Fukumoto Nobuyuki, best known for gambling manga such as Akagi and Kaiji, has started a new mahjong series one year after the end of Akagi, which ran for nearly 27 years in Kindai Mahjong magazine. There’s a twist at the end of the first chapter, however, so read on if you want to know.
Recently, I was surprised to discover that an “edgy gamer” streamer I was familiar with from a decade ago had transformed into a notable left-wing figure on YouTube. Steven Bonnell II, known to the internet as “Destiny,” got his start with StarCraft II and gradually becoming a prominent personality with a loyal following and detractors alike. He would argue against policing language, and that the common slurs gamers use were no big deal. And yet, here he is now, not only arguing against using such language, but also being noticeably effective at debating alt-right YouTubers who have risen to prominence on the wings of racism and intolerance.
It’s not just that he makes good points or that he knows how to dissect arguments, but that he hits right-wing figures where it hurts most: in their desire to appear strong to their followers. Regularly, he reveals that the emperor has no clothes, and I think it in part comes from him being so familiar with gamer culture and the things that leave it so vulnerable to alt-right personalities. When others on the left retreat, he’s willing to confront while also not falling prey to their debate traps. It’s something the left needs to learn.
This is also why I was not caught off guard by seeing his name listed in a New York Times article discussing the growing strength of left-wing YouTube as an answer to the hatred spewed by alt-right and manosphere personalities. Like ContraPoints, another major left-wing YouTuber, Destiny addresses the other side’s use of memes, pop culture, and opportunistic arguments head on, exposing their tools and often disarming their tactics without resorting to them. The key is that Destiny, ContraPoints, and the main subject of the article, Faraday, know how the alt-right thinks, and they aren’t afraid to use that knowledge to their advantage.
If I have any criticism for progressives online, it’s that people’s radars are often overtuned. Any slight whiff of conservative political views seemingly sets off alarm sirens in their heads, and there’s an annoying tendency to cannibalize potential allies because they’re not right at the vanguard of progress. Of course, it’s impossible to have a perfect radar, and people I thought to be more moderate in their views have turned out to be disturbingly right-wing. But I truly believe that residing in a left bubble, while good in some ways, can often fail to inoculate people against the disingenuous tactics of the alt-right. It’s important that Destiny and ContraPoints don’t have beliefs that overlap 100% yet are still able to see accomplish similar things.
De-platforming harmful individuals—taking away their ability to communicate en masse—is often a good thing because such people usually hide behind free speech without acknowledging that they’re doing the political equivalent of shouting “FIRE!” in a crowded theater. At the same time, I increasingly wonder if “avoid the other side entirely” is creating a kind of frailty in the left that plays right into the goals of the alt-right. Destiny, Natalie, and others like them provide examples of what can be done to avoid that fate: to engage and to understand the other’s goals, and to win the debate in a way that makes the other side look bad to their followers both real and potential.
It doesn’t happen every year, but this July is going to see Anime Expo and Otakon. If you’re into anime cons, this is a double-edged sword. As I get older, I’m worried I might not have the energy for both.
Sue Hopkins fans:
Hato Kenjirou fans:
Yajima Mirei fans:
Highlights from June:
More love for an interesting manga, especially what it taught me personally.
The significance of Star Twinkle Precure‘s Mexican heroine.
Looking at how Smash Bros. as a “history of video games” can run up against its role as a vehicle for personal nostalgia.
Chapter 17 puts the S in Soprano.
What do you think of these symbols of budget anime merchandise?
I have two panels at Otakon this year, and I hope you’ll be able to make them. I’ll make another post closer to Otakon so that it’s fresher in people’s memories, but make sure to mark “Star-Crossed Alien Lovers…in Robots” and “Genshiken and Beyond: The Works of Kio Shimoku” on your Otakon schedules!
We learn a lot—maybe too much—about Nishigafuchi’s students in Chapter 17 of Hashikko Ensemble.
Nishigafuchi lead tenor Saiga (first name Shinnosuke) is in a funk, and the reason is that Shindou Yui, the lead soprano. Shindou mentioned that she sometimes doesn’t want to thing about how they’re breathing in the same space, and that with the way he keeps panting, he should just run around outside like a dog. To prove himself, he plans on challenging Jin to a competition, but gets punched in the mouth by Orihara instead. Shinji wonders if Orihara did it to defend Jin, but Orihara claims it was because he wanted to sing more Brahms. The punch actually makes Saiga want more because it reminds him of Shindou’s sadistic behavior.
Instead of competing, Jin actually helps Saiga with his singing and breathing (so he didn’t have to breathe the same air as her!), and the results are noticeable. Even Shindou is impressed, though she’s no slouch herself. Afterwards, Saiga goes up to Shindou and asks her…if she can be his master. Shindou happily gives him commands like a dog, everyone is confused (especially Kurata), and the Nishigafuchi adviser awkwardly comments that there are all kinds of relationships these days.
As they’re singing, however, Akira doesn’t, and his old middle school classmate Sadamoto notices again. But before he could say anything, Jin asks if the Hashimoto Chorus Club could perform for everyone on their own. Will Shinji finally sing here?
In the last chapter, Nishigafuchi student Andou described Shindou as appearing gentle but actually having a nasty tongue, and she certainly lives up to reputation. I figured that would be the case, but she far exceeds my expectations. I have to wonder if it’s like an entire club of masochists who enjoy the verbal lashing.
Great Teacher Kimura
According to Jin, Saiga tries too hard to keep his head from lifting up and tries to create too much space in his mouth—things that are generally considered good form in singing, but an area where Saiga overcompensates. The consequence is that the surrounding throat muscles to be overly tense and rigid, and this results in him breathing oddly while performing. To Jin, this might be why Shindou made her dog comment.
To help all of the tenors with this, Jin has everyone do an exercise where they “play catch” with their voices. The idea is that they breathe out like you’re trying to form a parabola, and like it’s coming out the top of your head—like they’re “throwing” their voice to the other team.
Jin is thus portrayed as someone who can teach even an elite singer from an elite school, and it furthers the idea that he’s on another level when it comes to understanding sound and music. It’s not clear what his power level is, but when Saiga challenges him, I was expecting a shounen manga moment where Jin can show his stuff and make clear the size of the disparity between them, but it didn’t happen. Yet.
Referenced last chapter too, they sing Johannes Brahms’s “O Heiland, reiß die Himmel auf, Op. 74, No. 2.”
Is Jin purposely requesting a Hashimoto-only performance so that Akira will feel more comfortable singing, or does he have a different motivation?
Also, Kurata’s utter bewilderment over the Saiga-Shindou thing is the cutest thing.
I was asked by my long-time Patreon sponsor Johnny Trovato about my thoughts on “The effect of budget figurines (like Banpresto sells for $20 each [2,000 yen]) on the anime figure scene.” My first reaction to this was simply, “Figures are expensive, man.” That pretty much sets the stage for my opinion on the subject. They fulfill a necessary space in the grand scheme of anime merchandise, but they could always be better–not in terms of quality but rather honesty.
Personally, I prefer to get higher quality figures even if it means I have fewer overall. The Banpresto figures tend not to have the best paint jobs or face sculpts, and pricier figures just have more attention to detail that I appreciate. I don’t typically go for the most costly ones, though, unless I really, really want it.
But the balance between quantity and quality is different from person to person, and figures can end up being an absurdly expensive hobby. I’ve known people like that, and I’ll be upfront when I say that I don’t think I’ll ever make enough in a year to comfortably keep that up. So in that respect, Banpresto figures are a nice compromise. They’re not going to be the best, but they’re not supposed to be. They’re a valid option for people who want figures but simply can’t or won’t pay for more. And unlike trading figures, which is designed to be a bit of a gamble (you never know which one you’re gonna get!), you know what the figure is going to be.
The problems with $20 anime figures come from two things, both related. First, their true purpose is as prizes for crane games in Japan. While there are apparently ways to master crane games and obtain them for reasonable prices, most people will probably end up spending more, perhaps even without success. Second, one of the big differences between more expensive figures and less expensive ones is whether you can look at the actual figure itself. Higher quality merchandise has clear packaging that lets you see what you’re buying, whereas the Banpresto stuff is hidden in opaque boxes covered in promotional photos that try to hide the flaws as much as possible. This is intentional but also disingenuous, as it potentially tricks people into getting a figure they wouldn’t have otherwise. In a sense, seeing them unboxed and on display at an anime con is a better thing, but in those cases they’re often marked up.
Ultimately, I don’t think Banpresto’s $20 figures are inherently a bad thing, and they definitely serve a part of the anime fandom that should be catered to. I just wish there wasn’t a degree of deception baked into the whole thing.
In terms of representation, the Precure franchise has always been in an interesting place. To say that it’s all about reinforcing gender stereotypes isn’t true, but neither is claiming that the series has no stereotypes at all. The girls fight on their own terms, dream big, and the importance of romance waxes and wanes from one series to the next. However, they’re also often in “girly” colors like pink, they have a tendency to wear high heels, and pale skin has been the default for every prominent Cure since the very beginning. Change has occurred over the years, mostly for the better, but there’s a constant push and pull between challenging social norms and following them for mainstream appeal.
As the very first dark-skinned major Cure in franchise history, Star Twinkle Precure’s Cure Soleil (real name Amamiya Elena) is in an interesting position. Not only is Japan still a country where the mainstream beauty standards assume whiter skin to be better (though this is by no means universally agreed upon), but more conservative sections of Japan view “Japanese-ness” as a unique and special phenomenon. In their eyes, even if you were born and raised in Japan, being Korean, Nigerian, or anything else disqualifies you from being “truly Japanese.”
In contrast to these views, Cure Soleil is presented as having partial ethnic origins from Mexico, her family flower shop “Sonrisa” and her cathphrase (“Chao!”) being the primary indicators. She also isn’t talked about like she’s a foreigner. Elena was born in Japan and has lived there all her life, and she’s not exoticized by her friends or the show itself. Further, having dark skin and being considered one of the most beautiful and popular girls in school sends a strong message to those growing up in Japan who don’t look like the assumed default. This is a far cry from the previous attempt to have dark-skinned Cures, as the briefly shown Wonderful Net Precure from Happiness Charge Precure! are barely tan to the point that it’s hard to tell that they’re Indian at first glance.
As a country where its well-known ethnic homogeneity is reflected in its media, stereotypes about foreigners are unsurprising. In that context, I have to wonder if the reason Cure Soleil is a part of Star Twinkle Precure is because dark-skinned women have made an impact in recent years. There’s Miss Japan 2015, Miyamoto Ariana, who is half-Japanese and half-African-American. More recently, professional tennis player Naomi Osaka (half-Japanese, half-Haitian) has been taking the world by storm and has even appeared in commercials in Japan. Whatever the actual case may be, I hope that characters like Elena can help normalize acceptance and celebration of girls and boys who look like her.
By now, many sharps minds in the Smash Bros. Ultimate community have analyzed the trailer for the new “Hero from Dragon Quest” DLC character and have noticed a couple of interesting properties. First, the Hero appears to have much more than four special moves, and unlike the case with the Mii Fighters, he does not appear to have a customizable move list. Second, at one point he’s shown pulling up a menu of magic spells, and the ones displayed on the menu aren’t the only spells he uses in the trailer.
This has led to speculation that the Hero might have more available special moves than any other character in Smash Bros. history—possibly up to 16! What this means is that the character has a diversity of options unlike any other. But characters aren’t only designed with advantages. What could balance out this strength?
The most obvious drawback of the Hero’s wide array of spells is that he has an MP gauge: if he doesn’t have enough MP, he can’t use a spell. There’s no word yet as to how the Hero might gain back MP, so that could be another mitigating factor. However, there’s another potential flaw in how the Hero plays that is largely unseen in Smash: the risk of completely telegraphing what special move he’s about to use.
The only characters who come anywhere close to having such a weakness are Shulk and Olimar. Shulk’s Monado Arts clearly display which mode he’s in, and thus roughly what the opponent should be looking out for. Olimar uses his Pikmin in the order they’re plucked, and can only change which Pikmin is used next by either attacking or using his whistle. In Olimar’s case, identifying which Pikmin he’s trying to use (and therefore what attacks to be wary of) is also easier said than done due to their small size. But even Shulk’s giant “this is the Monado I’m using” tell is not the same as having literal menus pop up that show what move the Hero wants to use next—menus the opponent can easily see as well. There’s no clear indication of any shortcuts, either.
With a character that’s not even out yet, it’s impossible to accurately say how good or bad a character is going to be. However, based on this potential prospect—the unique strength of 16 (?) spells tempered by the unique weakness of showing your cards—I’m looking forward to both the strategy and counterplay that will develop with the Hero. I can’t wait for him to be available.