Interview: Yoko Ishida

Yoko Ishida has been actively singing anime songs since her recorded debut in 1993, Sailor Moon R’s ED “Otomo no Policy.” She has sung songs for series as wide as Ai Yori Aoishi, Strike Witches, and most recently the first OP for Shirobako. At the Lantis Anisong Festival in Las Vegas, in addition to her own songs she also covered the Haruhi Suzumiya insert song “God Knows.”

When did you decide to sing anime songs?

When there was an anime singer contest. I auditioned for that–and won!

The Grand Prix 1990, right? What was your winning song?

The assigned song was from Maple Town. And the free song I chose was by Imai Miku.

What was like to prepare for your recording debut with “Otome no Policy” (the Sailor Moon ED)?

At the vocal booth, I entered alone. It’s a solitary process, so when I record a vocal, I imagine that I’m singing in front of a huge audience.

Were you nervous?

I get nervous every time!

You’ve done a lot of songs. How do you choose which ones to do at each performance?

For example, like this performance in Vegas or elsewhere abroad, I choose whatever songs are popular in that local area. And I also take into account what songs fit in outdoor or indoor venues.

Do you have any hidden talents?

I don’t have any…[but] I love traveling abroad privately. Now I go abroad for work, but since I love traveling, I still feel happy.

Can you tell me which anime moved you emotionally?

My debut song was in Sailor Moon, but recently I was moved by Strike Witches. Those girls work so hard.  They fight hard and build their friendship, and that kind of story moves me.

How do you translate those feelings into a performance?

Many times that the lyrics tells a story and the girl’s emotion, so when I sing, I put emotions into the lyrics, and I remind myself of the first scene [in the story], which raises the right emotions.

I love your opening for Shirobako, “Colorful Box.” Based on what you know, how realistic is that show in showing the anime production process?

The people I know in the industry say “oh yeah, that’s true, that happens!” when watching that show. So I think it’s close to reality.

What other anime you watching?

I don’t watch a lot recently, but I did enjoy watching Strike Witches.

Who is your first music love?

My mother loved old Japanese pop songs. Lyrics were sung very clearly in the old days, so now I sing lyrics very clearly too.

Do you plan to gamble tonight?

Yes, on the slot machines!

Are you feeling lucky?

Yes I will today, since I lost yesterday. (Laughs)

Michael Huang conducted the interview, with assistance by Jeremy Booth. Raymond Hu provided on-site translation. The full interview was translated by Rome Yamashita.

Yoko Ishida
Yoko Ishida

Interview: ChouCho

ChouCho is the singer of many recent anisongs, including songs for Fate/kaleid Liner Prisma Illya, Heaven’s Memo Pad, Glasslip, and Mashiiro Symphony. She got her start singing Vocaloid covers on Nico Nico Douga and quickly established a successful solo career in recent years.

We started off by asking her about a sandwich from the Hard Rock Cafe (the concert was held there) she tweeted a picture of the day before, marveling at the size of it:

What do you think about size of the food here in the US?

It’s double the size of Japan’s.

Aside from American food, we understand you’re from Osaka. What kind of food from Osaka do you like?

I want to eat takoyaki sometimes!

Let’s go back to the start of your career. You sang anisongs even as early as high school.What anime did you like back then?

I used to copy J-pop songs then [actually]. After graduating from high school with the band I had, that was the first time I copied anime songs.

Any particular ones?

Evangelion and Aquarion–songs by Yoko Kanno and Maaya Sakamoto.

What inspired you to post videos on Nico Nico Douga?

When I was in an anime song cover band, we entered a local anime song event in Osaka. And the other band’s vocalist was posting their songs on Nico Nico, which was the first time I heard about anyone doing that.  That inspired me to do the same.

Any particular Nico Nico artists you liked?

Vocaloid composers, like supercell.

Any favorite supercell songs?

The most played song on Nico Nico was “Hajimete No Koi Ga Owaru”. [ED: Below is her cover of the song.]

Did you feel you were adding something unique by covering Vocaloid songs? They start out as a software voice, after all…

Hatsune Miku is a machine, so it doesn’t have emotion. Even without vocals, the song itself has enough charm to convey [emotions] directly, so when I did the cover, I was thinking a lot about how to convey the charm of the songs through my performance.

Tell us about how you got chosen to do the KamiMemo OP.

They were looking for a singer to do OP for KamiMemo, and I was selected from various candidates. They saw my NicoNico videos and that’s how I got vetted, and I feel I was very lucky.

How do you prepare for a performance like the one you just did?

I practiced at home a lot, and practiced English MCing. I studied English in Canada for a half year. But that was 5 years ago, so I almost forgot all my English. It’s been a long time since I went over English and I was nervous about it.

The anime you sing for features a lot of cute girls. Who are your favorite cute anime characters?

It’s difficult to say! I put a lot of energy into each anime I sing for, so it’s hard to choose. If I have to choose, it’s Alice from KamiMemo.

Do you have any image in your head when you sing?

Since it’s main theme song, I have to become the character’s feeling, in order to express.

How’s your pet rabbit Sanagi doing?

It’s very cute and tsundere! Normally, it’s cool (tsun), but when it’s hungry and begs for food, it’s cute (dere).

How did you name Sanagi?

My name is ChouCho (“butterfly”), and Sanagi means “cocoon.”

What message do you have for your American fans?

I now understand that our songs are loved even across international borders. Through this concert, I will try our best, so we can come back to the USA again.

So, last question: are you gonna gamble here in Vegas?

Probably, if I have time tonight!

Michael Huang conducted the interview, with on-site translation help by Raymond Hu. Rome Yamashita translated the interview from the Japanese.


Song Stream: Lantis Anisong Festival, Las Vegas

bamboo (milktub)


This is the first of several articles/interviews about the Lantis Anisong Festival, held a month ago in Las Vegas in conjunction with Otakon Vegas. Interviews and videos coming later during the weekend.

This article is based on the second day of the festival on Saturday January 17.

There was a certain clockwork efficiency to the Lantis Anisong Festival in Las Vegas, with the way each act came and left the stage in relatively rapid succession. It had to be, given that there were about a dozen acts reprising anime song favorites, 2-3 songs per artist, who sometimes doubled up and collaborated (as ChouCho and Sayaka Sasaki did). Despite being all managed by the same record label, a great diversity of anime was also represented, from pure shounen action (such as with the headliners JAM Project and solo performer Hiroshi Kitadani with songs from One Piece) to otaku fan service comedies (Bamboo, singing the OP to Baka Test “Baka.Go.Home”), to moe parody (ChouCho‘s Fate Prisma Iliya OP “starlog“), a cover of Haruhi Suzumiya’s legendary insert song “God Knows” by veteran singer Yoko Ishida, and even the Power Rangers theme song at one point with JAM Project founder Masaaki Endo. The presence of a stage band anchored the live musicianship consistently, with only other full bands like Yousei Teikoku needing to take the stage with their own players. Full, live musicianship is relatively rare at convention concerts, so hearing nearly four hours of actual performed music was a treat.

Sayaka Sasaki and ChouCho
Sayaka Sasaki and ChouCho

And yet this was not a convention concert in the usual sense, despite the festival’s ties to concurrent Otakon Vegas: it had its own management, ticketing, and arrangements, but both logistics and logic dictated some overlap. Its relative independence proved a boon, because the general convention audience and the audience that would “get” the majority of these songs do not necessarily overlap: there were relatively few cosplayers in the audience, for instance, and many of the songs played were from obscure-in-America properties, like the original live-action GARO. The truly committed had paid over $100 for VIP tickets, and many of them were decked out in traditional otaku fan garb: glowsticks, headbands, and coordinated gestures. Buying a VIP ticket also entitled the holder to high five the artists on the way out of the venue, a touch opportunity that is generally coveted highly in Japan, the subject of lotteries and contests. This was the Anisong Festival’s only non-Asian stop and it was Asian-style fandom that was fully on display.

Hiroshi Kitadani of JAM Project
Hiroshi Kitadani of JAM Project

As for the performances themselves: they were, above all else, consistent in their high level of musicianship and singing, with sacrificing the distinctives of each artist. Standouts include not only the highly energetic headliners JAM Project, with their excellent operatic singing and rock god poses, but the exuberant bamboo (milktub). As he sang the Baka Test OP, he clambered down from the stage and simply started mingling with the crowd–not just the VIPs!–singing all the while with his wireless microphone, high-fiving everyone. He carried and showed off a body pillow. Bamboo came off as a man who has truly embraced anime music as a culture, perhaps a job requirement given his other job as the head of MangaGamer but deeply felt all the same. Sayaka Sasaki, who we saw last year at Otakon Vegas, also gave a spirited performance, though the more restrained ChouCho slightly edged her out in vocal consistency. Both were equally charming though during their joint performance of “Enter Enter Mission!”, the ED to Girls und PanzerFaylan, who sang the OP to the Nasu-conceived PA Works action series Canaan, showed off some great choreography skills along with aggressive singing.

Yui of Yousei Teitoku (Official Photo)
Yui of Yousei Teitoku (Official Photo)

Perhaps the hardest rocking performance was given by the goth metallers Yousei Teikoku, who at one point seemed to be launching into something resembling the intro to Metallica’s “Masters of Puppets” before proceeding into one of their own songs, “Kyuusei Argyros” (the ED of Tokyo ESP). Many heads banged along. True to their image, they played the aloof, too-cool-for-school part, even during the final ensemble festival anthem “Starting Style” where all the artists took the stage at once: perhaps a bit too syrupy for their taste? The singer did induct all the audience into her Fairy Empire however, and in a show that featured much more pop and light rock, their heavier sound was welcome.

JAM Project
JAM Project

A few more words about JAM Project and their associated members, Masaaki Endoh and Hiroshi Kitadani. Perhaps no other act embodied the spirit of the festival and its purpose than them, a supergroup started explicitly to carry on the spirit of anime music. The two leads, Endoh and Hironobu Kageyama, are veterans of the industry whose operatic metal-influenced voices practically defined a generation of shounen, super robot, and tokusatsu animes, shows, and games from the 80s-90s onward. That sort of anime is now only one type of many in today’s media landscape, and arguably garners less immediate commercial attention than the cute/moe aesthetic typically favored by today’s otaku (the sort of anime an artist like ChouCho sings for, for instance). Their sheer performance chops are undeniable, however, and they were absolutely the correct act to close the afternoon: after seeing them belt out passionately, jump and wheel about on stage, working in near perfect coordination, one feels almost as pumped up as they evidently were. For an evening that started with the purely artificial Hatsune Miku, the end was about the power of raw, organic performance, the essence of what rock music has always been about. It is an “anime” music festival, yes, but it is a “music festival” too, and all in all it succeeded being that just as much as being a celebration of anime.

Our photos, taken by Jeremy Booth:

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Official photos by Lantis:

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Setlist (Saturday, January 17, 2015)

Hatsune Miku

  1. Sharing the World
  2. World is Mine
  3. Tell Your World


  1. starlog (Fate/kaleid liner Prisma Illya OP)
  2. Authentic Symphony (Mashiroiro Symphony OP)
  3. Enter Enter MISSION! (Girls Und Panzer ED) w/Sayaka Sasaki

Sayaka Sasaki

  1. Reason why XXX (So I Can’t Play H OP)
  2. Zzz (Nichijou ED)

bamboo (milktub)

  1. Uchoten Jinsei (Eccentric Family OP)
  2. Baka.Go.Home (Baka Test ED)

Hiroshi Kitadani

  1. We Are! (One Piece OP 1)
  2. We Go! (One Piece OP 15)

Yousei Teitoku

  1. Kuusou Mesorogiwi (Future Diary OP)
  2. Kyuusei Argyros (Tokyo ESP ED)
  3. Baptize (Seikon no Qwasar OP 2)

Yoko Ishida

  1. Eien no Hana (Ai Yori Aoshi OP)
  2. God Knows (Haruhi Suzumiya insert)

Masaaki Endoh

  1. Yuusha-Oh Tanjyou! (GaoGaiGar OP)
  2. Go Go Power Rangers (with Hiroshi Kitadani)
  3. Bakuryuu Sentai Abaranger (OP for show of same title)


  1. Last Vision for Last (Hyakka Ryouran Samurai Girls OP)
  2. mind as judgment (Canaan OP)

JAM Project

  1. Break Out (Super Robot Wars Original Generation: Divine Wars OP)
  2. Vanguard (Cardfight Vanguard OP 1)
  3. GARO-Savior in the Dark (GARO live action OP 1)
  4. SKILL (Dai2ji Super Robot Wars α OP)

All Artists

Starting Style

Through Older Lenses: Letting Go Of Live Action


Anime fans, asian cinema lovers, genre hounds.

It’s time to grow a little.

That’s right, I said it. It is no longer the “salad days” of fandom. It’s train that has long passed. In fact, when the best possible celebration of these things came to our doorstep, it was the international audience who came brandishing that flag to wave it, not us in the states. Solidarity is a nice thought, but it’s something that if even came to pass, wouldn’t make the mainstream quake in its collective boots.

Adaptation should always be about more than casting. These words have been on my mind for almost two weeks now. Whether it happens or not, the Ghost In The Shell project has again stirred the hornet’s nest. After yet another attempt to adapt a beloved Japanese property to the Hollywood realm did its part to unsettle and stir the pot, it felt time to again dish out the whys. Also, to hopefully quell minds with a few good realities to consider.

A quick fix is rarely a good thing.

We see tech offer up simplified answers to often step-packed questions, and technological development does what it can to leapfrog those steps. But skipping about can very often obscure room for nuance, and specificity that can occasionally be important to many. Which is why many stalwart admirers of the longview tend to gather more understanding of process.

As far back as I can remember learning about it, my love of anime has been a protracted lesson in how localization works. From the beginning, it has long been a held reality that direct translation leaves quite a bit to be desired, nor does it better grab the cultural and psychological nuance of a foreign work. So tweaking and fine tuning are an expected norm. And while we have made substantial leaps to best synthesize this into a palatable shared language, there is still nothing like learning and better understanding other languages and cultures. So when the mainstream is confronted with work almost completely in step with classic anime tropes and ideas (see- Pacific Rim), it’s understandable to see the average moviegoer take in such ideas and cock their heads sideways. The response is often not that of revelation.

Even when manga and anime properties are adapted on their home soil, there is disconnect. This is another huge hurdle I have had to get past these last few decades. In writing the column, Live Action Manga Blues at the Kaijyu, it over time came into sharp focus that even the Japanese are saddled with both the budgetary and literal limitations that come with taking something iconographic and making it into fleshy reality. And the reasons here are multifold. After all, we are talking about taking what is often seen as Japan’s hidden id, and bringing it into another plane of existence. To assume that the two can co-exist seamlessly without losing some grand component remains paradoxical, and often unrealistic. Sure, we have had success with certain more “experimental” fare such as Oldboy, Video Girl Ai, and the Speed Racer. But very often, there is a temptation on the part of live action filmmaking to conform the work into a language that rarely melds with the weight and necessity of itself. It either has to be almost indistinguishably gritty, or it needs to be completely gonzo. Rarely anywhere in between. And to a degree, big films like Racer and Pacific Rim are indicators that they can only work in the hands of the rare risk taker that is willing to bet the farm to see their vision to fruition. Artists with the acumen and sneakiness to ostensibly fool already cynically inclined studio heads that this is worthwhile.

(Something the director of Snow White and The Huntsman, hasn’t proven himself to me. Just saying.)

So a huge part of me isn’t expecting much of this recent news. Many would dare to still hope that one day, their favorite property would make the transition, changing the perception of at least one more set of eyes to their favorite thing. But time has perhaps hardened my purview, I suppose. Because the allure of anime is truly its own organism. And it doesn’t require further validation. It’s wild, weird, and enjoyably dysfunctional in ways that would lose fathoms of itself in being conformed to a more docile cinema language. The average mind accepts new ideas when it is time. And frankly, in twenty years we have seen Ghost In The Shell become something of an evergreen that continues to make converts out of film and science fiction fans the world over. And as new animation continues the adventures of Section 9, such windows will continue to open. Because of this shared world we now reside, it takes more than one obligatory, stunt-casting laden feature film to turn heads. Especially when the genuine global article already exists.

Anime Power Ranking: Gendomike’s Top 10 Anime of 2014

Due to life events, I’ve been away from the Anime Power Ranking ballots for a few weeks, but I’ve returned to tabulate what I think are the best anime series of 2014!

  1. Mushi-shi
  2. Kill La Kill
  3. Terror in Resonance
  4. Barakamon
  5. Gekkan Shoujo Nozaki-kun
  6. One Week Friends
  7. Rage of Bahamut: Genesis
  8. Sabagebu
  9. Log Horizon
  10. Gugure! Kokkuri-san

This list only includes series that concluded in 2014, which means series that began this year, but are not finished (ex: Knights of Sidonia, Your Lie in April, Shirobako, Fate/Stay Night: Unlimited Blade Works, Parasyte) are not included, and shows that started in 2013 but finished this year (ex: Kill La Killare included.

Here are my comments about all the series, briefly:

  • The top position was a toss up between Mushi-shi and Kill La Kill, and there could not be two shows more different. Mushi-shi is simply one of a kind, the sort of quiet, contemplative, and haunting anime that simply has no peer or imitator, and is worthy of nearly every accolade.
  • Kill La Kill, by contrast, started off dumb but became so wild, carefree, and epic by the end that it put the biggest smile on my face. It too proved one of a kind. The true spirit of Gainax lives on in Studio Trigger.
  • It’s sad that a lot of my actual favorites–Knights of Sidonia, Shirobako, Your Lie in April, etc.–do not qualify for this ballot due to them not being done or being split cour. However I was left with 18 choices initially and I had to shut out some worthy but ultimately deeply flawed series like Golden Time, Yuki Yuna, and Chaika.
  • Terror in Resonance fits that description too, but its highs are so high, and the Watanabe/Kanno combo so potent at its best, that it still is one of the best things I watched this year. It was undermined by a muddled plot and a confusion of symbolic gesture with political statement, but aesthetically it was one of the finest presentations of the year.
  • Gekkan Shoujo Nozaki-kun is, hands down, the most entertaining and original comedy of the year. More character-driven and consistent than its nearest analogue, Ouran High School Host Club, it takes aim at shoujo cliches but doesn’t forget to make the characters not only wacky but likable. 
  • Barakamon is a personal favorite, being a comedic drama that I could identify with and whose children are deeply authentic in their portrayal. The storyline is typical but the execution is both funny and touching.
  • The same applies with the patient, low-key, and charming One Week Friends, whose understated innocence is instrumental to its success. Also if one understands the subtext, it becomes a deeply poignant story about a person learning to come to terms with reality.
  • Rage of Bahamut: Genesis, which just concluded, is simply a winner by virtue of its sheer competence: it is essentially a Hollywood blockbuster fantasy film in anime form, but done with a high degree of finesse and wit. It falters near the end somewhat, but remains endlessly watchable. It may win a special award for greatest adaptation from a plotless card game.
  • Both Sabagebu and Gugure! Kokkuri-san provided many barrels of laughs, especially the former, which may have been the biggest surprise of the summer season. Both comedies feature demented, jerkish characters who amuse in direct proportion to their meanness. In an anime world full of characters who are too nice, it’s a breath of fresh air.
  • Log Horizon contains just enough touches of intelligence and thought-provoking drama, as well as far better developed approach to the MMO genre, to assure its place in the top 10. The slow patches were difficult to get through at times, but the reward was worthwhile, even for this non-MMO player.

Secret Santa Review: Wolf Children

Mamoru Hosoda makes family movies. That is, he not only makes movies that are suitable for a broad range of ages and backgrounds, but his movies are about families in deep and insightful ways. The families can be biological (Summer Wars, Wolf Children) or the virtual ones of friendship (Our War Game, The Girl Who Leapt Through Time), but Hosoda is most interested in exploring the interconnected bonds between people and how they help individual characters become more than they would be by themselves.

The first quarter of Wolf Children depicts the mother, Hana, and the nameless werewolf father falling in love and marrying, and it is one of the most heartwarming and unpretentious courtships in recent anime, comparable to the first scenes of Pixar’s Up. This is, of course, how new families begin, and the film makes clear about how this is just like any other marriage but also different, given the father’s background. In homogeneous Japan, this mixed race marriage–for lack of a better term–is perhaps even more unique, and by hammering home its ordinariness, it helps the audience empathize with them and paves the way for later conflicts in the story.

For the bulk of the film, however, Hosoda examines what is perhaps the most direct, elemental act of family: parenting. And make no mistake, this film is about the mother much more than it is about her son Ame and daughter Yuki, the half-offspring of an actual, literal werewolf and who have a divided heritage. This detail is simultaneously crucial and inessential to the film’s central themes. The way that Ame and Yuki follow diametrically different paths is a direct result of the different ways they respond to their wolf natures, but it is also an easily relatable analogy for how any children in the same family can follow profoundly different life paths. There is also the specter of racial prejudice hanging over all of their lives, beginning with the death of their werewolf father. The family must figure out just how much to show or hide their lineage, confronting stereotypes about wolves that threatens their self-image, living in fear that their mixed heritage will be discovered and lead to ostracization. It is an unusually sensitive film for an anime in that regard, and perhaps it could only be told in this semi-allegorical, magical realist mode to make it resonate with audiences.

Caught inbetween is the protagonist, Hana, whose efforts to raise her children after their father’s death are nothing short of heroic. Wolf Children may be the perfect Mother’s Day film. Hana refurbishes an entire abandoned country house, struggles to learn how to grow vegetables in the field while suffering the suspicions of the local community, goes out in dangerous conditions to look for her lost son. These are actually the routine kinds of sacrifices that parents make every day, but they are presented in the film with such grace and nobility, it serves as a reminder to appreciate one’s parents.

To Hosoda’s credit, however, the story does not end there. To some extent, the story arc of Wolf Children covers the entire cycle of parenthood in accelerated time: from dating to marriage to conception to birth to growing up and, finally, to the children leaving home. Ame, who wishes to embrace his wolf nature fully, leaves first, as a costly act of independence that is both painful and necessary to anyone who has grown up (or who has watched their grown children leave the nest). Yuki, by contrast, chooses to focus on her human nature and thus moves to a boarding school to be closer to her peers. Part of the story fo a family is that the child’s relationship to his or her parents changes over time in just this way: no longer dependent, but hopefully still filled with love and respect. Wolf Children recognizes both the pathos and the necessity of this process. It is how the film can be shot through with melancholy and yet still feel so affirming and warm-hearted by the end.

In my view, Mamoru Hosoda comes much closer to the inheritor of the Ghibli mantle than Makoto Shinkai or, of all people, Hideaki Anno. Hosoda, like Hayao Miyazaki, writes about children and families with unusual perceptiveness, though his imagination is more grounded than the whimsical Miyazaki–it is closer to Isao Takahata’s sensibility and mood. Like Ghibli’s general output, his films have broad appeal that go beyond the otaku audience, and the background art and animation quality are never less than outstanding. Wolf Children represents a further maturation of his exploration of family ties and how they shape people in meaningful ways, and a sincere celebration of parenthood in its trials and joys.

This review was part of the Reverse Thieves’ annual Secret Santa project, in which an anime is recommended for review anonymously until Christmas. The other choices were Tatami Galaxy and xxxHolic, and I chose this one by virtue of its being the shortest. :) The last time I participated in the Secret Santa, I reviewed the first season of A Certain Scientific Railgun.

Through Older Lenses: The Malleability Of Dieting


Been quite busy these last few months, and while in the office, I tend to listen to co-workers dish out what they enjoy via their streaming. It has become a unique period in time, one where we are now awash in months- strike that. Hours worth of newly posted visual entertainment is available with a minimum of effort. Now what this does for someone like myself, is create an ever growing cushion of work that I can delve into whenever I feel the inkling. There is an immediacy to the newly released piece of hard media that feels like a special secret had landed upon the doorstep. An effect that doesn’t have the same impact with near real-time online release. Sure, a few seasons have expressed some truly enjoyable work from numerous studios without my making a peep. But to cave in to habitual watching for the sake of it, remains a questionable prospect to me. When I hear said co-workers chirp in excitement over the latest episodes of whatever new series is on Hulu or Netflix, there is a near instinct on my part to either ignore it, or heap it onto the ever growing pile of “not likelies” that have begun to amass since at least 2008.

When only one show has you by the cerebellum, unwilling to let go, it may be time to re-evaluate what we watch, and why we do.

Having reached that hallowed (or is it feared?) fortieth year, there is a natural inclination to seek out work that not only best sums up who you are, but considers where all are going. Which is probably why Kill La Kill continues to shine in my wheelhouse over everything else. Sure, it’s a series that began a year prior, but on its plate were a number of concerns and fetishism that harkened to the more rough and tumble aspects of classic anime, while still being rowdy enough to question the now. This is vital to me in all forms of art. We can continue to laud dramatic effect, and strive for perfection, but one cannot help but wonder why this is even necessary in a landscape that often pathologically avoids reason. Which isn’t to say that creative works cannot move forward, and offer up more articulate means of expressing the anime paradigm. But to forget that so much of the stuff is often knee-jerk in nature, is kind of detrimental to its identity. It’s a delicate dance. And every so often it is nice to be knocked wobbly by a work so uninterested in recently established rules.

It’s all about the questions.

Why anime? Why escapism? Why indulge?

We could use any number of reason/excuse. And while this may trouble some as a statement, I have no issue in admitting that with age, comes less room for trumped-up reasons for being so willing to be cast away into realms of fantasy. And as time has shifted, and films like INTERSTELLAR and EDGE OF TOMORROW, explore previously trodden anime territory, does one come to the revelation that it is not merely enough to call a conceit a conceit, but to ask why it exists these stories at all. This is at the very heart of the current me, and what it means to take in a work, and find our own individual answers. The problem with overindulgence, is that it often becomes a substitute for personal rumination, and thereby epiphany. We stuff ourselves with so much input, that we deprive ourselves of enough energy or time to respond in a work or even a conversation. I cannot tell you how many times I listen to a media fan gasp excitedly about what they have just watched without considering the whys and hows of such choices. It is often only about the existence of this captured moment.

So many subcultures thrive on the idea of the find, rather than the hard work it often requires to create an organic relationship with the work. Be this relationship one of harmony, antipathy, or even “it’s complicated”. It’s how we embrace the creative output of a select few individuals that allows us to think, recept to , and perhaps enact based upon. Which is probably why, as an individual, I tend not to take character “types”, or tropes terribly seriously. They are simply shorthand for other things. And the more one studies about how these come about, or how they are arbitrarily plugged into works, does one need to pull back to see the greater mosaic of the creative process. Like a freeway, some stick to their safest lanes, while others hop erratically, in search of that miracle means of getting to a destination faster. And then there are those few, who understand the flow of traffic, and seek to become one with the entire circuit. Willing to make the freeway an extension of themselves. And once this comes together, it becomes easier to filter through all the roughage we are inundated with on a regular basis now.

Like any good diet, it becomes essential to read up, know the ingredients, and consume accordingly.

And hey, output is important too. Never let anyone tell you different.

Anime Power Ranking Ballot (Week Ending Nov 29)

Short article this time, due to lack of time. Here’s my Anime Power Ranking ballot:

  1. Parasyte 8-9
  2. Mushishi 7
  3. Shirobako 8
  4. Your Lie in April 8
  5. Sora no Method 8

Parasyte’s double feature was so compelling, it felt like watching one episode rather than two. I’m glad that they decided not to play the usual superhero card and make Shinichi instantly popular and desirable–instead, the one girl who is in love with him is deeply disturbed by his transformation, and his new status just brings more danger. The balancing act between comedy, drama, and horror is something Parasyte handles better than anything I’ve seen in a long time.

Mushishi returns with an episode highly reminiscent of the melancholy first season, with a bittersweet and poetic ending that I found deeply satisfying. The connection to the water cycle and to life is very strong.

Shirobako continues its march toward becoming the definitive workplace anime dramedy, by resolving Ema’s creative dilemma with believable and true advice that anyone should follow, and also highlighting the differences in the way family members act. It’s come a long way since its shaky start as an overstuffed quasi-documentary.

Your Lie in April gives us not one, but two stunning performances, but centered around new characters who are not yet developed. There were signs of its overwrought direction all over, especially in the second half, when the colors and monologuing nearly got out of control. (This was not nearly a problem in the manga.) The other main characters were reduced to a peanut exposition gallery.

Finally, Sora no Method enters my list for the first time. It has been a slow buildup for the show, which took too long to get to the meat of the drama, but at last the character work is paying off and there was enough emotional restraint and beautiful imagery to make it an entertaining, sentimental watch. For the first time, the emotions feel earned.

Anime Power Ranking Ballot (Week Ending Nov 22)

With the absence of Bahamut due to its recap episode, and the surprise entry of several titles, this week’s APR was hard to choose. Many shows only just barely missed the cut.

  1. When Supernatural Battles Become Commonplace 7
  2. Shirobako 7
  3. Parasyte 7
  4. Amagi Brilliant Park 8
  5. Mushi-shi 6

Coming in at #1 is When Supernatural Battles Become Commonplace (Inou-Battle), whose shattering breakdown rant by Hatoko ranks as one of the most memorable scenes of the season, if not the entire year. Bravura voice actress Saori Hayami, who did the scene in one breathless unrehearsed take, conveys long-standing frustration over being excluded AND jealousy AND an incisive critique of the chunni mindset, within 2 very long (and necessary) minutes. It was raw, repetitive, and ineloquent, which makes it feel even more real: it felt as if she had been talking not to the character, but to me, and all of my own faults as a fan with chuuni tendencies myself. Hideaki Anno could not have critiqued an otaku better. The scene was also framed by clever foreshadowing and a denouement and twist afterwards that kicks the show into truly high gear. Trigger could not have taken potentially mediocre source material and spun it into finer gold so far.

Screen Shot 2014-11-23 at 3.41.40 PMSomething similar also happens in Shirobako, as the show continues to deepen its characters and relationships. Ema’s plight is one faced by nearly everyone who’s worked, especially in creative professions: whether to focus on quantity vs quality, and how to deal with criticism from superiors. Having had similar experiences myself, the emotions were painfully familiar, and even more poignant in light of how much she is likely earning every year. Her pain is universal, and portrayed with genuine gravity and empathy, something that the show is gaining rapidly. Meanwhile, Aoi continues to display how indispensable she is to the office as the bridge between different departments and superiors, and Tarou gets what’s coming to him. This has truly become one of the most solid workplace dramedies done in anime.

Screen Shot 2014-11-23 at 3.44.12 PMParasyte continues its high standard of combining action, danger, and even occasional comedy–which makes its return with the introduction of Uda and his symbiote Parasite. The antics of Parasite, who speaks much more colloquially than Migi, was often laugh out loud funny, combined with Uda’s exaggerated timidity–which proves to not mean that he was useless, in the least. As for Migi and Shinichi, this episode brings a quick end to the central emotional dilemma and cements his rapid growth into the battle-hardened, confident, manlier man that exudes effortless cool by the end. Parasyte is a show that, up to this point, has wasted little time on extraneous scenes and character development, and its march toward being a dark superhero epic is one of the most compelling rides this season.

vlcsnap-2014-11-23-15h48m25s222Amagi Brilliant Park returns to the list with a truly funny, engaging plot about body swapping that ends up making amusing trouble for Kanie’s social life. The confusion/misunderstanding plot was a staple of the humor in Shoji Gatou’s previous Full Metal Panic, and for once, the pacing kept up with the jokes. It seems that Amaburi has at last found its stride, and it remains the funniest episode to show this week, with Garo’s “Full Monty” coming a very close second.

Screen Shot 2014-11-23 at 3.47.10 PMFinally, Mushi-shi turns in another fine story inspired by traditional tales of what lies at the bottom of wells, as well as the idea of slipping into a shadow or faery world. The imagery of the otherworldly stars is simply gorgeous and the theme of families being unable to hear or understand each other works as a fine metaphor. Again, in keeping with the current iteration of this show, the ending is solidly happy, which makes one wonder if we will ever see a return to the melancholy of old. In either case, its unique “traditional folk tales for the new age” continues its march toward greatness.

Screen Shot 2014-11-23 at 3.50.11 PMFor the first time, Your Lie in April/KimiUso did not make it on the list, and that is largely because it is a transitional episode: a transition from the first arc, which focused on relationships and budding romance, to what I like to call the “tournament arc” that focuses on piano competition. The depiction of stage fright and impending doom was well-conveyed, and Kaori and Kousei share a nice moment in the park as well as some psychological drama, but as a standalone episode, it felt a little bit less compelling.

Screen Shot 2014-11-23 at 3.52.18 PMGaro was a very near contender for Amagi Brilliant Park’s place, with a genuinely hilarious series of gags involving male nudity, chase scenes, and deception. German stands out as not just an all around womanizer, but as a great comedic lead, a contrast to his dour son. It reminds one of a well-directed Hollywood farce, almost veering into territory currently owned by MAPPA’s other project, Bahamut. The “Full Monty” reference is surely not accidental in that context. It was amusing but was just slightly bested by Amagi’s character-oriented humor this week.

Anime Power Ranking Ballot (Week Ending Nov 15)

APR ballot for this week:

  1. Parasyte 6
  2. Your Lie in April 6
  3. Shirobako 6
  4. Mushi-shi 5
  5. Bahamut 6

parasyte6Last week’s Parasyte episode is the best one yet. In some ways it echoes a traditional superhero story, like Spider-Man, but with a darker edge: this time, the transformation has made Shinichi much harder and more rugged–dare I say manlier? But it comes at a very painful price. Moreover, while it has made him stronger, it has made Migi weaker, which introduces a new level of danger. Finally, the scene where he confronts his father and his father’s subsequent disbelief is both tense and heartbreaking. I get the feeling that there will be no more comedy in this show, however…

kimiuso6KimiUso/Your Lie in April’s 6th episode spends some more time developing characters in its characteristically florid way. Here it begins to tread on familiar ground for anime romance, from the shafted childhood friend to emotional piggyback rides and sparkling stars. It still does it with all the overheated emotion of adolescence better than anyone else, but I am awaiting the next performance scene, which is being promised with the introduction of rivals–a mark of its shounen manga roots more than anything.

shirobakoShirobako continues to be the believable workplace dramedy that is it, but this episode is special in that it reminds the characters of why they got into the industry in the first place: fandom. The way the 2D and 3D artists bonded over Ide(p)on, complete with nods to Ideon’s OP and ED as BGM, was actually a little bit touching. It’s a shame that we all know a Tarou in every office, though.

mushishi6Mushi-shi presents a lovely tale, one of its most hopeful and positive ones in recent days, loosely based on the traditional stories of the tennyo (heavenly/angelic maidens). A fine metaphor for child-rearing as well as a meditation on how to raise a son, it’s nice to see an uplifting story from a series that has usually excelled most when it is tragic and melancholy. As always, the atmosphere of hushed contemplation and wonder is one of a kind.

shingekinobahamut3Bahamut takes a bit of a breather in both action and story, though it’s still nothing less than polished as always. Most interestingly we see the full mishmash of different mythologies and religions that comprise the show’s mythos, and promising developments for the show’s larger plot of preventing Bahamut’s awakening. Sadly, it appears next week’s episode is a recap so we will probably have to wait for a while for the story to continue.

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