I’m always interested in trying new foods. That’s why, on my trip to Japan last year, I had a particular restaurant in mind as I landed: Chanko Kawasaki.
I had heard a lot about chanko nabe, aka “sumo stew.” It’s supposed to be the stuff sumo wrestlers consume to help bulk up—nutritious and high in protein for building muscles, and easy to eat in large quantities to pack on those calories. I happened to find Chanko Kawasaki through a simple Google search, and soon discovered that it’s not just any chanko nabe restaurant, but the original! It was founded by a former sumo wrestler turned stable head, and he devised the dish as a way to feed his wrestlers well.
The restaurant is located only a few minutes by foot from Ryogoku Station, and not far from the Ryogoku Kokugikan Sumo Hall, where matches happen. The station is decorated with large images of famous sumo wrestlers, proudly announcing the historic nature of the area.
Chanko Kawasaki is fairly small, and its entrance is around the back when heading there from the station. Given its legendary status as the origin of chanko nabe, I was worried that I wouldn’t be able to get a seat. Fortunately, though, I happened to go during the sumo off-season, so there were only a couple other parties there.
My group got a standard chanko nabe, as well as a variety of skewered meats. The hot pot stew is primarily chicken meat (plus liver and kidney), along with tofu and vegetables such as nappa cabbage and carrots. It’s kept at the ideal temperature using a single portable stove. While this was indeed authentic sumo food, they don’t serve it in sumo-sized portions to ordinary folks (though you can keep ordering more).
The thing that surprised me most about the chanko nabe is how clean and refreshing it tasted. I had expected a fairly heavy dish, equivalent to brawny bodybuilders eating steaks, but it all went down easily. That doesn’t mean it was lacking in flavor, though. The broth was nice and savory, and the ingredients all tasted great. Nothing was overcooked either, and even the chicken breast was far from dry. I could easily see myself eating it often and in large quantities.
Overall, I am very glad I went to Chanko Kawasaki. While I haven’t had other chanko nabe to compare, I would be satisfied with versions even half as good. I’d be curious to see what it’s like during sumo season, but for now, I at least have my memories of hot stew on a pleasant winter’s night.
Over the past few years, hololive Super Expo & hololive fes (a combination convention and live music event) have cemented themselves as the premiere event of not just hololive, but all of VTubing. This year, “hololive 5th fes. Capture the Moment” bookended an incredible 365 days that saw the debut of two new generations, a swathe of 3D debuts, and other milestones all culminate in a whopping four-concert series.
The big visual change this year was a new triple-stage setup for the live audience. By having three stages (one in front and two on the sides), it gave the chance for different sections of the crowd to have a better view of the action at different times. This didn’t matter much to anyone like myself who was watching via the live stream, but I appreciated the effort on behalf of those attending in person.
In anticipation for 5th fes, I watched the Blu-rays of the previous years’, as well as videos of other concerts. While this year’s event was indeed bigger than ever before, it also really felt like the latest point in each VTuber’s journey. Seeing the progress of your favorites is a part of the idol experience, but what I find notable in this situation is how hololive encourages the fans to meet the talents “where they are.” Improvement is relative to oneself rather than absolute, and can consist of circuitous and unpredictable paths.
Because there were dozens and dozens of hololive talents involved, I will only be writing about a handful. That said, even if I did not include your favorite, you might be able to find them fitting into one of the categories below.
Debuting on the Big Stage
For the 3rd generation of hololive Indonesia, this was their very first hololive fes, marking a major milestone in their VTubing careers.
Kobo Kanaeru showcased her versatile singing voice and her boundless energy. Vestia Zeta displayed her sleek dancing but decided to go a cuter route compared to the hip-swaying routines of her 3D debut. Kaela Kovalskia went a simpler and more subdued route that fit her “gamer grind” persona. The range in their personalities was on full display, especially when performing the ID gen 3 group song “Save Our Hearts.”
Making Strides
Some talents, often by their own admission, are not the best singers or dancers. However, it was clear from their performances at 5th fes that they’ve taken steps to get better.
Himemori Luna has been known for her nonexistent stamina, once even needing to literally sit down in the middle of a performance while everyone else continued. At 5th fes, though, Luna was like a new person, showing no signs of severe fatigue. On top of that, her song choice—“Kamippoi na”—was a far cry from the cute and bubbly tunes she typically prefers. The contrast between her famous baby voice and the eerie feel of the number was a pleasant surprise.
Amelia Watson was originally so down on her own singing that one of her YouTube stickers is a bleeding ear. But many karaoke sessions and one original song later, things have changed. At 5th fes, she covered “Sugar Song and Bitter Step” (the ending theme to Blood Blockade Battlefront), and went full-on idol for it, not only showing better vocals but also including dancing a more complex routine compared to previous concerts. Amelia’s karaoke streams are among her most popular because they feel like going out to sing with a friend, and she maintains that feel on the big stage even as she develops.
Pushing the Limits
Progress didn’t just come from those who were lacking ability, but also those who were already highly skilled and took things to the next level. For example, Inugami Korone has gone from a front walkover flip two years ago, to back-to-back cartwheels last year, and now a fully unsupported side flip.
I’ve devoted many words to the mesmerizing performances of La+ Darknesss, and I think 5th fes is her best ever. Her song of choice was her first original, “Aien Jihen,” and its inclusion has a special importance. La+’s first performed it during her 3D debut, and it was when fans realized what a phenomenal dancer she is. However, she used a pre-recorded track due to the difficulty of the choreography (which she came up with herself!). At Waku Waku Dark Nightmare (her Nissin- sponsored solo live), she managed to both sing and dance at the same time, but the audience was all online. This time, La+ was there in front of a crowd of 11,000+—and she killed it.
Additional adjustments to the choreography made her look even more crisp, her voice remained mostly strong throughout, and her overall movement felt more intricate and daring than at 4th fes. In her own words, La+ thought the 5th fes “Aien Jihen” was stronger compared to at Waku Waku Dark Nightmare, and I’m inclined to agree. I’m happy to have seen my favorite hololive song performed so beautifully.
Takanashi Kiara is a similar case. When Myth, the first generation of hololive English, first appeared in official 3D at 3rd fes in 2022, Kiara made a big impression. There was no doubt that she was one of the best dancers in hololive, as she displayed a level of grace and confidence few could match. Then, at 4th fes the following year, an amazing debut performance by Hakos Baelz actually prompted Kiara to declare Bae the best dancer in EN. Over time, other strong dancers have also joined hololive, and it felt like Kiara was getting “powercrept,” so to speak.
Then Kiara went on stage in 5th fes and blew away all prior notions. While singing a brand new song, “Chimera,” she moved in a way I’d never seen from her before. Most (all?) of her prior choreographies have been arranged by an expert dancer named kianna, and Kiara’s “Chimera” looked closer than ever to matching that professional level. It really felt like Kiara was out there to show the world that you can never write her off, and that she was willing to put in the time and effort to prove this point. Watching in the moment, I wondered if Kiara might shine brighter than everyone else this year.
Changing the Conversation
Then Hakos Baelz came in and showed how pointless comparisons could be. By that, I don’t mean that she was inherently or objectively better than Kiara or anyone else, but that she decided to flip the script in a way that rendered such discussions moot.
Ever since her first 3D appearance at 4th fes, Bae has brought a very high level of quality and energy to every performance. Because she has been so consistently great, however, it became a question of how she’d be able to outdance herself this time around. Add in the fact that Bae herself commented on how her plans could potentially result in a flop, and fan speculation was all but inevitable. What feats of dance would she show this time?
To my (and it seems everyone else’s) surprise, Bae went in another direction entirely. Eschewing the high-octane routines she was known for, Bae went for a slow and passionate interpretive dance set to “Uta yo” (aka “Gales of Song”) from the Hosoda Mamoru film Belle. Watching her, I could feel my emotions welling up in response to her sublime choreography, the shock of seeing something so unexpected, and the boldness of Bae’s decision. Moreover, her voice was haunting in a way we rarely hear from her.
The next day, when she performed again for the hololive x Honeyworks stage, Bae did something more typical for her, and the contrast between those performances makes her sheer ability all the more impressive. Later, Bae also said that 1) she’d never done interpretive dance before this and 2) it takes her only about 2 hours to fully learn a choreography. It all goes to show how ridiculous she really is.
Returning in Style
In a few cases, certain performances were like reunions. Some of the hololive members have spent time not using YouTube and social media, and their circumstances meant that their presence at 5th fes ended up being reunions of sorts with their fans.
Murasaki Shion has been on hiatus for the past few months, and this was her first public appearance since she went on break. The roar of the crowd felt like a big “welcome back,” and seemed to communicate the idea that her supporters are there for her through thick and thin.
But while it was already known that Shion would be there, there was actually one talent whose performance came completely out of left field. Last year, Haachama ended up in the hospital not long after 4th fes, and she had to take eight months away from streaming. Because so much time had passed and because there wasn’t much time for her to practice after she did return, Haachama was not scheduled to be at 5th fes.
Then, without any anticipatory fanfare, Haachama blinked onto the stage. Watching the stream, I could hear the slight delay as general confusion in the crowd transitioned into pure excitement. Haachama sang “Idol,” the opening to Oshi no Ko—a song whose content fits an unpredictable girl who declares herself to be the “Worldwide Strongest Idol.” At the very end, she transformed one of the lyrics into a shout of “I love you!” as if to show her gratitude to everyone watching.
There was one other reunion of sorts, though it was more like a story going full circle. One of the last songs of the event was “Last Frontier,” performed by Hoshimachi Suisei and AZKi. The two are among the very best singers in the entire company and naturally sounded amazing, but the song also has a special significance: It was originally written by AZKi for Suisei when Suisei was transitioning from hololive’s INNK music label to the main branch, and AZKi was considering retirement. However, both have stayed with hololive, and Suisei even secretly rewrote some of the lyrics to go from being about sending someone off to achieving new goals together. When Suisei then read out a letter to AZKi about their time together, AZKi couldn’t hold back her tears.
Final Thoughts
It’s funny seeing just how massive hololive has gotten. In those earliest blu-rays, it’s clear that this whole project was a much more humble affair. The concerts were just decently large (but not gigantic) crowds of people in front of screens displaying their favorite VTubers, and actively buying into the illusion presented. Now, everything is so slick that it feels like another world. A bit of the intimacy has been lost in the process, but despite that one drawback, I think this change has been good for hololive and VTubing as a whole.
All the different journeys detailed above, combined with the variety of performances, made for an emotional rollercoaster. There were even plenty of fantastic showings that I didn’t touch on, where the stories weren’t as dramatic but were still wonderful to see play out—even ones as simple as “They put on a great show that the audience adored.”
My only worry is that 6th fes in 2025 looks like it’ll have at least 10 new talents to account for, and I can see my free time (and my sleep schedule) slipping away.
Official VODs are currently available until April 17.
There are plenty of manga about a boy and a girl growing closer, but I only know of one where the relationship centers around escape games—Watashi to Dasshutsu Shimasenka, or Won’t You Escape with Me?
A school boy named Tsunami Kousuke has a problem where people think he’s a creep because he tends to think about and analyze things very quietly and intensely, creating all sorts of misunderstandings. One day, he finds a mysterious school notebook with a code on the front, and after cracking it, realizes that it’s from the meek girl who sits next to him in class, Tojino Aika. It turns out that she’s obsessed with puzzles, and she left that notebook around to see who could be her partner in tackling her favorite type of challenge: escape games. She loves them not just for the problem-solving but also the atmosphere, even being willing to play the damsel just to add to the flavor.
Aika is what I refer to as a “safe yandere”: a character with the intense, obsessive look of a yandere, but targeted at something harmless or only indirectly related to people. She has a very magnetic design and personality as a result, somewhat reminiscent of one of my favorite girls, Hanayo from Love Live! Even skimming the manga can be entertaining, as you get to see all sorts of fun expressions from Aika.
If you can/do read it, though, all the puzzles are meant to be solvable by the reader to a certain degree. Unfortunately, knowing Japanese decently is not enough. I’ve done escape games, and I can read Japanese well enough to understand what’s going on, but I don’t think I could solve these puzzles on my own. There’s a certain degree of familiarity one has to have with a language to begin to decode some of the abstract requirements of the puzzles, and that’s simply not where I am. It’s like why I can never figure out the answers to Professor Agasa’s puns in Detective Conan.
While some series based on similar premises might have the characters progress towards tournaments or something else shounen-like, I don’t think that’s what’ll happen here. Rather, comparable series would be something like Dagashi Kashi or Mysterious Girlfriend X: Boy-girl bonding centered around a specific gimmick. If you like it, you like it.
Four collected volumes are currently out, and I wonder what kind of readership it has built up. Whatever the future of this series might be, though, I actually think it would make for a really good anime. The three-dimensional spaces and the sense of urgency could translate well to animation, and I think Aika herself would be a very popular character.
20 years of Precure is an astounding milestone, so it‘s only appropriate for this magical girl franchise to celebrate hard. To wit, we’ve seen a sequel where characters are all grown up, gallery exhibitions, a concert, and of course, the latest main entry: Soaring Sky! Precure.
Known in Japan as Hirogaru Sky! Precure—hirogaru meaning “expand or spread,” and also being a pun on “hero girl”—the series stars Sora Harewataru, an aspiring hero and a resident of a magical world called Skyland. When the king and queen’s baby, Ellee, is kidnapped by an agent of the Undergu Empire, Sora uses her superhuman athleticism to chase down the culprit, but a mishap causes them to all end up in the human world. Sora needs the power to protect Ellee, and she soon discovers it: Ellee has the latent ability to help create fighting magical girls called Precure.
In many ways, this isn’t unusual for Precure, but there is one immediate difference that is crucial: Sora Harewataru is blue.
To those unfamiliar with Precure as a whole, that might not seem like a big deal. However, throughout its long history, pink has been the dominant motif of all but one protagonist: the original from 2004, Cure Black, and even she has pink highlights. Chalk it up to marketing or heteronormativity or whatever, but that’s the standard Sora Harewataru, aka Cure Sky, defies just through character color alone.
Along with her athletic tomboy personality and her desire to become a hero who fights to protect others, Sora feels like both a return to the roots of Precure but also a pivot into uncharted territory. Her presence is a signal that Soaring Sky! breaks all the rules of what Precure is supposed to be like, and as more Precures join the team, other “expected standards” start to fall like dominos. Why does the pink-haired girl have to be the lead? Why can’t a boy become a Precure? Why can’t an adult? This habit of asking itself and the audience “Why?” becomes a central thread of the series.
Soaring Sky! is conceptually one of the strongest series in the franchise, and it largely succeeds in its execution. The characters all feel very distinct and memorable, and not just because they depart from established norms. Whether it’s the gorgeous and personality-filled transformation sequences or the interactions, they feel realized as unique individuals. One of my favorite early moments comes from when Sora is attending school in Japan for the first time and shouts with gusto, “YES! I AM VERY SHY!” despite being a very straightforward person who also happened to break every school athletic record (and can shatter boulders with her fists untransformed).
The villains also end up having a lot more depth to them than many past entries, with some of the most interesting arcs for them across Precure. Even the final boss is given more development than usual. And one of the potential biggest drawbacks, the constant presence of a baby, turns out to be one of the show’s strengths.
That said, it can sometimes feel like certain characters just aren’t getting enough attention. The way the show portrays the aforementioned adult-age Precure, Cure Butterfly, often comes across like the creators weren’t entirely sure how they wanted to convey her relative maturity to a young audience. In her better moments, she’s shown providing a perspective her younger teammates lack, but she often seems kind of distant. Compared to The Power of Hope: Precure Full Bloom, Butterfly ends up feeling a little flat, though I wonder if that’s the difference between trying to write sa mature character for children vs. writing one for adults.
The highs of Soarin’ Sky Precure are (appropriately) very high, but the show can get a little overly meandering, and it doesn’t live up to its potential in every instance. However, the show is trying to do a lot, and it still works by refusing to confine the possibilities of what Precure can be. As the series moves from start to finish, the series asks why “the way things are” can’t change for the better, and why can’t we be the ones to accept the possibility of a brighter future.
Godzilla is practically a genre unto itself. With a 70-year history, the movies featuring the world’s most famous reptilian titan have run the gamut, from thought-provoking to spine-tingling, and silly to somber. Now, the franchise has entered the Reiwa era with one of its most unique entries in Godzilla Minus One, winner of the 2024 Academy Award for Best Visual Effects.
The actual title of the movie piqued my curiosity upon seeing it—what does “Minus One” even mean? The answer is a work that has decided to go the opposite direction of most remakes. Rather than asking what would it be like if Godzilla emerged in [insert modern era here], Godzilla Minus One moves the clock back and explores what it would have been like had Godzilla arrived at the end of World War II. Specifically, the story is about Shikishima Koichi, a would-be kamikaze pilot who ran away from the grim fate set out for him, and whose encounter with Godzilla instills an additional level of trauma in him.
The most powerful thing about the film is the complex emotions that not just Koichi but everyone around him are processing in the aftermath of World War II. An old neighbor looks at him as a traitorous coward, but dire poverty forces them to make a connection. Koichi forms an erstwhile family with a woman named Noriko and a young orphan named Akiko, but his desire to provide for them is tinged with a refusal to see a happy future with them out of guilt for all the soldiers who couldn’t make it back to their families.
The version of the film I watched was called Godzilla Minus One/Minus Color, meaning it was done in black and white. Going in, I wondered if it was just novelty, but the fact that it takes place in a time before the original Godzilla’s release makes the aesthetic decision very appropriate for the period.
In a way, Godzilla Minus One and Koichi serve as another perspective of a feeling present in another Japanese film about the wartime era: In This Corner of the World. That film shows how the constant message of “sacrifice yourself for the war effort” affects the civilians in ways they don’t even realize until everything comes tumbling down, and Godzilla Minus One looks at how a soldier is affected by the same propaganda. On the surface, there are times when the film seems like it might be saying something worrisome about bringing back the glory of Japan, but it’s ultimately much more complex and anything but jingoistic.
Koichi’s actor, Kamiki Ryunosuke, delivers an amazing performance that tears at the heart and soul. Incidentally, I had recently watched him in the live-action movie adaptation of JoJo’s Bizarre Adventure: Diamond Is Unbreakable Part 1, where he plays another character named Koichi. In that work, Kamiki is far and away the best actor despite being in a supporting role. I later found out that he’s actually been a voice actor since childhood, appearing in multiple big animated films from Miyazaki Hayao and Hosoda Mamoru. Out of this illustrious career, Godzilla Minus One might be his finest work ever.
I applaud the makers for going this hard with a franchise film that’s meant to transition into a new era in Japan. It could have been all too easy to play it safe, but this one looks just as inward at Japan’s history and problems as Shin Godzilla and even the original. Let the Universal films bring the action—Minus One encompasses the other end of the grand Godzilla spectrum.
When the Virtual Youtuber group “hololive English Advent” debuted last summer, something in particular caught my eye: The twin demon guard dogs known as FUWAMOCO listed Genshikenas one of their favorite anime. As a fan of the series (in case you haven’t noticed), it was exciting to know there were a couple of VTubers with a fondness for Genshiken. But it left me wondering, who is their favorite character?
Last month, Fuwawa and Mococo did one of their popular karaoke streams—one that later turned out to be a special stream to announce their move to Japan. As if to call back to some possible younger days as otaku,, lot of the song selections were from the 2000s, including “Soul Taker” and “DANZEN! Futari wa Pretty Cure.” Then, they said the magic words: “Kujibiki Unbalance.”
While regular readers of Ogiue Maniax probably already know this, Kujibiki Unbalance is the name of the fictional series-within-a-series in Genshiken, as well as the title of its opening by Under17. As FUWAMOCO began to sing the theme song, I sent a superchat asking about their favorite character, knowing there was always a possibility that they wouldn’t notice. To my pleasant surprise, they responded.
The answer: Madarame. As arguably the most iconic character of Genshiken, he deserves it.
The only caveat is that only Mococo answered, so I don’t know if it’s Madarame for both of them or just her. If I ever get the full answer, I’ll be sure to make an update.
On a recent trip to Japan, I walked past a shrine. Next to that shrine were statues of Dragon Quest monsters. Seeing them reminded me of the sheer impact of those games and the artist whose memorable designs helped to entrench the series in Japan’s popular imagination.
We now live in an age where Toriyama Akira is no longer with us. As the creator of Dragon Ball and Dr. Slump, as well as the iconic artist of Dragon Quest and Chrono Trigger, his influence is nigh-unmatched. There are maybe two or three other series that are as pivotal to shounen manga as Dragon Ball, and Toriyama even casts an enormous shadow on the isekai and fantasy genres: The Dragon Quest series is what established the “Hero” (Yuusha), the “Demon Lord” (Maou), and the “weak Slime” as archetypes in Japan’s popular imagination, and it’s Toriyama’s designs that inform the aesthetic of all successors.
In light of Toriyama’s tragic death at only 68 years old, I’d like to just talk about how my life has been touched by his work. My story is nothing special compared to the millions of voices mourning Toriyama, but I wanted to at least personally add to the well wishes pouring out.
Dragon Ball
Dragon Ball Z was the very first anime that I knew to be “anime.” While I had loved things like Voltron, they were still just “cartoons” to me. But when a relative started bringing home tapes of DBZ, it was a sight unlike any other. I remember just being amazed at the rapidfire punches, the zooming around, the ki blasts—I’d never realized animation could be this way! I cheered for Piccolo, watched characters (gasp) die, saw Son Goku turn Super Saiyan, and witnessed his son step up and defeat Cell. I wondered if anything could ever top this story. I wanted to be Gohan.
It was also a time when I got to play the first two fighting games for the Super Famicom, and when I’d re-read over and over a small guide to the first game that showcased all the playable characters. “What does Jinzoningen (“Android”) mean?” I recall wondering.
So when I first found out that DBZ was coming to US airwaves (for real, and not just finding a random channel that sometimes had Korean episodes of the original Dragon Ball), I was elated at the prospect of Dragon Ball Z getting big. Imagine: more American DBZ fans! While the English adaptations have had their differences with the original (as well as the non-English dub I first watched), Goku ultimately succeeded in reaching into the hearts of countless viewers. (I still wish those early US viewers got the chance to hear “Chala Head Chala,” though.)
Ironically, I was one of those people who’d go on to poo-poo the Dragon Ball franchise. As I got more into anime and manga, I viewed the series as a thing you’re into when you’re just a “beginner,” or obsessed with just macho violence and watching muscle-bound dudes power up endlessly, and I felt good that I knew there was more out there. It took a number of years to get through that embarrassing phase, but I’d eventually come back around to appreciate Dragon Ball for its outsize influence on culture, as well as for just being a work of art in itself. More recently, it’s been great seeing Dragon Ball Superbe a thing, and for Toriyama to have worked to bring back the essence of Goku—as well as the balance of action and humor that Dragon Ball and Toriyama himself had been known for.
Dragon Quest
Dragon Ball Z was actually not my first encounter with Toriyama, and not even the first anime from Toriyama that I had seen. I was one of the kids who watched Dragon Warrior (aka the English dub of the anime Dragon Quest: Legend of the Hero Abel) as it aired. I remember having to wake up very early—around 5:30 or 6am on weekends. I don’t think about it very often, but in hindsight, the show was likely very formative for me, and I wouldn’t be surprised if Daisy (the girl in blue armor) ended up influencing my taste in characters.
My family also subscribed to Nintendo Power, and we received a free copy of Dragon Warrior (aka the first Dragon Quest) as a result. Today, RPGs are a popular and beloved genre of video game, but back then, they were entirely new territory to most kids, and pretty unapproachable. However, the same relative who brought home DBZ tapes had decided that they were going to beat Dragon Warrior, and spent hours getting through the game as a young me would watch along. In the final battle, the evil Dragonlord reveals his true form as a giant bipedal dragon, and I remember just being in awe.
This was at a time when the Super NES had already come out, and I thought the Dragonlord looked almost on par with the graphics I saw there. The fact that his foot covered part of the dialogue box, and the way the screen froze instead of shaking every time he landed a blow made it feel like this was the ultimate adversary. It wasn’t until at least a decade later that I got to see Toriyama’s drawing of the Dragonlord that I realized just how closely the sprite graphic matched his original art, and I appreciated that memory all the more.
If Dragon Warrior was the game that pushed the boundaries of what an NES game could look like, then Chrono Trigger was a revelation. The 16-bit graphics and the greater color palette of the Super NES really brought Toriyama’s designs to life, and the game conveyed an intensity to RPG battles unlike any I’d seen up to that point. The only thing they paled in comparison to was Toriyama’s actual drawings of Chrono, Frog, Magus, and the others. While Chrono very obviously looked like a redheaded Goku, he was still unbelievably cool. And just as the Dragonlord was a mindblowing antagonist, so too was Lavos. The eeriness of music and visuals in the climactic confrontation with him is hard to match even to this day.
Years down the line, Dragon Warrior finally became known as Dragon Quest just like in Japan, and I was one of the folks who bought Dragon Quest VIII. It wound up being one of my favorite RPGs ever. In addition to its classic feel (Dragon Quest is famous for not trying to reinvent the wheel), the game really felt like stepping into the world of Toriyama’s art. It was a triumph of the PlayStation 2, but also a treat for those who always wanted to see an interactive environment that embodied his imagination and aesthetic.
A Farewell
Toriyama Akira’s life was a spark that inspired creators to bring their ideas to life, bridged culture gaps through the sheer power of his work, and even pushed people to exercise and train so that they could be like Goku. His name is synonymous with anime, manga, video games, and even indirectly light novels. And while I can’t call myself the most diehard Toriyama fan, he clearly took my life on a course that would embrace the wonders of Japanese popular culture—a path I still pursue to this day. Rest well, King. To say you deserve all your praise and accolades is the understatement of a lifetime.
Continuing my visit to train and train-adjacent locales in Japan, here are my thoughts on two eateries in and around Tokyo: Platinum Fish Cafe and Curry Niagara.
Platinum Fish Cafe
Located in Chiyoda-ku, Tokyo, Platinum Fish Cafe is actually inside of an old decommissioned train station. It has some standard food options, like curry, pasta, and cakes, but also drinks named after different train lines. I got the Yamanote (the loop that goes through Tokyo, Akihabara, Ikebukuro, and other stops), which was actually double muscat grape flavor. Between this, the Love Live! cafe, and other places, muscat grapes seem to be popular.
The real appeal of the cafe, however, is the view. Platinum Fish is situated between two train tracks, and you can see them zooming past on both sides pretty regularly. For those coming from NYC or elsewhere in the US, this might sound like torture you inflict on your worst enemies. In Japan, though, the trains are smooth and relatively quiet. It actually makes for a relaxing experience, if you like urban ambience and a nice cityscape.
Curry Station Niagara
This place has been on my bucket list for many years now: a curry restaurant run by a huge train enthusiast.
The inside is covered wall to wall in rail travel memorabilia and paraphernalia, including some Galaxy Express 999 merch. Right outside the door are a couple gashapon machines with replica train station signs, specifically branded for Curry Station Niagara. Close by is a play area for kids featuring model trains and other toys.
Almost everyone in line was parents accompanying their train-loving little kids, and it was downright adorable. There’s a track not far from the restaurant, and as one passed, I could hear a kid identifying a passing train’s line as “Yokohama navy blue”—the rail system is indeed color-coded. As someone with younger relatives, I could see parallels, and wondered if those relatives would have also become train fans if they lived in Japan.
If you get a seat at the tables, a miniature train delivers your food straight to you. Because the space is very small and there were lots of kids, my group opted to sit at the counter and not deprive the young ones of that experience.
The menu is mostly pretty typical, with different toppings like tonkatsu and such, but there are also a few curve balls: extra spicy options for a premium price, curry spaghetti, and so on. I went with the Hamburg steak curry, which did not disappoint. It had a bit of a kick, but nothing overwhelming. However, one person I was with seemed to have gotten their curry cold by accident. After our meal, we got commemorative replica train tickets.
Overall Thoughts
I love restaurants just run by some person with a passion. This includes Platinum Fish and Niagara, but they’re relatively common in Japan. While making money is important, these places feel like they’re humbly dedicated to a craft or a desire to share something with their customers. I really wish more places like this existed in the US, but with real estate prices and rent being what they are, I sadly don’t see it happening anytime soon. One can hope, though…
I broke an internal rule this month, which was that I try not to post about VTubers more than twice in a month. However, extenuating circumstances resulted in me doing three posts. One was because of the unprecedented events surrounding the termination of Selen Tatsuki, aka Dokibird. Another was the fact that the La+ Darknesss Waku Waku Dark Nightmare Solo Live was available only until March 1. And the last was the post I had actually planned all along: a celebration of Hakos Baelz for her rare Leap Year birthday. How rare is it that three of my absolute favorites would end up having something big in the same February?
And that’s not even considering that hololive 5th fes is in a couple weeks.
I’ve started to think about a Venn diagram between VTubers, pro wrestling, soap operas, and superhero comics. The concepts of loose continuity, neverending stories, kayfabe, and more make for a fascinating thought exercise. I don’t know when or even if this’ll become a real post, but I keep thinking about it.
Thanks to my Patreon subscribers below for this month:
Spotted Flower has a voiced manga version now! …Unfortunately, I can’t seem to register for the site no matter how many times I try. If anyone has better luck, let me know!
Kio decided to try drawing with a physical pencil again, but it’s a lot more difficult than he remembers. He feels like he’s gotten too used to drawing digitally.
Kio left a comment on the A-Koe page for the Spotted Flower voice comic, talking about how shocked he was to hear the spicy lines he wrote being brought to life. He wonders how powerful it’d be if it were ever animated.
OGIUE MANIAX 