Category Archives: English Language Modern Visual Fandom

Seiyuu Senryaku

About 2 years ago I begin to follow some people, either via tumblr or twitter or soup or some such, who post pictures of seiyuu. As more and more radio shows and events get broadcasted via Nico or Ustream or whatever, more images have been popping up beyond the usual semi-pin-up scans from the various seiyuu magazines, blogs, and what have you. Actually with things like twitter and iPhone proliferating in Japan, there has been a lot more images floating out there just because. There are even more seiyuu mags nowadays compared to 2 years ago.

I’m not sure why this is the case, but as I alluded previously there is a distinct 2.5D advantage for seiyuu. The recent seiyuu boom, at any rate, coincides with me trying to learn the names of all the “popular” voice actresses via following image blogs. You know, the average blog might label the people in the photos, and half the time it’d be written the way it is. And it’s as good of a time to learn it as any.

It was somewhat of a learning curve since as far as recognizing kanji it is not a big deal for me. What was the big deal is remembering what the name is suppose to spell out as. Names are tricky after all because they don’t always say what you think they say. I still remember when I first started I probably recognize only 20% or so of what’s out there. Now?

Here is a list of popular voice actresses that I saw this morning (sorted by the # of roles they had in 2011 I believe). And I can recognize them all now! This is notable because for the longest time I have followed the seiyuu scene (albeit from afar) but it isn’t until recently that I started recognizing their names in Japanese.

I might still make fun of people learning Japanese through anime, but I don’t doubt its impact (which seems to be proportional only to how much effort you put in learning and working with the foreign language). Perhaps, this is more a demonstration of the power of mokkori in the educational context. I think.

 


Power of Anime, Spring Edition

Looking at the spring season…of 2011? If just briefly. A US-centric, industry postmortem.

Someone once said that overall, the late-night anime business generally makes money. With Occult Academy due out in May, that marks the US release of all the Anime no Chikara anime. And that’s a good thing–all three shows have at least some redeeming value, demonstrating the power of anime to some degree. I’m going to assume they are making and going to make money for their licencors back home for a while yet.

This is the same power that enamored the neophytes with the new Lupin the Third anime, some of them having seen 3 or fewer hours of any other Lupin work to date. This is the same reason why Kyoto Animation’s Hyouka is not a call for tar and feathering, it is staving off 2ch otaku second-guessing those old-capitol animator lords on their high-riding horses. It is the same way that idols are going 2.5D.

Yamakan’s laughable exercise of Fractale is also due out in America. Will it sell? I know I will contribute my one out of 686 units. Along side with much of the hoard from 2010/2011, as struggling production major player Funimation slowly churn out these shows for its localized release. And in that sense I thought it is pretty representative–Nozomi got Soranowoto; Sentai nabbed Night Raid; NISA took Occult Academy. These three studios are relatively new-comers, with very different profiles. And while I can’t say anything about Sentai, there are no DBZ or FMA or One Cash Cow holding up the rest for those. There are just a variety of better selling shows and poorer selling shows. It is our future, in that while one could always say that the entertainment industry is propped up by that one hit, this does not have to be the case with this otaku-centric business model, and I think a lot of us benefit from this.

And speaking of Fractale (of Funi), a random sampling of 2011 Spring pickups also says Anohana is NISA, Madoka is Aniplex, and Gosick was Bandai and now is in limbo. I think this is a good way to slice things up, and it really shows some weird sense of market competitiveness. It’s almost like the handing-off-of batons from one generation to another–clearly, some people license the wrong shows. And on the flip side I count my lucky stars that these companies generally licensed the right shows for them.

I feel that Funimation does a good job, generally speaking, with their releases, from the marketing end. Especially with the traditional fanservice-heavy shows. I thought their push for Strike Witches was spirited; comparatively the push for AsoIku not as much, but still, it happens. But they need to quit sitting on these simulcasts and get a move on with their releases.

Ultimately, it is new and exciting new licenses that energizes the fanbase and bring in revenue.

On the bright side, right now there’s real market diversity in terms of who is selling what, and we have FUNi to thank. They’re really serving it up to that 25-75 anime fan segment and leaving most of the rest alone. Unfortunately this is also reason to concern in that not everything is available in every single way. It remains the distant Avalon, a place promised in our filesharing days.

TL;DR – We’ve come so far, but we still have much to go.

PS. Speaking of the 25-percentile, did you see those Ghibli Blu-ray Disc releases lined up for May? US domestic? I did and I’m like \(・ω・)/Let’sにゃー!


Wolves and Koko Puffs

When I was reading about people’s first reactions to Jormungand the animation, some compared it to Spice & Wolf. I didn’t really see the comparison being valid beyond the superficial similarity of having a strong personality of a woman in the context of the intrigue of bartering. But after 3 episodes, I see where the real similarity lies.

Koko is a wolf. In fact she is the wolf that Horo never seems to be, at least after 3 volumes of the novels. It’s how far I’ve read in Spicywolf before giving up.

By wolf I mean, perhaps, the best example of wolf that anime keeps on using: the fable of the Little Red Riding Hood. This is the human wolf–a wolf pretending to be a person in order to achieve the wolf’s wolf-y goals. Which is usually about being a wolf’s survival, or desire to eat somebody, or some such.

An example of the Little Red symbology in play is Jin-Roh. And Jin-Roh is, by all means, the best fictional depiction of what it means to be a wolf, in my humble opinion, in the context of Japanese pop culture. It’s a little more psychologically edgier than the simple “ronin” or lone wolf concept, which is more about the individualism that we Americans associate with our cultural heritage. Indeed, in order to appear wolf-like, these individuals have to exist alongside with normal human beings, and even work with them. It is very hard to act aloof and deceptive if there’s nobody close to you. It’s why the Big Bad Wolf gets to have a conversation with Little Red Riding Hood. The culture of fitting in, as it is in Japan, makes the wolf blend in to his or her environs easier. It’s the wolf’s disguise.

Koko is rather the exception in that regard. She stands out like a sore thumb at a glance. Her manic smile is clearly a sign of something is odd about this one. Some might even consider her moe, which is probably running against the grain in a Black Lagoon-like setting. Koko’s wider-than-usual mouth makes me asks why she has such a wide mouth. The childish and girly exterior betrays the calculating and pragmatic mind it carries. To that extent it is already less of a wolf-in-sheepskin as much as just a wolf (as opposed to Jin-Roh, where the “wolf” is actually a wolf pretending to be a sheep inside a wolf’s skin). She is clearly a wolf among wolves, except this wolf looks like a sheep.

Indeed, Koko, why do you have such a big mouth?

The setup is pretty nice given that we’re seeing the story developing as a relationship between Koko and Jonah. Jonah looks like a wolf, too, but I suppose we’ll get to see if Jonah only looks the look or not. For starters, he might not even rock the look that Koko does.

There’s a lot to like, for me, about Koko and Jormungand the anime. It’s great to see Iwasaki being fun to listen to again. It’s unfortunate that the radio drama cast didn’t carry over again but I’ll live. Koko’s shotacon ships also adds to that wolf-ness, don’t you think? Like, she’s gonna eat him whole? LOL. I think White Fox’s got a solid hit on their hands again.

PS. If you’ve never seen Oshii & Okiura’s masterpiece Jin-Roh, go knock yourself out on Hulu. Or import the re-release Blu-ray!


The Future Is 2.5D

Remembering Anime Boston, I thought about 2.5D. I think the context the term was used in was for Momoi’s Afilia Saga East–she’s a producer for them–a group of Akiba idols associated with the similarly named maid cafe chain. The term came up during a question at Momoi’s fan panel related to the subgenrification [btw, google result of this made-up word makes a good list of wank blogs] of otaku in Japan–I think they would have it way worse than oversea otaku, and they probably are. There are idol otaku and there are anime otaku, very different groups of people who like very different things even when from afar, they are not really that different. Among others.

Thinking about some of the fans I personally know, to put stress on the term fan (I think it best describes most of these people), it really is the case where people are fans of a lot of the same things, but for different reasons. I’m not sure if that is because of the media mix case or what, but this sludge of … things that are attractive do bridge both 2D and 3D fans, otaku, scholars, shopkeepers, other sub-genres, what have you.

I think what is more interesting about 2.5D is that there is a distinct expression for it. Seiyuu. Hatsune Miku. ClariS. AKB0048. All of these things are examples of 2.5D.

To take a big step back, the term 2.5D really comes about when we look at the otaku who likes their 2D–slang for anime/manga/game characters. Those moe figures and hugpillows, that’s a stable expression of 2D. You can shout “ore no yome” for both 2D and 3D characters, but the latter will get you more weird looks than the former, I think. As for 3D, it generally refers to real life persons, or specifically idols for idol otaku–people who like AKB48 or one of the many. They have their own code and things to do, depending on which agency they (idols and fan alike) are slaved to. Of course 3D fandom has been in development for a much longer period than 2D, so it’s a convoluted thing to sort through so I won’t really try to here. It’s when 2D collides with 3D that you get this strange 2.5D effect.

In other words, when 2D wants to do 3D, it’s 2.5D. When 3D tries to be 2D, it’s 2.5D.

Like every other otaku term that’s been around, it’s not exactly easy to define or even pin down. I think 2.5D is most akin to a feeling where there’s some kind of gap that is being broached. It’s probably vaguely related to concepts like “uncanny valley” and “AI” and “meme” and things like that, because undead Tupac is a very apt expression of 2.5D. On the other hand when you have physical manifestation of 2D (hug pillows, figures, etc) or when the 2D slots into a perfectly 3D role (eg., a virtual idol), that’s 2.5D. Actually anime is inherently 2.5D.

The bigger generalization I want to state is that 2D is limited to ideas, where as 3D is manifestation thereof. Most Japanese idols are pretty much just girls who are produced to project some kind of persona, an image. As mentioned before it is no less artificial than Hatsune Miku in a lot of ways, certainly in the ways fans interact with idols. On the other hand when your average Precure kigurumi stage show happens at an amusement park, well, that’s a real-life manifestation of cartoons.

Somehow we are infatuated when this crossover behavior happens. I don’t really know why, but I can make a few guesses. And by we I mean people like myself.

There are many other advantages too. 2.5D naturally lends itself to better marketing. It’s easy to photocopy some ads or post on facebook an idea, and image, a persona; to win fans with your 3D personality require the person being all over the place, or expensive TV broadcasting. Neither replaces the other but you need to leverage both the 2D or 3D along with the 2.5. It’s great to have a manga with a good story and great art and an eye for what makes for great manga material, but it probably will always be more popular if the anime adaptation turned out to be a blockbuster. The examples of 2.5D’s benefits are countless.

The best example, to go back to Tupac, is that ideas live forever, theoretically. Much longer than life + 70 years. Even if the 3D component is six feet under, 2D and 2.5D will live on as long as there’s enough interests in it. That alone almost guarantees that the future is 2.5D. Wait until hologram technology breaks the gates of Hades wide open–big enough for Biggie to join the chorus!


Design-Driven Results


This is kind of off-topic for this blog, maybe, but it’s probably worth noting a few things. So it goes. These things are about how the choices you make, perhaps seemingly minor, can have a big, big impact in the long run.

There’s this anime blog tournament going on. I think it’s a worthwhile exercise because in order to have a working blog scene, you need to have some required things going on, elements. One of these elements is enough of a reader base that will sufficiently bleed out information beyond purely linking and relying on analytics and trackbacks in order to create the “social networking” effect. For example, if person A writes an interesting blog post about Amazon’s monopsony, and person B has never heard of person A or his blog before, but is interested in the content of A’s blog post, how can B discover A’s blog post? If person B’s daily reading of internet stuff overlaps part of the network in which A’s blog post traverses, such as if B reads a blog post that links to A’s blog, then maybe. Or if B reads person C’s twitter in which C comments on A’s blog post, for another example. You get what I’m saying. But in both of these cases it means some person C has to read person A’s blog, or maybe C is just like B and is not regularly reading a part of A’s blog post’s network, and some person D has to fill in that role. In other words, someone has to act as an intermediary.

This is why in order for a blog to actually achieve some degree of the network effect, it has to:

  • get a lot of readers, and/or
  • get some readers who are heavy-duty cross-posting or networking “nodes”

Invariably a lot of bloggers themselves are heavy-duty readers of other people’s blogs, in order to cull and come up with new things to put in their blogs. They also link out to other people’s writing, as blogs themselves present one way for the network to exist. But I can tell you first hand this is not easy work, and quite frankly I can’t do it because uh…what is commonly described as anime blogging is not something I have a high tolerance for. So when something like AnimeNano or the Aniblog tournament exists, it becomes a way for blogs that very few people read to get read. Someone does the curating for you, as much (in the Aniblog tourney case) or as little (in the anano case) as the case may be. Or in my case, very rarely do I link out to an anime blog! Kind of weird isn’t it.

I think it’s fair criticism to say the Aniblog tournament is an exercise in circle-jerking, as a result of this simple mechanics in play. Fact remains that most people already read blogs they want to read, and blogs with the stronger networks invariably will do better simply because they are better recognized and have more readers. Blogs that have more readers will move on further, since it’s a popularity contest. Meanwhile blogs with few readers are often blogs where the blogger is the most active networker as part of that blog, and s/he will end up being most invested in the Aniblog tourney, adding to the circle-jerkiness. But let’s face it, when you have a blog that makes a big PR move and links to a bunch of other blogs, all it’s doing it simply networking.

In order to min-max this effect I think the Aniblog tourney people should move away from a single elimination format and just have every blog pit against the two or four most-read blogs. I mean, let’s drop the facade. I think psgels would rather want to get it over with using minimal effort by winning against every anime blog out there via a few big polls, where all his readers will get a chance to read the competition and not just on the days where he’s actually pitted against some blog that was tortured long enough to get that far. And in some ways, I think it may benefit everyone the most this way–more readers will find more blogs they might want to read, after all, and it avoids the situation when you involve the blogs with the biggest readership only in matches where the competition are already well-read. The gain is minimal in that latter scenario.

Moving it away from single-elimination will also reduce the appearance of circle-jerkiness. I mean by playing it up like a sai-moe-whatever-thing type game, you are sure to attract the most heavy networkers who are also already bloggers and not a whole lot of people who stand to gain the most from the networking exercise, but just like a sai-moe-whatever-thing type game, it will not interest the wider public unless it engages the most popular sites. Having everyone engaged all the time is for sure a great way to reduce that circle-jerk appearance. Sure, having this sort of fancy elimination format adds the entertainment value of the tournament but really, I guess that is the true cancer that is killing anime blogging. I mean, really, I’d rather read some blog who puts in effort and write something amusing about anime than some meta exercise about popularity of blogs. I think the way the tourney is set up this time is a major step backwards for that reason, by “seeding” better-read blogs and giving them byes.

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I do want to talk about Amazon’s monopsony for a minute; please do read this article. I think Japanese publishing is also, like American publishing, ripe for disruption. But who will do it?  Amazon is no doubt in talk with Japan with the entire controversy regarding the DOJ suit over here as the backdrop, with all that nonsense about agency and wholesale and profit sharing, etc. But will they make the same mistake American publishers did with DRM? I cannot imagine a world where Japanese publishers cast away their DRM. It just seems like psychologically impossible. Does this mean the same thing will happen to Japanese publishing? I know Apple had issues making leeway because of their stance on censorship and what not, so it will be a war between walled gardens to see who wins the Japanese market. It is about exciting as seeing a bunch of old men punching each other in the face, except they’re doing it in Scrooge McDuck’s money bin.

As an aside, I think Amazon’s devices may do well in Japan. It’s definitely got a winning formula in the US and Europe. And the price! How can one of the most frugal first-world country in the world say no to that?

Yeah, I like that article because it posits the double-edge of DRM. Loved the irony.

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Small plug for Nippon Columbia’s paid-for streaming music service, FaRao. This is almost god-send-y. Only if I can actually use it! Or I should say, only if their app works on my phone without crashing every time I try to create an account. Supposedly a flash-based web UI will be available at some point soon.