The third Gundam: Reconguista in G film continues the trend of breathing new life into a less beloved Gundam series. The edits make it noticeably easier to follow than the TV series, although I do acknowledge that the story is rarely ever straightforward or presented plainly, and this is a sticking point and the reason G-Reco is fairly divisive.
But as I watched Gundam Reconguista in G Part III: Legacy of Space, I had an epiphany of sorts that I think helps explain this split opinion. Namely, the key to understanding G-Reco is to get into the minds of individual characters. I understand how this sounds a little obvious (plenty of stories are about achieving personal goals), but what I mean is that character actions can seem inscrutable until you actively try to get into their heads.
The story as of Part III: As alliances and allegiances have shifted since Part Iand Part II, Earth’s great continent-states now send forces into space to meet with Towasanga, a nation on the other side of the moon, created by the descendants of the humans who settled in space colonies in the Universal Century era. Not only do Towasangans have access to technology unobtainable by those on Earth, but the Towasangans see themselves as arbitrators between the Earth and the far-off colonies of Venus Globe, which provide to the Earth the photon batteries needed for it’s civilization to function, and thus see the need to equip themselves for conflict amidst the increasing tensions on Earth. Bellri Zenam, still thinking about the deaths he’s seen and caused, tries to figure out what he should do and where he fits into the big picture.
One of the big differences between G-Reco and other Gundam series is that there aren’t two major sides, like Federation vs. Zeon or Earth Alliance vs. ZAFT. Rather, there are multiple governments and factions: Ameria, Gondwana, Towasanga, Capital Tower (which is then further divided into the Capital Guard and the Capital Army). These groups are then conprised of singular people who think independently and have their own ideas of right and wrong, which results in G-Reco being more confusing when you think primarily in terms of who is on what side, and which side is winning because these positions are always in flux. Rather, the important thing is actually to understand what motivates each character and how it affects their decision-making.
Bellri, for example, is initially driven by his opposition to the Capital Army and its inherent militarization of what is supposed to be a neutral defensive force. Upon meeting Aida Surugan, he’s also moved by his own horniness. By the third movie, he’s also filled with regret—both from having accidentally killed his own teacher in mobile suit combat and learning why having a thing for Aida is a bad idea—and his actions reflect this. Bellri constantly tries to avoid dealing lethal damage, but also isn’t so naive that he thinks he shouldn’t do anything. When he loudly shouts that he’s about to fire and does a purposely bad job of aiming, one gets the sense that he’s trying to deliver warning shots that are nevertheless real and dangerous.
The Char Aznable of the series, Captain Mask, is motivated by something very different: improving the standing of his people. As a descendant of that Kuntala, people raised to be human livestock when food was abysmally scarce on Earth, Mask’s kind are still discriminated against. It’s little wonder why he’d be so willing to ally himself with the powerful and influential. To Mask, it’s all a means to a noble end.
So when the forces of Towasanga show up, and many seem to have pursuit of glory in mind, it highlights their hypocrisy and elitism. Particular attention is paid to the female commander Mashner Hume and her boytoy, Rockpie Geti, who are overly eager to mix business with pleasure. It’s as if the film is trying to say that the only thing that’s worse than ignoramuses perpetuating war on Earth is ignoramuses who live in space who are supposed to know better and perpetuate war anyway. Still worse is the man who consciously exacerbates all this: Cumpa Rusita, the leader of the Capital Army.
I will admit that I remember little of this section from the TV series, but the slightly condensed nature of the film brings with it better pacing that makes certain events feel less abrupt. The restoration of Raraiya’s memories now comes across as strange yet reasonable, like it takes going into space to jog her memories. Bellri learning why he shouldn’t be hot for Aida also has a realness to it, as he’s shortly after shown to be struggling with some serious emotional turmoil (and his insistence on calling her Big Sis from then on feels a bit like a self-reminder).
The next parts of G-Reco are originally where the series went from okay to great for me, but I’ve also read that Tomino plans on doing some heavy changes to the end. As Bellri and Aida reach Venus Globe in Part IV, I’d like to see how it might reshape my experience. For now, it’s still a fun and contemplative ride.
ANIME NYC HAS REPORTED A CONFIRMED CASE OF THE COVID-19 OMICRON VARIANT. IF YOU ATTENDED ANIME NYC, GO GET A COVID-19 TEST.
One year ago, New York City was still reeling from the COVID-19 pandemic. Vaccines had not yet begun to roll out, and many of the annual traditions we expected had to be put on hold—possibly even indefinitely. Though not seen in the same rarefied light as Thanksgiving, Christmas, or New Year’s, Anime NYC had become an annual outing for my friends and me. I was sad, though understanding, that 2020 had to be canceled.
Anime NYC is right in my backyard, tends to have some interesting Japanese industry guests, and the fact that it has thrived in one of the toughest convention cities (see the defunct Big Apple Anime Fest and New York Anime Festival, among others) meant I’ve felt a strong desire to support the event—lest it go away and be substituted by unscrupulous scams and the like. When Left Field Media announced that Anime NYC 2021 was on, I was filled with both excitement and trepidation.
Lines, Crowds, and COVID Mitigation
Vaccination rates are generally high in NYC, and we have a general mandate for indoor venues. However, the situation was different even compared to Otakon three months ago, thanks to the rise of the Delta variant, the colder weather, and concern over waning efficacy of vaccines. In the end, I decided to attend, thinking that there might be a drop in attendance that would give plenty of breathing room. After all, New York Comic Con 2021 in October saw lower numbers, right?
Not so. Anime NYC 2021 was packed with fans extremely ready to revel in the convention experience. In fact, attendance was up compared to 2019—from 46,000 to 53,000. By comparison, New York Comic Con saw a drop from 260,000 to 150,000.
I find that this contrast highlights the difference between having a larger but relative more casual and mainstream audience versus a hardcore base ready to go wild. The former will see better results in the good times, but the latter will ride with you even when it gets bad. I suspect this has less to do with loyalty towards Anime NYC itself and more to do with passion for anime and manga in general, but the results are the same.
Anime NYC 2021 was from Friday, November 19 to Sunday, November 21. It was clear that the showrunners knew how big the lines were going to get, as they began sending out alerts encouraging as many people to grab their vaccination wristband and badge on Thursday before the con. However many heeded their advice, by the time Friday rolled around, it was clearly not enough. The con opened at 1pm, but people were lining up since 9am, packed together outside in fairly cold weather, all while being unsure of whether they were on the right line. In previous years, this would have been a nuisance. With COVID-19 around, I could only hope that people kept their masks on and were smart about it.
As a press attendee, I had the benefit of being able to avoid the brunt of these problems. However, what should have been a five-minute process of “getting in” turned into almost half an hour as I was told three different things by three different people as to how to get my wristband and get into the Jacob Javits to get my press badge. So while I was fortunate to not have gotten the worst of the lines, the small taste I had made me aware of how much worse it probably was for the attendees on Friday. Saturday and Sunday seemed more organized, but I don’t know how much it alleviated any issues.
In addition to better communication and maybe even the ability to line up indoors, I have to wonder how much of the problem is that the Thursday badge pick-up hours only go to 6pm. Anime NYC is very much a commuter con, and I imagine many people are working or going to school from 10am to 6pm. Even in pandemic times, New York is still often the city that never sleeps.
Of course, the elephant in the room in hindsight is the news that one attendee had a case of the new Omicron variant of COVID-19. Any sort of precautions were inevitably taken without knowledge of its existence, but excuses also don’t treat infections. Thankfully, none of the people I know personally who attended Anime NYC (including myself) have tested positive, but between reports that the Omicron variant spreads more easily and that the person who was found to have it may have spread it to half of a group of 35 friends, it’s clear that there needs to be an extra layer of vigilance.
Take mask compliance, for example. I found it to be mostly there, but it felt like people got more and more lax. All the classic errors of masking were there (not covering the nose, taking it down to talk, not wearing it all). While this is partly on those attendees who flouted proper mask usage, I would like to have seen better enforcement by the con itself. Even the simple act of providing free masks at the con could go a long way.
The Dealer’s Hall felt like any other at a professionally run big con, but I did notice one thing in particular: People seemed very, very eager to buy stuff. It was as if two years’ worth of pent-up desires to purchase came crashing to the surface. So not only was it packed each day, but attendees were behaving like the money they had was burning holes in their wallets. Because of my wariness over COVID-19, I went in and out, trying to avoid staying in there for too long.
That said, I did purchase a few things with the intent of making them part of my convention memories, so I understand that sentiment. I got an official May hoodie from Guilty Gear Strive, nabbed some new manga, and found a booth that actually sold old Japanese movie brochures. I picked up one for God Mars and a couple for Goshogun.
Other highlights of the Hall included the HololiveEN booth where you could take photos with cut-outs of all the EN girls (including from the inaugural generation), a tribute wall to the late Miura Kentaro, author of Berserk, along with a New Japan Pro-Wrestling booth where you could hit the actual NJPW ring bell.
One of my favorite things about anime cons are the panels. While Anime NYC isn’t anywhere close to the amount of content you’d get from something like Otakon (and it’s clearly not the con’s priority), there was at least a panel track when you wanted to sit and listen.
Due to other engagements, I was unable to attend the Aramaki Shinji panel. I was told it was informative and even went over some of his work on American cartoons (M.A.S.K., Pole Position), though it seemed like Aramaki had less time than he thought.
I’ve been getting more and more into Virtual Youtubers over the past couple years, and so I was looking forward to HololiveEN Council’s con debut at Anime NYC.
One of the running jokes among the fandom is that Hololive English group streams tend to be pretty “scuffed,” and this was certainly no exception. The panel started roughly half an hour late, and there were technical issues throughout, such as audio delays. Still, it was good to see the Council get their moment in the sun at a convention, and they were entertaining nevertheless. While the panel was focused on HoloCouncil, HoloMyth (the first generation of HololiveEN) made a cameo with some messages for their kouhai.
One big difference compared to other Hololive conventional panels I’d seen online was that there was less interactivity with the live audience. Namely, much of the interactions were scripted and questions were taken from Twitter rather than a live audience, which was a tad disappointing but also understandable given the size of the crowd and the inevitable technical difficulties. Overall, it felt like a very managed experience, possibly because it was sponsored in part by the Consulate General of Japan in New York. Also, while the interactivity wasn’t as high, the fans in the audience tried to bridge that gap. It was easy to notice who got the most enthusiastic fans—Ouro Kronii’s “Kronies” certainly wear their preferences on their sleeves.
Afterwards, I got some Hololive merch thanks to a friend: A Ceres Fauna button!
New Japan Pro-Wrestling Strong Spirits
While there weren’t many guests who flew in from Japan this year, one surprising appearance came from New Japan Pro-Wrestling’s “Switchblade” Jay White, leader of Bullet Club. He was there to promote NJPW’s new mobile game: New Japan Pro-Wrestling Strong Spirits.
Jay mentioned that this was his first-ever convention appearance, and he was pretty much a natural at entertaining the crowd. My favorite thing was his insistence that he was the sole reason NJPW sold out Madison Square Garden a couple years ago, and every time he said it, a large and obnoxious image of this fact would flash on screen.
Although I had a good time , part of me regrets going to this panel because I should have expected an audience of wrestling fans to be loud and care little about the risks of COVID-spreading associated with yelling. One person in particular was loud, maskless, and insisted on shouting constantly. I also had the sense that the fans love bringing attention upon themselves.
As for the game itself, “bizarre” is how I would describe it. Unlike so many other wrestling games, it uses all existing video footage for moves, as well as green-screened video of the wrestlers during turn-based move selection. The developer of the game (from Bushiroad) even said they had to clear rights for the footage in 150 countries. There was also an example of training to improve your wrestler’s stats, and the key point here is that it also has live footage of your chosen NJPW wrestler, this time getting sweaty in the gym. This, I believe, is where the real appeal of the game might be. It will also predictably have a gacha component, but the developer claims it won’t be pay-to-win.
I’ve long known GKIDS for their involvement with the New York International Children’s Film Festival, but they’ve also been putting out some excellent titles on home video lately. GKIDS was there because many of their films were having American or east-coast premieres at Anime NYC. While I was unable to see most of them, I was glad to find out that they’re pretty much all getting limited theatrical releases, notably Hosoda Mamoru’s Belle in January and Pompo the Cinephile in Spring 2022. I was able to see Pompo at the con, and you can read my review here.
At the panel, I found out how successful Promare has been, which is quite a bit. It’s the reason the film keeps getting re-screenings in theaters while others do not.
I didn’t take many cosplay photos this year, but I wanted to at least share a couple.
In spite of an inevitable lack of Japanese guests and trepidation over the pandemic, Anime NYC came back at a time when people were champing at the bit to do something in person again. I had a decent time at the con, but seeing the crowds made me realize a truth about this new era: More success means more precautions are necessary if we don’t want worse-case scenarios happening. I hope that whatever fallout occurs due to the Omicron variant, it becomes an outlier rather than a standard of conventions.
When it comes to making movies, editing is often seen as one of the least glamorous elements. The image of filmmaking pop culture conveys to us often eschews that process. The anime film Pompo the Cinephile chooses instead to celebrate the nitty gritty of film editing and the painful decision of what to leave on the proverbial cutting room floor, all while being a vibrant and creative work itself.
Pompo is the nickname of Joelle D. Pomponette, a prodigy film producer in “Nyallywood” who has been responsible for one box office hit after the next. Her assistant, the perpetually haggard Gene Fini, is a lover of movies who can’t understand why Pompo seems to work only on schlocky blockbusters—or why she hired an untalented wreck of a human being like him. But Pompo sees that Gene has what it takes to work behind the camera, and when she picks him to be the newbie director and editor of her new project, Gene falls deeper into the world of filmmaking than he thought was possible.
A movie about making movies can feel like an exercise in pretentious navel-gazing, but Pompo the Cinephile manages to strike a tricky balance between “the artist and their oeuvre” and “films are for the enjoyment of others” that gives merit to the indie arthouse piece, the Academy—excuse me, Nyacademy Award winner—and the popcorn flick. Much of Pompo the Cinephile is about exploring the emotions one experiences when involved in different parts of a production, and while there is a good amount of anime-style melodrama and bombast, those feelings read as genuine. The characters feel like both people unto themselves and the conduits to deliver a simultaneous celebration and criticism of filmmaking, but without seeming overly preachy. For example, Pompo is very insistent that films should never exceed 90 minutes, but her argument is shown to come from a very personal place while also being quite reasonable. The viewers are left to decide whether to disagree, but the movie itself doesn’t shy away from making assertive statements.
Pompo the Cinephile doesn’t try to flip filmmaking inside out or challenge it to be more experimental. Rather than challenge the status quo of what works and doesn’t, from tropes like the manic pixie dream girl to the notion of killing your darlings as a tenet of artistic creation, the film doesn’t seek a revolution. It shows but doesn’t discuss the difficulties of overwork. Rather, it portrays characters finding imaginative ways to work within the system, even including a strangely engaging side story about investment banking (another conceptual quaalude) and the film industry.
Even if the kind of filmmaking Pompo the Cinephile showcases isn’t one’s cup of tea, I find it encourages active discussion of how we as people see and regard the act of creating movies. At times, it can feel both insightful and shallow—which is exactly the kind of film Pompo herself excels in. Perhaps most importantly, it’s exactly 90 minutes.
The end-of-the-year holidays are rolling around, and I feel like I’m in a strange place mentally and emotionally. I think it’s tied to the assumption that this year’s Christmas would be a far cry from the feelings of hesitation and dread that came with COVID-19 and hot off of the 2020 US elections, and how history might potentially be repeating itself. Virtually everyone I know is vaccinated, including many kids, but reports of the new Omicron variant make me wonder if I need to temper my expectations. And inevitably, it just makes me think of a certain planet-sized Transformer.
(Speaking of which, I got the new blu-ray recently. I don’t know for sure when I’ll re-watch the movie, but it never fails to disappoint.)
On a lighter note, I haven’t been looking at as much anime and manga lately, but there’s a very good reason for that: Super Robot Wars 30. It’s supposed to be over 100 hours, and I haven’t even scratched the surface. I am enjoying the hell out of getting to use Gaogaigo and the J-Decker squad, though.
I also attended Anime NYC 2021, but due to my blog schedule, my coverage of it will be in December. Look forward to a review of Pompo the Cinephile!
I wish for safe and soul-comforting holidays for everyone, and I’d like to thank my patrons for the month:
An anniversary post turned into a reflection on the site Something Awful in light of its founder’s death.
Chapter 46 is more serious than silly, and it provides a window into Jin’s inner turmoil.
Kio Shimoku’s Twitter involves sharing his thoughts on erotic manga artists.
Six giant robot anime came out in Fall 2021. Here are my basic impressions of all of them.
The world is ever unpredictable, and I hope we do what we can as people to watch out and care for one another. Get vaccinated if you can, look out for your fellow humans, and understand that no one is free until we’re all free.
Readers may have noticed something different this month: Ogiue Maniax is now ad-free! And right in time for this blog’s anniversary!
I felt that the ads were getting more and more intrusive on the blog if you don’t use any sort of ad block, so I’ve been wanting to do something for a while now.
I’ve also had my Patreon going for more than a few years now, and I wanted the money to go more directly to giving my readers a better experience when reading my posts. I’m thankful to my patrons for allowing me to talk about the new anime season or giant robots or whatever, with special gratitude to the following this month:
My personal take on the style and potential of the final DLC character.
Chapter 45 might just be my favorite chapter to date. Things are coming to a head between Akira and Jin!
Kio Shimoku’s Twitter has been buzzing with preparation for both his collected-volume releases in September. In a rare treat, he’s actually been retweeting fans who are supporting both Spotted Flower and Hashikko Ensemble, which is how I got retweeted by the man himself!
A look at the farewell episode for Jigen Daisuke’s retiring veteran voice actor in Lupin III.
The two things that have my attention as of late are the final Hakai-oh: Gaogaigar vs. Betterman novel and Super Robot Wars 30, which features that very same story. I’m in a constant internal struggle as to which I prioritize. Do I spoil the novel or the game?
This month is also Anime NYC, and I’ll likely end up going. It’s smaller than New York Comic Con, so I predict it’ll be safer, but it’ll still be important to exercise best COVID-19 prevention practices. Remember, vaccinations will be required!
Gundam Reconguista in G compilation films Part I and Part II are currently available on the official Gundam Youtube channel. Having previously seen the first film at Anime NYC 2019, I wondered if the smart changes that made Part I significantly better than the TV series would also carry into the sequel. I’m happy to say this is indeed the case.
Gundam Reconguista in G Part II: Bellri’s Fierce Charge continues where Part I: Go! Core Fighter left off. In this era of the classic Gundam‘s Universal Century timeline, the massive space wars of the past are ancient history and the nations of the Earth are managed by a central mediating body known as the Capital Tower, home to a space elevator that receives energy batteries from space and distributes them across the world. Bellri Zenam is the son of Capital Tower’s leader, but after the Tower’s defense force, the Capital Guard, starts to be supplanted by the more militaristic Capital Army, Bellri gets caught up in the middle of a new conflict. As the pilot of the mysterious G-Self, he ends up traveling with what is ostensibly a pirate crew as he tries to figure out his place in the world.
This film continues the trend of being far more understandable compared with its source material, though that’s not to say it’s easy to follow—merely easier. Director Tomino Yoshiyuki’s style can be famously obtuse and bombastic, and that’s the case here as well. However, Bellri’s Fierce Charge establishes the characters more solidly and allows them to act as a focal point for the story. So while the complex and sparsely explained politics of the G-Reco setting can still be a recipe for confusion, viewers can anchor themselves to the emotions of those characters who are often equally confused. If there’s anything viewers might get mixed up on that the characters take for granted, it’s the distinction between the Capital Guard and the Capital Army, which reflects an ongoing debate over the role of the Japan Self Defense Force and Japan’s constitutional anti-war stance.
This is especially the case with Bellri himself, who in the TV series could sometimes unintentionally come across as carefree at best and a sociopath at worst. Here, what should have been a major turning point in his life in the original version gets a proper amount of attention, and you can see the degree to which there is a clash between Bellri’s ideals, his frustration at adults for making the world a worse place, and the decisions he feels forced to make.
Other characters shine as well. Whether it’s Captain Mask, Aida Surugan, or even Bellri’s mom, the strong portrayals of their personalities—facilitated by great animation—give Part II an extra oomph that keeps it memorable and shows the complexity of their world. Yoshida Ken’ichi’s character designs are always excellent, with side character Barara Peor (above) being an especially strong design.
I think the Gundam Reconguista in G movies are well on their way to becoming the definitive version. The new edits and footage take what were excellent but obtuse ideas and criticisms about humanity’s current relationship with war, and convey these ideas much more solidly and emotionally. I would have watched the entirety of the tetralogy already, but now I’m really looking forward to seeing the end again.
One final note: The main theme of Bellri’s Fierce Charge is by the famous Japanese group Dreams Come True, arguably better known internationally as the composers of the first two Sonic the Hedgehog games. The theme, shown above, can be found on their official channel.
For the third year straight, Anime NYC 2019 has continued to fill a much-needed void as a New York Metropolitan-centric major anime and manga convention that is run by experienced professionals.
More of the Javits Center was taken up by the con compared to previous years, implying continued growth. While it’s not as large as New York Comic Con, and there’s a bit of an upper limit as to how many dedicated otaku are in the NYC area versus how many comics fans there are, I don’t mind the current balance. One of the strengths and weaknesses of NYCC is that it’s extremely broad and seems more like a general nerd multimedia convention than one dedicated to its core concept of comics and comics-related things. With Anime NYC, however, it still feels like an event dedicated to anime and manga fans fire and foremost. That alone is much appreciated.
The guests this year were pretty much straight out of my dream list. Sadly, due to both personal obligations and just the sheer amount of overlapping content, I couldn’t even see everything I wanted to. On the fortunate side, however, I got to attend both the premiere of the first Gundam Reconguista in G film and a press Q&A with the tsundere master herself, Kugimiya Rie. You can check out Ogiue Maniax’s dedicated entries to both of those in the accompanying links.
Anime NYC 2019 went with a pre-show lottery system for getting autograph tickets as a way to prevent people from trying to line up at 3am in the morning and to give a fair chance to those who are coming from far away or don’t have the means or ability to get to the convention extra-early. Despite the fact that I didn’t get any autographs, I didn’t mind this system because it seems to be about as fair as it gets.
Alternately, some autographs could be obtained through purchasing specific products at the start of each day. There were also the $125 Kugimiya autographs that sold out in literally about five minutes, but Anime NYC 2019 was her first US appearance, so that was more or less expected.
That said, I’m not especially fond of the trend I’m seeing at Anime NYC where guests will only sign things from the shows they’re at the convention to promote. I understand why it happens, given that the guests coming want to make sure that the works they’re being advertised for get top billing, but these industry names often have such long CVs that it’s a shame when fans aren’t be able to express love for the particular things they feel closest to. For example, wanted to get autographs from Yukana and Kimura Takahiro, one of my favorite voice actors and character designers, respectively. But rather than being able to have my Pretty Cure and Gaogaigar signed, their autographs were tied to Code Geass—a series I don’t have quite as much affection for. Limiting what can be signed (aside from obvious things like “no bootleg merchandise”) is a direction I’d like to see conventions move away from in general, even more than paid autographs.
Exhibitor’s Hall and Artist Alley
I did not end up buying much at the convention—a t-shirt here, a manga there—but from what I could tell, it was not especially difficult to navigate in terms of foot traffic. At times, it could be difficult to tell which row corresponded to what designated section, but it was manageable. They also placed the Artist Alley in the same space as the Exhibitor’s Hall this year, which meant the loss of the third-floor space but maybe more reliable crossover traffic for both the big companies and the small artists.
One new feature was a special food area in addition to the food trucks outside and the food court down in the bottom level. It was a great idea in principle, but the prices seemed a bit ridiculous even for convention standards. Go Go Curry (aka my favorite Japanese curry chain ever) was the star of the show, but the line was so constantly massive that I never had time to try their convention-exclusive fried-egg-on-gyudon curry. Here’s to hoping that it becomes a standard item on the Go Go Curry menu!
I was incredibly pumped to attend Lantis Matsuri at Anime NYC this year, as it had an impressive lineup of musical guests: JAM Project, Guilty Kiss from Love Live! Sunshine!!, TRUE, and Zaq. Months prior, I swooped in on a ticket as soon as they became available, and I’m glad that they eventually opened up more tickets for those who couldn’t get the initial ones. I wonder if they were hedging their bets, and trying to see if the demand would be there for more.
When it comes to attending anime music concerts, part of the fun is song familiarity and being able to enjoy your favorite themes live. But even for the less familiar tunes, Lantis Matsuri hit it out of the park. All the singers were fantastic, and really felt like they belonged on that stage. Guilty Kiss clearly had the largest fanbase there, and their hype was well deserved. I still have “New Romantic Sailors” stuck in my head. TRUE and Zaq ended with their best-known hits, “Dream Solister” from Sound! Euphonium and “Sparkling Daydream” from Love, Chunibyo & Other Delusions. It was not lost on the audience that these were both Kyoto Animation series themes.
Despite the stiff competition, however, JAM Project showed they they know how to steal a show There’s something about their energy that draws you in that outshines even the brightest stars. I have to wonder how someone completely unfamiliar with them felt about their performance. They led with One Punch Man to get the crowd to realize just exactly who they are, but they also made sure to include songs less widely known by the general audience. Of particular note is their blend of GONG and SKILL, which combined two of their best Super Robot Wars themes.
There were multiple collaborations throughout the concert, and one sticks out to me above all: JAM Project with Guilty Kiss doing the second opening from GARO. Before the concert began, someone near me was expressing their love of GARO, and seeing him scream wide-eyed as JAM Project announced that the next song was “Savior in the Dark” was a real highlight of the con.
My only complaint about the concert was that the audio was a little too loud. I was not sitting especially close to the speakers, but I could feel my ears ringing the next day. I also had this problem at the Gundam Reconguista in G showing, so I have to wonder if it was a convention-wide issue.
I thought Anime NYC 2019 was great, and I’m looking forward to next year. As the convention gets bigger, though, I hope it continues to properly straddle the line between big professional expo and intimate-feeling fan-oriented gathering. It might be an impossible task, but I still want that dream nevertheless.
Japanese voice actor Kugimiya Rie, known for roles such as Alphonse Elric (Full Metal Alchemist) and Aisaka Taiga (Toradora!), was a featured guest at Anime NYC 2019. I had the opportunity to submit questions to her, a couple of which were accepted and then made part of a group interview of sorts.
Because the format was different from a typical convention guest interview, this post is going to be less about transcribing the exact words and more about summarizing and exploring some of the more interesting answers.
The first question of mine approved was how do you think you’ve improved over the years as a voice actor?
Kugimiya responded that when she first started out, she only landed little kid parts due to her high voice. As she’s gotten older, however, she has started to play other character types such as boys, teens, older teens, and even some adult women. So in terms of improvement, the expansion of her range is the biggest one. Later, she expressed that she’d like to do more sexy female roles.
Later still, she answered the question of what role has had the greatest influence on you?. She talked about Alphonse making her known around the world over, and went into how she landed that role in the first place. Essentially, she had voiced her very first boy character for the anime Twelve Kingdoms, and FMA director Mizushima Seiji asked her to play Al based on that performance. It was a big turning point for her career, growing her repertoire.
I found this interesting because her FMA counterpart, Park Romi, expressed a similar sentiment at a press conference at Otakon 2015 concerning her lead role as Loran Cehack in Turn A Gundam. Someday, I’d like to see an interview with both together, perhaps just discussing the craft of voicing male characters.
The second question I was able to ask was how does playing animal roles differ from playing human roles?
In that regard, Kugimiya expressed two main points. First, she takes into account the size of the animal. Often, they have different head to body ratios as well as smaller hearts, as well as voices that are higher than human kids’. Second, these animals and mascots are usually partners, buddies, or companions with a closer bond to the main character than even other human characters.
I originally phrased this to include examples such as Chocotan (a talking dachshund from the manga of the same name), but it was sadly omitted during the Q&A. Still, if you actually listen to Chocotan, you can hear just how high Kugimiya plays to play a dog that small.
There were also a few questions about the industry. First, what are the most important skills in being a voice actor? Kugimiya answered that people skills are big, because even if you’re an amazing actor, if you’re a difficult person then no one will want to keep working with you. She didn’t name names or mention if this is based on any personal experience. Second, what advice would you give to aspiring voice actors? Kugimiya’s response: “purity of emotions.”
Elaborating on the second answer, she said that many people tend to put filters up, but voice actors should be able to bring in and keep the emotions they feel (both positive and negative) so that they can be expressed in a pure manner. I found this answer enlightening because it hints at one of the challenges of being an actor or voice actor—that you have to be willing to go places emotionally that may not be considered “okay” by society.
Third, how has the industry changed since you started? In past interviews, other voice actors (especially much older ones) have talked about the rise of voice acting schools and the transformation of voice acting from something one does with theatre experience to a specific craft. Kugimiya, perhaps due to starting in the 1990s, instead talks about how in her early days, she would be the only new voice actor among a cast of veterans but these days entire productions might only have inexperienced voice actors. When she was younger, her senpai would give her advice, but now there will be shows where that isn’t possible, so they have to figure out how to improve without more experienced hands around.
It makes me curious as to why this would be the case. My suspicion is that it either has to do with cost, or it has to do with trying to push a new set of voice actors-as-stars (or maybe even as idols) into the limelight. Maybe it’s also a way to give something to do to these voice actors coming out of schools. There’s also the simple fact that more anime are being produced than ever before, and perhaps these shows just sometimes need the numbers.
The last question, in my opinion generated the most intriguing answers: what challenges do you face when voicing characters in an anime or a video game?
For anime, she talked about the difficulties of voicing minor characters. When playing a main character, it’s expected that they’d have bigger or more prominent reactions because the troubles and events are happening with them at the center. However, for minor characters, they have to approach it differently, and they’re often saddled with long and complex lines—such as when a military officer has to come in and give some technical info.
In regards to games, Kugimiya detailed the difficulty in working for social/mobile games. Sometimes there are only one or two drawings and a couple of lines for reference. As a result, she sometimes uses things like what colors are in the image to try and get a better idea of the character. It reminds me of older topics on anime character trends, such as Ito Go’s distinction of character vs. kyara, i.e. the degree to which a given character can be excised from their story and still maintain their identity. It reminds me a lot of listening to the early clips of the Love Live! Sunshine!! characters when they just didn’t have much more than a basic backstory to go on, versus seeing them with some CD dramas and an anime to work off of instead. Most of the time, the whole kyara thing is thought of in regards to how consumers might approach a given work, but the fact that voice actors also have to grapple with it when trying to bring a role to life is something I hadn’t thought about previously. It’s also something that would make a great topic for a future essay.
That’s all for this press Q&A summary! If you like this pseudo-annotated format with comments from me, let me know, and I’ll think about doing more of this in the future.
It’s the last month of 2019, and that has me feeling all sorts of things. As I look at how much has happened in my life since 2010 (mostly positive) and where the world has gone (a mixed bag, to say the least), it makes me want to keep contributing however I can to making the world a more fruitful place for discussion. This means encouraging dialogue and debate when it is in good faith, but also keeping an eye out for when goals or motivations are less than charitable.
While it’s a bit of a cliche to say that December is a season of giving, I hope that at least some of that holiday spirit is made real—not because it’s “supposed” to be that way, but because want to make it so.
Speaking of giving, I’m grateful for the generosity of my Patreon and ko-fi sponsors, not only those named below and those who remain anonymous, but anyone who has ever thought Ogiue Maniax was worth a few dollars here and there.
At Anime NYC 2019, I attended the screening of Gundam Reconguista in G Part I: Go! Core Fighter, the first of five planned compilation films based on 2014’s Gundam: Reconguista in G TV series. It was one of the events I was looking forward to most at the convention, and not only because legendary Gundam director Tomino Yoshiyuki was there.
I am a staunch defender of G-Reco because I believe that in spite of its flaws, it has a strong anti-war message which surpasses even the original Gundam‘s in certain respects. Its setting, in an era after the original Gundam timeline, shows what war is like when the cataclysmic devastation of the past is all but forgotten, for better or worse. But I acknowledge that G-Reco did not exactly take the world by storm, as it could be a confusing series, and Tomino’s “throw you in the deep end” style of no-context dialogue did it no favors.
Thus, I came into the screening with the hope—albeit a tentative one—that these new movies could clean up the rough edges of the series enough to get its ideas and themes across effectively to a wider audience. After all, for every Mobile Suit Gundam trilogy, which is in many ways superior to its source material, there’s a Mobile Suit Z Gundam: A New Translation, which feels sloppily put together. However, I immediately noticed that the film is much clearer and easier to follow, allaying my fears.
There are two simple but major choices that make this first G-Reco film less convoluted. First is the decision to condense the series into films in the first place. Second is the heavier use of internal monologue to make character motivations more obvious.
Many of the scenes and plot points relevant to one another in the TV series could be episodes apart, and by the time something came up again, it was easy to forget what information had been communicated already. But in the movie version, everything is more tightly packed together such that ideas and threads are fresher in the memory. It’s easier to see how various aspects of the world-building fit together, and what potential they hold as the story unfolds.
In regards to characters’ inner minds, the TV series suffered from what seemed like constantly inconsistent actions from characters. They’d switch sides, kill those close to them seemingly without much regret, and just be generally difficult to follow or comprehend. The hero, Bellri Zenam, was especially obtuse. Now, however, there are multiple new scenes of characters expressing either through thought (and sometimes even voice) just how they’re feeling and how it’s affecting their decisions. While the film is still characteristically Tomino and can be full of puzzling dialogue, having it be undergirded by these inner monologues helps to prevent the characters from coming off as sociopaths.
The biggest surprise to me is how much better I understood the character of Noredo Nug, Bellri’s friend and possible love interest. Noredo believes in Bellri’s goodness even more than the man himself does, and she’s willing to defend him in this regard even when he won’t do it himself.
Before the screening began, Tomino said that everyone who came for a Gundam movie will be disappointed because this isn’t Gundam. It seems like a tongue in cheek comment, but I think he really meant it in a way. The message he’s trying to convey through G-Reco is trying to target a new audience that isn’t entrenched in the existing Gundam cultural juggernaut—most likely, that’s what stuff like Gundam UC is for.
Because I’ve seen the TV series, it was impossible for me to go in with fresh eyes Still, I strongly feel that this first G-Reco film is a much more refined work, and while it can still be a challenge to follow at times, it is a major step up. I also just recently rewatched Gundam F-91, and that movie just falls apart a third of the way through, whereas Go! Core Fighter was enjoyable and thought-provoking throughout. Provided nothing goes horribly awry with the sequels, I believe that the Mobile Suit Gundam Reconguista in G films will be the definitive version.