His Master’s Voice: Hashikko Ensemble, Chapter 17

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We learn a lot—maybe too much—about Nishigafuchi’s students in Chapter 17 of Hashikko Ensemble.

Summary

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?

All Kinds

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.

Meanwhile, Orihara’s punching Saiga (potentially) in defense of Jin is kind of a serious tsundere move by way of delinquent behavior. Maybe Orihara really does see him as a friend.

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.

 

Songs

Referenced last chapter too, they sing Johannes Brahms’s “O Heiland, reiß die Himmel auf, Op. 74, No. 2.”

Final Thoughts

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.

The Pros and Cons of $20 Anime Figures

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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.

Dark-skinned Precure: The Importance of Cure Soleil

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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.

Dragon Quest’s Hero: A Unique Strength and a Unique Weakness?

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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.

I’m Bad at Understanding Rhythm, but the Manga “Wondance” is Changing That

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For the life of me, I’ve always had trouble with musical concepts like rhythm and beats. Even though I was in a couple of band classes as a kid, and even when I’ve tried to read up on it or look up videos, I just couldn’t wrap my head around these things. But recently, I think that’s starting to change, and I actually have manga to thank.

I recently began reading a new hip hop dancing-themed series called Wondance. Because that genre of dance is likely unfamiliar to many readers, the manga uses its main character as a way to introduce ideas. Kotani Kaboku is a basketball player with a speech impediment who discovers that dancing might just be a way for him to express himself, and he even applies some of his b-ball knowledge to his new interest.

In Chapter 4, titled “After-Beat,” Kaboku’s dance teacher talks to her class about a crucial difference between the music they might be accustomed to (J-Pop, anime songs, etc.) and the kind they’re dancing to now (hip hop, R&B, and funk)–what part of the beat the music (and thus the dancing accompanying it) emphasizes. If a basic beat is “1-2, 3-4,” then pop music tends to emphasize the “1” and the “3” while hip hop emphasizes the “2” and the “4.” The “2” and the “4” are called the “after-beat. To put it differently, if the beat track of a song goes “bumm-chh, bumm-chh,” the “chh” is the after-beat.

For anyone who’s into music and dance, this is probably child’s play, but this one page was actually the catalyst for me to actually “get” ideas that I knew of but could never actually understand. That simple explanation above, as well as the demonstration of dance moves at the bottom of the page, opened up a window I thought would be forever inaccessible. I listened to both anime songs and hip hop, my ears now aware of that difference in emphasis. When I watched videos teaching about beats, I had a better notion of what they were saying.

There’s even a moment from Chapter 3 of Wondance that subtly introduces these ideas, and in hindsight it’s actually brilliant. Kaboku notices something about the rhythm of hip hop dancing, and he compares it to dribbling in basketball: if the rhythm of the basketball is down-then-up, then hip hop feels like the “up” is being emphasized, and it’s the prime moment to make a steal. In other words, the ball hitting the floor is the “bumm” and the ball returning to the hand is the “chh.” When I remembered that scene, it hit me like a sack of potatoes.

While I highly doubt that I can ever truly feel the beat as so many others can, or apply it to something like rap or dance, I feel like a new world has opened up to me. It’s almost like learning a new language. I also think it might say something about me that it took reading a comic in a foreign language to finally comprehend something as pervasive as music, but maybe that’s part of the beauty of comics. And between Wondance in manga and Tribe Cool Crew in anime, I hope we see this genre continue to grow.

Banjo-Kazooie, Dragon Quest, and the Precariousness of Nostalgia

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The dual Smash Bros. Ultimate character reveals of the Hero(es) from Dragon Quest and Banjo and Kazooie have gamers abuzz with excitement. While I didn’t quite get the DQ villain I wanted, I’m no exception when it comes to riding the hype train. However, seeing some of the negative reaction among English speakers online over the Hero’s entry into Smash makes me realize something: a lot of fans care less about video game history as a whole and more about their own video game history.

This is not unexpected, nor is it inherently bad. The games we grow up on and love are going to get a stronger reaction than things we only have a more academic understanding of. Nostalgia is a powerful thing, and when people engage in hype, they’re not necessarily engaging their intellectual side. Even the Japanese fans who are freaking out over Dragon Quest are doing so because of emotional attachment. DQ crosses generations and is an indelible part of Japanese pop culture on a scale that few things can compare to. If Banjo-Kazooie fever is a combination of 1990s gaming nostalgia and the return of a prodigal icon, then Dragon Quest in Smash is just plain nostalgia for a perennial favorite, transcending gaming and any specific time period. It popularized the RPG as a genre in Japan, and its simple gameplay made it accessible to audiences young and old in ways few games ever have.

Where I take umbrage with some of the reactions I’ve seen from some vocal Smash fans is a combination of entitled behavior and the seeming inability to engage that intelligent side of their brains that can allow them to appreciate things that aren’t necessarily connected directly to them. Just because there’s no deep, emotional bond doesn’t mean it’s not worthy of attention or fanfare. Smash Bros. is in many ways a celebration of video game history, so to see fans willfully reject that history is sad to see.

Dragon Quest has the potential to expand the reach of Smash Bros. far beyond what anyone has seen. Few characters can reach literal sixty-year-old Japanese businessmen the way DQ can. World-famous manga artists like Kishimoto Masashi (Naruto) have written about their experiences with the RPG. Toriyama Akira (Dragon Ball) has been responsible for the art since the franchise’s inception!

Banjo-Kazooie and Dragon Quest are both important new titles for Smash Bros., and I hope as many people as possible appreciate that.

PS: The Japanese trailer for Hero actually has him saying the names of his spells, so a silent protagonist he is not. I wonder if this might change the impression people have of the character if this difference sticks.

The New Ojamajo Doremi Comedy Shorts Hit Exactly Right

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To celebrate the 20th anniversary of Ojamajo Doremi, Toei Animation has been putting out little flash shorts called Ojamajo Doremi Owarai Gekijou (Comedy Theater). Drawn super-deformed (but also as high school students as per the light novel sequels), the art is simple but in the current style of character designer Umakoshi Yoshihiko—vibrant and full of energy.

While seeing the light novels animated would be great and all, what I love about these little gag shorts is how the voice actors sound like they haven’t lost a step. All five of the core Ojamajo are here—Doremi, Hazuki, Aiko, Onpu, and Momoko—and they play their parts perfectly. If anything, Aiko sounds even more Osakan than ever. Hearing them again, there’s just something so special about Ojamajo Doremi that the magic even comes out in something this innocuous.

There are currently six episodes out, albeit untranslated. Still, I think even those who don’t know Japanese can get a sense of the fun in them.

This 20th anniversary celebration is also just the right time to get lots of choice Doremi merchandise. I know I’m eyeing that Nendoroid Aiko.

 

Why Are There So Few Recent Titles in Super Robot Wars T?

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When a series gets into a Super Robot Wars game, for the first time, it’s a momentous occasion, especially when the game in question is one of the “mainline” iterations. The mecha (or even spaceships these days!) can be from old and obscure works, cult favorites, and even the new hotness. When playing through the recent Super Robot Wars T, however, I noticed that there’s a significant dearth of recent series, and I’m using that term loosely—out of every anime included, only two are from the past 13 years.

Even that number doesn’t tell the whole story. One of the anime referred to above is 2018’s Mazinger Z: Infinity, a film sequel to the original Mazinger Z anime franchise. While technically “modern,” it’s meant to be a nostalgia work. That leaves only Expelled from Paradise, a 2014 film. The next one after that is Gun x Sword from 2005. It’s not inherently a bad thing, and there are a number of welcome surprises in SRWT like Magic Knight Rayearth, Cowboy Bebop, and Captain Harlock. In a Famitsu interview, the director, Terada Takanobu, mentioned that one of their decisions for including new titles was a desire to have something for every age group. So in the sense of newcomers alone, it’s a pretty even split. However, the heavy lean towards the old is still noticeable, and I think a number of factors go into this.

First, as the years go by, what is considered an “old” title vs. a “new” one widens. Second, mecha anime just isn’t the bustling industry it once was, at least not in the same way. Third, I think that, as much as they tried to pull in fans of all ages, their core demographic seems to be working adults somewhere around 25-39, given both the themes of the game and the title selection itself.

For many younger anime fans, a span of five years might very well cover their entire fandom, let alone the now five decades that have elapsed since the original Mazinger Z anime debuted. For Super Robot Wars, this goes double, as it often takes quite a few years for a hot new mecha title to get the spotlight. Back in the early 2000s, Gaogaigar (1997) and Shin Getter Robo Armageddon (1998) were considered fairly young upstarts when they appeared. Now, in Super Robot Wars T, they’re grizzled old veterans. Outside of Super Robot Wars specifically, it’s always fascinating to see a title like Cowboy Bebop (1997 debut but aired on Adult Swim in 2001) go from being the hot new thing in the US to being a virtually canonized masterpiece that’s sometimes more discussed than viewed.

The relative oldness of the entries in SRWT is in part a consequence of how giant robots are simply not the industry juggernaut that they once were. Long gone are the endless number of children’s mecha shows, and the robot anime that do remain know that their audience will often skew older. Super Robot Wars, given its nature as a crossover celebration of what is increasingly a niche genre, is sort of tailor-made for nostalgia, compounding the sense that its appeal does not lie in attracting newer, younger anime fans, but those with a lot of experience watching and loving mecha anime. There are newer titles to pull in, but will they have the same draw as these assumed childhood/youth favorites?

In that sense, it’s interesting to note just where the nostalgia hits hardest for SRWT. Many of the titles are squarely in the 1990s without being made as sequels or reimaginings—Cowboy Bebop, Magic Knight Rayearth, Nadesico, G Gundam, Gaogaigar, and Might Gaine—while plenty of other titles are late 80s or early 2000s. Director Terada mentioned that international fandom was a consideration for which titles to include, and while not the case with every country, I think that the 90s is an especially strong time for fan nostalgia now—or at least the 90s anime they may have seen years later because anime distribution wasn’t nearly as speedy back in the days of VHS tapes and Real Media Player.

It’s also telling that the gimmick of the main heroes is that they’re salarymen, i.e. full-time working adults around ages 25 to 39, instead of teenagers. In some sense, it works as a gimmick, but when past original characters have been decidedly less mundane in their basic premises, the idea of “loyal company employee” stands out. There’s something to be said about how the notion of the salaryman as the default position for adults in Japan has been shattered for many years now, but I won’t go much into it except to say that while a heroine who just really likes a steady paycheck might have seemed like the most milquetoast thing once upon a time, in our current global economy, that idea almost borders on escapist fantasy.

Or maybe the team just really wanted to do a story with Jupiter as a focal point. Between Shin Getter Robo Armageddon, Nadesico, Crossbone Gundam, Aim for the Top!, Gaogaigar, and Cowboy Bebop, the fifth planet from the sun gets major play.

There’s one last possible reason the series is lacking anime titles from recent years: they’re saving them for a direct sequel. While there’s no news yet of a true follow-up to Super Robot Wars T (as opposed to just another game with a completely different cast and universe), there are enough loose threads in this game that a continuation would not be surprising.

Crossovers on the Brain: Ogiue Maniax Status Update for June 2019

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E3 is next week, and I’ve been trying to finish Super Robot Wars T so I can devote my full attention to whatever Smash Bros. Ultimate shenanigans Nintendo has waiting for us. I wonder if I can get really into a third ridiculous crossover franchise and go straight over the edge.

Before, I get into Ogiue Maniax highlights from the past month, I’d like to thank my supporters on Patreon and ko-fi.

General:

Johnny Trovato

Ko Ransom

Diogo Prado

Alex

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

 

My favorite posts from May:

Spoilers Matter

My counter-argument against the idea that obsession with spoiler warnings hurts more than helps

“Very East-Coast Avengers.” War of the Realms: New Agents of Atlas

A look at Marvel Comics’s new All-Asian team, and what it could mean.

Growing Step by Step: Run with the Wind

My review of a really great anime that gives some really important life lessons that I hope people take to heart.

Hashikko Ensemble

Chapter 16 continues the Chorus Appreciation Society’s excursion to another school.

Patreon-Sponsored

The Healing of Heisei Anime

A retrospective of sorts on anime of the Heisei period, which ended recently with former Emperor Akihito’s abdication.

Closing

You know what’s an expansive crossing over of many major players? That’s right, the Mueller Report.

Sure is worth reading, if I do say so myself.

First and Second Impressions: Hashikko Ensemble, Chapter 16

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More time at Nishigafuchi leads to some interesting personal connections in Chapter 16 of Hashikko Ensemble.

Summary

The Hashimoto Chorus Appreciation Society continues their joint-practice session at the prestigious Nishigafuchi High School, and they’re making quite an impression.

Mimi-sensei is getting conducting advice. Shinji learns the personalities of all the Nishigafuchi part leaders (soprano, alto, tenor, bass) from a first-year tenor named Andou who wishes he could sing bass. Jin is enthusiastically giving the other students voice lessons and even tips for pronouncing German. Kousei is scaring everyone away, especially because he refuses to sing anything he doesn’t want, but also surprises everyone when he jumps at the chance to sing some Brahms. Akira talks to Sadamoto, the guy from his old school who recognized him, but it seems that despite Akira’s worries, Sadamoto holds no animosity towards him.

However, Sadamoto makes a rather cryptic statement in reference to their past singing together: “We still won even though you didn’t sing, so that turned out well. But sometimes I think, even if we all sang and couldn’t win, that would’ve been good too.”

German Elocution

Jin’s brief lesson on German is that while things like umlauts and diphthongs matter, ultimately good German pronunciation comes down to position of the tongue and shape of the mouth. I figure that applies to a lot of languages, but it’s interesting to note what Jin would concentrate on first, as well as what he assumes is already common knowledge. The response from the other students is basically “We don’t follow.”

What Happened to Akira’s Voice

We know that Akira’s voice got hit by a lightning bolt of puberty back in middle school, but based on his exchange with Sadamoto, I have some conjecture. To me, it seems like in whatever competition they were a part of, Akira decided to lip sync because his voice had changed so much as to 1) be embarrassing 2) shift him out of whatever range he was supposed to sing. It’s even possible he went from soprano or alto to bass, based on what Himari has said about Akira’s childhood voice.

As for Sadamoto’s words, not only does it seem like he holds no grudge against Akira, but it even looks like he has some regret over Akira feeling the need to pretend to sing. I’m curious as to how this will develop.

The Nishigafuchi Elite Four

Andou basically fanboys over the Nishigafuchi club leaders, and it’s cute to see. He lays out their personalities as follows.

Shindou Yui: Soprano leader, has a gentle smile but a sadistic personality

Hisamura Nozomi: Alto leader, appears harsh but is actually kind and gentle

Honma Tadashi: Bass leader, started off as a regular member but rose to the top through practice and effort

Kouno: The sub-leader of the tenors, who isn’t important (according to Andou) because of…

Saiga: Tenor leader, a fop who’s prone to giving up easily

We were briefly introduced to most of them last chapter, with Saiga being the big exception. Was saving his appearance for this chapter just to make his eccentric personality stand out that much more, or is he going to be a more prominent character compared to the others? Either way, I like that these characters are getting established, though I do think the quick summaries provided by Andou are very different from how Hashikko Ensemble has been introducing its characters thus far. Up to now, they’ve mostly been more “show” than “tell.”

I also find it quite interesting that they’re being treated like idols or manga-style “popular students,” but they actually look quite normal—even Saiga. Compared to making them suddenly larger than life, it keeps the series grounded and humble, even though it can get fairly absurd.

While it’s mostly Andou talking about this, I did feel that the chapter spent more time on Shinji than normal, and his role as the straight-man among a cavalcade of eccentrics is getting more firmly established. I also wonder how Andou, who thinks Akira is a kindred spirit, is actually the naturally strong bass singer that Andou wishes he was.

Songs

The song Nishigafuchi is performing at the beginning of the chapter is “Hitotsu no Asa” (A Single Morning), composed by Hirayoshi Takekuni with lyrics by Kataoka Teru.

The song that Orimura really wants to sing is Johannes Brahms’s “O Heiland, reiß die Himmel auf, Op. 74, No. 2.”

Lastly, the song Shion is playing on piano is “Chopin Nocturne – No 5 in F Sharp Major Op. 15-2.”

Final Thoughts

This has nothing to do with the ongoing story, but I wish fanart of this series existed. I know the characters don’t have the most iconic appearances, but I think they’re worthy of some love