Well, here’s something interesting to talk about.
For those who are quite unfamiliar with the concept of MoeGaku, I shall give you a brief but insightful introduction.
The story of MoeGaku takes place in the what some call, holiest of the holy land for all the Otakus in the world – Akihabara. As you maybe aware, Otakus are a group of people, often men, who are utter fascinated with Japanese animation. About one score and 5 years ago, Japanese animation was made to entertainment boys and girls of young ages. However, a certain revolutionary phenomenon happened around the late 80s, where a certain man’s habits was exposed. The media hence coined the term “Otaku” for people, mostly men, who are obsessed with Japanese animation and prefer to talk about it.
In any event, at the very beginning the auteur of this insightful language educational-entertainment (also termed, edutainment) animation aimed to introduce the audience – 20 to 30 something, sometimes 40 and 50 and over adult children, often called the “Ota-kids” to the heroine in a quick and simple way. Her story was not elaborated much and the audience was thrust into the middle of the magical girl show, termed “Maho shojo” show, where our young hapless and brave heroine touches a certain white creature with wings. She quickly transforms into a girl with custom and is transported to something approximate of a heaven, where “Goddess” is waiting. “Goddess (not God)” had a holy mission of the utmost urgency for our young heroine. To quote the “Goddess”: “Thou shall go out and seek all the Otakus guys (the Japanese here is niisan, which can mean brother, but it’s an honorary term for someone who’s not old, and not young) who cannot receive a certain figure of their purest desire. Now go forth!”
Our heroine quickly agrees without even a second of hesitation, out of the goodness in her heart.
In episode 1, Day one and two, by avoiding giving audience two different plots and giving them the same repetition but with different languages – Engrish on day one, and Korean on day two, the auteur avoided making the audience think – after all, children in Japan cannot be stimulated in thought too much, otherwise they shall become disobedient by having their own thoughts. With the repeat of the exactly the same plot – in which a foreign man inspires to become the best Otaku he can be by coming to Akihabara in search for a figurine of his desire.
Of course, he cannot find it, and our heroine comes to the rescue, while learning the language of the man. At the end of the day, the man gets his figurine, and our heroine, together with the Ota-kids, learn their language lesson for the day.
However, that’s not all. In the second repetition, the element of live action is added, with the ex-Japanese otaku object of moe-desire goddes s Hirano Aya, and some other people of various races and nationalities, prancing, smiling, moving to a mostly primitive beat and talking in a soothing and yet energetic tone, much like one would hear on regular children shows, and teaching the foreign language of the day to all the Ota-kids.
My analysis:
This is indeed a difficult show to perform an in depth analyzation upon, precisely because the nature of this show is aimed at grown, adult, Ota-children who have a love of Japanese animation and a sense of awe of Hirano Aya, who refers herself as “Big sister Aya” in the show, where most of the audience are probably older than her. However, the format of the live action and the utter minimalist style in plot in the animation suggests that this show is aimed toward regular young children barely out of infancy. Hence, it is difficult to gauge the true intention of the auteur behind the disguise of language education and helping men inspiring to be Otaku with their dilemma. The lack of voice-acting skills seems to be intentional, and yet the voices often sound grating enough to the sensitive ears.
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NOT!!!
lulz. just lulz.