On Loli Vampires, Morality, and Fiction

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Anime and manga are full of relationships with large age disparities, ones that would assuredly get people arrested in real life. While fiction isn’t reality, and therefore doesn’t necessarily reflect what people desire or are willing to do in their actual lives, the fear of harm is founded in a simple and important value: adults having physical and romantic relationships with kids is wrong and impossible to justify in reality.

“But why is it wrong?” Generally, when presented with this question, people react that it is just morally repugnant, that it should cause disgust in all people. But what often isn’t taken into account is that there are two components to this answer that are conflated into a single response: the physical disgust and the moral disgust.

The Power of Fiction for Breaking Down Ideas

Before getting into the subject at hand, I want to emphasize some of the strengths of fiction: it can introduce ideas not easily found in reality, working alongside imagination to help people envision a world different from their own. It can also dissect and decouple concepts we believe to be either inextricably tied together, even those multifaceted ideas thought to be a single entity. This aspect of fiction enables people to reflect on its assumptions, and to further clarify how we think as human beings.

Take the example of being transgender, that one can potentially appear as one sex on the outside, but feel they are truly another gender on the inside. Thousands of years of social reinforcement emphasizes that the outer appearance dictates the inner mind, so for many someone being transgender is still a difficult concept to grasp. They cannot divorce sex from gender.

Yet fiction helps make this comprehensible. For instance, the old manga and anime Ranma 1/2 stars a boy who, due to a curse, changes physically into a girl every time he’s hit by cold water (hot water reverses the transformation). The more recent and wildly successful anime film, your name., features a boy and a girl who switch minds and have to live in each other’s bodies. In both works, the idea of “a girl on the outside but a boy on the inside” becomes more easily relatable. One need only watch these works, then think, “If I was in their shoes, how would I think? How would I feel?”

Physical vs. Logical Morality

Adults having relationships with minors is morally wrong, but in order to illustrate the complexities of this idea, I’m going to reference two characters from the company Arc System Works’, which specializes in fighting games. First is Dizzy from the Guilty Gear series. Second is Rachel Alucard from the BlazBlue series.

Visually, Dizzy appears as a fully-grown adult. Tall and voluptuous, she holds zero physical appeal for anyone who would be into much younger characters. However, in her first appearance in Guilty Gear X, she’s stated as being a mere three years old. While it’s more the case that she emerged fully grown like the goddess Athena, the conceptual contrast is still there: young in age, but old in appearance.

Rachel Alucard is the opposite. Having the appearance of a child, Rachel is actually an ageless vampire with the maturity and wisdom to go along with it. She’s very intentionally designed to follow that old lolicon trope of “she looks 10 but she’s 1,000 years old!” that often comes across as the flimsiest of excuses.

If you were to apply real-world laws to Dizzy and Rachel, you’d get two different results. If an adult had a sexual relationship with Dizzy, they’d be breaking the law 100%, but at first glance no one would find anything amiss. If an adult had something with Rachel, it would be legally justified but they would get pulled over by the cops every day for the rest of their lives.

Being bothered by Rachel’s design reflects a physical, visceral disgust—that one should not perceive her appearance as sexually attractive. On the other hand, being disturbed by Dizzy’s situation has more to do with the logic of morality. Even if someone appears fully mature, that does not mean they are mentally or emotionally ready. Age of consent laws are designed to protect minors from the inherent power imbalances that exist in adult-child interactions, even if she “looks like an adult.” The two sides of this argument can and do join together, but they’re fundamentally separate ideas.

So What About Those Stories?

While there is a clear immorality to having an underage relationship in reality, I do not believe that fiction is beholden to the same rules. Putting aside the fact that fiction, in and of itself, causes no harm, what ultimately makes those large age gaps morally problematic is the power dynamic. Adults inherently hold authority over children, even if those kids could pass for adults themselves, and the excuse that “she looked 18” doesn’t take into account the psychological harm that can occur. In stories, however, “power” comes in many different forms, and a story can be all about seeing how two individual characters can join together as equals. This doesn’t mean that people should never feel disgust at what’s depicted in fiction, especially because what goes on can potentially be used as an excuse or justification for bad behavior in real life. But it still, in the end, highlights how we perceive equality (or lack thereof) in fictional portrayals of romance.

Crazy Rich Asians: A Transcending Asian Experience

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I am not and likely will never be even remotely as wealthy as the characters depicted in Crazy Rich Asians. So, when I first approached the original book by Kevin Kwan, I expected on some level to be repulsed by the story. I assumed it would some kind of materialistic fantasy ready to show the common folk how glamorous being in the most upper of crusts could be, and while that still holds true to a limited extent, the Crazy Rich Asians novel (first in a trilogy) feels very real to me and my experience growing up Asian, even if my family bought more Ferrero Rocher than actual jewelry. Now, having seen the film adaptation, I’m generally pleased with the outcome, as it captures much of what makes Crazy Rich Asians feel authentic, albeit in a simplified/condensed manner owing to differences in medium.

The premise of Crazy Rich Asians is largely the same in both book and film format. Rachel Chu is a young Chinese-American professor living in New York City with her boyfriend, Nick Young. Nick is going to be the best man at his friend’s wedding, and he asks Rachel to come with him to Singapore to meet his friends and family. Rachel understands that meeting Nick’s parents is a big step, but what she doesn’t realize is that Nick’s world is so glitzy that it almost seems like a fairy tale. However, with high wealth comes high standards, and Rachel gets to see how people of all stripes handle money and prestige while also dealing with not being good enough for Nick’s mom.

When I first read the novel, one thing that struck me was that even though the amount of money being tossed around was so beyond anything I’d ever experienced in my life, it still felt very close to home in terms of my own Asian family, Asian childhood, and interactions with Asian culture. Whether it’s dealing with my parents comparing me endlessly to my cousins, the pressure to do the responsible thing to support and uphold the family, or feeling like the old values and my values could never fully reconcile, what Crazy Rich Asians says to me is, “Even though the scale is different, these characters are people like you who have gone through the same ups and downs in life.”

It reminds me of another work about a Chinese-American protagonist, The Shadow Hero by Gene Luen Yang and Sonny Liew. In that comic book, the main character’s mother embraces the notion of her son becoming a superhero with the zest that many an Asian parent has about classically reliable professions like doctor and engineer. In a similar vein, Crazy Rich Asians doesn’t just show Asians being high rollers, it shows how Asian values interact with wealth, and how different types of people within that sphere are affected by the consequences.

In that regard, I find the book’s ability to delve into the minds and hearts of its colorful cast to do a better job of depicting those contrasts and perspectives. Readers really get to see how each and every character handles wealth differently, and it really reinforces the idea that there’s really no “one way of being Asian” in the end. The film version carries that sentiment as well, but focuses its depiction of the pressures of being crazy rich Asians (and the social pressures that come part and parcel with that status) mostly on Nick Young. It gets the point across, just not as deeply.

There’s one scene in the book that’s absent from the film whose presence I sorely missed, which is when the reader learns about Nick’s grandfather. I don’t want to spoil too much, especially in case a sequel addresses this omission, but one of the important takeaways is that the goodness of Nick’s grandfather transcended wealth—a quality that Nick himself possesses.

Crazy Rich Asians is a milestone. As mentioned all over, it’s the first mostly-Asian cast for a Hollywood film since 1993’s Joy Luck Club. While I believe the book to be the more rewarding experience (because of how it allows readers to dive into the depths of its world, its characters, and their complex relationships with both money and Asian culture), the film strikes the right tone overall. As an Asian, and as someone who loves visual media, I am proud that this movie is a symbol of the Asian experience.

Have Beer, Will Travel: The Night is Short, Walk on Girl

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The Night is Short, Walk on Girl adapts Japanese novelist Morimi Tomihiko’s work into an animated film where magic, fantasy, and reality blend together seamlessly into a pleasant yet frenetic experience. Directed by Yuasa Masaaki, whose credits include Devilman Crybaby, Ping Pong and The Tatami Galaxy (also based on a Morimi novel), the work fits Yuasa’s strengths to a tee.

The Night is Short, Walk On Girl follows two unnamed characters: a Japanese college girl referred to as “the black-haired girl” (kurokami no otome) and her upperclassman/senpai. The senpai has nursed a crush on the girl for ages, and has engineered a life where he “coincidentally” keeps running into her in the hopes of sparking something more. Unfortunately for him, it has yet to work. The girl, for her part, is more focused on enjoying life at night, which involves a lot of drinking and looking for the next adventure.

The story progresses in various unpredictable directions, touching on the supernatural in ways that make it difficult to tell who’s more bizarre: the humans or the gods. Following the girl’s exploration of the night, her pursuit of the next interesting drink, and the senpai’s continued attempts to get her to notice him feels like being on a winding path whose seeming meandering is actually welcomed rather than shunned. Yuasa’s signature style allows the nebulous mix of the real and fantastic to shine through.

The film was distributed in the US for two nights by GKIDS, and the showing included a recorded interview with Yuasa, where he discusses the on-again, off-again nature of a heavily delayed production. Another notable thing mentioned is that the film takes what is essentially a story told via vignettes over all four seasons and combines them into a single dramatic evening. Thus, the film and the novel provide substantially different experiences, making it more worthwhile to experience both. Fortunately, the novel itself is coming out in English courtesy of Yen Press.

Gangplank Galleon All Day Every Day: Ogiue Maniax Status Update for September 2018

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The summer is coming to an end, but here I am still feeling jitters from the August Super Smash Bros. Ultimate Nintendo Direct. I was stoked when they announced King K. Rool, especially because the official version matches my fan concept version pretty closely!

As for my Patreon and Ko-fi, I’m thankful to all those who continue to support Ogiue Maniax. Thanks to the following!

Thank you to…

General:

Johnny Trovato

Ko Ransom

Alex

Diogo Prado

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

The past month has been quite comfortable overall for Ogiue Maniax; even the strange Patreon non-payment issue didn’t affect me too much. Instead, what I’m struggling with (though “struggle” is a bit over-exaggerating) is trying to strike the right balance between how much I write about anime and manga and how much I actually engage with the stuff. I’ve been spending a lot of time recently watching and reading more than blogging, and it’s helped to refresh my mind and inspire new ideas. However, if I write less than I usually do in a given week, I can feel myself getting a bit lazier, and wanting to put things off more and more. It’s as if there’s a groove that I can ride to putting out lots of good content, but staying with it for too long can wear me down.

That said, here are my favorite posts from August.

Kio Shimoku’s Kagerowic Diary and Its Influence on Genshiken and Spotted Flower

Some of Kio’s old manga is getting new special-edition releases! Here’s a look at an early work of his, and the footprints it has in his more recent titles.

Otakon 2018 Interview: Kawamori Shoji

My one-on-one interview with the creator of Macross, Aquarion, and more!

Tatanga for Super Smash Bros.

After about a two-year hiatus, I’ve gotten back to drawing Smash Bros. character concepts in celebration of Super Smash Bros. Ultimate! So far, I’ve done Tatanga and Turrican.

Hashikko Ensemble

Chapter 7 of Kio’s new manga has some introducing new characters. Among them, one awesome mom. 

Patreon-Sponsored

The Big O and Loving Robots

A look at artificial intelligence, love, and agency.

Closing

I of course am also stoked for Castlevania being in Smash. Let us celebrate with some fine tunes:

Mecca of Mecha: Otakon 2018

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2018 marked the second year of Otakon in Washington, DC, as well as a year that posed some unique challenges. Scheduled for the same weekend as a nearby white nationalist ally, the potential danger cast an uneasy cloud over both a multicultural city and an anime con that typically attracts people from a wide variety of ethnic backgrounds. Fortunately, the rally amounted to nothing more than a fart in the wind, totaling around 30 people and far outnumbered by counter-protesters. What was left was an enjoyable Otakon that accomplished what the convention is meant for: celebrating Japanese culture and the people who make, enjoy, and are inspired by it.

Panels

Where there might have been three to five panels on giant robots in a typical Otakon, this year’s programming was rife with robot content thanks to the theme of Otakon 2018 being “mecha and science fiction.” As a huge fan of all things anime and robotic, this was right up my alley. I made it something of a mission to check out as many panels as I could, whether they were by fans, companies, or special guests.

I was even on a panel myself! “Mecha Fight Club” with Patz, Tom Aznable, Doug, and myself was an hour of debate and discussion on various topics concerning giant robots and giant robot fandom. If you came to our panel, thanks for waking up at 9am on a Saturday. I hope we gave you some food for thought.

Fan Panels

Transformers: The Birds and the Bumblebees

This panel, from the group “Manly Battleships,” looked at the early history of the Transformers. Impressively, it started not at the release of the toys in the US or even the Japanese Diaclone toys from which Transformers took many designs, but with the advent of GI Joe in America and is exporting over to Japan. It was quite an informative panel, and while I thought the “nerd humor” fell flat at times, it was a solid presentation overall.

NoS Anime

I attended two panels from a group called NoS Anime: one a Gundam Wing retrospective, and the other a look at mecha in the 1960s and 70s. Both panels were well researched, and made efforts to explain the social and economic climates of their times. I had only a few criticisms, and even those are more about what I’d prioritize, rather than what I think would make the panels absolutely better.

First, for the Gundam Wing panel, I would have preferred a greater look into the Japanese fandom, as it was mostly a nostalgia panel from the US side. Also, the comments about the first opening theme, “Just Communication,” having odd lyrics seemed off to me, as plenty of robot shows and Gundam anime feature similar music.

Second, for the 60s and 70s panel, I think more explicit mention of Nagahama Tadao and Tomino Yoshiyuki being directors on Reideen before working on the Robot Romance Trilogy and Gundam respectively should have been explicitly emphasized.

Overall, NoS Anime showed they were a deft hand in presenting.

Outsourced Anime

I try to attend at least one Anime World Order panel at conventions because they’re usually quite entertaining. This panel focused on American cartoons which actually had as lot of the animation work done in Japan. One of the major points of their talk was the impressive flourish that Japan would give these shows—and that their best efforts became the most memorable parts of these cartoons for young minds.

Gattai! Giant Robots from 198X

Essentially a 1980s robot anime recommendation panel, the hosts Patz, Tom Aznable, and Hazukari went over why their favorite mecha shows of the era deserve a look. While there was some trouble with keeping on time, and I feel like they didn’t sell certain shows as well as they probably intended, what worked for me is that each of the presenters clearly valued different things and you could get a more balanced view as a result.

Industry/Guest Panels

Kawamori Shoji

Out of all the guests at Otakon this year, Kawamori was arguably the most significant. Because there’s so much content from him, I’ve spun it off into two separate posts: a recap of his “History of Macross” panel, and my personal interview with him.

Ebikawa Kanetake

A mecha designer on series such as Full Metal Panic!, Gundam 00, and Gundam Build Fighters, Ebikawa’s panel was fairly restrained, and his answers short. One of the main things I learned is that while fans mostly remember the glamorous parts of being a “mechanical designer,” it also includes more mundane items such as coffee mugs and utensils.

Nagai Tatsuyuki

The director of The Anthem of the Heart, Anohana, Toradora!, Iron-Blooded Orphans, and more went over his history in the anime industry. We learned that he first found an anime production assistant job while unemployed and needing work. It was a position that required driving around to pick up and deliver things, and when he lost his license, it forced him to try his hand at other roles such as storyboarding. This eventually took him on his path to episode director and director.

I had the opportunity to present him a question, so I asked about the reasoning behind the unorthodox romances in Mobile Suit Gundam: Iron-Blooded Orphans, which includes an actual harem. Nagai responded that it was to show that many different forms of love exist in the world, and that he did indeed meet resistance at first from the staff when he told he wanted to put this in. I also told him the true story of my friends and I walking through a blizzard just to see The Anthem of the Heart. By the way, everyone should go see that film.

Another person asked how he feels that Okada Mari (writer on Iron-Blooded Orphans, Anohana, and Anthem of the Heart) seems to get all the attention and credit. It felt like a question tinged with bitterness toward Okada, but I might have been mistaken. Nagai answered that he actually liked it because it meant he could sort of hide in secret, perhaps a defense of Okada without getting too aggressive.

One interesting takeaway came when Nagai talked about how he often worked with the same core staff, and that because they’re around the same age, they can talk to each other more candidly when working. Kyoda Tomoki expressed something similar in my interview with him at Otakon 2017, which makes me wonder if studio hierarchy is often a thorn in young creators’ sides in the anime industry.

Discotek Media

During the weekend, friends and acquaintances informed me of one anime company planning a licensing bonanza: whereas most publishers tend to announce maybe five or six new titles, Discotek was going to reveal new shows totaling in the double digits! I had waffled on going to their panel, but now I had to attend. And as it turns out, for fans like me, their announcements pretty much won Otakon.

  • Area 88
  • Message from Space: Galactic Wars
  • Space Wolf Juspion
  • Space Warrior Baldios TV
  • Voltes V
  • God Mars
  • Psycho Armor Govarian
  • Galaxy Express 999 TV
  • Bobobo-bo Bo-bobo
  • Lupin III: Blood Seal of the Eternal Mermaid
  • Kimagure Orange Road
  • Giant Robo: The Day the Earth Stood Still

To say I am overwhelmed is an understatement. Voltes V is one of the greatest mecha anime ever to not get a proper US release, and is one third of the famed Nagahama Robot Romance Trilogy (which means I hope Discotek is looking at Combattler V and Daimos next). Baldios and God Mars are classic 80s robot action, with the latter actually being a fujoshi favorite of its time. Giant Robo is one of director Imagawa Yasuhiro’s finest works. Psycho Armor Govarian is an obscure Nagai Go robot series animated that is said to be Studio Knack’s best work—faint praise, perhaps, for the studio behind Chargeman Ken. Kimagure Orange Road is one of those 80s classics I’ve always wanted to watch but never did. Galaxy Express 999 holds a special place in my heart, and the additional update on the 999 films getting a Blu-ray box set makes me want to pump my fist in the air and high-five the clouds.

Hiccups and Missteps

Not all was smooth sailing. One of the more significant problems I ran into was subpar management of the autograph line on Friday.

To start off, the autographs section was in the Dealers’ Hall, so that anyone who wanted to get anything signed had to wait on the same massive line as those wishing to make purchases. This in itself would not be so bad, except that there were autograph sessions close to the opening time, and having both aforementioned groups plus those waiting for the nearby Artist Alley to open meant that the line size inevitably became a fire hazard. This issue was compounded with the fact that telling people to go away and come back later never works because it punishes those who decide to follow the rules, and rewards those who skirt/defy them. This would become a recurring theme with the autograph area.

Upon getting in line for the actual autographs, I ran into another problem. The way the area was set up, the idea was that a small group at the front of the line would break off and go into a section where all the guests were waiting. From there, attendees would get their autographs, and then the next group would have their turn. In practice, however, only the first group ever got the chance to get autographs and the rest of the line was stuck waiting the entire time, with not even a single person having an opportunity to move from that second line. In other words, even accounting for the fact that not everyone who wants an autograph is going to get one, many people were denied autographs when they shouldn’t have been.

In my eyes, the underlying issue was that the volunteers in charge of the main autograph area did not communicate properly with the volunteers managing the line, and so the former never seemed to realize there were additional attendees waiting in the first place. Those who went first, or had guests with smaller lines, could easily ping pong between all the guests, while those who (again) followed the rules and waited patiently were done a disservice. My hope is that this changes for next year, including finding a better place for autographs. While Otakon in Baltimore had its own issues with signings, this never happened as far as I can remember.

Another non-autograph-related problem was that at one point on Saturday, the tunnel between the Marriott and the convention center was closed off, forcing everyone to go in through the convention center’s main entrance in the sweltering, 90+ degree heat. This was apparently another miscommunication, but the fact that the weather played a role was a concern.

Con Food

Eating out on Otakon weekend is always a potential hassle, given the amount of attendees. Because of the prospect of both protesters and counter-protesters, my friends and I avoided restaurants and decided to (for once) stick to supermarket and convention-center food. The latter was overpriced (as these things usually go), but the quality was surprisingly decent, and many of the food stands had Japanese cuisine to along with the general theme of Japanese culture. At the same time, $15 for not much food can hurt the wallet a bit. My advice is that if you can’t get out anywhere to eat, and you didn’t bring anything, the Caribbean food is only $12 a dish by comparison, and still plenty good. You can avoid the “anime fan” tax and still get a hot, delicious meal.

Events

Concert

Otakon attendees had the rare opportunity to attend a performance of the “Distant Worlds” Final Fantasy orchestral concert series. With legendary Final Fantasy composer Uematsu Nobuo in the audience, it was a pleasant experience that took the audience through songs from throughout the franchise. I definitely enjoyed the concert, though I felt there was a distinct lack of battle music. I was selfishly hoping for some personal favorites, like Zeromus theme from Final Fantasy IV and the Four Fiends theme from Final Fantasy I remakes, but alas.

Hi-Score Girl

Another special event was the US premiere of the Hi-Score Girl anime, which is adapted from a fantastic manga about romance and growing up in 1990s Japan arcade culture. The show is a pretty straightforward adaptation of the manga, albeit with CG that can feel awkward at times. It’s coming out on Netflix in the coming months, so I recommend everyone check it out when they have the time.

One odd thing about the Otakon showing was that it included a panel beforehand that kind of spoiled a lot of what the first episode was about—pointless if we were going to watch it right afterwards. Also, unfortunately, the interpreter didn’t seem well-versed in fighting games, so she ended up missing a few points here and there. One omission that stood out to me was that the producer mentioned the manga’s author, Oshikiri Rensuke, having participated in Vampire Savior tournaments, but the interpreter translated it as having experience with games in general. Because Vampire Savior holds a certain significance for the history of fighting games and the fighting game community, a bit was (as the cliché goes) lost in translation.

Overall

The final number put Otakon 2018 at over 29,000 attendees, but even so, moving around the Walter E. Washington Convention Center was never a burden—especially compared to some of the most sardine-esque years of Baltimore. Between the quality of the guests and the convenience of Washington, DC (aside from the notoriously terrible traffic), I solidly believe now that Otakon moving to DC was the right choice. There’s so much more room to grow! I’m looking forward to seeing how things will change in 2019 and beyond.

Turrican for Super Smash Bros.

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Ever since Smash Bros. Ultimate was announced, I’ve been inspired to draw and design character movesets for iconic figures from video game history. Last time, I did Tatanga, final boss of Super Mario Land. This time, it’s going to be a somewhat more obscure character: Turrican, from the game of the same name by German game designer Manfred Trenz.

While Turrican might be somewhat familiar to SNES/Super Famicom owners, the real meat and significance of Turrican is that it’s one of the most famous games for the Commodore 64 and Commodore Amiga. As Smash Bros. slowly expands from a celebration of Nintendo to a celebration of gaming, I’ve entertained the notion of computer gaming getting its due with characters like Turrican and Thrall from the Warcraft franchise.

The Turrican games are sprawling platformers/shooters in the same vein as Metroid, and even the Turrican character himself bears a lot of resemblance to Samus Aran—ranged weaponry, armor, and even a rolling form. Ideally, a moveset would emphasize their differences rather than their similarities. To that extent, there are a few unique qualities about Turrican. Unlike Samus, who has a gun arm, Turrican holds his gun with at least one hand at all times. This means a lot of his normals are knees, elbows, etc. Also, his ranged weaponry serves different functions. He can’t charge his Laser or his Snaking Beam to be high-powered KO moves, though the Laser can eventually KO at very high percents, and it goes through obstacles.

Snaking Beam is somewhat akin to Bowser or Charizard’s flame attacks, except that its range is much, much greater and it can be swung to cover nearly 360 degrees around Turrican’s body. However, the drawback is that it eventually stops flinching if held for too long, so it can’t keep opponents out forever, and it has a long recovery time. But it’s great for tacking on damage in edgeguarding situations and makes running away nearly impossible.

Turrican’s Wheel attack is closer to a Sonic Spin Dash or a Yoshi Egg Roll, but more potent in certain respects. It’s invincible on startup and has strong KO power at the very beginning, meaning it can reliably get Turrican out of uncomfortable situations or lead to a kill. That said, the move can only be used sparingly, with a long cool-down that keeps it from being abusable—missing means having it off the table for a good chunk of time. Also, it’s good at killing or evading, but trying to do both is difficult. As for the Jet Pack, it’s a fairly conventional no-damage recovery move that doesn’t induce a helpless state, and the “Power Lines” Final Smash hits left and right at the same time.

In summary, the way I picture Turrican is as a somewhat low-mobility character who relies on his ranged weaponry to whittle down opponents as they get close. When they close in, he pushes them off with close-range normals and repeats the process. He doesn’t exactly have the speed to run away, but he’s also an anti-keep-away character at the same time due to the reach and coverage of his special attacks.

Is there anyone you’d like to see me draw as a Smash character? I can’t make any guarantees, but feel free to make your voice heard!

Previous Characters:

King K. Rool (Donkey Kong Country)

Princess Daisy (Super Mario Land)

Geno (Super Mario RPG)

Great Puma (NES Pro Wrestling)

Pitfall Harry (Pitfall)

Zoma (Dragon Quest III)

NiGHTS (NiGHTS into dreams…)

Thrall (Warcraft)

Tatanga (Super Mario Land)

Won’t You Be My Neighbor?: Hashikko Ensemble, Chapter 7

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Last chapter, a new girl showed up. I wondered if she was Akira’s sister, or maybe his very youthful-looking mother. Turns out the answer is “neither.”

Summary

After a bit of singing, a disheveled-looking girl has shown up at Akira’s door to tell the Chorus Club to pipe down. Akira explains that this is his next-door neighbor, Himari, who he’s known since childhood. Jin thinks she looks kind of familiar, and it turns out that she sits right behind Jin in homeroom—which means she’s been in Akira’s class all along without him even realizing it! Having not really spoken to her in a long time, Akira decides to see if she wants to walk to school with him, but when her dad answers the door instead (and tells him she’s still asleep), Akira walks away embarrassed.

At the Chorus Club “clubroom” (i.e. the corner of a stairwell), Jin teaches Akira about harmonizing, but only after a brief discussion about how the school’s been talking about Jin’s harmonizing push-ups from Chapter 5. During this time, they’re visited by two different classmates: Hasegawa, who walks away disappointed that Jin isn’t showing his muscles, and Orihara. The latter isn’t there to start trouble, but to tell Akira that he’ll be borrowing his earphones for a little while longer—noise-canceling earphones are expensive, and he needs to save up for it. Jin, however, has another idea: they’re at a school that specializing in engineering, so why not repair the things themselves? Orihara gives in, but then Akira says something that surprises everyone: “If we fix your earphones, you have to join the Chorus Club.

Sound Engineering

I’ve mentioned in previous reviews my interest in the combination of “art and science” in Hashikko Ensemble, and this chapter does a fantastic job of highlighting that aspect. It makes total sense that students of a school that specializes in engineering would try to repair earphones themselves! Combined with Jin’s generally scientific approach to singing, it means the two sides integrate more and more. His explanation of how many Western European churches are built to emphasize the “angel’s voice” phenomenon (as if Heaven itself is singing along) is fascinating.

Music and engineering are both a matter of physics, but that doesn’t take away from how impressive either one is.

New Steps for Akira

It was one thing seeing Akira singing in his room with his friends last chapter, but it’s another to see him overcome enough of his self-consciousness to actually hit a note in the stairwell. The harmonizing, even if it’s mostly thanks to Jin, feels like a major accomplishment for Akira. To then see him be assertive enough to ask Orihara to join the club, it’s as if he’s grown up immensely in the span of two chapters.

There’s also the clear parallel between how Jin got Akira to join and how Akira is trying to get Orihara to join (“If we help you with this problem, become one of us”), but we’ll see if it pans out similarly.

More Characters

This chapter gives a lot of info about Koizumi Himari: her history with Akira (they used to read picture books together!), her generally surly disposition, the fact that she hasn’t attended class in a while. Is she having some trouble in school—perhaps some form of anxiety? Moreover, Akira’s mom seems to think there’s always been some sparks between the two, which seems to be reinforced by Akira’s profuse blushing when he tries to ask Himari to walk with him to school. Or is it because Akira just gets embarrassed easily in general? And between Himari and Hasegawa, I have to wonder if the prospect of romance is starting to emerge.

Speaking of Akira’s mom, she’s wonderful! Her first appearance in the manga is such a succinct yet effective introduction to her character. Previously established as a nurse and a single mother, she’s shown haggard from a tough day at work, but purposely puts on a more cheerful appearance for her son. That one moment says so much about her person and her way of being that I hope we see more of her in the future.

Songs

No songs this month. Just folks going, “AAAAAH.”

Final Thoughts

Chapter 7 is the first to have a full character introduction page at the beginning, no doubt because the first collected volume of Hashikko Ensemble just came out. The biggest reveal here is that Kurata (the super-intense, music-hating female student) is named Shion.

Actually, I call her “super-intense,” but all of the female students at Hashimoto Technical High School seem pretty powerful. I wonder what Kio’s thinking is, though it suits me just fine. It kind of feels like different degrees of Ogiue all in one series.

The Fujoshi Files 180: Fujimi

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Name: Fujimi (ふじ美)
Alias: N/A
Relationship Status: N/A
Origin: Please tell me! Galko-chan

Information:
Fujimi is a high school girl who gets nervous speaking in public, even when ordering at a cafe. At one point she spots Galko, a gyaru from another high school, reading one of her favorite manga. Fujimi enjoys seeing Galko react to a BL development in the middle of the manga, but is otherwise daunted by Galko’s fashionable appearance.

Fujoshi Level:
Outside of being a BL fan and reading a lot of manga, nothing else is known.

The Big O and Loving Robots

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Warning: Spoilers for The Big O.

Artificial intelligence is one of those staples of science fiction, a bridge between the mechanical and the biological. For if an AI can achieve true sentience, it entails a whole host of questions about the meaning of life. In anime, one recurring topic is how artificial intelligence intersects with love—whether AIs are capable of love, and whether it is morally right to love an AI.

While something like Chobits is more (in)famous in its approach to the subject of love and AI, my favorite example is actually the mecha anime The Big O. While not the central narrative, protagonist Roger Smith’s relationship with his robot assistant R. Dorothy Wayneright is an ongoing plot thread that grounds an otherwise stylishly obtuse series.

Throughout The Big O, Roger is often verbally dismissive of Dorothy, bringing up her android qualities as evidence of what makes her unable to compare to humans. However, this is portrayed as a kind of denial defense mechanism, as he gradually finds himself attracted to and more in love with Dorothy. The impression is that Roger believes he’s not supposed to love her, and that perhaps he’s only drawn by her created and manufactured traits. Yet Dorothy, despite exhibiting very “robotic” mannerisms, seems to have an all too human side of her. And while her characteristic monotone is a source of comedy, it also seems to be a defense mechanism of her own—a constant reminder for herself and Roger that there are supposedly limits to how close they can be.

In one episode, Roger and Dorothy are Christmas shopping, and Roger steps into an elevator. He beckons Dorothy to get in as well, and she initially hesitates. When she finally does join Roger, the elevator comes to an emergency stop. Dorothy, weighing many times more than any human, put it over the weight limit. A moment of awkwardness ensues between the two, at least visibly on Roger’s side. Whether or not Dorothy is bothered by it is difficult to discern due to her apparent nature. Still, Roger and Dorothy seem to share a special connection. Nothing says more about their relationship than the iconic shot of Dorothy inside the Big O, her hand over Roger’s as he readies for a fight against three enemy Megadeuses at the end of Season 1.

Underlying all of this is the notion that love comes part and parcel with sentience. If Dorothy is nothing more then an android whose artificial intelligence is nothing more than a highly advanced computer, then that love feels “wrong” for Roger. But if it speaks toward a complexity beyond prediction, then Dorothy is an equal to Roger and therefore just as capable of love and being loved. In that situation, she must possess agency, and cannot be an object merely to be used. She must be her own being to the point that she can love or not love, and then make decisions of her own as to whether or not to follow along. In other words, it is morally right to love an AI if they can truly reciprocate, if human and robot stand on even footing.

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This post was sponsored by Johnny Trovato. If you’re interested in submitting topics for the blog, or just like my writing and want to support Ogiue Maniax, check out my Patreon.

Otakon 2018 Panel: Kawamori Shoji’s History of Macross

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In my estimation, the biggest guest of Otakon 2018 was Kawamori Shoji, creator of Macross, Aquarion, AKB0048, Escaflowne, and even early Transformers designs such as Optimus Prime and Starscream.

Unlike other guests whose panels are generally moderated Q&A sessions, Kawamori actually gave two presentations at Otakon. The first was based on his TEDx Talk on originality and design, though I unfortunately wasn’t able to attend it. The second was a history of the Macross franchise from the perspective of its own father, which I’ll be detailing in this post. For more Kawamori content, check out my interview with him!

From Megaload to Macross

Kawamori spoke of his early days competing with his senpai Miyatake Kazutaka (of Space Battleship Yamato fame) on who could design a non-humanoid hero mecha first, only to get rejected by the toy company because humanoid robots were what sold. He told us the origin of Macross (originally Battle City Megaload in the early design phases) and how it was actually meant to be a joke on the sponsors—a bait-and-switch tactic for Kawamori and his friends to do what they really wanted—only for those same sponsors to get so onboard with the concept that it became a reality. Suddenly, all of the ridiculous things they threw in to mess with the concept of humanoid mecha (being the size of a city, transforming from a carrier, having a literal town inside, facing a giant enemy so that a robot that ridiculously big would be practical) were to be an actual part of the show. Naturally, he and his friends/fellow staff concluded the following: if you have a city, you need a singer. Thus, Lynn Mynmay.

While the combination of pop music and mecha is practically taken for granted today, Kawamori described how back when Super Dimensional Fortress Macross first aired, the fans were divided between those who loved Mynmay’s songs during combat, and those who thought the whole idea was nonsense. However, Kawamori embraced the idea of having music, not weapons, win the war. He mentioned how Director Ishiguro, despite liking the concept, thought it would be too unrealistic, but Kawamori pushed through with it anyway out of a sense of youthful bravado.

The story of Battle City Megaload was already somewhat familiar to me, so it surprised me that there was an even earlier prototype of sorts for Macross: a manga he made in high school along with his friends called Saishuu Senshi (“The Last Warrior”). This amateur manga featured a world where war had become so expensive that opposing sides would each send out one representative warrior in a powered suit to engage in a duel that would determine victory and failure. The enemy side’s scheme was that they started using unmanned weapons, going against the deal. His friends at the time would end up in college with him, and would become part of the staff for Macross, including defining 1980s character designer Mikimoto Haruhiko.

Designing the Valkyrie

Kawamori also elaborated on another major part of Macross: the VF-1 Valkyrie. According to him, that famous design actually came out of a long struggle with trying to make a transforming plane robot that didn’t have issues with maintaining good proportions in both robot and plane forms. The key breakthrough was when Kawamori looked at the F-14 Tomcat, and how the jet engines could become the arms (he previously thought the nose of the plane would have to be the arms).

From there, other aesthetic decisions, like having a simple and functional-looking head (unlike the popular designs of the past) as well as “feet” for the robot that each came in two sections, completed the look. Once he had the inspiration thanks to the F-14, actually designing the Valkyrie took about a week. Kawamori then pulled out not just an original-style Takatoku VF-1 Valkyrie toy to demonstrate its transformation, but also a pre-final prototype for a new 1:48 scale version of the same design due later this year, demonstrating its improved flexibility.

The Success of Macross Leads to New Perspectives

Macross was a hit, which led to Kawamori having his directorial debut at age 24 for the film Macross: Do You Remember Love? Kawamori mentioned how he came up with a lot of ideas for the film, like holograms during concerts, a vacuum-cleaning miniature robot, and clothes that change color. He expressed his surprise over the years seeing these farfetched concepts come to life.

Another result of Macross’s success was that Kawamori got to travel abroad, and the resulting trips actually dramatically changed his views on technology and culture. First, he spent time in the United States, where he more or less experienced the extremes of Macross’s aesthetic themes. He visited military bases and NASA space centers to watch shuttles launch, and he would go to Broadway musicals, sometimes even seeing as many as three plays in one day. He would often be up from 6am to 3am.

However, he started to feel the need to get away from that environment, which led to him traveling to China. With modern technology being sparse in areas such as Inner Mongolia, Kawamori recounted how he would see the children’s eyes light up whenever the television stopped working, and how their expressions while playing outside were like none he had ever seen. He then visited Nepal, where he encountered people who literally saw differently from him. Kawamori prides himself on having 20/10 vision, but even he could not see what his Nepalese guides could. They would wave at each other from enormous distances, holding conversations with each other while recognizing facial expressions that to him looked like mere specks.

While he still loves technology today, these experiences made him rethink his stance on technological progress being inherently good.

Macross 7, Macross Plus

Kawamori emphasized his desire to never do the same thing over and over, which is why 1987’s Macross: Flashback 2012 was an OVA, and not a TV series or a film. He kept getting requests to make another TV Macross, but he would refuse. The person who convinced him was a college underclassman who had got into the industry, the late producer Takanashi Minoru. Takanashi told him, “It’s been 10 years. You can go back to TV,” a reference to the statute of limitations for crimes in Japan.

Kawamori had one week to come up with a concept, and so he first thought of a singing pilot. But in order to add an extra twist, he turned the main character into a singing, non-fighting pilot. Thus, Nekki Basara was born.

Basara is a favorite character of Kawamori’s, but he thought that the old Macross fans would hate him for it, and he still had a love for mecha and planes himself. To appease his fans, he made Macross Plus. (It should be noted that according to Macross expert Renato, Kawamori refused to make Macross Plus if he couldn’t make Macross 7 as well).

As part of his research for Macross Plus, Kawamori and Itano Ichiro (of the famed “Itano circus”) flew real jets (with guidance) and had a dogfight with each other. The instructors sat next to them, but they got to use the controls. Itano is a rebel, so he ended up Itano doing everything the instructor told him not to, and kept blacking out from the g-forces. Itano said that every time he blacked out, he would hear voices from the distance saying his name. Kawamori asked him to recreate his blackout scene for Isamu’s.

Sharon Apple, the virtual idol from Macross Plus, is based on idea that making an anime is to some extent about emotional manipulation. The funniest thing was that, at the time, the staff said no one would go crazy for a virtual idol. Kawamori expressed that he never thought the concept would be embraced this quickly. It was also during this time that he was introduced to Yoko Kanno.

Macross, CG Graphics, and the Future

One of the dramas of real-life planes is when jet fuel runs out, but in the world of Macross, reaction engines means infinite power. That’s why Macross Zero is set in a time before that technology came to be. More generally, Macross Zero was about combining technology with the things he saw in China.

This was the start of his use of 3DCG in animation, which he started to use because he felt that 2D animation was limited in its ability to capture the proper camera angles for flying scenes. Macross Zero had a mix of 2D and 3D for action, and it was in Genesis of Aquarion that he tested out full 3DCG for combat. From there, Macross Frontier was to prove that the workload of a show could be divided between 3D for battles and 2D for characters. The Macross Frontier movies were where Kawamori finally figured out the ideal way to blend 3D and 2D together for scenes. Kawamori overall gave the impression that he sees new shows as opportunities to experiment.

One of the big changes in Macross Frontier was the use of two idols instead of one. Another decision was to make a male hero who’s even more beautiful than the idols. The Macross Frontier two-idol setup was popular and successful, but when the sponsors asked him to repeat the formula, he doubled down and made Walküre a team of idols as a separate division from the Windermere forces and the Delta Platoon.

Toward the end of the panel, Kawamori showed a lego prototype model for a transforming robot. Instead of two jet engines forming the legs, as has been the case with Valkyries, this robot has a single jet engine that turns into two legs. For Kawamori, it was the first new transformation system in quite a while. He then ended the panel by showing a trailer for Pandora, which comes out on Netflix this year.