The Infinite Potential of Japanese Pudding in Anime

f you’ve watched even a small amount of anime, Japanese pudding is incredibly hard to miss, specifically in the form of a caramel custard flan generally known locally as purin. If I had to say why purin is so popular in anime, my guess would be that there are two reasons. First, its ubiquity in Japan means the food is familiar and comes in many forms, which allows it to traverse class and social status, allowing it to fit into a variety of narratives. Second, its jiggly consistency and unique appearance are ideal for both elaborately detailed animation as well as simpler and more limited animation.

Purin Across Strata

According to the website for Kakeien, a Japanese purin maker, the dessert came to Japan in the late Edo to early Meiji period. Since then, it’s become a staple of Japanese sweets, and depending on how it’s made, it can be a humble treat to decadent, high-class dessert, or somewhere in between. This also means that purin can show up in multiple situations and be a source of conflict, whether it be in the context of drama or (especially) humor.

Pre-packaged versions can be found in the thousands of convenience stores all across Japan, making it a quick and easy snack. This is the purin seen above in The Girl Who Leapt Through Time, which becomes a prime target for time travel shenanigans so that its heroine, Makoto, can savor it over and over.

Purin can also be made at home for cheap, and this can lead to either mishaps or mildly absurd developments. Minori in Toradora! takes this to an extreme by making a gigantic and self-explanatory “bucket purin,” scaling the small and simple snack into an example of hilarious excess.

High-quality versions of purin can also exist, with expensive patisseries making them in limited quantities. In anime, this “premium” quality can create tension between characters, either by highlighting a class difference or by positioning the purin is an exceedingly rare treat. In Magia Record, Rena buys expensive purin as a reconciliation gift, but all the girls get stomach aches because Rena took too long to make up with her friend before giving it to her. Different “levels” of purin can signify a lot about characters and their places in their worlds.

Purin as the Animation Ideal

In addition to the cultural aspect, the very physical qualities of purin lend themselves to animators and visual artists. It usually has a very distinct contrast in color between the custard and the caramel topping. It wriggles to and fro under the slightest bit of force, and when you scoop a little up, the spoon slices through its pale yellow body, leaving its mark. There’s a three-dimensionality to purin that makes its distinct features all the more appealing.

The recent series Princess Connect: Re-Dive demonstrates the strength of purin as an object in animation. It has an entire episode dedicated to purin, entitled “Flowers in Eternal Darkness ~Cursed Pudding~.” Numerous renditions of purin show up this episode to comedic effect, and are mostly portrayed in very simple 2D animation where the two-tone contrast is a clear identifier of the snack. However, at the end of the episode, one of the characters makes a large deluxe pudding, its gelatinous makeup conveyed through the use of 3DCG. Whether you’re dedicated to the craft of animation or merely need it as a visual device, purin has a role to play.

In Short

This is mostly my conjecture, but to me, purin is everywhere in anime because it is everywhere in Japan—both literally and metaphorically. It can be found in stores of all kinds, and it can play the role of the humble snack or the rare treasure. Its physical appearance means that it can be rendered simply and easily, while its wiggly nature means the potential to creatively portray its qualities through motion is tremendous. In other words, writers and artists of all kinds can utilize purin to their own advantage, and they’ll know the viewers will instantly recognize the delicious treat.

This post is sponsored by Ogiue Maniax patron Johnny Trovato. You can request topics through the Patreon or by tipping $30 via ko-fi.

Kyoto Animation One-Year Memorial

The coronavirus has made days feel like weeks and weeks like months. It’s been one year since the Kyoto Animation arson tragedy, and yet I could swear it was eternity ago. While COVID-19’s effects are far greater in scope, the tragedy of what happened to KyoAni still hits hard. It was a shining beacon of the anime industry in so many ways, from the quality of its output to the way it treated its workers. 

Those who follow me on Twitter may have noticed that my icon since last summer has been Hazuki from Sound! Euphonium. She’s my favorite character in that series, to be sure, but the other reason I’ve left it unchanged is as a quiet memorial to Kyoto Animation. “Twitter identifier” is so insignificant in the grand scheme of things, but regardless of what anyone else thought or how they’d interpret my icon, I wanted to remember what happened.

There is going to be a memorial livestreamed on YouTube by Kyoto Animation on 7/18 at 10:30am JST. That would be 7/17 9:30pm EST/6:30pm PST, which you can find below.

AnimEVO Online and My Return to Mahjong

It’s been about a year since I last written anything related to mahjong, and much longer since I last played on a regular basis. However, now that AnimEVO Online is planning to include Mahjong Soul, a free-to-play internet-based riichi mahjong game featuring anime-style characters. I’ve decided to enter the Mahjong Soul tournament on August 8th.

This means dusting off the old metaphorical mahjong gloves and diving straight into the game I loved (and loved to hate)—only on a relatively unfamiliar platform in Mahjong Soul. Fortunately, there is no “pay to win” here, but mahjong is arguably already enough of an inherent gacha-esque gamble, that I’m not sure anyone would benefit from that. Also, it’s available to play on browsers and on its own app, so there’s a nice convenience factor.

Because I’m just starting out in Mahjong Soul, I’m in the lowest-level rooms, and it’s a stark reminder that riichi mahjong becomes a very different game as you go up against better and better players. Against absolute beginners, as well as those coming in from other forms of mahjong (I’m looking at you, MCR players), the tendency to go for extremely aggressive hands with little regard for defense makes for big crazy swings that are difficult to account for. Against more internet-oriented players who specialize in calculating the odds and knowing the mathematics of mahjong, you can go a bit slower, but this puts you at a disadvantage against the “occult” players who rely on sense, intuition, and deception.

Playing against newbies is somewhat similar to playing Smash Bros. Ultimate online, where the inconsistent environment throws in an element of randomness and chaos that changes how you play the game. There are certain things that you know should work, but lag makes a mess of that notion. In riichi mahjong, three opponents blindly aiming for toitoi (all triplets) simply changes what’s considered optimal play. And one must not forget that mahjong has a heavy luck element, so even the best-laid plans can go awry.

According to my old riichi mahjong panel co-host, Dave, it takes a long time to get out of the lower-level bronze and silver rooms in Mahjong Soul—you simply have to grind it out, no matter your skill level. A part of me worries that I might end up being too accustomed to dealing with low-level play, and thus ill-prepared for the real monsters inevitably entering the tournament. However, as stated above, different degrees of players can drastically alter how a game of mahjong looks, and remembering what it’s like to fight in the Pon Palace can be valuable. Perhaps, in this environment, being able to quickly assess your opponents’ skill levels will be of paramount importance.

For all of you readers who still get hit by that mahjong bug, I hope to see you online. You can register for free at smash.gg.

Refreshing Noodles: Min Min in Smash Bros. Ultimate

A lot has happened in the Smash Bros. community over the past two weeks, with multiple instances of sexual abuse and assault among its competitive scene coming to light. This is a serious problem, and its exposure is ultimately for the better, especially for the victims and those who would have been potential victims.

This has also overshadowed some of the happier Smash news—namely the reveal of Min Min as the new DLC character—so I want to focus on that. Hopefully, we can embrace the good without looking away in willful ignorance as to what needs to change.

Min Min

When an ARMS character was announced as DLC for Super Smash Bros. Ultimate two months ago, the online reaction felt less than enthusiastic. Although ARMS is a fairly successful Switch game, the previous DLC pack had hardcore fans craving for more outlandish choices in the vein of Hero and Banjo-Kazooie. Amazingly, I think the developers and Nintendo have managed to turn opinion around with their reveal of Min Min as the winner, and it’s thanks to a combination of factors. 

First, ARMS just has fantastic character designs that ooze personality, and Min Min is one of its best. Second, she brings a unique fighting style that gives players something new and different to try out. Third, she happens to be associated with the Etika, the gaming Youtuber who tragically died by suicide almost one year ago. All three worked together to make a perfect storm.

Character Design

Min Min looks cool when she probably should look ridiculous. She is a ramen shop owner with noodles for hair, a ramen bowl hat, a dragon for an arm, a somewhat stereotypical Chinese outfit, and she does kung fu. Yet, somehow, it all works together. She comes across as fun and lighthearted, yet serious and strong. Her martial arts animations are impressive, and they lend her a lot of flavor.

The trailer itself also did a great job of conveying her personality. As the other ARMS fighters battle to obtain a coveted Smash Bros. invitational letter, Min Min is at her shop watching Captain Falcon and Kirby eat ramen. It’s only after Captain Falcon has completely finished his bowl with utter satisfaction that Min Min leaves to fight for the Smash spot. This shows how important her restaurant and customers are to her, that she would on some level prioritize them over what is arguably the ultimate prize. Min Min just comes across as charming and powerful in the best ways, even to those who have zero familiarity with ARMS.

Min Min is also the first playable Chinese character in Smash Bros. history, giving her a unique factor. Because she speaks Mandarin Chinese in the trailer, I was curious as to who her actor is. It turns out the voice behind Min Min is Takutsu Haruna, a Japanese performer who studies Chinese as a hobby. I appreciate the fact that they chose someone who has put in that much effort, even if all she’s saying is, “I love ramen!”

Fighting Style

Min Min might very well become the bane of online play with her long reach and dual-arm game mechanic. Zoners and projectile specialists are the bane of many Smash players, and it seems like Min Min is only adding fuel to the fire. But Sakurai’s video demonstration makes her look more exciting than one might have expected, notably because she controls differently from pretty much every Smash character before her. Whereas most characters have a clear delineation between their normal “A-button” moves and their special “B-button moves,” for Min Min, they control her left and right ARMS respectively. Moreover, she can move while her attacks are coming out. Thus, she’s able to deliver long-range one-two combinations at a player’s chosen timing or send them in different directions to cover a wider area. 

The closest comparable character is Mega Man, who’s able to move and attack in a similar way thanks to his pellets, but even that doesn’t fully prepare players for the Min Min experience. Just from using her for a few days, it feels like you’re playing a completely different game—my fingers stop knowing what to do with other characters when I try to switch back. She’s someone who will take time and dedication to use at even a functional level, which also means she’s offering something you won’t find in other characters. It’s unclear as to how strong she actually is, but it will take time to figure out regardless.

As an aside, while not related to ARMS, this left-right setup could also be the perfect way to add a Tekken character to the roster. Heihachi is probably out given the Mii costume they just announced, but who knows? Maybe we’ll get Kazuya MIshima or Jin Kazama instead.

Etika’s Legacy

The late Etika was one of the most visible figures in online Smash fandom, and was probably the very face of “Smash reaction videos” thanks to his genuine passion towards character reveals. While he would invite controversy constantly, it became sadly clear in the end that he suffered from mental illness, and every one of his fans wishes that things turned out differently.

Etika also happened to be a big fan of Min Min, though not always for the purest of reasons, as his LEGS t-shirt above makes clear. Regardless, when Min Min was first shown in that trailer, those who followed and knew Etika probably all had the same thought: the man would have loved this. It’s even possible to imagine how he would have reacted—with an expressiveness few can ever match.

In the End, Nothing’s Wrong with First-Party Characters

Min Min’s announcement had it all: a strong character aesthetic that can make new fans instantly, a showcase of interesting gameplay brought by her, and an online presence that goes beyond the familiar borders of Nintendo in the form of Etika. What’s just as important is that it showed how you don’t need an off-the-wall unpredictable pick to create excitement and hype. “An ARMS character” is something probably anyone could have predicted, but what they perhaps couldn’t account for is having the whole package executed so well. My hope, however futile it might be, is that fans can appreciate the characters that are coming, even if it’s not necessarily the ones they want. They might be able to win us over, just like Min Min.

The Importance of the Song in the Final Episode of Wave, Listen to Me!

Wave, Listen to Me! is a great manga and anime about a woman who unexpectedly becomes a radio host—a mature comedy that is about five genres away from author Samura Hiroaki’s most famous work, Blade of the Immortal. I recommend everyone check it out. For those who have recently finished the anime TV series, I’m here to point out that the song played in the finale has a special kind of relevance to the episode.

SPOILER WARNING, of course.

In episode 12, an earthquake hits Hokkaido, causing blackouts. As the characters look up at a starry night sky, a song plays: Kyu Sakamoto’s “Miagete goran, Yoru no Hoshi o” or “Behold the Nighttime Stars.” This song originally came out after the Great Kanto Earthquake of 1923, and it responded to the fact that the lack of light pollution made the stars more visible than normal. A common interpretation of the song’s lyrics is that the stars are also the souls of those who died in the disaster. In short, having “Miagete goran, Yoru no Hoshi o” play was an active choice with a specific meaning to Japan.

Incidentally, I actually only learned about the song and its significance because I’ve been following Kio Shimoku’s current manga, Hashikko Ensemble. The tune has a central role in the narrative up to this point, and one of the characters goes as far as to explain everything I mentioned above. I find it a little funny that these two streams dovetailed so nicely together.

Both Wave, Listen to Me! and Hashikko Ensemble run in the magazine Monthly Afternoon, so maybe this synergy isn’t totally out of the question. Most likely, however, is that they’re both referencing the same major moment in Japanese history.

Our Better Angels: Superman Smashes the Klan

When I was more actively into superhero comics, the prevailing sentiment about Superman was that he’s a “boring” character whose nigh-invulnerability and moral uprightness were far less interesting than the grim and gritty Batman or what Marvel Comics had been doing. But I think that was as much a reflection of the kinds of people who called themselves comics fans as well as a kind of blindness towards the very fact that Superman is a reflection of both the ideals and the shortcomings of the United States. It’s a country built upon both racism and opportunity, and Superman as the “ultimate immigrant” stands at that crossroads. 

Plenty of works about Superman have helped to showcase his humanity, from All-Star Superman to Smallville to the 1990s’ Superman: The Animated Series to even the controversial Man of Steel, but Superman Smashes the Klan by writer Gene Luen Yang and artists Gurihiru that I think presents an especially poignant story about Superman’s internal conflict through his own status as an immigrant.

Superman Smashes the Klan is an adaptation/re-imagining of one of the most famous stories ever told in the old 1940s radio show, The Adventures of Superman, in which Superman faces off against a Ku Klux Klan analogue. The catch: the show had actual KKK secrets and code words, and helped to expose them to a greater American audience, weakening their ability to recruit new members. Where Yang makes his mark as the writer This particular arc also includes the Chinese Lee family as minor characters, and that’s where Yang—whose previous comics focus heavily on the Chinese experience in the US—makes his mark by giving them extra attention. The topics of racism and the immigrant experience are portrayed with an incredible amount of nuance that leads to far more than just a “racism is bad” moral lesson.

The Lee family, for example, is portrayed as each having different relationships with the concept of “Americanizing.” Tommy, the son, loves baseball and will even make jokes about his Chinese-ness as a way to befriend the white kids around him. Roberta, Tommy’s inquisitive sister, sees his behavior as incredibly fake, and doesn’t want to have to put on a show or play into stereotypes. Their father is so intent on presenting himself as a model minority that he tries to dress the part of the professional scientist even in dire emergencies. Their mother gets fed up with her husband’s insistence on speaking English instead of Cantonese even though it’s a much more comfortable language for her to express herself. Even though all four characters are Chinese and even related to one another, they’re shown to be influenced by the tension between their Chinese background and American life in different ways. 

The white characters are given a similar treatment, where Tommy’s baseball rival, Chuck Riggs, is shown to have both good and ill within him. He worships Superman and the righteousness he embodies but also has a white supremacist upbringing that influences how he sees others. It’s the conflict between these two aspects of him that defines Chuck’s own development throughout.

Superman’s part in this story mirrors that of the Lees. He actively tries to portray himself as a Good American just like any other—albeit with superhuman strength and speed—but has to deal with knowing that he’s not human like everyone assumes he is. One antagonistic character even assumes that Superman is white, and asks how Superman could betray his own race, a scene that touches upon those with non-white backgrounds who are able to pass as “white” in American society, and reap the benefits as a result. There’s even an acknowledgement of Superman’s parallels to the Nazi idolization of Nietzche’s concept of the “Die Ubermensch” by having a Nazi villain constantly call him “The Superman.”

There’s one aspect of Yang’s writing of Asian characters that I must praise, and that’s his willingness to portray them as having their own problematic beliefs. After the Lee home is attacked by the Klan, a group of black men driving by stop to help them out. However, Roberta and Tommy’s father immediately sees them as a threat and treats them as such. Here, his racism and stereotypical assumptions of black people reveal themselves, even as he himself tries to fight racism towards himself and his family. As an Asian-American myself, the capacity for Asians to both bristle at the discrimination inflicted upon them while being complicit in racism against other peoples is one of my greatest frustrations in life, and I am glad to see Superman Smashes the Klan showing both the fact that this happens and the complexity it carries. It’s very much in line with the kind of well-rounded yet complicated depictions seen in Yang’s previous works such as American Born Chinese and The Shadow Hero.

While I focused mostly on the writing aspect for this review, I want to give credit to Gurihiru’s excellent art. As always, their work feels both approachable yet filled with a sense of quiet grandeur. The care they give to showing the differences between the characters through their body language ends up enhancing the greater themes and important points of the comic overall.

Superman Smashes the Klan feels ever more relevant as the United States is seeing the rise of hate groups and increased violence towards non-white groups of all stripes. It is an accessible book that is worth reading by kids and adults alike, and I think it would especially resonate with Asians living in the US. It’s worth not just a look, but also a close examination of how America succeeds and fails at the ideals it presents to the world.

Never Forget that Black Lives Matter

“I’m conscious of race whenever I’m writing, just as I’m conscious of class, religion, human psychology, politics — everything that makes up the human experience. I don’t think I can do a good job if I’m not paying attention to what’s meaningful to people, and in American culture, there isn’t anything that informs human interaction more than the idea of race.”

― Dwayne McDuffie 

Black lives matter. An anime blog isn’t necessarily the best place to make that statement, but I felt the need to do so. More than simply leaving it at that, however, I want to write my own thoughts about the intersection between race, racism, and privilege, because I see in parts of anime fandom an alarming component of rancid intolerance and ignorance. I’ve tried in the past to couch explanations of privilege in more analogous terms—comparing it to a fighting game super meter or imagining worlds where privilege is more concretely shown—but I’ve come to realize that such approaches only go so far. There’s a reality staring us in the face about the way black lives are not valued in the United States.

I recently watched the 1942 film The Talk of the Town. While it features a primarily white cast and is not explicitly about racial discrimination, the spirit of the film is very much in line with some of what I’m feeling: 

“The law must be engraved in our hearts and practiced every minute to the letter and spirit. It can’t even exist unless we’re willing to go down into the dust and blood and fight a battle every day of our lives to preserve it. For our neighbor as well as ourself!“

It’s easy to think one can avoid controversy and sensitive political topics by just sticking to one’s fandom. Shamefully, I thought for many years that I could stay distanced from these matters—concerned and saddened, of course, but powerless to do anything. However, even geek fandom itself is rife with discrimination and passive exertions of privilege in ways that poison the ability for something like anime or superhero comics to bring people together through love and passion. When a black cosplayer dresses as a non-black character, there is inevitably a reaction from a vocal segment about how they’re doing it “wrong,” that dark-skinned people should cosplay as dark-skinned characters. A lot of media assumes lighter-skinned characters to be the default, yet when those who don’t match the inherent appearance of a character try to express their own personal take on it, they’re harassed. When light-skinned characters are viewed as the “standard” in so much of our entertainment and media, and dark-skinned fans face gatekeeping that discourages them from expressing themselves through cosplay or other means, there’s a very stark message about what we as a society consider to be “normal.” It’s not that far a leap to go from seeing this, to seeing how black people’s lives are disregarded in America.

I am not black. I am Asian-American, and because of that, I’m going to bring up a topic that is hotly debated among Asians in the US: affirmative action. Examples of affirmative action such as college admission and hiring are sometimes framed as evidence of how white people and Asians are discriminated against in favor of black people. The idea is that because there are these systems in place to give black people help, they are therefore the real beneficiaries of our society. “How can white privilege exist when black people can get into college more easily? Isn’t that black privilege?” But that reaction in itself is very telling. To those on the outside who don’t understand the tacit power their appearance grants them in society at large, “privilege” comes only in the form of concrete milestones like receiving higher education or landing a job.

Privilege is at its strongest not in these big tent-pole life events, but in the small everyday interactions that permeate every single person’s life. Consider the simple choice of how we dress. You might choose to dress well because you like to look good, or maybe it gives you confidence. Maybe you don’t care about fashion and just want clothing that is functional. Or perhaps you grew up in a place where you were ridiculed for your clothing, and you began dressing a certain way as a form of protection against bullies or assholes.

For black people in America, their choice of clothing can be the difference between being viewed as a “respectable member of society” and a “dangerous criminal,” and even then, it might not be enough. There’s a 2016 CNN article titled “For affluent blacks, wealth doesn’t stop racial profiling.” In it, a black Republican senator, a black trauma surgeon, and a black Harvard professor all recount the police approaching them as potential criminals because of their blackness. When Amy Cooper threatened to call the police on Christian Cooper, who simply was trying to tell her to follow mask-wearing rules in Central Park, she purposely pitched up her voice to ham up her role as a “frightened white woman” up against a “scary black man.”

Philando Castile was shot by police in his car in front of his wife and daughter despite following all the rules. He mentioned to the officer that he was a licensed gun owner, and that his gun was in the same place as his license and registration. He was compliant in every possible way, and he still died for it. By default, black people are seen as potential threats to a country and society built on white privilege and black labor, and no amount of dressing well or making enough money can paper over that inherent injustice. What hope did Amadou Diallo, George Floyd, Breonna Taylor, Rayshard Brooks, or countless others have? 

What’s more, you can even see the damage white privilege causes to black people and the US at large in the malignant counter-arguments against “black lives matter.” “All lives matter” is an attempt to take focus away from a specific and stark problem brought about by the US’s history of enslaving black people and building its economy on their bones. “Blue lives matter” is an attempt to inflame tension and reinforce the dichotomy built upon the assumption of black criminality. These are disingenuous in their intent, and need to be understood as such.

I say it again just as much for myself as I do for any readers: black lives matter. I hope the energy that has come out of the worldwide protests and the calls for justice continue for as long as it takes.

Interdependence Day: Ogiue Maniax Status Update for July 2020

It feels like 100 years have passed since June and July. The world feels liable to change in the most drastic ways, but also to revert back to the same old ignorance. We’re all just individuals in the end, but I hope that we can enrich ourselves just as much as we help those around us. As COVID-19 spikes around the US, I want everyone, even those I vehemently disagree with, to have long, healthy, and fulfilling lives, and to remember that we’re in this together. It shouldn’t be “every man for himself” in this situation.

Thank you to my Patreon sponsors, who support me even as I deviate from the main topics of this blog at times.

General:

Johnny Trovato

Ko Ransom

Diogo Prado

Alex

Dsy (NEW PATRON!)

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

I like to think that everyone who follows Ogiue Maniax knows my passion for anime and manga is genuine, even if there are times when more important things are at stake.

Blog highlights from June:

Beyond “Friendship, Hard Work, and Victory”: The Promised Neverland

A full-series review of one of the best shounen manga ever.

Beastars and the Fight Against Behavioral Absolutism

My interpretation of what Beastars has to say about civilization.

Learning About the Butterflies and the Bees: Saotome-senshu, Hitakakusu

A great and silly boxing-themed romance comedy series. Highly recommend.

Hashikko Ensemble

Chapter 29 shows a bit of tension between Akira and Jin—a first for the series.

Patreon-Sponsored

Thoughts on Open-World RPGs and the D&D Legacy

It basically turned into a post about JRPGs vs. WRPGs.

Apartment 507

The Demon Slayer: Kimetsu no Yaiba manga has finished. Could this mean one of the overall best anime adaptations ever is on its way?

Closing

A new anime season is upon us, but in this current situation, that means a lot of shows that went on hiatus due to coronavirus are coming back. I’m most stoked for Healin’ Good Precure, which is finally going to be streaming on Crunchyroll in the US. It’s time for Precure to claim its rightful place!

Dissenting Voice: Hashikko Ensemble, Chapter 29

Akira vs. Jin?! It’s Chapter 29 of Hashikko Ensmble!

Summary

The Hashimoto Chorus Appreciation Society arrives at the site of their training camp, which is packed with seemingly all the audio equipment they’ll ever need. But as Jin is living in audiophile paradise, Akira is still thinking about seeing Jin at Himari. Jin explained that he was there to help Himari build her own speaker, but it still doesn’t sit well with Akira. 

Hasegawa (who has declared her intent to join the club proper as conductor—and drag Kanon in along as well) reveals to Akira that having Jin help Himari was all her idea. In fact, she purposely timed things so that Akira would be on the previous castle trip. Hasegawa also prods Akira about his obvious feelings towards Shion.

Jin talks about his next plans for the group, which involves having the guys all sing a capella for the school festival. His motivation seems a little off somehow, but what’s even more unusual is Akira vehemently disagreeing with the decision—a first “fight” for the two. The group later goes outside to look at the stars and to practice harmonizing, only for the debate about the school festival to continue. However, the argument is suddenly interrupted when everyone realizes that Shion is missing!

Feelings and Tensions

It feels harder and harder to write chapter summaries for Hashikko Ensemble. Whether it’s the burgeoning (?) romances or the friction that exists between the characters, everything feels important and frivolous at the same time. Jin and Himari could just be as innocent as they claim, seeing as Jin is not one for deception, but maybe there’s still something sparking there. Akira’s crush on Shion seems to only grow stronger, and it’s clear that his reluctance towards doing a capella is that Shion (who’s only just recently healed from her hand injury) wouldn’t be able to play. Meanwhile, I suspect Jin’s eerily forceful desire to do a capella comes from wanting to further defy his mysterious mother.

Orihara seems especially tense, but I can’t really tell for sure what the reason could be. He seems like he’s trying to work through something possibly related to Shion, but I feel like the series is trying to use him as a red herring romantic rival. Orihara’s a complex yet simple character, so it’s hard to peg what he’s about, even when knowing his tragic past.

Sound Training

I like seeing Jin nerd out about audio electronics, even if I don’t fully understand everything that’s going on or how it’s supposed to all fit together. To be fair, that’s something I share with most of the characters in this chapter. Still, I at the very least learned that Accuphase is a manufacturer known for its power amps, and that with sufficiently good equipment, you can even hear where the singers were positioned in a room. 

There’s also an interesting little training regimen shown in this chapter, meant to strengthen your voice and your muscles at the same time. In fact, the manga itself points to the original source, “Muscle Voice Training,” which can be found on Yamaha’s official Youtube channel!

As for its portrayal in this manga, one thing I find curious is that Shinji is able to generate more force in his “He!”s than the bigger and stronger Orihara. I think either Orihara is just not trying very hard (possibly out of embarrassment), or there’s something about Shinji’s castle-exploring cardio that gives him a slight edge.

Songs

You know the drill by now. It’s“Miagete Goran Yoru no Hoshi o” by Kyu Sakamoto. Most likely, things will change now that we’re seemingly moving into a new arc.

Final Thoughts

Kanon joining the club seems inevitable, but I have to wonder what role she’ll end up in.

Also, this series being a manga and all, I often picture Akira’s voice in my head as something soft and light, only to remember that he’s supposed to have a  serious bass to his voice. It’s so unlike what’s typical that I want even more to see it in anime form.

Thoughts on Open-World RPGs and the D&D Lineage

Open-world RPGs have never really been my thing, though it’s less about genre preference and more about circumstances. I was never much of a PC gamer when RPGs like Baldur’s Gate were around, and by the time similar games (such as The Elder Scrolls series) emerged on more powerful console hardware, I didn’t have any of those systems. But from a distance, I find the branching paths of Western RPGs and Japanese RPGs to be such a wonderful story of diverging Dungeons & Dragons lineages—namely how the former has taken more from the customization and self-insertion aspects of tabletop roleplaying in contrast to the latter and how the latter has went on to emphasize the narrative and storytelling components by way of old Western computer RPGs such as Wizardry.

It might be my ignorance and unfamiliarity at work, but I see expansive open-world RPGs as putting less emphasis on defining strong characters through which a story unfolds. More often than not, my impression is that they are about putting the player in the driver’s seat and trying to convey a virtual environment where they can do “whatever they want” within the boundaries of a game’s programming. Even if they have set things to do and accomplish, these games are meant to feel like your story.

That being said, plenty of JRPGs have user insert characters, including Dragon Quest and Pokemon have audience insert protagonists, and the latter even allows for heavier aesthetic customization now. However, I do feel that there is a more defined sense of a default look and feel to these generic JRPG player characters, and the result is that they also end up feeling like someone you’re observing from a distance—like you’re in a dream seeing yourself from a third-person perspective.  For me, personally, I’ve traditionally preferred that direction.

Of course, I’m making certain assumptions and generalizations when I define Western RPGs as more expansive and open-world, as even those words can change meaning and significance depending on what players are used to and how they perceive the importance of those qualities. For example, it’s interesting to me that the prevailing online opinion on Pokemon Black & White has changed so drastically in the ten years since its debut. 

Back when it first launched, the games were criticized as being too easy and hand-holdy—you always knew exactly where to go next. This was a far cry from the original Pokemon Red & Blue generation-1 games, which gave far fewer explanations and kind of left a lot of things ambiguous. But now, Black & White are touted as being one of the gold standards of Pokemon, and its descendants inferior for their perceived lack of strong and focused storytelling. Red & Blue, in turn, are seen as cumbersome relics that don’t do enough to guide players. It comes down to a generational divide, but even within the specific realm of Pokemon—hardly what you’d call a premiere example of open-world gameplay—this debate about the two Dungeons & Dragons lineages takes place.

I feel that the success of expansive open-world RPGs on an individual level comes down to whether or not the inevitably less defined bits of narrative that are a consequence of heavy personal customization and gameplay systems that encourage defining “your” story as opposed to following someone else’s. Both it and the JRPG style are capable of capturing people’s imaginations, but it’s what we want to do with our captive imaginations that highlights our differences.

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