2chan.us

The visual style is really interesting; it looks like an animated comic (ie, it has the same colors as the only American comic I own, so therefore I’m an expert on it) and the Mononoke-like parchment effect over everything gives the characters just as much detail as the background, which is really unusual for anime. The OP is a pan over a bunch of panels with some hot beats. I hope the script actually goes somewhere; his credits (Pretty Cure) are no Mononoke.

Also Spice and Wolf was good, though being in HD means you can see every flaw in the cheapo in-betweening. For some reason, a bunch of fansub groups without us in them are convinced it’s not actually in HD — maybe we shouldn’t have taught them the word “upscale”. This is why I never believe anyone who says fansubbers are as good as professional translators.

Except a.f.k., of course.

Watched the movie this morning after waiting in a line for an hour with a bunch of nerds who were doing things like reading the Spice and Wolf novels and playing PSPs.

Part 2 concentrates almost exclusively on the initial meeting between Mikiya and Shiki. Mikiya pretty much instantly falls in love for Shiki because she is gigamoe he’s crazy/a teenager and Shiki doesn’t really appreciate this, because she’s kind of crazy/yandere, too. (I’m trying to avoid spoilers, but if you want spoilers then read the novel!!)

For a movie that’s essentially 50 minutes of introduction to the characters and setup to the rest of the films, this works out okay. It’s much slower and moodier than the first film, and the director even admits that action scenes are not his forte. (fun fact: he also directed coyote ragtime show. oops.) Mikiya and Shiki’s relationship here is the focal point of the plot, and it’s an interesting enough relationship to keep your attention for the span of the movie. I mean, on one hand you have kind of standard anime relationship plot points, female transfer student is shy and pushes guy away, guy is persistent and eventually gets girl’s attention. On the other hand, they’re both crazy, which may or may not account for Mikiya’s near-stalking of Shiki in the latter half of the film, and makes for a lot of boogiepop-style fun with Shiki. The ending is a semi-cliffhanger, which bothers me slightly, because I know I’m not going to get to watch the rest of the films for a while.

Again, the ticket was definitely worth my 1000 JPY, and again, I spent double that on merch. I’m not quite as enthusiastic about this one as I was about the first, but in the grand scheme of the 7-part cycle, it’s probably much more important than the first.

A gag manga featuring quirky girls in school. Though my reasons for buying this are faulty at best (was placed next to Yotsuba& on display, author uses archaic “wi” in name) I was greatly rewarded for my purchase! Of course, I’m not very well-versed in gag manga, so this might be very standard fare, but I do know that it was a hell of a lot easier to read and harder to put down than Gag Manga Biyori, which seemed to benefit strongly from an anime adaptation unless you can read Japanese at like 50 characters/second.

Anyway, quite a few laughs were had, and the art is well-drawn, fun, and kinetic. In other words, this manga is everything that the Sketchbook manga isn’t, and as such I strongly recommend it.

When planning my trip over here to Glorious Nippon, I had initially scheduled something very foolish. That is, I thought that I’d be able to go catch Kara no Kyoukai on the night of the 28th at the 10pm showing, despite having to be up the next day at 6 for comiket. I’m not entirely sure why I thought that this would be remotely possible, but I didn’t give up on this plan until about 2 hours before the movie that night as I was laying down onto my futon, about to sleep for a good 10 hours. Thankfully, the film gods had blessed me, as one of Tokyo’s thriving second-run theaters picked the movie up for another 3 weeks or so. (I don’t exactly know why they’re only showing this in one theater at a time, maybe they only made one film print to distribute?? This is probably projected anyway, so whatever.)

Long story short, I got to go see Kara no Kyoukai first thing in the morning (9:40) yesterday in Ikebukuro. I was very impressed by it.

I’m sure going into the movie with fairly low expectations helped this, since I’m a male on the internet, and therefore a contrarian prick. I mean, the director of Girls Bravo and not much else with animation by ufotable, creators of… Coyote Ragtime Show and Manabi Straight? (note that I haven’t seen either of these shows, please don’t kill me omo) Also, Type-Moon properties haven’t really had the best track record when it comes to anime adaptations. Of course, I now notice that the animation director for Death Note and the art director for a whole bunch of good anime were on-board, but that’s enough looking at ANN for one review. (wait, before we leave — you did notice Mad Bull on that last link, right? Good, just making sure.)

I went into the film not having read the novel/the translation of the novel, so I was really going into this blind. Since it’s customary, a short plot summary (spoilers may follow): A string of teenagers committing suicide by jumping off of the same building is taking place in late-90s Japan. Our heroine, Shiki, tries to find out exactly what’s going on, mostly because the object of her tsundere affections, Mikiya, has fallen into some sort of coma and for some reason they just know that this is linked. Maybe if I was more familiar with the Nasuverse then I’d know why this is obvious, but I’m assuming it’s just because all of the main characters in Type-Moon works are super-powerful badasses. Anyway, I’ll spare you from any more plot summary and potential spoilers here, the novel link is 4 lines up.

Speaking of super-powerful badasses, Shiki. This isn’t whiny eroge lead who can cut anything male Shiki, but tomboy amnesic tsundere who can cut anything female Shiki. I will make this clear right now: my favorite female leads are the ones who can unapologetically kick ass (note that this does not say “punch to the moon”), which T-M tends to do well. In other words, I am so fucking moe for Shiki.

Shiki actually gets a good portion of the 50 minutes that this thing runs, including a nice 90 second stint where she eats ice cream with one arm. (MOEEE.) Of course, this thing has a very limited cast, so that’s not much of a surprise. We get a few stretches of pseudo-philosophical talk, some interesting on a base, romantic level, some rehashed GitS-style “WHAT IS A MAN” stuff. Thankfully, there are some really beautiful backgrounds and generally well-framed shots that can keep your attention through that business. The high visual quality is a constant throughout the film, especially in the huge action payoff a little more than halfway through the thing, which I might pay the thousand yen just to see again. It might not be Paprika-level “jesus christ everything is so colorful and moving and oh god my eyes” stuff, but it was exceedingly fun.

In fact, you know what? Had I not decided to spend a month’s tuition in order to buy and watch Honneamise (worth every penny), this would be the best anime movie I’ve seen in 2007, in terms of overall satisfaction. Seriously, erect dorsal hairs everywhere like you would not believe. Don’t get me wrong, this movie definitely has its flaws. The story is essentially a standard Japanese ghost story in the Type-Moon world, and as I said earlier, some of the dialogue may make the more cynical of us roll our eyes a fair amount. Of course, this is just one movie of seven, and it does work fairly well as a general introduction to the characters/prologue. I think it might be worthwhile to note that I did go back and read the novel translation to make sure that I didn’t miss anything, and I thought that this adaptation was way better. It could have just been the translation. Who knows. Maybe I’ll go and read the novel in Japanese when I turn 30 and get my JLPT1, if they still offer JLPTs in the nuclear wasteland of 201x.

If you couldn’t gather it from the rest of the review, or if you just skipped down to the bottom to see my overall reaction (hypothetically–I know no one actually reads this): I’d say that anyone who is not terribly averse to the whole post-Eva Guy Animes About Girls stuff should check this one out. I know you’re going to download it anyway, so you’ll be out a measly fifty minutes of your life in the worst case. I’ll just be hoping for a HD release to buy to make up for your pirating ass.

seriously, one day I’ll stop writing about things that awo hasn’t talked about that aren’t bartender but

Project A-Ko:
excellently animated popcorn action/comedy that exudes 80s with tits and missiles and explosions and shit for less than what a movie ticket costs, you should probably buy this if you haven’t already

Mononoke:
okay, well I just finished my intro to film class like a few days ago so even if there was something bad to say about this show I couldn’t bring myself to, really. because this is an INSTANT REVIEW I will just say that you should watch it and if Geneon was still around I’d say to buy the last disc of Ayakashi because it’s pretty much the same thing and also you should read this guy’s review because he’s more knowledgeable and eloquent about these things than i could ever hope to be

Plus it has Nazo no Kanojo X and Vinland Saga, and I can whack cockroaches with it. At $8 it’s a great deal.

But I have no idea how you could keep up with these things. It may only come out once a month, but at 1000 pages I’d never finish reading these before there was another one.

So this fancy-sounding anime called Ghost Hound came out. We’re all about the fancy-sounding anime up in here, especially when their websites advertise all the staff they’ve got who worked on our most favoritest shows serial experiments lain and Kino’s Journey, so I thought I’d better go watch it and see if I should go complain about it or not. It looks like I’m going to!

The first episode doesn’t have much to talk about; the young male lead Tarou has a terrible dream about his dead older sister, goes to school, falls asleep in class, and goes home to sit in his room, with occasional weird scenes inserted in between. The really surprising thing is that the episode progression is practically identical to the first episode of Lain:

Luckily, it gets better after that. Episode 2 is mostly about the school psychologist interviewing Tarou about his recurring dreams through E.M.D.R. (invoking the MYSTERIOUS ACCIDENT X YEARS AGO cliche), along with Nakajima, the mysterious transfer student character, explaining tons of backstory. I can’t summarize it, since it was kind of just a little beyond me and my JLPT4 test voucher, but you can find it at one of the many fine obsessive summary blogs on this here Internet.

Episode 3 is actually good; the first scene — ÅŒgami, the cool guy who’s really angry character, records himself playing the guitar (so he can get more YouTube hits, I guess) and it plays over an unexplained religious ritual with an old woman chanting — was neat although fairly meaningless. We get more plot explanation and they all go off to demonstrate Phobia Exposure by taking Tarou to the old hospital his sister died in. (summary)

The preview for episode 4 relieved a bit more of my fears of a bad Lain ripoff, showing that the gradient-eyes shots in ep. 1 were actually super-terrifying baby things. It’s not enough for me to get over ANN’s plot summary — ghosts, from an “unseen world”, unexpectedly breaking into ours? — but at least it might be through traditional horror elements and not through new revisions of the Internet Protocol.

Anyway, the biggest problem with it is that it didn’t get enough staff from those other shows. Here’s some bad screenshots of the main characters:

and their teachers:

Lain’s asymmetrical braid is a great and completely recognizable character design feature. Tarou is a generic and completely undifferentiated blob. And his teacher is a man wearing lipstick.

Lain and Kino both had plenty of good artists (ABe, Kuroboshi Kouhaku, this guy, etc.) doing character design. Ghost Hound, instead, just has the animation director doing it. I remember her from Hell Girl; Ai and the Scatman looked good in that show, but the incidental character art was universally terrible and I had to stop watching almost immediately. The gigantic eyes she draws looked good on Ai, but pretty much nobody else. Since characters are the only appeal for anime, I have no idea why they’d keep her on it.

Anyway, maybe this will be good sometime, but not yet. Stick to Kaiji.

wait maybe they’ll bring back scatman for this one

I’ve started to dig into my pile of DVDs that I really need to watch sooner or later, and I had the brilliant idea of writing normal-length reviews (500-700 words) of most of them. Then I remembered that I’m incredibly lazy, so here are very condensed notes on the Crusher Joe Movie+OVAs:

CRUSH.

General: I’ll start with few things I feel like I can safely generalize about for the 3 installments, the movie and the two OVAs. For one thing, it’s all very 80s. This is of course a wonderful thing, unless you don’t watch things because “they look old,” in which case I suggest that you close your browser window, boot up the Love Hina DVD that is undoubtedly sitting in your player as we speak, and summarily hang yourself. Er, this is supposed to be short. Focus.

CRUSH.

I realize that “very 80s” doesn’t really say much, so here’s a few more specific things! For one, the animation looks very nice throughout the series. Crusher Joe is ultimately an action show, and the action scenes look fantastic. The music for all of it is also great. Light on the cheesy 80s synths (although the soundtrack that was probably composed on a sega genesis is what made overfiend for me) and heavy on the authentic-sounding Film Music. Kind of Star Wars-y at times. Much like a lot of the plot. Speaking of unoriginal plot, there is probably very little in these that will cause you to stroke your neckbeard in contemplation. In fact, chances are you’ve seen more or less all of the plot in one place or another. It really doesn’t hurt the series. Like I said, ACTION.

CRUSH.

Movie:

The movie clocks in at just a little over 2 hours, and it feels like it. Lots of action scenes broken up with humor scenes, all of which feels very cartoony. It’s somewhat strange to see standard comedy devices used in between bloody deaths, but it works! There’s a little bit of introduction to the world of Crusher Joe sprinkled in here, but not a whole lot. I don’t really feel like going into the plot, the AnimEigo page for it does that well enough. It drags a little in the late middle parts, but overall it’s good fun.

CRUSH.

OVAs

Both of these are a lot lighter on the comedy, but you don’t really need it. Where the movie felt like a full-scale movie, these 1-hour OVAs pack about the same amount of action as the movie. The Ice Prison is solid space commando and space navy fun, while The Ultimate Weapon: Ash drags a bit when the Crusher Joe team is running away from the Evil Robots that Tentacle Rape You and then Explode for the 12th time, but it gets a big kick in the ass in the last 15 minutes or so. I saw Ice Prison first, and it was winning out over The Ultimate Weapon until those last few minutes. They’re about even in my book, now. I’m also speculating if working on Ideon psychologically broke the director of The Ultimate Weapon, some of that shit is pretty grim. Anyway, once again, these plots aren’t going to win any awards, and you can probably see most of the plot points coming from miles away, but who cares. If you don’t feel like watching a perfectly good cartoon because it’s not “deep” then just throw all those DVDs of burned fansubs that you own in the trash away (or burn your trashy dvds that are practically fansubs away, if you’re from singapore) and go finish reading that 3rd Dave Eggers book you’re on.

CRUSH.

The AnimEigo release did a fairly good job, from what I can judge of these things. The sub track is pretty colloquial to the point of nearly changing entire meanings of lines around, and some of that can be really hit-or-miss. I saw a few lines in there that I really loved and hope to remember in the future, and also saw a few lines that seemed absolutely terrible. Didn’t really listen to the dub.

CRUSH.

I think that about wraps it up: Good clean sci-fi action fun backed up with solid technical work. Apparently the disc is out of print now, but I picked it up for $5 at a con, and really, it’s damn hard to beat $1.25/hour of this stuff. Recommended to anyone that wants to kick back and just watch some fun cartoons, which should be all of you.

edit: I just did a word count and this was almost 800 words. oops.

I’m back from Japan, much poorer in yens, much richer in useless wota crap, and with a horribly broken LCD on my laptop. While there, I met some cool guys (a post-doujin event trip to a bar with 400 kinds of whiskey and an actual beer selection and talking Nerd with a few hundred dollars of doujin and many times that of Dollfie present), some not as cool guys (NEW GAMES JOURNALISM), and enjoyed doing very little of substance during my summer break. I’m still working on that last one, by the way. However, my boring-ass summer is not what this post is about. This post is about anime for MEN. Unfortunately, I’m fairly sure that AWO has spoken at length about every show in the past 15 years that involves the fine things in life, like rape, heads exploding due to gunshots, and pissing in eyes, so my options are fairly limited.

If you’ve ever spoken to me for a moderate+ length about anime, I’ve more than likely mentioned the wonderful phenomenon of fansub burnout. Allow me to explain: when one works on a fansub, they end up watching an episode of the show that’s being subbed probably 3, 4, maybe even 10+ times before finishing whatever job they have in production. To be frank, I’d be hard-pressed to re-read, re-watch, or re-play 95% of any work of entertainment of my choice, and much more often than not, whatever I’m translating is often not in that wonderful 5% for one reason or another. So, it’d only be natural that somewhat negative thoughts become associated with a subbed show. For example, I can probably count the times that I’ve actually downloaded the finished product of something I translated on one hand. The fact that almost every series I translate, thinking, “oh, this will never get licensed in the states!” gets licensed probably contributes to this. Another manifestation of fansub burnout is never finishing a series that I drop, no matter how interesting the show looks. It took me an embarrassingly long time to finish up Ichigo Mashimaro, (not quite as embarrassing as having to download fansubs by a group called r0r1p0p) and I keep telling myself that I really, really need to buy Kamichu dvds. Don’t get me started on Gurren-Lagann, either.

One of the many shows that fell off my radar after subbing a whopping two episodes was Bartender. I had pretty mixed feelings about the show while subbing it. After watching the first two episodes, it was hard to tell how the show would go–I could dig the concept and style, but between some possibly nationalistic undertones and not quite knowing if they’d advocate drinking your pain away or not, I wasn’t completely comfortable with the series. Unsurprisingly, it went way on the back burner, to the point where I didn’t even keep up to date with the fansubs beyond some very minor drama over re-encoding some ridiculously sized fansub encodes.

Fast forward to about 10 months later, as I’m about 40 episodes through G Gundam, thinking that its burning shonen heart is in the right place, but it ultimately pales in comparison to GaoGaiGar pretty much across the board. Eyeing Mobile Suit Gundam as the next series I’m going to watch through, (no, I haven’t seen it, yes I am ashamed of myself) I start to realize that I’m getting pretty tired of really big robots, so I start to think about a potential short series to watch in between. After all, if I don’t take care of myself, I might get robo-exhausted again and end up not watching anything for two weeks like that time after I finished Ideon. But what to watch? I can’t go cold turkey on the GAR factor, but I don’t want any main characters taller than 30 feet. I need something to soothe my frayed yet manly nerves. Hold on a minute, I think I… Gar… Bar… TENDER! I quickly snapped up Lunar’s subs of Bartender and went to work after coming back from AFO, a Florida Con that ended up being worth the $50 for the weekend that either astrange or I ought to talk about soon but likely won’t.

Bartender (the anime, I won’t deal with the manga here–I skimmed it when I was subbing it, and it seemed a fair bit different) is an episodic show with a very simple premise: A troubled man (or woman) comes into Eden Hall, the bar tended by Sasakura Ryu, aka Bartender, aka “Glass of the Gods”, an extremely talented bartender. There’s a little bit of exposition, then Bartender serves them the exact drink they want need to soothe their souls and begin fixing their problems. Cue a few reaction shots, then an explanation of why he knew what drink, also known as the “Glass of the Gods” (yes, the exact same thing as what some people call him. I don’t know why they do this.) they needed. Cue a few ending lines and then cut to credits.

I remember hearing that “Bartender is Iyashi-kei for businessmen” when this show first came out, and I really couldn’t agree more. It’s like… 3 parts Aria to 2 parts Yakitate Japan to 1 part Golgo 13, just enough to kill the light-hearted fancy of Aria, with a splash of House, M.D. to taste. The issues that the customers have are pretty mundane for anime, mostly things like wondering if their salaryman lives have ultimately been spent well, trying to tell your wife that you see for 10 minutes a day that you love her in any sort of meaningful way, and just finding the strength to survive in the business world in general. Like I said, lots of themes that Japanese businessmen can relate to. In fact, one of the major themes of the entire show that the bartenders talk about is how the job of the bartender is a life of silent service to the customer, and how the man should never overshadow the craft. I’m honestly surprised that this didn’t turn me off from the series, since I can really get to hate a series when it gets too preachy and heavy-handed, but I ended up feeling more sympathetic and endeared to the show than anything. Maybe I’m destined for a life as an assistant manager in a cubicle for a trading company somewhere in Tokyo, who knows. The first and last episodes depart from the formula a little, and the last episode can feel like they kind of cobbled together half an episode with some recap and overarching story, but it’s nothing too egregious.

Two things in the series show up over and over, again probably mainly of interest to 30-50 year old males: Artistic, usually literary references, and lots of information about liquor. Naturally, as a 19-year-old college student, I loved it. The artistic references seem to be made so that pretty much anyone watching the show will get them, and even if you don’t, then they explain exactly where they came from anyway. It could be anything from a quick gimme quote from The Little Prince to an entire episode spent analogizing a stagnating man’s situation to Hemingway and The Old Man and the Sea. Most of the time it was executed well, and at least they cited their sources, much unlike Kino no Tabi. (iceburn!!?!!) I’m not quite as up on my facts about liquor, but I’m always interested in studying fine spirits in one way or another, so I learned a lot of interesting new things there. ESPECIALLY that a bartender is named such because “he makes the bar tender.” Wait, no, that’s not right at all. Anyway, I don’t quite know if Bartender gets as hardcore or opinionated as Oishinbo or Sommelier, but there’s some neat facts in the show that normally get tied into the episode’s featured drink. I’d hate to sound like the guy at AFO that was trying to say how visual novels teach you lots of interesting things, like how the bends work, (!!) but nearly all the little facts in here were honestly entertaining for me.

The show is also pretty good as far as technical aspects go, too. The voice cast is mostly unremarkable in both name and performance. The women sound like women, the angry bitches sound like angry bitches, the super-suave bartender sounds super-suave, the old man narrator who is not Norio Wakamoto sounds like an old man narrator who is not Norio Wakamoto, and so on. Nothing stood out as particularly bad to me, so on the whole, it’s a perfectly serviceable cast. The animation was apparently done by the same company that did the Genshiken TV series, and was pretty hit-or-miss. There’s very little action, so most of the face shots and everything look great. Of course, there are a few instances of terrible, terrible faces, but that’s pretty par for the course for non-A list tv anime. There’s a bit of 3d work in there, mostly in the form of various real liquor bottles. I’m not very exacting when it comes to 3d, so I was happy with it. It was certainly better than Akagi, or the first ep of Bokurano.

According to ANN, Yasuhiro Imagawa, the Director/screenplay writer/story concept guy for Giant Robo did series composition and the screenplay for Bartender, and that should be more than enough for anyone important to at least give it a shot. Unfortunately, my kung-fu is not yet strong enough to judge how well the series composer did, but I’m just going to pretend that he was the magic ingredient that made the show work. The direction in the show is pretty unique. The fourth wall is flimsier than a late-20th century theater performance. In fact, a lot of the dialogue in general almost feels like a play, as characters that are nowhere near each other complete the other’s sentences or answer their questions, narrate stories, stuff like that. It might seem really lame in some settings, but once again, it seemed to work here. Maybe that’s the screenplay writer shining through, who knows. A few funny wipes and transitions here and there, but no real Shinboesque auteur-directorship here. Despite hating light jazz with every ounce of my being, I loved the pop-jazzy solo piano and drums soundtrack. The OP is kind of ridiculous but catchy, and the ED is fine, I guess, especially if you like goldfish exploding while a real bartender makes the featured drink of the show. I especially liked the live bartender doing the IMPOSSIBLE DOUBLE-HAND POUR THAT ONLY 5 BARTENDERS IN JAPAN COULD POSSIBLY DO pretty much effortlessly. I can’t tell if that speaks to the bartender’s ability or the ridiculous Initial D-style QUADRUPLE CLOSE-UP ON THE FACE REACTION SHOT move they do a few times in the show.

Lunar did a pretty good sub job on the show. I only had a few tiny nitpicks here and there on the subs, most of which are less mistakes and more stylistic disagreements, and the video quality is great, although they had a nasty habit of not being able to run without slowing down here and there on my 2.53ghz 1gb ram economy desktop. Hmm.

Overall, I liked this show a whole lot more than I thought I would. It has kind of a seinen cheesiness to it while still managing to be honestly entertaining and somewhat charming. The episodes are really easy to watch through and might not be the most original of scenarios, but whenever it might start to drag, the alcohol trivia that got tied into the situation saved it for me. The writing is backed up by fairly solid and somewhat unique direction and is all done in a subdued style that works well for the series. I’d strongly recommend this to any hard seinen fans (REAL MEN), slice-of-life fans that don’t require cute girls in their shows, and pretty much anyone in general that’s looking for a nice episodic series to watch to just chill out, kind of like Aria. Oh yeah, and anyone that wants to see practical applications of Navier-Stokes equations in anime. Now, off to find a barback position at a bar around here…

This is TEXHNOLYZE if it were a samurai show.

Director: same
People with limbs missing -> samurai with limbs missing
Juno Reactor OP -> abstract art and traditional drums OP
Woman licking a guy’s eyeball for several minutes -> guy driving sword into his foot for several minutes

Unfortunately,
Chiaki J. Konaka -> not Chiaki J. Konaka
ABe -> not ABe
All samurai shows not “Black Lion” or Musashi GUN-doh: boring