live! is that it has as much or as little “depth” as you want it to. Take the character of Nico, who’s also by far the most polarizing figure among Love Live! fans. Her appeal (or to some lack thereof) comes from the fact that she’s both the most cynical and optimistic member of μ’s when it comes to being a school idol. She’s sort of like a pro wrestling fan who knows all of the behind-the-scenes information behind wrestlers’ real personalities and controversies, but at the same time gets more excited than anyone else (with the possible exception of Hanayo) by the illusory presentation of the performance.

In wrestling terms, Nico would be a “smark” turned pro wrestler. Having all of this enthusiasm and background knowledge and fully believing in its potency is what prompts her coy, girlish persona and her use of her signature catch phrase, “Nico Nico Nii!”, which has been optimized to be the perfect idol moment. And yet, it’s very easy to say that Nico = “Nico Nico Nii!” Hanayo is rice. Rin is meows. Eli is “khorosho.” Both sides, the simple and the elaborate, are represented well in Love Live! The School Idol Movie, and rather than impacting the quality of the movie and Love Live! in general, I think what it serves to do is widen its appeal. Whether that’s a good thing or not is, of course, up for discussion.

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As a final note, I’d like to talk about the present we received at the premiere. Attendees received character signboards as well as codes for the Love Live! School Idol Festival mobile game. It’s the first time I’ve received anything of the sort, and I think it went a long way in making fans of Love Live! feel like they were part of the franchise experience as a whole, even if they couldn’t fly to Japan. As shown above, I received a Nozomi signboard, which I’m happy about, as she is indeed one of my favorite characters. But if anyone has a Hanayo… leave a comment below.

Actually, one last thing: internet fandom in a nutshell.

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The Dream of the Hanayo Team is Here

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Recently I accomplished one of my goals over the past couple of years: I finally created a team of 9 unique Hanayos in the popular mobile game Love Live: School Idol Festival. Seeing as how tomorrow I’m going to see the Love Live! movie, I think now’s as good a time as any to discuss how I play School Idol Festival  as a fan of the franchise, but also as someone who knowingly restricts his exposure to the game, and creates games within games.

There was a time when I didn’t feel as strongly about Love Live! as a whole. All I knew was that I liked the anime quite a bit, and when I discovered the increasingly popular mobile rhythm game, it introduced me to the collector’s mentality that goes into supporting idols, digital or real. What began as a curiosity became an understanding of how involving the rhythm game with its collectible card aspect, character loyalty, and other aspects could be. The game taunts you with the prospect of buying more gems to give you that next gashapon-esque crank of the lever. If you choose to not give the game money, it then becomes the absolute biggest time sink there is. It’s a dangerous combination not uncommon to mobile games, and seeing the potential threat to my free time that the game posed, I knowingly restricted my goals. Thus, the All-Star All-MaddenHanayo Team starring Jerry Rice became my aspiration. I could pick my battles, prioritize certain events over others, and prevent the game from destroying my free (or not free) time.

While I hit my original goal, what’s funny is that somehow I feel that, by aiming for it so intently, it actually got further away from me. What I mean is that in the process of trying to get 9 unique Hanayo cards, I ended up with full teams of Eli and Umi without even trying. I’m sure there are fans of those two characters who would devote their everything to having full squads, but it was merely a stepping stone in my process. Again, it’s a good thing I didn’t approach the game with a completionist mentality, or else I would really be in trouble.

In the end though, I find that the game was merely supplemental to my fondness to the anime, which is why I’m looking forward to the movie far more than my anticipation over getting the final 9th Hanayo on my team. There’s an interesting disparity between the worlds of the game and the anime, and that has to do with the role of men. While players of Love Live! traverse all sexes, genders, and sexual orientations, there’s still the residual effect of idols classically being a point of desire for guys. A lot of the rewards for playing the game are messages from the girls, who will talk about how they want to be alone… with you.

In contrast, men are virtually non-existent in the anime. This is what perhaps makes it yuri fuel for a certain contingent of the fanbase, and certain characters’ actions acknowledge that men exist in a kind of abstract sense (Nico’s behavior, for example), but a lot of the character dynamics and interactions are pointed towards each other rather than the hypothetical viewer/player. The game is where I show my support as an extension of my fondness for the anime, and even if I ever buy a CD (NicoRinPana of course), then that’ll also be supplemental to my fondness for the overall narrative and theme of Love Live!

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My Picks for Comic Zenon’s Next English-Translated Manga

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Comic Zenon is a curious manga magazine. Featuring current manga by the Fist of the North Star artist Hara Tetsuo and also supported by North Star Pictures, one might get the impression that it’s a comic for manly men who love manly things, but they have a lot of other things going for them too. More recently they started up a poll to ask English readers what manga they would like to see translated, and many of the titles on there look fantastic.

Of course it’s up to you to decide which ones to vote for (and you can vote for multiple titles), but here are the ones in particular I really want to see make it.

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From the artist of La Sommeliere, Hana Kaku: The Last Girl Standing follows a young, petite girl who discovers the world of Mixed Martial Arts. I read the first two chapters in Japanese, and while it never got around to the actual fighting that early, the art and the characters really sold the manga for me. Seeing Hana’s eyes widen as she sees watches her new best friend demolish a car with the power of MMA made it an instant must-read.

CZ_a_CZ021As someone who loves to eat and also read manga about characters eating, Wakako-Zake is a shoo-in for me. This isn’t just about the joy of having the perfect food, it’s about the satisfaction that comes from being able to revel in the simple subtleties of eating. The anime is currently being streamed on Crunchyroll, and with each episode taking about 2-3 minutes there’s no reason for you to not check it out. In the anime, Wakako is also voiced by Sawashiro Miyuki (Fujiko in The Woman Called Mine Fujiko, Twilight in Go! Princess Precure), using something closer to her Serizawa voice from Pani Poni Dash.

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I don’t know as much about this title, but Forensics Girl Hayama-san seems to be some kind of quietly awesome mystery manga. According to the description, the “manga is full of investigative techniques that you can try at home!” While manga about detective girls can vary in quality immensely, they’re also often some of the best works I’ve seen (Her Majesty’s Petite Angie, Daughter of Twenty Faces).

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The Fujoshi Files 144: “Coming Out”

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Name: N/A
Alias: N/A
Relationship Status: Dating
Origin: Happy Fujoshi: Coming Out

Information:
This female character recently started dating her boyfriend, who is surprised at all of her fujoshi qualities. When visiting Shibuya, a trendy part of Tokyo, she sees it primarily as a means to visit the otaku goods store Mandarake. Though she is into series popular with fujoshi such as Prince of Tennis, she also has knowledge of works such as Mahoromatic and Higurashi no Naku Koro ni. In fact, she pairs the two Higurashi characters Maebara Keiichi and Irie Kyousuke.

She finds it impossible to view her boyfriend as anything but an uke.

Fujoshi Level:
She once paired two businessmen she saw on the street together, but instead of putting them in a business setting she transported them in her imagination to a school academy.

Fun with Money Puns: Ogiue Maniax Status Update for September 2015

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As September begins, I feel as if something is going to happening. I’ve been considering promoting the blog more than I have in the past, and really thinking about if I should make more efforts to have my posts reach people rather than writing them and waiting for readers to show up. I don’t want to push Ogiue Maniax at people who don’t care, but I do think that there are folks who might be interested in my blog, but who could very well know nothing about it. After all, I still get messages from people discovering Ogiue Maniax, albeit at a slower pace than what used to happen when anime blogging was a bigger thing in general.

This month’s special Patreon sponsors are:

Ko Ransom

Alex

Johnny Trovato

Anonymous

I had one other new sponsor who just barely missed the cut-off point for this month, but don’t worry (and you know who you are!). You’ll see your name next month.

This month’s sponsored posts covered food anime (though it turned more into a post about the Food Network’s anime-like qualities), and Senki Zesshou Symphogear. I had a lot of fun writing both, and I’m grateful that my sponsors enjoy the fact that I will sometimes twist their topics to suit my own particular interests and way of thinking. I feel appreciated, and I’m always happy to see others interested in my thoughts on anime, manga, and other topics.

I had a kind of crazy idea for the Patreon just the other day, and I don’t know how to properly reward people if they do this, but I wanted to make it possible to pledge certain amounts that also indicate your favorite Genshiken characters, based on Japanese wordplay. It would go something like this:

$10.00 for Ogiue (The Chi in Chika means “1000” and 1000 yen is about $10.00. I would say $1000 but I’m being realistic here)

$8.00 for Madarame (The Ha in Harunobu = 8)

$3.38 for Sasahara (Sa = 3, Ha = 8, thus $3.38)

$8.10 for Hato (Ha = 8, To = 10)

$4.40 for Yoshitake (4 = Yo, Shi = 4)

$4.37 for Sue (Susanna, Su = 4 (in Chinese and also Japanese mahjong), San/Zan = 3, Na = 7)

And so on.

What do you think of this idea? Would you be interested in pledging based on your favorite Genshiken character? Is this just another nefarious way for me to add more bad puns to the world?

Correcting Past Failures Through the Super Robot Wars Games

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The Super Robot Wars series, which crosses over various mecha anime across history in the form of turn-based strategy video games, is known for trying to make giant robots look their best. One way in which this is accomplished is through the attack animations, which have become increasingly detailed, dynamic, and beautiful as graphics have improved, such that even the less popular and even less good-looking series of yesteryear appear to have a new lease on life.

However, on a few occasions there will be an attack, even an ultimate attack, that will within the context of the source material be followed by failure or tragedy, and I find it pretty funny to see when the makers of the Super Robot Wars games try to compensate for this in some way. Below are a few examples.

(Spoilers for some series below).

The first comes from King of Braves Gaogaigar Final.

The mighty King J-Der, rival and ally to Gaogaigar, launches its strongest attack, the J-Phoenix. In the OVAs, this attack is unsuccessful in taking down the enemy, but of course you can’t have that happen in the video game. I personally interpret that pause at the end of the attack animation in Super Robot Wars Alpha 3 to be a vestige of that past failure.

The second example comes from Shin Mazinger Shougeki!! Z-Hen (also known as Mazinger Edition Z: The Impact!).

In the final battle, archetypal hero Kabuto Kouji sends a shower of Rocket Punches at Dr. Hell, ending it off with a final blow with a “Big Bang Punch.” However, in the actual anime, while the attack succeeds, the consequences are revealed immediately after to be arguably worse than if Kouji had not defeated Dr. Hell. It turns out that Dr. Hell, while evil, was also trying to prevent an even more evil force from succeeding. While this is acknowledged in the Super Robot Wars Z games through its story, as the games move along you can just keep using the attack mission after mission. The fact that the background doesn’t just suddenly turn red to signal further horrific developments almost feels as if something is missing.

The third comes from Neon Genesis Evangelion.

When the Angel Zeruel appears, it’s the toughest enemy that Ikari Shinji and the other Evangelion pilots have ever faced. At one point Asuka, desperate to prove herself, launches a non-stop artillery volley at the Angel, only for it to prove utterly ineffective. In the anime, this is one of the stepping stones to Asuka’s total breakdown at the end of the series, but in the video from Super Robot Wars MX below shows it being used to defeat opponents with few problems.

As I mentioned, most of the attacks in Super Robot Wars don’t really have this issue, and generally it’s all about celebrating their successes and having fun with characters from multiple series working together. Though, if most of the attacks in Super Robot Wars were to come from failures in the original anime, that might say something about where mecha anime as a genre has gone.

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Turnabout: Genshiken II, Chapter 115

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It’s Keiko’s turn for with Madarame, and she uses the opportunity as only Keiko can. At the same time, she shows both some chinks in her armor and her resilience in spite of that. The chapter also ends with a reference to Overman King Gainer, which is never a bad thing.

One thing I’ve neglected when it comes to these recent Nikkou chapters of Genshiken is the potential meaning behind Yoshitake’s historical expositions. One purpose is to show that Yoshitake is indeed a history otaku, and visiting such a culturally significant place as Tokugawa Ieyasu’s tomb would set her off, yet I can’t help but feel that there’s a sense of metacommentary behind it. According to Yoshitake, Ieyasu purposely lied about the true location of his grave in order to mislead his enemies, and similarly it’s possible that Kio Shimoku has been placing one Madarame love interest in front of the others as a kind of red herring. The question is, then, which of the four is actually in the “lead?”

The answer is probably Keiko or Hato at this point, and you could make cases for either. In Chapter 115, Keiko outright states her case. Keiko: The Realistic Choice. It’s not the most inspiring campaign slogan, so to speak, but as I’ve mentioned in the past that is part of the Keiko x Mada pairing’s charm, that they already seem like a married couple, that opposites attract, etc. In certain ways, like a tangent graph, the more Keiko x Mada is a thing, the more it approaches (but never quite reaches) Spotted Flower. It’s realistic in a very specific sense of the word, where it reflects a popular image of how monogamous love and relationships are “behind the scenes.”

As for Hato, Yoshitake makes a comment that Hato has gotten closer to Madarame as a guy than he ever has in his female guise. Whether Yoshitake realizes it or not, she’s directly addressing one of Keiko’s criticisms of Hato, that he’s putting on an act, a performance, to get attention. Is this gender performativity, and is Keiko any less guilty of it?

If Hato is the front-runner, however, then this chapter is possibly the undermining of that, and again it has to do with Keiko. At the end of the chapter, Speaking of that, Keiko defies the standard manga progression, where secrets are unspoken and affect the dynamics of the love polygon, by just telling Hato about Yajima’s feelings for him. Cutting to the chase in that way is very characteristic of Keiko. You’d think it’d perhaps also be Saki-esque, but I feel like while Saki was devious, it’s a different kind of planning and awareness when Keiko is involved. Keiko is “realistic,” and part of her “reality” is that she both shatters illusions while creating others, and is very aware of everything that goes into presenting herself to Madarame. The main thing that throws her off is that Madarame is indecisive beyond her imagination, to the point that she at first interprets his waffling as rejection. There is a great deal of miscommunication because Keiko just perceives the world differently compared to the primarily otaku cast.

Keiko’s reaction to her “rejection” is fascinating in its own way. You can tell just from how shocked she is that Madarame might not be interested in her just how much confidence she had about winning. It actually didn’t occur to her that she wouldn’t be able to do just the right things to get Madarame to fall into her arms. It’s indicative of how she thinks that she feels that Angela is the biggest threat to her but is thankfully stymied by a long distance, and sees Sue as being too reticent for anything to happen, not realizing that this might be part of her appeal. Keiko aims for physical desire, and aims her personality in that direction.

So what does it mean that Hato is aware of Yajima now? It could go in a lot of different directions, but I could see it going for a while where Yajima doesn’t know that Hato knows about her crush. Yajima is fairly observant, but nowhere near on the level of Keiko or Saki, and Keiko is likely going to try and push them together. In other manga, Keiko might be viewed as the scheming villain, but I wonder if Hato and Yajima would be so bad after all. For one thing, characters like Yajima, especially in terms of physical appearance, are kind of a rarity in manga and anime, and to have them together might make for an interesting statement.

As for the red herrings, perhaps neither Keiko nor Hato are as likely choices as they seem.

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Digimon Adventure Tri’s Mature Look

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Long gone are the days when Digimon tried to compete with Pokemon. Regardless of who won that war, fond memories exist for both. When a new Digimon anime that would feature the original cast but older was announced, I think it’s safe to say that many fans rejoiced at being able to see their favorite characters again. Anyone who’s seen the previews for Digimon Adventure tri., however, will notice that, even if the characters themselves are recognizable, their designs are significantly different compared to the original anime in a way that can’t just be explained by them being in high school.

Digimon had a typical yet still distinct enough style where characters had big heads, big eyes, and big hands that it carried through multiple series. In many ways it was unmistakably the way a kids’ anime was expected to look. Digimon Adventure Tri, in contrast, not only has characters with more realistic human proportions but also has a kind of looseness to the art that to an extent resembles Hosoda Mamoru’s famous Digimon films such as Our War Game. They could have easily mimicked the original style or even refined it to look more mature, so obviously this change is deliberate, but I think this change is particularly fueled by the fact that Digimon Adventure tri. is targeting the audience that watched the original Digimon Adventure all those years ago.

Essentially, I believe that the new character designs and general appearance of Digimon Adventure tri. are a way to show how the series itself has grown up just like the people who first watched Digimon Adventure. The audience has changed, the world has changed, and so too has Digimon evolved into something else. If anything, it’s grown up just a bit more slowly, as the kids who watched it then are probably in their 20s at this point, and they’re going to see Taichi, Yamato, and the rest stepping forward into adulthood.