Trivia that matter
I’m not compiling a top-ten list of this year’s anime because I didn’t watch ten series all the way through. These are the shows that I started and didn’t quit watching in disgust or boredom.
Tolerable
I Couldn’t Be a Hero, So …: It sagged badly in the middle, and there was more fanservice than I care for throughout. However, Yu-Shibu pulled itself together for a satisfying grand finale. Also, any show that espouses the free market deserves credit.
Life is busier than usual right now, and it will be a week or two before I have time for a proper post. Until then, here are a few odds and ends.
• The true and proper words to the traditional Christmas carol:
• Some more silly stuff I’ve come across recently:
• If Kyousougiga ends well as well as it began, it likely will be the second-best show of 2013 (I don’t expect any current series to top the second half of Shin Sekai Yori). Here’s a tune from the OST that illustrates one aspect of the show. If Carl Stalling wrote anime music, it might sound something like this:
• Kill la Kill is currently in the middle of a tournament arc. Once that’s resolved, I expect that the show will shift gears, and then we’ll see just how good it really is.
• Arpeggio of Blue Steel, when it isn’t annoyingly silly, has been a surprisingly good series. Ubu has more to say about it. See Jusuchin for episode-by-episode discussions, with plentiful spoilers.
• Despite my better judgement, I’m still watching I couldn’t, so, etc. The creators can’t decide whether it’s a comedy, a fanservice vehicle, an action story or a romance; too often, it’s none of the above. Still, it’s just interesting enough that I want to see what happens. I wish Fino were in a better show with better writers.
• Today’s quote:
History is satire, and histories that are simply serious are simply false.
… Dr. Who debuted. If it had been an anime, it might have looked something like this:
What’s the word? Oh, and stop by Google today if you haven’t already. Update: the doodle is archived here.
Episode seven of Arpeggio of Blue Steel was mostly just plain silly, with the “mental models” of the warships behaving like infatuated adolescents. The show is partly about about artificial (or alien) intelligence, as embodied by the models, acquiring human-like emotions and behavior, but this was ridiculous. Oh, yeah, it was a beach episode, too. It was set on Iwoto/Iwo Jima, and, as I anticipated, there was no indication that the writers had any awareness of the geological nature of the island.
Episode seven of Kill la Kill was also subpar. All the absurd invention and energy couldn’t redeem the trite moral: wealth isn’t necessarily a blessing. (I would like to verify that for myself, though. Would anyone care to subsidize a few months of luxury for me?) It’s still worth watching, but I expected something better.
Incidentally, I recently discovered that Kazuki Nakashima, the “series composition” guy for Kill la Kill, also wrote the play that Oh! Edo Rocket was based on.
What is going to give American critics more problems with Hayao Miyazaki’s last movie? This:
Although “The Wind Rises” has a strong pacifist message, it is essentially a biopic of Jiro Horikoshi, an aeronautical engineer whose contribution to the world was a killing machine. His designs led to the Mitsubishi A6M Zero fighter, which was used to devastating effect during World War II.
or this:
Mr. Miyazaki’s film, which is aimed at adults, also features at least eight scenes in which characters smoke cigarettes….
It’s just a matter of time before Haibane Renmei is rated “NC-17” for Reki’s horrifying habit.
Okay, for the sake of a story, I can suspend my disbelief in sentient submarines and ships. I can accept “mental models” of these vessels that look like adolescent girls. I can even believe that stuffed bears eat carrots. But I cannot believe that any military would store vital materials on Iwo Jima . “Sulphur Island” is the tip of a rapidly-inflating volcanic resurgent dome, and it’s rising out of the sea at an average rate of about eight inches a year, rendering any harbor or dock temporary. Soon, geologically speaking, magma is going to meet seawater, catastrophically. The creators of Arpeggio of Blue Steel need to do better research.
*****
Shin Sekai Yori depicts a future in which adults are frightened of children. We’re already there. (Via Ace.)
Five episodes in, the story in Kyousougiga is taking shape, and it looks like that underneath the Carrollian whimsey and name games, it is exactly what it purports to be, a fairy tale of love and rebirth in the Kousanji family. It’s difficult to encapsulate the show beyond that. ((Crunchyroll’s description of the show is “Enter a description.”)) Instead, here are a bunch of screen caps from the second episode, “Episode 1,” to give you an idea of the flavor of this willfully eccentric series.
Quick notes on what I’m currently watching:
Jonathan said the magic words “Alice in Wonderland” in his notes about Kyousougiga, so of course I had to take a look. A few minutes into episode zero, I wondered if I was back in Kenji Nakamura Land. Not exactly, it turns out, but some of the designers had indeed earlier worked on Mononoke and other Nakamura projects. If you liked the art in Gatchaman Crowds, check Kyousougiga out.
About Kyousougiga itself: after watching episodes zero (surrealistic verging on psychotic; prestissimo) and one (in which the story actually begins; allegro ma non troppo), I can say that it sure is lively, inventive and fantastical, and very, very busy — you can’t let your attention wander for an instant lest you miss a vital clue. Whether all the bright colors and incessant activity ultimately add up to a story that makes sense remains to be seen.
Kill la Kill rockets along like a psychobilly song, proudly lowbrow and defiantly tasteless. There might be a political message and sociological commentary lurking beneath the outrages and the breakneck pace, but through the fifth episode it hardly matters. Kyousougiga and Coppelion show how artsy anime can be; Kill la Kill reminds you that you’re watching cartoons. Before there was Miyazaki, there was Tex Avery.
Arpeggio of Blue Steel has been a pleasant surprise. Given the elements — kids in the navy, sentient ships and submarines with “mental model” avatars that look like pretty girls, a powerful but vaguely-defined enemy, glowing hexagonal grids — I expected a Strike Witches ripoff. However, the focus has been on battle tactics, politics, and the puzzles human behavior presents to non-human minds. Fanservice has been minimal thus far.
For a while it seemed that I couldn’t be bothered to come up with a real title was going to be the comic counterpart of Divergence Eve: a very good show nearly spoiled by a surfeit of jiggle. Possibly the makers realized that; I didn’t notice any buy-the-BD moments in the fifth episode. However, while it was mildly amusing, it was never more than that, and Raul’s outbursts are increasingly grating. Unless the next few episodes are markedly better, I’ll probably drop it.
I likely will also drop Outbreak Company. Our hero crossed the line from raving otaku to blithering idiot in the fourth episode, and much as I would like to see what elves and dwarves make of human culture as presented in manga and anime, I’m losing patience. Update: Ken the Brickmuppet reports that the fifth episode is a disaster. The show is now off my watch list.
The Professor has discovered “group sounds,” the reaction of young Japanese musicians to the Beatles’ 1966 performance at the Nippon Budokan. Here’s a band of that school I recently discovered, Yokohama’s The Golden Cups. They might have had the first fuzzbox in Japan. The bass player, Masayoshi “Louis” Kabe, sounds like an asian John Entwistle to me.
Guys und Panzer:
(Via the Borderline Boy.)
The Sailor Senshi meet the Jetsons. (Via Project Rooftop.)
“I think that when a human engineer lives a good life, he’s reincarnated as a beaver.”
Full disclosure: I am a creature of the sinister right-wing Koch brothers, just like Michael Mann. Both universities I attended, plus the one where I studied and photographed ballet and the one where I took part in the annual Renaissance Faire, have all received money from the Kochtopus.
Don’t expect a Calvin and Hobbes movie.
You probably shouldn’t expect another VEI 8 blast from Yellowstone, either.
I haven’t had a haircut in 20 years. Perhaps that is why I’m still alive despite riding my bike every day on the wild streets of west Wichita.
Notes on growing biochemical weapons.
Pride and Prejudice for academics.
Today’s musical interlude, lunatic bassist edition:
Do all the little-girl singers sound alike to you? Is the Anime Music Tournament making you sleepy? Here’s something to wake you up. (If you’re prone to seizures, don’t click.)
If all you know about Japanese rock is what you hear in anime, you’re missing most of the best. Someday I’ll write about the bands I’ve discovered, from Happy End and the Sadistic Mika Band to Melt-Banana and Tatsuya Yoshida’s various projects. In the meantime, here’s an article about and an interview with Melt-Banana.
We Have Signal: MELT-BANANA from We Have Signal on Vimeo.
If you find Yako’s vocals hard to take, try thinking of her voice as a percussion instrument.
(Via Clear and Refreshing.)
Useful adjectives for discussing Kill la Kill:
Other shows I’m currently following include Yuusha ni Narenakatta Ore wa Shibushibu Shuushoku o Ketsui Shimashita, Outbreak Company and Arpeggio of Blue Steel. I’m feeling lazy, so I’ll just refer you to Steven and Avatar for commentary on the first two. About Coppelion, I don’t know. There might be a good story there, or it might descend into Angst and Message. I also sampled Tokyo Ravens, which I barely remember though it’s only been a few days since I watched it, and Galilei Donna, which is ridiculous but does feature a wrench wench. I might watch more of the latter, but I don’t have great hopes for it.
Update: As of the third episode, I’m Not Typing This Silly Long Title Out Again is on probation. Fino may be a delightful character, but tentacles cross the line.
Update II: Another word for Kill la Kill: shameless.
… or woman. Some snapshots from the first four minutes and twenty seconds of Kill la Kill:
It’s the time of year to look for new calendars. I found a bunch at YesAsia, such as the Girls und Panzer one above. Other shows represented that might be of interest to certain visitors here include Vividred Operation, Hyperdimension Neptunia, Gargantia on the Verdurous Planet and Hatsune Miku. There’s a Gatchaman calendar, but it’s the old-style Gatchaman, not Gatchaman Crowds — a pity; Utsutsu deserves at least one month of her own. ((Better yet, a calendar of her own.))
For those with different tastes, there are two Edward Gorey calendars, this one, and The Evil Garden.
What do Shinku Izumi, Light Yagami, Death the Kid, Alpaca (from Polar Bear’s Café) and Percy Weasley have in common? The answer is below.
A few last notes on Gatchaman Crowds:
• The ending was unsatisfying. Although the good guys won and evil was defeated, and the resolution made some sense in terms of the show’s premises, it left too many questions unanswered. For instance, who or what is JJ? What is his connection with Berg-Katze? How did he know to pick Hajime? Are Utsutsu and Jou still around? What is Berg-Katze? What is his origin? What about MESS? Perhaps there wasn’t enough air time available to make everything plain, but if so, then why was half the penultimate episode a clip show?
• Nakamura doesn’t show us the final confrontation of Hajime and Berg-Katze, so I don’t know if J. Greely’s prediction was accurate. It makes sense and could have happened, and it would have made a fine climactic scene.
• Hajime is the most alien character in the show. ((Except maybe for JJ, but he scarcely counts as a character.)) I’m not convinced that she’s human, even if she does talk to her mother on the phone.
• Nakamura has a more optimistic view of human nature than I do, and more faith in the possibility of utopia. I’d rather that people didn’t try to immanentize the eschaton. (On the other hand, if you can transform troublemakers and jerks into inert cubes, then the remaining people probably will get along better and behave more responsibly. For a while.)
• Shifting attitudes toward information technologies can be followed in anime. In 1998’s Serial Experiments Lain, the “wired” is weird, scary and dangerous. In 2007’s Dennou Coil, evolved Google Glass is a lot of fun, though occasionally still dangerous. In Gatchaman Crowds, smart phones and conscious artificial intelligence are taken for granted and are generally benign.
Despite my reservations, Gatchaman Crowds is one of the better shows I’ve seen recently and is worth your time. It’s by no means Kenji Nakamura‘s best, though. If you want to see what he is capable of, violate international copyright law and download Mononoke.
The answer to the quiz:
They were all performed by Mamoru Miyano, who was also the voice of Berg-Katze.
Update: Ken the Brickmuppet finds libertarian themes in Gatchaman Crowds.
Update II: Greely found a picture of the team in old-style uniforms:
While I wait to see how well Kenji Nakamura pulls everything together in the concluding episodes of Gatchaman Crowds, I’ve been again re-watching Mononoke, his first full series and still his best. Above is a screen capture from the fourth episode, in which an ayakashi with the unmistakable voice of Norio Wakamoto visits the passengers of a ship sailing seas stranger than any in Yellow Submarine.
Crowds: Mononoke, above; Gatchaman, below.
