Goro (Mortal Kombat) for Super Smash Bros.

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In discussions of Smash Bros. Ultimate DLC characters, the question is often “what character do you want?” rather than “what kind of character do you want?” But pro Ultimate player Tweek has professed on his podcast his desire to see a genuine heavy-style character to be one of the last two DLC characters—someone who embodies, in his words,  the “heavy lifestyle.”

It is true that we haven’t seen any Bowser-esque characters among any Smash DLC since even Smash 4, and so I started to think about who would fit well while still bringing something to the table in terms of significance and/or interesting gameplay. Eventually, I came to the conclusion that Goro from Mortal Kombat would be a great idea for a heavy DLC character. While 2D fighting games have their fair share of representatives now (between Ryu, Ken, and Terry Bogard), I think Goro gives us a new villain character (though arguably more of a tweener like Mewtwo) who represents another long-standing series with cultural influence.

I haven’t played any Mortal Kombat games for the past…twenty years…so I’m not terribly familiar with how Goro’s play style has changed or evolved as the games themselves have gone through multiple directions. But the image of Goro is ever-present as a big, nasty, four-armed bruiser who can grab you with two hands and pummel you with the other two. He can shoot fireballs, leap high into the air and land with a stomp (perfect for a Smash-style recovery move), and just has an imposing aura that would bring a lot of personality. I feel like I can easily picture Goro’s gameplay in my mind, and it looks cool: you think you can escape him, but his surprising speed and even his powerful projectile would make it feel like you only run for so long.

In terms of appearance, I think it’d be awesome if Goro’s original stop-motion, clay-model aesthetic could be maintained for his entry into Smash. It would make him visually pop in a way no other character does. That said, I’d understand if they went for something more current-looking, as that’s the direction Mortal Kombat has gone in general. With eight costumes per character, both could be possible, but I still wonder which would be the default. My preference would be old-school.

There’s also the question of Mortal Kombat’s signature selling point: blood-and-guts gore. That simply would not pass muster in Smash, but I think Goro could still make it through intact. He can come across as hyper-violent and nasty, but I think that could be conveyed without needing to portray actual viscera flying and bone-breaking attacks. Fatalities would still be a must, but they’d be more exaggerated and extreme than brutal. 

I have no close attachment to Goro as a character, but I just think he would successfully capture the “heavy character” feel in a way few others could, while also fitting well into Smash Bros. gameplay. And i mean, don’t you want someone to say “EXCELLENT” every time he uppercuts his opponents?

Tan-June: Ogiue Maniax Status Update for June 2021

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Last year at this time, it felt like the world might not ever be the same again. This past month, I became fully vaccinated.

While I’m still exercising caution in a lot of different ways (including wearing a mask in public), the extra safety a COVID-19 vaccine has provided has helped tremendously to alleviate some of the psychological pressure I’ve been feeling since 2020. For the first time in a long while, I feel like I can grasp some sense of the normal again. I’m still undecided if I want to attend the recently confirmed Otakon 2021, though.

I just hope that we actually learn from the mistakes we’ve made on a social and political level, and that we must create a better “normal” than the one that resulted in a global catastrophe powered by greed and willful ignorance. I’m fortunate to be in a place where I could obtain a vaccination after a year and a half of keeping safe, as not everyone has been able to do that. The real failures—whether they’ve been in the US, Japan, Brazil, Sweden, China, India, or elsewhere—are the consequences of poor leadership above all else.

I can’t make anyone get the vaccine, and availability varies from place to place, but I hope everyone does what they can to at least protect themselves and those they care for.

Thank you to June’s Patreon sponsors, with special gratitude to the following.

General:

Ko Ransom

Diogo Prado

Alex

Dsy

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

Blog highlights from May:

Miura Kentaro, Berserk, and the Pursuit of Perfection

Thoughts related to the untimely passing of the author of Berserk.

Miss Nagatoro and the Teasing Girl as Goldilocks Archetype

An exploration of the appeal of teasing girls.

Witch Hat Atelier: The Fantasy of Science, the Science of Fantasy

My review of one of the best fantasy manga around.

Hashikko Ensemble

Chapter 40 continues to have Jin’s mom, Reika, steal the show.

And here’s more from Kio Shimoku’s Twitter account.

Closing

I just learned that Zettai Karen Children is ending soon after 17 years. It’s amazing to see a series that ran for seemingly forever actually reach the finish line. Authors and artists, take care of yourselves!

Kio Shimoku Twitter Highlights May 2021

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Tweets of interest from Kio Shioku’s official Twitter for May 2021:

This past month saw the unfortunate passing of Miura Kentaro, author of Berserk.

“Whaaaaaa?!”

“I can’t believe it…Berserk is actually…”

 “Whether it was his art, his storytelling, or his characters, he poured his overwhelming passion into everything. I’m trying to find the right words, but I don’t have them…My deepest and heartfelt condolences for Miura-sensei in his passing.”

Shin Evangelion Reaction

“I saw Shin Eva. It wasn’t an illusion. It wasn’t, right…?”

Kio watched a recording of The Professional: Anno Hideaki where Anno says, “I’m okay with dying for my creations.” This made Kio’s head spin. (Having come so soon after Miura’s death, it seems to have hit Kio extra hard.)

Art

https://twitter.com/kioshimoku1/status/1395748583312281605

A rough nude sketch of Ogino-sensei from Spotted Flower and a preview of the next chapter out.

https://twitter.com/kioshimoku1/status/1389877309172109313

Kio’s first drawing of first-generation Kasukabe Saki from Genshiken in many years.

https://twitter.com/kioshimoku1/status/1389577896059043845

Kurotaki Mai from Hashikko Ensemble.

https://twitter.com/kioshimoku1/status/1389440641986220039

Otaku moments with Hasegawa, previously posted on the @hashikko_music account. She worries about having accidentally outed herself as an otaku, but when asked if she’s a fujoshi, Hasegawa responds, “That isn’t the setting this time.” Also, when Shion expresses interest in Miyazaki anime, Hasegawa considers going into the deep end: Horus: Prince of the Sun, Panda Go Panda, Heidi, 3,000 Leagues in Search of Mother, Anne of Green Gables.

https://twitter.com/kioshimoku1/status/1388776733948530694

More previous art. Orihara loves the “AMEN”s, and Hasegawa does a pose from what I believe is Hellsing?

The pet tortoise

https://twitter.com/kioshimoku1/status/1393912687139061761
https://twitter.com/kioshimoku1/status/1392021047105396736
https://twitter.com/kioshimoku1/status/1387997341521563650

Miscellaneous

https://twitter.com/kioshimoku1/status/1388422802617769985

Kio explains that the “broken Gouf leg joint” incident from Genshiken wasn’t exactly based on reality, but he had a similar experience as a kid. In a later tweet, though, he realizes that the reason it happened to him is because model kits in those days didn’t use polycaps on ball joints, which made for a less maneuverable limb.

Kio quit his habit of downing energy drinks before starting his work.

That’s all for this month!

Wild Wings: Hashikko Ensemble, Chapter 40

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As Akira and Jin sing, they remember their first encounter in the classroom when Jin asks Akira to join his Chorus Club.

It’s time for the Chorus Appreciation Society to sing in their last song of the School Culture Festival, and Jin is nervous about being onstage in front of his mom. Fortunately, Kozue delivers a confident speech about their happiness spreading music through the school, which calms Jin down—though she then turns it into a taunting preemptive declaration of victory. 

Their performance of “The Wings of Mind” begins, and the four guys harmonize perfectly, the beauty of the song causing emotions to well up in nearly everyone listening. The LED display Himari programmed displays the lyrics, and before everyone realizes it, the entire audience is doing the same as she is: singing along and being drawn into the performance. However, the chapter ends with Reika with an ambiguous expression that seems to read as her not being terribly impressed.

Song, Singular

This month, there’s only one song, and it’s the centerpiece of the entire chapter. The power of “The Wings of Mind” seems to be its ability to resonate on a very personal level with everyone listening to it. The song brings about a range of emotions: hope and disappointment, nostalgia and discovery, past and future. The two flashbacks indicate this strongly: Akira remembers meeting Jin in the classroom and being introduced to the world of music, while the senior members of the Rugby Club recall looking at the younger teammates as they themselves have to move on to the next phase of life. 

This potentially ties into a previous conversation Akira had with Jin about individual interpretations of a song’s meaning. It’s something Jin has trouble with, and to see “The Wings of Heart” hitting people in different places highlights the notion that we bring a part of ourselves into the songs we hear. “Art is how you interpret it,” or something like that.

Thanks to the LED display of the lyrics, the audience is singing along with the Chorus Appreciation Society.

Perhaps this is why the audience gets swept on in singing. As explained in the chapter, it’s not just that the lyrics are visible, but that it’s as if everyone is being compelled to follow along by the song. Everyone, that is, except Reika. 

1v1 Me, Son

The bit of nervousness (or self-consciousness) Jin feels before the performance is not just understandable—it speaks to the core of Jin’s internal conflict. His mom thinks he’s not trying to prove that talent doesn’t matter so much as he’s hiding his own lack of, and Jin is afraid that she’s right. In this respect, I think the whole “sing-along” plan he thought up might actually backfire, as I suspect Reika sees it all as a gimmick: more camouflage for Jin’s comparatively mediocre vocals. 

Reika and Jin’s contrasting priorities reminds me of arguments made about competitive games. Players of 1v1 games will point to the fact that in a 1v1 scenario, you own all your wins and losses, whereas team games soften the blow of failure by giving players the excuse of blaming their teammates. At the same time, there are impressive things achieved through the group cooperation of team games that 1v1 games can’t touch. All of it is true at the same time, making it so that neither side is inherently correct.

The Hasegawa Kozue Show

Kozue provokes the other groups by saying they knocked everyone else the hell out the tournament, and they're here to win. This comes as a shock to Mimi-sensei, who thought Kozue was going somewhere kinder.

Kozue carries such power in this manga, being a kind of motivational force that can redirect the inertia of the other members, not unlike Saki from Genshiken. The confidence in her speech, the way she sets Jin back on course, she’s proving more and more how invaluable her friendship can be.

Even if he never said so outright, it’s clear at this point that Kozue is one of Kio’s favorite characters. One thing I like about her character and the emphasis given to her is that she’s nowhere near a traditional “bishoujo” by manga standards, and I like that it bucks expectations and stereotypes. Even her romance (of sorts) with poor Sora from the Rugby Club feels refreshing and new. 

She gets thanked by Kousei and blushes a bit, but I don’t yet see it as anything special. It feels more like Kozue is unaccustomed to such direct gratitude, especially from a guy like Kousei.

Final Thoughts

This sort of feels like the series could end soon, but I really hope it doesn’t. I want to see the club officially form, and for some new faces to give opportunities for more interesting storytelling and drama. 

Skate or Cry: SK8 the Infinity

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SK8 the Infinity is an anime with great potential for mass appeal, but rather than catering to a “general audience,” it’s more a series that crosses over so many different niches that it merely appears generic from a distance. The series combines the thrilling world of skateboarding, the involved races of Initial D, the designer+pilot friendship dynamic of Gundam Build Fighters, the over-the-top characters of JoJo’s Bizarre Adventure, and the nudge-and-wink male “friendships” of Free! If you have a passing interest in just two or more of these elements, there’s a good chance you’ll get a kick (flip) out of the whole thing.

The story: Langa is a half-Japanese, half-Canadian teenager who has just moved to Japan with his mother. Reki is one of Langa’s new classmates, and he’s obsessed with skateboarding—a world that Reki is eager to introduce to Langa. While Langa doesn’t know the first thing about it, the way he approaches this unfamiliar sport reveals another side of him: Langa is actually an expert snowboarder who lost his spark after the death of his father who taught him. With Reki’s knowledge and passion, as well as Langa’s unique talents borne out of his history on Canada’s snowy slopes, the two are poised to take the world of underground skateboard racing by storm. Looming in the shadows, however, is the mysterious “Adam,” an antagonistic figure who is one part Dio Brando from JoJo, and one part flamboyant matador.

SK8 the Infinity fires on all cylinders, providing compelling characters and a beautiful story of friendship, but also a kind of ridiculousness that can only come from trying to portray the high-energy world of extreme sports in as loving and passionate a way as possible. The best episodes offer some of the best animation quality you’ll find in a sports series, and the relationship between Langa and Reki takes a lot of twists and turns that feel natural and personal. It’s the kind of anime capable of bringing a lot of disparate groups together, and it’s just plain fun.

Miura Kentaro, Berserk, and the Pursuit of Perfection

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This past week, the world learned of the passing of Miura Kentaro, the creator of Berserk, on May 6th. Miura was 54. This leaves one of the most powerful and influential manga in history most likely unfinished, but more importantly, it’s the sudden and tragic end to a career of an artist whose ambition in storytelling always felt beyond human.

To be clear with where I stand, I’m not a Berserk mega fan. I didn’t spend my developing years in the thrall of its gorgeously detailed artwork like some manga readers, so my connection to the series isn’t especially personal. However, even without that intimate closeness to Berserk, it’s impossible to not feel the amount of dedication that Miura put into his magnum opus. He began the series in 1989 and worked on it for over 30 years. I don’t think it’s an exaggeration to claim the man poured his soul into Berserk—Morikawa George, creator of Hajime no Ippo and an artist to whom Miura was an assistant early in their careers, said as much:

The months passed by, and I started serializing Hajime no Ippo, and it wasn’t long after that Berserk started. Miura shared some stories of difficulty with me, but I was confident that his manga would be a hit. Kentarou-kun had poured his strength and confidence into this long-awaited serialization, after all. The world would soon be as astonished as I was when I first saw his drawings. He had a completely refined artistic skill and drew with all his soul, and I had nothing but the deepest respect for every new chapter of Berserk. 

It’s one thing to have a long and sprawling story but a less detailed art style, or an intricate style but a fairly simple story. It’s another to try to go full blast in both respects. To want to tell a tale so ambitious in scope and so lovingly rendered on every page, and to make it so cohesively impactful is nothing short of astounding. Just thinking about his designs of the God Hand, malevolent deities central to the story in Berserk, leaves me amazed. In fact, it’s a wonder that Miura was able to keep it up for as long as he did, even if chapters became much more infrequent later in his life. 

There’s a question of whether stress played a role in Miura’s death, given that aortic dissections can be caused by high blood pressure, and that the manga industry is known for putting people through the ringer and encouraging workaholic habits. Tezuka Osamu himself passed away unable to finish his most ambitious work (Phoenix) after a self-imposed grueling career that became a model of sorts for other creators. However, one thing that makes it hard to tell how much responsibility the manga industry carries is that Miura was an absolute perfectionist, and not the kind of creator who would compromise quality for expediency. In an interview from 2019, he mentions switching over to working digitally, only for him to end up going through his drawings pixel by pixel—a trap common enough for it to be mentioned in a chapter of Genshiken, but also something that takes on a whole new meaning now that Miura is gone. 

If there was a way he could’ve told the story he wanted to tell, the way he wanted to tell it, all the way through while still being able to live to old age, I wish we could have found it. That said, it’s clear to me that the whatever disappointment remains over a potentially unfinished work, Miura’s artistry and vision of Guts’s journey in Berserk has left a mark on fans the world over.

Spotted Flower and Fusion Characters?

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Spotted Flower is Kio Shimoku’s refracted-universe version of his hit manga Genshiken, but as the series goes on, more and more major differences crop up. Recently, I realized that one major change might be that a few characters are, in essence, fused together from different Genshiken characters.

Since her first appearances in Spotted Flower, there has been a certain character who looks and behaves much like Sue Hopkins from Genshiken. Outside of age—Spotted Flower characters are all far into adulthood as opposed to being roughly college age—the major difference between Sue and Not-Sue is that the latter has much wider hips and larger breasts. From the neck down, she’s much closer to Angela Burton, the other Genshiken American character.

I originally chalked up Not-Sue’s physical qualities to just being another way to slightly bend the details of Genshiken to make it “different enough,” but a recent side chapter of Spotted Flower, 35.5, makes me think that the merging of characters might be a recurring aspect of the series.

In it, Not-Sasahara racks his brain over trying to interpret Not-Sue’s signals, and the possibility of a threesome. As he’s trying to shake off the mental image of Ogino-sensei (aka Not-Ogiue) and Not-Sue together nude, he has an expression that is very uncharacteristic of Sasahara but makes him look just like Kuchiki, the annoying guy from Genshiken who has issues with boundaries. The resemblance to Kuchiki is further enhanced by the character’s hairstyle. This leads me to believe that Not-Sasahara might actually be better described as a kind of “Kuchihara,” though mostly dominated by the Sasahara side in terms of personality.

Endou, the “original character” who’s actually closer to Yoshitake than anyone else is probably not a fusion, but she feels like she belongs in a similar territory. In her case, it’s almost like she’s a mix of Yoshitake and a Genshiken character who never made it off the drawing board.

Not every character in Spotted Flower is a mash-up, as plenty map onto their Genshiken characters pretty comfortably. However, I’m keeping my eye out for any potential combos from now on.

Miss Nagatoro and the Teasing Girl as Goldilocks Archetype

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The anime adaptation of Don’t Toy with Me, Miss Nagatoro has put the “teasing character” back in the spotlight, and what I find interesting is how strongly this archetype draws fans in. I see the teasing character as a sort of middle ground between different preferences (and fetishes), and this positions it to hit a variety of targets simultaneously.

In a sense, the “teasing character” can be viewed as the grandchild of tsundere and the direct offspring of the yandere. The tsundere is all about the prickly personality, often portrayed as a character who tries to deny their own feelings or reluctantly develop them. They might attack the love interest, but they’re typically built as reactive or passive characters in the realm of romance. The yandere, however, is the twisted mirror image of the tsundere: an obsessive and dangerous love whose thrills border on horror. The teasing character, then, is a sort of a compromise between the two by being more aggressive than the tsundere but lacking the morbid violence and emotional intensity of the yandere. They actively pressure their possible love interest, throwing them off their game and rendering them helpless. Any romantic feelings are covered in layers of snark and smugness, but unlike the tsundere, the power resides primarily in the teaser. 

If tsundere is too tepid and yandere is too scalding, then the teasing character might be just right. Even then, it should be noted that there are differing degrees of teasing characters. Nagatoro’s bullying isn’t quite the same as the heroines of Teasing Master Takagi-san or Uzaki-chan Wants to Hang Out, who are more prankster and brat, respectively. 

I also find that the “Goldilocks”-esque nature of the teasing character extends beyond the tsundere-yandere spectrum and into other territories. So much like how the teasing character is like “tsundere but more aggressive” and “yandere but without the obsessive physical/psychological violence,” you can describe the archetype in similar ways relative to other fetishes. It’s NTR (a form of cuckolding, for the unfamiliar) but without the betrayal aspect—the powerlessness of the audience character is there, only not in as soul-crushing a manner. It’s S&M but primarily emotional and without cold contempt, meaning that all the pain and pleasure isn’t in the realm of physical pain—and it’s not the Blend S-style distanced masochism. A lot of relationships in storytelling are about power dynamics, and the teasing character is right in the thick of it.

I’m actually not that into the teasing character type (or everything I’ve mentioned beyond possibly tsundere), so my observations are limited by my lack of personal connection. If there’s more insight to be had, I’m interested in hearing from the true fans. 

Show by Rock!! Stars!!

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The original Show by Rock!! anime was a surprise hit for me. “Cute animal-eared girls in bands by Sanrio” sounds fun but not especially amazing, but the execution turned out to be magnificent. Between the fluid animation and excellent comedic timing, I still think fondly of the series and its immediate sequel, Show by Rock!!#. The third season, however, didn’t quite hit the mark with me. The relatively low-key Show by Rock!! Mashumairesh!! took place in the same general setting, but it just didn’t have the charm or humor that made the first two anime such winners. 

I’m not sure if the aim of the fourth season, Show by Rock!! Stars!!, was to bring back some of that old magic, but it pulls the “crossover” card and decides to combine the old and new casts together. Now, the band Mashumairesh (whose name still confuses me) has joined up with the original heroines, Plasmagica, to participate in an all-star band competition. The crossover isn’t limited to the characters either, as the staff includes talents from all the previous series. 

The result is that Show by Rock!! Stars!! brings back much of that old magic. From the very beginning, it feels closer to the earlier seasons. Mashumairesh, new to the big city that Plasmagica calls home, accidentally ends up doing some serious property damage that gets them landed in jail and facing a criminal trial. “These are the absurd antics missing from the Mashumairesh!! season,” I thought while watching it. By the finale, I think it’s largely satisfying and captures  most of the spirit of Show by Rock!! at its best, though it doesn’t go quite as far as I hoped.

Ultimately, I think the problem is that Stars!! focuses much more on Mashumairesh. While the fourth season brings snappier writing and performances to the story that helps elevate the Mashumairesh girls, they and their surrounding cast just don’t strike the same strong balance between friendly personalities and character flaws that help define Plasmagica and friends. Though Howan is by no means a poor character, Cyan makes for a more appealing protagonist. Plasmagica’s ChuChu has a personality of tempered ruthless ambition that’s just absent among the Mashumairesh members. Moa the alien sheep is the best, as always. And how do you beat the overwrought melodrama of a band named SHINGANCRIMONZ, whose band leader is adored as a man among men by the other members because he holds steady employment as an accountant? None of the all-guy bands originally featured in the Mashumairesh!! season even come close.

That’s not to say Show by Rock!! Stars!! is a failure. For the most part, the series is highly amusing and does a good job of bringing out the best qualities in its many characters. It elevates a B+ cast into A-rank players, but I still wish I could have seen more of the S-rank superstars.

Witch Hat Atelier: The Fantasy of Science, the Science of Fantasy

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Witch Hat Atelier is a manga with gorgeous art, compelling plot and characters, and an endlessly fascinating world. What I’m especially impressed by, however, is the way it manages to achieve a near-perfect balance of complexity and simplicity in its storytelling. It goes beyond the boundaries of manga and deep into the general world of fantasy fiction.

A Robust Yet Accessible Tale

I love the variety brought by manga in general, but it can often be difficult to recommend titles to a wider audience because of a focus on an incredibly niche subject, an issue of how approachable problematic tropes might be, or just the sense that you have to be “into” manga to read certain titles. More emotional stories might get criticized for lacking a robustness of environment, while those with careful attention paid to world building might be seen as too heady for their own good. Where Witch Hat Atelier differs from so many titles is that it manages to be both emotional and intellectual, and makes it difficult to distinguish where one begins and the other ends.

The Story

Witch Hat Atelier takes place in a world where magic exists but is almost entirely out of reach for most people, instead being the sole domain of those inherently gifted with it. Coco, the young daughter of a dressmaker, wishes she could become a witch, but when she tries to mimic a Wizard named Qifrey by drawing runes, she accidentally turns her mother to stone. Qifrey takes Coco under his tutelage so that she can learn how to undo the curse on her mother (a forbidden spell), and it’s from Qifrey that she learns the truth: Magic is usable by anyone, but the devastation it has caused in ages past has resulted in its gatekeeping by the Wizards, who seek to keep history from repeating itself. All it takes is the right ink and the ability to draw magic circles, but with that knowledge comes great responsibility.

The Political Nature of Witch Hat Atelier

Right from the premise, you have many different elements coming together into a tale that stimulates on multiple levels. Coco is a young heroine whose goals tap into a love of the mysterious but also a sense of guilt, and the supporting characters all have their own hopes and dreams that are as myriad as their unique personalities. The true nature of magic is that it’s built on a logical system, but having it executed through drawing brings a wondrously creative and artistic side as well. Most fascinating of all, the fact that magic is essentially a form of structured knowledge evokes both the political and the philosophical—namely whether closely guarding the truth of magic is ultimately for good or for ill.

Overall

What Witch Hat Atelier manages to achieve is a story with depth and breadth. There’s an endless path of discovery beyond the characters due to magic’s history within the world, but Coco, Qifrey, and every other soul within the story are like universes unto themselves. Their stories are straightforward yet intricate, and each chapter is more rewarding than the last. It’s no wonder that this manga is so beloved. Between this and Shirahama’s other title, Eniale & Dewiela, I hope we can see more of her manga work in English.