This week, Ray and I tackle the Haruhi licensing and the depredations of viral marketing, Japanese Academy Award nominations, and review School Rumble!
Kadokawa Pictures USA, has actually also actually licensed Full Metal Panic: The Second Raid, another Kyoto Animation property. My guess is that they might become KyoAni’s house licensor in the US? (Source: AnimeonDVD.com)
The original Transformers toys and TV show came out in 1984–after Macross. (Source: Wikipedia.)
Brave Story is not based on an h-game, but on an award winning novel. The film screened at Cannes. I have yet to find out exactly what game Ray is referring to; it’s likely that a lesser-known game has the same title, given how generic it is. (Source: Anime News Network)
Sound quality issues: hopefully an improvement over last week, though some authentic city noise from Taipei and a running TV can be heard in the back. :) Ray was recording with a built-in laptop mic, and I was recording with a really inadequate microphone not made for computers and giving low output. Next time, we will use real headsets and mics!
No podcast next week, since I’ll be flying back to school, so this is the last episode of the year. Merry Christmas and a Happy New Year!
It’s strange how badly companies want to emulate, through viral marketing, the natural process that is “word of mouth.” What makes “word of mouth” marketing work is precisely its spontanaeity and its lack of connection to those who might do such a thing for the money. Anything less is, well, marketing. (Look what happened to Lonelygurl13 or whatever her name was, when she was revealed to be a professional actress.) I would give this particular effort by Kadokawa/Bandai an above average grade though–they succeeded, at any rate, in setting the anime blog world atwitter prior to the initial announcement with genuine speculation. But surely, no matter how clever and winsome…a certain kind of spell is broken the moment the words (C)2006 Bandai appear.
I do have a question: who are the Japanese-speaking actresses in the promo video? They’re definitely not the seiyuus from the anime. Are they simply the actresses who will act those roles for the live action promo videos? I know none of these people are going to be the dub actresses….
As for Haruhi itself: it’ll probably win my originality award for 2006 along with Higurashi no Naku Koro Ni, and I’m really surprised no one has seen the similarities between Haruhi and The Hitchhiker’s Guide to the Galaxy. That was the first thing that came to my mind in the way it mixed sci-fi, comedy, absurdism, and more than a dash of philosophy by the end. Mmmm….philosophy. Red meat for theology majors like me.
Is Haruhi Suzumiya acknowledging the existence of a different god by wishing you a Merry Christmas?
I couldn’t help but notice that a lot of recent anime have been about, or targeted directly to, otaku. Genshiken and Comic Party are about fandom; Haruhi Suzumiya and other “moesploitation” shows cater to otaku fetishes (even if it’s with a wink and a nod); the Densha Otoko phenomenon has even glamorized otaku for a moment in the general culture. Into this increasingly crowded field steps Welcome to the NHK, a show that introduces itself as a darkly comic variant of the first type of show, but only as a wedge to open up bigger, more universal issues. I came in expecting to laugh, perhaps in pity or contempt, at the patheticness of shut-in Satou and his mountains of porn and crumpled tissues. I ended up seeing a group of ordinary, lonely people struggling and often failing to make real connections. People who frequently give up entirely because that’s what lots of people do, but people I grew to care about enough that it hurt to see them fail, and for whom even a small triumph is a cause for minor celebration. Continue reading Review: Welcome to the NHK!→
Though the show comes to an end with the next episode, I still marvel over how far it has come since it started. Today I was rewatching the early episodes (1-6) and while the seeds of all that has happened in the show’s second half are clearly there, the emphasis on black humor and cynical social commentary seems a long way away from the straightforward, earnest, and heartfelt drama that it’s since become. This particular episode holds few surprises, really, for anyone who’s been following the show up to this point–the revelations about Misaki’s past and her subsequent actions, if anything, are almost mundane given the air of mystery that she herself and the show tried to surround her with. We almost expected something more spectacular or strange…though, of course, there is still one more episode to go, and so we may find out more yet.
But that isn’t really the point, is it? All I know is that I feel for these characters, in the midst of their failure and despair–and it’s rare, even in these post-Evangelion days, to see a major studio anime portray all of its main characters as such broken failures–or even their few successes. (Often, it seems, brought about by the threat of starvation!) And I don’t mean “feel” in terms of pity or condescension; this show cuts deeper to my nerdish self and its logical end than anything I’ve seen since Evangelion, because when I see the thought processes of Misaki and Satou I find them all too accurate to my own feelings in different situations. Like Evangelion, this show can be seen as a cautionary tale about the dangers of otakuism and social isolation. This one dispenses with the convoluted metaphors and allusions, though, and goes straight for the gut–and the heart.
I’m really hoping that we get a redemptive, but bittersweet ending: not just because it would be fitting for such a bittersweet show, or that it would be better storyteling, but because it seems that no other kind of redemption will suffice for these characters. A glib wrap-up would feel like a betrayal of their struggles and pain. So far, Gonzo has handled it remarkably well (though I haven’t read the manga; manga fans will probably disagree), and I’m really hoping they neither give us a neat Hollywood ending or the nihilistic wallow that I ultimately thought Saikano became.
Misaki and Satou are doing one of their last counseling sessions–and, having been badly hurt by seeing Satou leave a hotel with his former sempai, Misaki soldiers on remarkably well (on the surface). She quizzes Satou about famous last words of various celebrities, with mixed results. Satou is able to guess, importantly, the last words of a famous athlete who returned to his hometown and ate his favorite foods before committing suicide. Misaki seems pleased by his correct answers, and then announces that there will be a “graduation” test for the course. The test, of course, turns out to be more or less a date: they go out to see a movie, sit together on the train, and move through crowds. At their final meeting, she announces that he passes with “flying colors,” and–to Satou’s shock–presents him with another contract. This one stipulates that Satou must grow to like Misaki, and stay by her side forever, with a fine of 10 million yen. Satou rejects her proposal, denying that he is lonely and spurning her entreaties…only to be haunted by her parting accusation, that he is lying about not being lonely.
When he returns to his apartment, in the shadow of the giant Purin statue, he sees visions of the main characters (Yamazaki, Sempai, and others) admonishing him to admit that he is a failure. He is able to admit, too, that he is lonely. It does not, however, prevent him from beginning to starve, especially when his parents, Yamazaki, and Misaki, stop sending him money and food. This, at long last, spurs him to leave his apartment and find work as a traffic guide. He has, at long last, recovered from his hikkikomori ways–which Misaki observes, sadly, from her high window.
One day, as he comes home from work, Satou discovers an ambulance parked outside Misaki’s house. Misaki, apparently the victim of a bathtub accident, is being taken to the hospital. Concerned, Satou hitches a ride with her uncle–who turns out to be his landlord, thus making sense of how Misaki was able to know his personald data–who reveals her history with her suicidal mother and abusive stepfather. It turns out that she was only happy and cheerful after she met Satou. Moved, Satou and her uncle go to the hospital, only to find that Misaki is gone; she left behind a train schedule, however, and inside is a suicide note that parallels the one by the famous athelete. She intends to return to her hometown and jump off the same cliff that her mother did. In the final shot, we see her riding on the train, bandages on her wrists, revealing that her bathroom “accident” was really an attempt to slit her wrists.
The first episode of the Scattered Cels Podcast is here! My co-host, Raymond Hu, reports in from Taiwan, while I’m here in the United States. We introduce ourselves, go through the anime news, and and also review an anime we both like, Black Lagoon.
Leave your comments and questions in the comments area of this post! Thanks.
Visit my anime club’s Meetup.com page, Anime Souffle! We’re very likely to have some guests or even another host from the club on the air soon.
Hi everyone! This is the official opening post of a new anime blog, “Scattered Cels.” I hope you enjoy reading the reviews and commentary on this website as well as listen to the podcasts. (We’ll be aiming for having one podcast per week.) Comments, of course, are always welcome.