#i need subs but its all good. the seiyuus are nice

[metiredlr]

THIS is the exact moment Endou rizzed them both up

[sarazanmai]

Stuff I loved in 2018.

Its that time again. The end of a year and a look back on all the stuff I enjoyed. Honestly I almost wasn’t going to write this because I feel these posts are a lot of effort with very little reward, but there was a lot I experienced this year that I think was interesting and worth sharing. So let’s go.

Roger Ebert once said “artistry can redeem any subject matter”. While I’m not sure any subject matter can be salvaged through an artistic eye, it can certainly help. If someone approaches a certain material with a clear vision and purpose to what they do they can create something truly fascinating. The Monogatari series is a very strange one. Its told in a non chronological order, there’s characters who say they’re one thing and reveal themselves to be something else, there’s a lot of references to other anime, the visual style changes sometimes radically, its incredibly meta, some moments of fanservice have a deeper meaning to them while others not so much. Me personally I think the series goes through periods of being brilliant as well as periods where it just is not up to the same standard as before. That said I kind of like that, I like that you go through so many different moods and style shifts. Not everyone will like that, some will get frustrated with the weaker seasons, but for me I think it all comes together and really made for something I won’t forget. I watched the entire series within a week and then later in the year I rewatched it all barring “Koyomimonogatari” which is one of those weaker seasons in my opinion. Despite its bulk, despite its tendencies, the Monogatari series just kept me hooked.

There comes a time where we all must accept certain truths. One of them is a lot of you don’t really understand mecha. I still see all of these reviews and comments claiming that mecha before “Evangelion” were all just light fluffy Saturday morning cartoon fare with little substance. This could not be further from the truth. The Gundam franchise from the very beginning was serving what I am going to refer to as a human element. It was not this soulless creation who’s only goal was to sell model kits. Whether it was Amuro’s PTSD from piloting the Gundam or Kamille and his tragic romance with Four or Char’s true motives during the original series there was always more going on than just giant robots shooting things. This isn’t even taking into consideration other installments like “War in the Pocket” where its a story of war from the point of view of a child and soldier. I have not watched every Gundam anime, I am sure there are some that were just there to exist as another installment in the franchise and didn’t necessarily push the franchise or genre into new areas. But what I have seen in “Mobile Suit Gundam”, “Zeta Gundam” “War in the Pocket”, “Unicorn”, “Iron Blooded Orphans”, and even the polarizing “ZZ Gundam” which I admittedly dropped were all very interesting and very unique experiences. Tomino really hit on something when he created the series and now we’ve come so far that we have a franchise so massive and large it needs an entire wikipedia article devoted to its cultural impact.

Once again, mecha that came before “Evangelion” were still displaying that human element many critics are convinced wasn’t there. In “Macross” its very prominent to the point where it feels like a driving force to the entire show as well as its film “Do You Remember Love”. We spend as much time with the characters and their developing relationships as we do with the mecha battles. The emphasis on music and culture as something that can create a change in the world is one of the themes synonymous with the franchise. While there certainly were times in the show where it leaned a bit into a comical area, I didn’t mind this. It was a show aimed at a younger audience and was trying to communicate these themes on their level so at times things can be a bit silly, but I appreciate what is being said so much that it does not feel like an issue. The heart is still there, the human element is still there. And more complex and serious sub plots are there too. Regardless when it comes to the film “Do You Remember Love” and the OVA “Macross Plus” things were certainly approached with a more mature voice, bringing the franchise to new places. I watched this prior to any Gundam anime in an attempt to get a better feel for the mecha genre. I wanted to expand my tastes and I’m very happy I did because not only did I love this I also want to really explore the genre now more than ever.

With the release of “Lupin III Part 5″ this year I was really turned onto that franchise. I ended up getting this massive itch to explore it when that anime wrapped and while not everything I found was a masterpiece it was a worthwhile endeavor. There’s something to Lupin the character and the series at large that manages to be both fun while also evoking a sense of coolness in spite of his goofiness. It was interesting to go through the various TV series and the movies and some specials and get a sense for how its evolved through time. Rewatching “The Castle of Cagliostro” I really enjoyed it a lot and other installments like “The Fuma Conspiracy” and “The Hemingway Paper Mystery” were hugely entertaining. I really liked “Lupin III part 4″ and “The Woman Called Fujiko Mine” too and the original “Lupin III” anime. I can still hear that voice singing “Lupin...he’s a nice man...but he’s cool...”. And objectively speaking green jacket is best jacket. I feel like this is a series that has undergone so much evolution through the various people that came in to work on it that there’s bound to be something that appeals to somebody. You just have to find it.

I spent a lot of time ignoring “Gintama” and its a bit of a shame that I did because this is a really fun series. Despite how long it is I really didn’t feel like it took me a terribly long time to finish it. And even though its goal is more on the comedic side of things, the series surprised me with how strong of an emotional punch it can provide. The cast of characters is one of the most likeable and fun that I’ve seen in a while and the seiyuu cast was very impressive. Everyone plays their character well and I get the sense they really enjoy working on it. Akira Ishida in particular seemed to really get a kick out of playing someone as ridiculous as Katsura when so many of his other roles lean more serious. And of coarse everyone loves Tomokazu Sugita as Gin. His voice just feels so right for a character like this and it was great having him for something this big when in other anime I’ve seen him in he’s only around for so long. I’ve also got to give the series credit for its female characters. There’s a really sturdy amount and they’re all occupying their own place in this world with distinct identities. This is something that makes this world feel more alive and expansive. Kagura is a character I need to applaud for the fact that she wasn’t there for some sort of lolicon fanservice or to have a really awkward crush on Gin or Shinpachi. No she just cares about food and her dog. What a queen. Speaking of Shinpachi he was the MVP of this series, good boy. And there’s our Shinsengumi boys and of coarse Gin himself, so many great characters. I am sure a lot of people look at how much there is to “Gintama” and get nervous at the size of it, but there’s really no need to. When it clicks with you then there’s no putting it down.

“Showa Genroku Rakugo Shinju” might be one of the greatest anime in recent years. It takes you through so many periods in this man’s life and the people around him and manages to hold you the entire way. Once again Akira Ishida is someone I need to give major credit to. He’s a very talented seiyuu and in this anime his performance was so impressive I was almost beside myself. Given the performance style the series is built around the cast all needed to be really great at reciting these stories and articulating them. And for the scenes where the characters are not on stage, when the interpersonal drama comes out, everything just hits in such a powerful way. I can’t remember how often I cried during this anime, but it never felt like I was being manipulated. It all felt as if it came through organically and easily. Even more subtle scenes like a character finding out he’s having a child hit on just the right emotions. If you are in the mood for a fantastic character driven drama this is absolutely one I’d recommend.

Speaking of character driven drama “Sangatsu no Lion” is another one to tune into. It initially presents itself as a very intense and dark story, but as the viewer stays involved you find that this is not about wallowing in self loathing but healing. The family that has taken this very troubled young man in and helped him navigate through his mental illness is so likeable and endearing. You find yourself wanting to see him get better and hope that these girls, as well as the other shogi players, find happiness for themselves too. Its not always simple though. There are ups and downs to the characters and their arcs, but it never feels bitter or angry. It feels like reality. Over the coarse of its two seasons it manages to do what so many other shows about a character with depression fail to do. It never feels exploitative or like it has no sense of how to handle such a topic nor does it feel hopeless. As difficult as things in Rei’s life can become you know deep down this isn’t the end of the line, things can get better. It also does a very good job at holding your attention whether you understand the intricacies of shogi or not. You’re told what feels like the essential basic rules to the game and you aren’t thrown into a state of culture shock if you’ve never looked into the game before. I feel like what we have here is a modern masterpiece and more people have been watching it and celebrating it as a great achievement and that makes me so happy.

“Galaxy Express 999″, pronounced “three nine” because why not, is quite the space opera. I watched every episode of the original TV series as well as the two films directed by Rintaro and while they have some flaws or areas that did not age well, they’ve remained famous for a reason. The TV series did a really great job at pulling at your emotions and showing you different worlds. Some felt similar to others, but then there’s so much creativity in other areas. The concept of a space train was inspired by the popular Japanese children’s book “Night on the Galactic Railroad”, which would receive its own anime adaptation, and what Leiji Matsumoto did with this inspiration ended up taking on an identity all its own. You really feel for this bond between Tetsuro and Maetel. You spend so much time wondering just who Maetel is and what her goal in all of this could be. She’s kept just vague enough where I feel we were told all that we needed to. Tetsuro is someone I’ve seen reviewers describe as a little frustrating due to his naivete, but he’s a child. It makes complete sense for him to place his trust in the wrong person or make a mistake like he does. Masako Nozawa, the future voice of Goku and all his male relatives barring Raditz, voiced Tetsuro and I think she really brought a strong likeability to the character. We feel for him and also have a lot of fun seeing him travel through space. Its hard to say what version is stronger, I’d argue the show but know its not easy to recommend something that hefty. Whether someone watches the films or the show or both I think they’re still getting something great out of it.

And they say you can’t sum up a show in one image. So “Madoka Magica” what are we to do about you? Its kind of hard to explain, but I rather purposefully chose not to watch it for this long. Mostly because I was tired of the hype and the fandom basically pulling an “Evangelion” and acting like no magical girl anime or manga prior to this served emotions. But its presence never really died, this anime is almost a decade old now and people still care. And while I don’t regret not tuning in while it was running, I am very happy to have experienced it on my own terms. It gave me one of my new favorite characters with Homura, its visually stunning and marvelously directed. the music is so enchanting, and the story really is good. I think the show from start to end was a great watch and really kept me going and the bittersweet nature of it did work for me. As far as the movies go I did watch “Rebellion” and while I think its good it does complicate what the message to the series is in my opinion. Either way its just the same as “End of Evangelion” where I don’t see it as canon. I think the big question a lot of people have is if this lives up to the hype and I’m not totally sure how to answer that, but it is an anime worth your time all the same.

This will be easy. I have a review already written out for “Slam Dunk” so if you want my more expanded thoughts there you go. This really is a fantastic anime.

Last year I watched the movie “A Silent Voice”, but failed to put it in my year end review out of pure laziness. I am not making that same mistake again. “In This Corner of the World” is a film I am very grateful to have seen. Its a very interesting take on a WWII story. Not that we haven’t had movies about the war from the perspective of a civilian before, but there is something to the way its approached through our protagonist that feels especially powerful. She experiences so much during those years and tries her best to keep living with keeping her family alive as her main motivation and eventually is met with tragedy. Its produced by a studio called Mappa who’ve gained a lot of attention for “Yuri on Ice” and this year’s “Banana Fish. I did not like those anime very much, but I really loved this film and have to applaud them for trying different types of stories. I hope the projects they have lined up for 2019 are as enjoyable as this. I’ve heard the director has an interest in releasing an extended cut and if that happens I’ll be very interesting in seeing what it offers.

Again I will not make the same mistake twice. “A Silent Voice” was directed by a woman named Naoko Yamada. She also directed “K-On” and “Tamako Market”, two series that made it on my post for last year. She has an incredible talent and in my opinion is the director in anime to watch. After the success of “A Silent Voice” a lot of people wanted to see where she would go and what she gave us is nothing short of amazing. “Liz and the Blue Bird” is a film more people need to pay attention to. Those who’ve seen it adore it, fans have given it very high scores and glowing reviews. But I think this movie needs even more attention beyond that because compared to movies like “Doukyuusei” this feels like it made a smaller splash in the community. Yamada’s approach to love and drama is so effective without being forceful, you really feel for these girls and the longing between them. Yamada is a director who cares deeply for respecting the emotions of her characters which is why she has successfully created so many famous emotional scenes without them feeling melodramatic or feeling staged. This is especially clear with this film where she manages to communicate everything we need to know, but in very few spoken words. And the animation as one expects from a Kyoani project is just lovely. It also manages to work very strongly with its blue toned color palette. So many people make these blue toned movies look dreary, but not here. Things still have a brightness to them and even a warmth. I feel very lucky I was able to see this movie this year when so many anime films take so long to be made available elsewhere. When it reaches the US on bluray I am definitely buying it.

When it comes to the seasonal TV anime for the year, this was my favorite.”Sora yori mo Tooi Basho“ or “A Place Further than the Universe” is a very interesting installment in the “cute girls do blank” genre of anime. Here its cute girls go to the arctic. It sounds like a weird premise to a show, but when you see it put into practice its impressive how much you feel invested in these girls and what they’re doing. Its directed by a woman named Atsuko Ishizuka who was once identified as one of the great talents at the famed studio Madhouse. I think, like Yamada, she manages to work within these character heavy stories while avoiding any unnecessary melodrama. A lesser director would have made some scenes so cheesy or so over the top sad and that can take you right out of the experience. At first I was unsure of how big of a hit this anime would be given how many huge shows came out this year, but its managed to top the bluray sales in Japan for quite a while now. I feel really happy it became such a success. People say the cute girl sub genre is played out and that if you’ve seen one you’ve seen them all, that is not true. Sometimes you need a talented director, an off the cuff premise, and you can get something fresh out of a genre that sometimes over saturates the market.

“Pop Team Epic” is an anime the like of which we’ve never seen before. And we will never get it again. A lot of people have said that in order to understand or get the jokes you have to know what it is they’re parodying and that really is not true. This isn’t referential humor like in “Gintama” where the impact of the joke relies on you knowing that material. If you don’t know "Jojo’s Bizarre Adventure” you won’t get it when Gin references Joseph and Caesar’s training with Lisa Lisa. Here the approach to the comedy is so surreal that if you don’t know the reference it just registers as a bizarre thing they did. Sure I know they referenced things like “Hikaru no Go”, but someone who doesn’t would just think its “Pop Team Epic” being weird again. And if you do know what they’re referencing then you know the layers to the joke. The anime is also in a lot of ways very visually strong to the point of being almost avant-garde. It was expensive and time consuming to make even if people don’t realize it. All of these different animation styles, the mixed media approach to certain scenes. They even brought in Miyo Sato, the woman who does the paint on glass animation for “Mob Psycho 100″, to work on the show for a few segments. To a lot of people this show was a meme, but in a lot of ways I think it was doing more than that. We’re not going to get another season or anything out of it, but I’m happy something this strange was able to exist and grab hold of such a large scale audience.

I have an in depth analytical review out for "Berserk”, if you would like to read such a thing there it is. However it does contain spoilers. My unspoiled and condensed opinions are that its fantastic, with gorgeous art, well developed and amazing characters, and tons of soul. Its very intense and not exactly for everyone, but its definitely a masterpiece. Unfortunately it also has a very foul fandom which turned me off reading it for years. I genuinely expected my review to garner a lot of negative feedback given how this fandom is, to my surprise this never happened though. If you can remove the toxic fandom from the equation, which is surprisingly easy to do, then you’re golden. Also this is a romantic manga and don’t let anyone tell you otherwise because they’re cowards.

“Golden Kamuy” is fantastic as a manga. I watched the anime too, but I feel like that works best treated like a companion piece to the manga. I’ve best described the plot as “One Piece” meets “Silence of the Lambs”. This is also something that probably comes closest to evoking the same kind of strangeness that “Jojo’s Bizarre Adventure” has. The best way I can put it is that characters will say things that are weird, but nobody acts like they’re weird. There is also a lot of information fed to the reader about aspects of the Ainu culture and hunting and weaponry. At first it feels as if you’re being given a lot of information on topics that aren’t going to be important, but they end up having more significance than you realize. The same applies to the characters. I was surprised at how many characters I expected to be left behind were made relevant later on. And they’re memorable. Sugimoto, Asirpa, Shiraishi, Ogata, Tsurumi, Tanigaki, even that little girl Osoma was memorable. One thing the story really excels at is how you have a large amount of characters chasing the same prize, but with their own reasons. Nobody loses sight of their own motivation, some we still haven’t learned their true gain in all of this, and we see how this effects the flow of the plot. For such a large cast this would under a different writer feel very cluttered, but not here. And visually the manga looks amazing. Noda’s art is a little odd at first, but when you really look at it he’s got a lot of talent. Everyone looks distinct, the backgrounds look great, the animals look good (we’re not gonna discuss the anime’s CGI). If I had to recommend just one I’d say the manga as the anime does skip material, some due to networks being incapable of showing such things others honestly feel skipped because they wanted to streamline the plot at the expense of characterization and world building. I do still recommend taking in both as this sort of bundle deal though because the anime really is entertaining and has such a strong seiyuu cast it would be a shame to pass it by completely.

Takehiko Inoue is an absolute master at this stage in his career. In an interview with Akira Toriyama he was called someone with a real sense for manga and its amazing to see how he went from “Slam Dunk,” where he had not yet drawn a bare foot, to something like “Vagabond”. The art in this manga is deserving of all the praise it gets, its so detailed that it just leaves you stunned. The story also shows just how on point he is as a writer. I’m sure through the many movies and shows about Musashi Miyamoto a lot of Japanese audiences have a certain way they tend to view him and then here comes Inoue offering a different approach to the man. One where he is still working towards an enlightened state and trying to reign in an animalistic rage. Working in themes of being the strongest under the sun, what it means to live for the sword, how these choices effect the people left behind, its really fascinating stuff. There’s even an entire long stretch of chapters where we break away entirely from Musashi to focus on a young Kojiro and his adoptive father, its a very sudden break away yet it doesn’t feel random or jarring. I think because Inoue knows how to craft compelling characters so effortlessly it made that shift in focus work as well as it did. Its one of the most successful manga in terms of sales and with good reason, its a masterpiece. This is one of those manga that currently is on an indefinite hiatus and I can only hope Inoue is able to finish it. And if for whatever reason he can’t then at least we can say we got what we got.

Behold your new shonen king! Not Izuku, not Hinata. Open your arms for the next great shonen! “Dr. Stone” is a manga that at the moment doesn’t have the largest of audiences, but everyone I know who’s read it absolutely loves it. And with the anime being released next year I can only hope that will be the push that people need to experience it. The story is focused very heavily on innovation and discovery which feels so fresh compared to a lot of things Weekly Shonen Jump has been producing as of late. And the level to which things have been thought out really impresses me. In recent chapters it was revealed that in that period of time humanity was petrified the terrain has changed drastically and the maps from the past are now worthless. So that means finding a way to survey the land and get a better sense of the world. Its so exciting to read this sort of thing. And the characters are so fun. Senku is a very interesting character to place at the center of this story. He’s a genius and approaches things as logically as possible, sometimes he can be a jerk and self serving, but he’s always going to do what he can to further civilization because he just loves science that much. Chrome is a really funny character to bounce off of him. We recently were introduced to a new member of the cast that has great potential. I like Asagiri. Its written by the same mangaka behind “Eyeshield 21″ and while I have not read that I can say through this manga that he’s really got a great sense of story telling. I also really like Boichi’s art, he pulls out some hilarious extreme faces and also some really dynamic scenes. Next summer can’t come fast enough because I am so hyped and ready for this anime to start.

“Kimetsu no Yaiba” is another manga that will be getting an anime next year and I am extremely excited. If I had to compare it to anything I would honestly say its like if “Fullmetal Alchemist Brotherhood” and “Hunter x Hunter” got crossbred. Its mangaka Koyoharu Gotouge really feels very influenced by Yoshihiro Togashi in both her writing as well as some of her character designs. Togashi actually said this manga along with “Dr. Stone” is one of the ones in recent years to read which I’m sure made her thrilled to hear. I feel like this is something that does a lot of the things people generally want to see in anime and manga. You have a strong sibling dynamic at the center of the story (and it isn’t one of those relationships), there’s female characters that are involved with the action and its treated like a real fight, there’s themes of family that are always really endearing, aesthetically its very beautiful while still being able to pull off a more intense body horror style moment, fanservice aside from a couple moments is at a minimum, and it is also very funny. There’s a lot of personality to our main characters as well as the Pillars that we have gotten to know and it doesn’t feel crowded. She knows when to use a character and when to keep them out of a certain arc. She also has a lot of respect towards Nezuko who I feel another writer would have shoved aside in favor of her brother. But Nezuko is shown to still retain her autonomy in spite of her predicament, she fights and is sometimes vital to defeating a demon, and the more recent events in the story show a lot of potential for furthering her as a character. The anime is to be released for the spring and its made by Ufotable, based on the PV we have at the moment this show will definitely be gorgeous. I am very excited for what they’ve done with this material and I can only hope other people will be watching too because I do not want this to be a series people sleep on.

“Revolutionary Girl Utena” is a masterpiece. I have frankly a really complicated opinion of Kunihiko Ikuhara. A lot of people think he can do no wrong, I am not one of them. There’s things that happened with “Sailor Moon” that I know weren’t his fault, but there’s also things that happened during S where he had the most control over the project that still bother me. I can never know for sure if these were his ideas or things Toei forced onto him as he did leave the show because of a lack of freedom to do what he wanted, but that said when he really commits to a project he can produce something amazing. He has said many things over the years regarding Utena and a big takeaway from them is that he does not want to tell us what to feel, he wants us to decide for ourselves. I think what Utena fundamentally is about is deconstructing romantic tropes, analyzing chivalry, and the lies men tell women. The series gets more complex and symbolic as it progresses until we get to the movie “Adolescence of Utena” where its refusing to hold your hand any step of the way. Unlike with “End of Evangelion” or “Madoka Rebellion” the “Adolescence” movie is not an attempt at a different ending, but more of an alternative retelling of the story. Its a pure visual masterpiece and a movie that I honestly think deserves to be seen with or without the TV show. That said I would strongly recommend both of them as not only is it one of the greatest shojo ever, it is also Ikuhara at his finest. Moo.

[courage-a-word-of-justice]

BnHA 49 - 50 | Hinamatsuri 11 - 12 (FINAL) | MSO 12 (FINAL) | Boueibu HK 10 - 11 | Rokuhoudou 11

BnHA 49

“Tsukauchi…All Might…” – Come to think of it, what is Tsukauchi doing at this moment in time, anyway?

“…the ones who are smiling are the strongest.” – This reminds me of what Atro Spyker said in Rokka no Yuusha…“If you want to be strong, smile! He who can smile, even when he's so sad that he wants to die, when it's so painful that he wants to give it all up and run away, is the one who becomes strong.”

Why is there a person wearing a LLENN cap in the crowd, anyway? Is that intentional?

“What is with that pitiful back?!” – You can really see parallels between Bakugo and Izuku now between Endeavour and All Might…hmm.

Gran Torino in his prime…looks like Knuckleduster from Vigilantes somewhat.

Interestingly, the word daikokubashira (central pillar) comes to mind with all this talk about pillars. Normally I’d use that word in conjunction with a nuclear family and apparently the word can be used in a more literal sense with a house. However, in both cases, All Might is the pillar to the structure he made with society itself. Now that he’s pretty much done for, it’s like a Jenga game’s end. Everything falls apart. (Hey, I have a post on this topic in progress! Probably shouldn’t have mentioned all this…)

Hypertrophy.

All for One looks…normal when he’s dead. I thought he was creepy when he was still up and about, but now I’m no longer afraid. Ha…haha…

Hey, it’s Uwabami! Haven’t seen her in a while.

Oh, the guy in the ED is Eraserhead with his hair slung back.

Hinamatsuri 11

One more episode until we have to say goodbye to this show…I really liked it while it was around.

Isn’t Rairaiken the name of the Chinese restaurant Anzu works at…?

Wait, so Nitta’s sister knows karate?! What?! Why didn’t anyone mention that earlier?!

This scene with the ashtray reminds me of Nitta’s senpai, although I forgot what the senpai’s name is…wasn’t he in the previous episode though? I really do have a terrible memory sometimes, huh?

“Is he really just a regular nice guy?”

It’s basically the Ember Island Players all over again! Hahaha…

Hina’s shirt says doutoku. The only kanji combo I could get for that means “morals” or “morality”.

What’s up with the line about yaks, anyway?

Hina’s shirt says sugosugi = “too awesome”. Then it said “haha”, which could mean her mother…but I think it’s more the English meaning, out of context.

I’d read in an interview on Seiyuu+ that “Anzu is an angel” and that Nitta wanted to keep Anzu instead of Hina, but I never thought it meant either so literally…

“Reality (Hina) is coming home.” – LOL!

What…? Hina’s gone missing, in the mountains? What if Ikaruga took her??? Oh dear…

Boueibu HK 10

Well, there ain’t nothing more manly than sleeping in nothing but your birthday suit on a futon…right? (kidding)

I laughed so hard at Kyoutarou sneezing. The “person’s drowning” trope for fanservice at least goes back to 2004 or so – DN Angel (the anime, I believe) did it, I definitely remember that.

Poor Kyoutarou is being used as a demo dummy in this set of illustrations, LOL.

Everyone’s using the phrase nechatta, which holds some interesting implications. You see, the meaning of chatta means either completion…or the fact the action being done has negative implications. In this case, it’s both.

I think Kyoutarou called Karurusu “Karuru” or “Karu” or something.

Turtle-kun is so smol, I wanna cuddle him!

Hey, even the subs use “Martha” now…I’m so confused, still.

The word the old men want is “monster” (kaijin), but then the other word they thought of was katsukare- (pork cutlet curry), so I can see why the word was bent out of shape like that now. Notably, Karurusu didn’t age at all…

Taishi’s using the word yancha (naughty), which basically confirms he was a delinquent when he was younger. Just in a very roundabout way.

Notably, Nanao hasn’t stopped drinking tea after all those years, and Karurusu seems to have a very very long lifespan if he comments on it like that…

Inago = locust. Ichigo = strawberry. The former is correct (it’s in katakana, so there’s one stroke’s difference between na and chi).

Wow…spoilers told me I should’ve seen that coming, but watching old men transform is not my gig, so thank goodness I was spared from that ordeal…

Hey, we’re back to our old tradition of dark skies for the finale…although we didn’t have that in s2, eh?

They don’t even have voice roles for smol!Ata, Ryoma and Kyoutarou! That’s unfair!

The reason we all call the show “Boueibu” is because the staff did it first…so here’s (the next ep preview) just some extra proof of that.

MSO 12 (FINAL)

Noticeably, Yamo uses the word taoshite (to collapse), so literally his demand is to “make me collapse”…it’s a bit weird to translate it like that, which is probably why the subbers went with a different translation.

What did Mohiro ever do to be hurt like this, anyway? He doesn’t deserve to be hurt, Yamo…dangit. This is why you can’t be MVP anymore.

More montages…*sigh*

What the-orbefjvpenfp, Hyoue?! Don’t ruin the moment, regardless of whether it constitutes yaoi or not!

So…uh, somehow demons are talked about in terms of code? Y’see, this is why you need a good garbage collector.

I love how they were just called “The Hyoue Squad”, even though this show is called “Mahou Shoujo Ore”.

Gah! Anime-original characters steal the spotlight again…well, there goes my hopes for a good MSO ending, eh?

To think that Michiru’s male form is voiced by Kisho Taniyama – the guy who voiced Chuuya (Bungou Stray Dogs) – though…I still don’t match those voices with each other in my head, y’know.

…and somehow they were in Tokyo Tower. Of course, because Tokyo is the centre of the universe (sarcastic).

The thing about this show is that it’s so off-the-wall it doesn’t quite make emotional moments work, even ones like Yamo’s final handshake…sure, it kind of hit me in the feels because I’ve known this series for longer than some people, but not really…if you get what I mean.

I think Astral was thinking about this during one of the other episodes, but…they’re only bringing the topic of who Ore is to Michiru now??? Wuh???

The experience of this show wasn’t as bad as I was making it out to be in the beginning, but it wasn’t the most perfect thing either. I would rather they have done more filler with Saki and Sakuyo instead of coming up with anime-original characters to fill the gaps, but I’m also fine with what we got in the end...it’s a complex set of feelings that I don’t think I’ll ever get over. Anyways, that’s another show over and done. See you next time!

Rokuhoudou 11

Demi-glace.

Gotta love Sui’s Gendo poses! By the way, ponzu is some kind of citrus sauce.

This isn’t a particularly standout OP, but I might miss it for a week or two after this show’s end…I don’t want this show to end, actually. But as they say, be careful what you wish for.

(I still have no idea why they say “girls be ambitious” in the OP when the main stars are dudes…)

You might’ve noticed the one I like best from Rokuhoudou is Tokitaka. His voice, his hair, his caring nature (as demonstrated here with the old people), his ability to cook great food…*sighs dreamily* what a man he is!

You might not know this is you haven’t read the character pages for the show, but Tokitaka runs a pottery class. That’s why Osada and co. call him “Sensei”.

“Nagae”? I’ve never seen Sui refer to Tokitaka by his last name before! This is really something!

Oh dear, more Hotel East Side…notably, Osada is using very polite words (keigo) since she’s not really familiar with Sui.

There’s a shot where the light from the window streams on to Sui and you can’t tell if he’s wearing a kimono or a business suit…ooh, that must be symbolic in some way, y’know?

Mirin is a type of alcohol.

Rokuhoudou keeps surprising its customers…I wonder if I, as a blogger, can keep surprising people that way too…then I’d be set for life.

So that’s how Tokitaka uses unused stuff from his classes (using them at the Rokuhoudou)?! Wow, didn’t see that coming!

Osada looked like she was gonna cry, and that almost made me cry for a second!

“My father built East Side Grande.” – *spits out half-eaten food* Holy shiitake mushrooms! Rokuhoudou is best enjoyed with food, but if I keep spitting it out, I’m going to have to clean up around here…(kidding)

I didn’t even realise half the episode had gone so quickly! Yipes!

Hinamatsuri 12 (FINAL)

“It’s snow big deal.” – I get the feeling it was meant to have a pun in Japanese, but I don’t hear one when I listen to the audio…

Oh, there’s no Utako at the end of the OP! I kept skipping it, so that’s why I never knew…

Interestingly, the yuki is in kanji and the rest is in hiragana, which probably means it has to be a riff on the show’s name and not referring to any particular snow festival in particular.

Wait, forcible shipping? C’mon, they’re 13! That just lowered my opinion of the show somewhat.

Doesn’t this remind you of when Mao got stranded on the island and then made Hina go “Feed me”? She was on the ball after all…

Geez, that kid on the left (either Kengo or the other guy) is sadistic…

“Although you’ll be getting a roe deal.” – This was a pun on ikura (salmon roe)…although I can’t tell exactly how the pun works…

Is this Namahage Town, or what? What is up with all the namahage puns? Can someone tell me???

Wait, if credits are appearing here, then why is there half an episode left…?

Montage time…*sigh*

Why did a shot of Anzu appear (LOL)?

The yakuza guys are still watching that documentary?! What (LOL)?!

The horse seems to be called Eiyon Size…or something like that.

Hey, I think it was pretty accurate for “Oi, get your hands off her!” or “Oi, young man, don’t touch her!” in Chinese…or something like that. It is pretty garbled though…

LOL, Atsushi’s screaming in English though…”Mayonnaise is Atsushi!”

The monk’s name is Shinyhead (LOL)!

Ehh? Ain’t this the same scene from the beginning? Aw man, don’t make it like DN Angel…

“Watashi no smartphone ga!” Gets me every time, man.

In the end, Pruny Shinyhead just wants money, eh?...Haha.

Wait, so Pruny Shinyhead is like Mao like the boss man to Hina, huh?

That’s an actual plane company written on the side of that plane! Lufthansa! (The writing gets cut off when it’s at its most visible, though.)

So…in the end, we don’t discover what happened to Hina and Anzu three years later. Read the manga…I get it. *sigh*

BnHA 50

Noticeably, the sign says “stop!” in katakana.

I read on the wiki Shouto’s sister is called Fuyumi. That makes sense if she has an ice quirk like her mother (fuyu = winter).

“I can’t accept it. Not like this…” - Once again, you can see Bakugo in Endeavour…

Yap! (Yahoo!) News, LOL. The site doesn’t even bother parodying the purple or other style things about Yahoo!, though.

They…actually told us what happened to Ragdoll and Best Jeanist? That’s kinda sad, y’know?

Jiro’s parents are rockers? Well…that makes a lot of sense, actually.

Didn’t Brian the Sun do…yep, BnHA ED 1!

I’ve never seen a kid embarrass their dad before. It’s amazing…and so fresh.

Wow, Bakugo’s mum is…really something else. She’s got exactly the same temperament, I wonder how that family functions…

Midoriya’s shirt says “dress shirt”, LOL!

Inko’s feelings for Izuku resonated so strongly with me, I nearly cried…nearly.

I just realised…that computer in the flashback is a Windows 10. It’s got the menu and everything!

Wait…there’s an extra bit after the credits! The credits are way too long! Keep watching, keep watching…

Tartarus…? Like Alcatraz or something?

Hmm…in a lot of stories, the mentor dies. Here, the mentor doesn’t die. Good point, All for One.

Boueibu HK 11

Can I stop screaming “No duh!” every time they say “This is bad!”?

Manza the delinquent is exposed!

They’re attaching –san to the end of people’s magical aliases! Fabulous, if I do say so myself.

“We’ll stand up again and again!” – Uh, Karurusu? Kyoutarou’s sitting down…(LOL)

And…skip the transformation sequence again…and skip the purification sequence again…*sigh*

Notably, the kanji word on the wall not too far away from the pictures is “hope”.

*screams* My LOVE! boys! They’re back! (I knew they were coming because spoilers said they would, but this…this is wonderful…)

“…fail to realise…”

This entire conflict…it really is Kin-chan all over again.

This pink pigeon…is adorable! Like Turtle-kun last episode!

You can clearly see a purple hand (paw?) taking Kamopapa away, which is clearly Wao, that scoundrel of a lemur.

*voice caught in throat as Karurusu cries* Karurusu…don’t cry…

Does this mean the thing Ata wanted all along…was a handshake?

The next ep preview says "Danger is approaching King Kamopapa! Now isn't the time to be arguing!", by the way.

[yeonchi]

Dub Logistics Part 23: The Hypocrisy of Greed

“Why is it justified to call out anti-consumer practices in games, but greedy to call out the omission of dual audio options in Japanese games?”

If there’s one thing I’ve learned last year, it’s that there are fans of Western games who claim to be against “unfinished video games” which can be “completed” with pre-order bonuses, season passes and DLC while also being against the inclusion of English or Japanese voice options to compliment whichever language is in the game first. These are the types of hypocrites who should probably never touch a Japanese video game lest they embarrass themselves with their hypocrisy.

This seemingly irrational paranoia comes after a debate and feud I had with some people in that exact category last year, who I will not be mentioning by name. The fact that they disagreed with my views and opinions on game localisation, yet being against corporate greed in the gaming industry, was strange to me at the time, but in reflection, the events of the debate and feud were no better than mere pettiness, sock puppetry, baiting, flaming and virtue-signalling on both sides. Some of the points they made, though convincing, were questionable at best, so if you decide to revisit my older posts and see what they said, then I recommend that you take their points with a grain of salt.

This instalment isn’t about those guys, however. I couldn’t care less about them now and to the other party(ies) from the debate, I’m sorry if you were expecting to see more inflammatory comments about you being “dub haters”, but it’s not all about you - chances are that there could be other people who share the same hypocritical views you do. Just between you and me, however, I’ve heard about the recent Count Dankula case and sentencing. While it is great to hear that he only got fined £800 instead of being sentenced to prison, the fact that he had to go to court over a joke about a political ideology that should have gone extinct after World War II is absolutely outrageous. In spite of what happened between us, I think we should be grateful that we’re not in the UK, we’re not that famous (let’s face it) and that our feud hasn’t escalated to a point where either of us have to be put on trial for our bullshit. There are many other famous people who are worse than any of us and I think that the world should be focusing more on them and not on any petty things like these. That is all I am going to say.

Anyway, back on topic now. In the past, I had learnt that Western gaming companies, like EA and Ubisoft, are just some of many other culprits involved in anti-consumer practices like micro-transactions, season passes and “essential” DLCs for the sake of having a “complete gaming experience”. However, I honestly thought it would never happen to Japanese games until I learnt that Dynasty Warriors 9 and Dissidia Final Fantasy would be getting season passes. That is how blissfully ignorant I was until recently, when I realised that all gamers should be united against corporate greed in gaming, whether it be in the game itself or in localisation. The fact that people are still dividing themselves and others over voice preferences today is absolutely insane.

The reason why I wanted to write this instalment was because of a couple of posts I did in February regarding Dynasty Warriors 9. A week after I posted my crosspost from the English Dubbed Game News page, a fan of mine (and yes, if you, the people on the other side of the debate and feud, are reading this, I actually do have fans, contrary to your “popular” opinion) sent me a link to Jim Sterling’s video titled “The Dismal Degradation Of Dynasty Warriors” and I wrote a little follow-up post on it. In the video, he mentions Koei Tecmo’s negligence of English dubbing in their newer localisations along with the “money grubbing” DLC in Dynasty Warriors 9. It should also be noted that Jim has posted some videos regarding his views on corporate greed in the gaming industry.

At the end of the post, I said, “On a side note, it’s a shame that some people (or should I say, hypocrites) will agree with some points in Jim’s video while disagreeing with other points.” Someone who read the post was seemingly confused by it, thinking that I said that it was hypocritical to not agree with everything Jim said in the video. Though it was partly true, I clarified to him my view that people who are against “money grubbing” DLC, while also calling other people “greedy” for wanting games to be localised with an extra English or Japanese voice option, were hypocrites. The other person replied saying that even though both cases were related to the umbrella category of “corporate greed”, they were very different things - the former was about getting consumers to pay for a more complete gaming experience and the other is just the company being cheap in a way that doesn’t cost consumers any money.

Here’s my understanding of this logic - the original release of a game, whether it be in Japan or any other region, is the actual game itself, while localisations are considered re-releases of the game with “extra features”, namely extra subtitles or voice tracks. Realistically, publishers can go without localising some of their games, but I feel that in recent years, publishers are forcing themselves to localise as many games as they can in the shortest amount of time possible. This results in corners being cut from localisation and as a result, we get games that aren’t dual audio, aren’t fully dubbed or aren’t translated up to par.

And look, I get the argument about budgets and that, but that’s not the point here. The point is that localisations, translations and voice actors can have as much significance in a game (or anime or whatever) and its respective franchise as a whole. If it weren’t for that logic, a lot of games (and animes and the like) wouldn’t be as popular as they are today and a lot of English voice actors (and by extension, Japanese seiyuus) wouldn’t be revered today for the characters they voiced recently or even years ago.

Some people believe that voice languages are a minor aspect of the game and that they will play with (realistically) any language that the game gives them. Like with dub preferences, the choice is entirely personal, but when opinion-neutral people try to tell others that “the language doesn’t matter”, this is teetering on fanboy cuckoldry because it disregards the arguments made by people on each side of the debate. Just because you are okay with what you are given doesn’t mean everyone should be okay with what they are given as well. For everyone’s sake, people should be fighting against corporate greed of any kind in gaming, whether it be in regards to DLC or localisation.

I’m going to play devil’s advocate here for a bit. Let’s say that Western gaming companies are claiming, or allowing their fans to imply, that their budget has become a bit tight lately, so they have to cut corners in their games or result to money grubbing measures like implementing micro-transactions or releasing “extra” game content as DLC and letting fans imply that buying that DLC will give them a more complete experience. You’re not happy with the company doing this, so you make a habit of complaining about it on social media. Later, you find that some people are calling you greedy and entitled and that you should be grateful that the company has made the game in the first place. This is the kind of stuff that dub fans and sub fans are getting on social media just because we are asking for fair representation in the form of English or Japanese voice options.

Before you derail this topic with the typical cuck response, “But nobody owes us anything, so game companies don’t owe you anything as well,” just stop for a moment and think about this. Humility is a good concept to know, but it shouldn’t be taken literally on everything because you’ll never be happy if you don’t enjoy the things you like. It would be nice if people were humble enough not to chase up the debts of others, but I’m sure that when you lend something to someone, you would expect them to give it back to you. If someone does a favour for you, then it is in good faith that you pay that favour back at a later time. As for humility in the aspect of materialism, then it is expected that if you decide to buy something, then it will be of good quality and worth of its use until you decide to buy a better version of that thing later.

When you are a fan of something or someone, you would expect to be impressed with what they put out every time. You have a right to make compliments when they do something right and you have a right to make criticisms when they do something wrong. However, something that may be considered wrong by one person can be considered right by another and thus, that is how conflicts start. If you are a fan of something that receives a lot of criticism, think about what they may have done to disappoint you or the rest of their fanbase. I’m not giving any examples here because you need to think for yourself in order to do this; being part of the sheeple will not help you in the long run because one day, you may be disappointed over a thing that you like.

If “game companies don’t owe their fans anything”, then fans don’t owe game companies anything either. The mentality that fans are expected to support everything that someone does (whether they see it as good or bad) has the potential to be toxic and so, should be discouraged. On the other hand, some responsibility also lies on those who make stuff for their fans, including game companies - they are expected to maintain their fanbase by going the extra mile to keep them impressed.

If you like an aspect of something but not another, don’t put down other fans who may like the thing you dislike. Everyone is entitled to something, even their own opinion. That being said, if you like Western games and Japanese games, then maybe supporting fairer game content while acknowledging that not all companies have the money to dub, sub, or licence the original voice track of a game is not a good idea because you’re just going to end up sounding like a hypocrite. If you’re one of those people who like to think that way, then maybe you should refrain from talking about Japanese game localisations.

If complaining about any form of greed is a form of greed in itself, then the concept of being against greed is absolutely hypocritical.

Just another reminder that I will be ending the Dub Logistics series with Part 30 at the end of the year, so if you have something you would like me to cover before then, please inform me as soon as possible.

The fact that this instalment was posted one year on from the initial debate that sparked the feud is completely coincidental. It’s really funny that I never thought to talk about this hypocrisy back then, but better late than never, I suppose.

With regards to the Count Dankula case I mentioned earlier, feel free to read up on it and do some research, because I feel that this case has set a precedent for free speech in the United Kingdom and possibly, the world. The pettiness that led to Dankula being put on trial in the first place is the same pettiness that is causing YouTube videos and Facebook pages (along with memes) to be taken down in the name of “offensive content”. The reporting systems on social media have already been abused enough in the past few years; we don’t need petty things like this to be taken to court so that victims can suffer for a long time while they await their sentence.