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Anime Stats
Days: 285.8
Mean Score: 6.53
  • Total Entries1,756
  • Rewatched74
  • Episodes17,302
Anime History Last Anime Updates
Lapis Re:LiGHTs
Lapis Re:LiGHTs
Sep 20, 6:48 PM
Watching 10/12 · Scored -
Toaru Kagaku no Railgun T
Toaru Kagaku no Railgun T
Sep 20, 6:10 PM
Watching 18/25 · Scored -
Sword Art Online: Progressive
Sword Art Online: Progressive
Sep 20, 5:39 PM
Plan to Watch · Scored -
Manga Stats
Days: 0.2
Mean Score: 0.00
  • Total Entries2
  • Reread0
  • Chapters26
  • Volumes3
Manga History Last Manga Updates

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All Comments (83) Comments

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Ezekiel_01 Aug 12, 4:56 AM
Me too there is a certain amount of joy when you hang around with friends talk about random things and before you know it time flow pass for me that's a good experience this anime tried to portray.

I made a review about it a few days ago compressing what I love in the first series in general.
Ezekiel_01 Aug 11, 5:22 PM
Can I know your opinion about the show?

I like your Nausicca Profile Pic
Ezekiel_01 Aug 9, 9:27 PM

v_ar Aug 8, 10:46 PM
Damn you have watched a hella lot of animes
Terez275 Jul 17, 3:38 PM

“Also, are any of those more minor directors doing something interesting or innovative to distinguish themselves from Shinbo?
Shinichi Omata, who was a storyboarder and episode director for SHAFT, left to join studio DEEN and directed Sankarea. He also directly storyboarded the first three very visually impressive episodes. Here's a fantastic blog entry looking at his cinematography in those episodes. I expect great things from him in the future.”

Oh boy this comment of yours aged like fine wine. The guy went on to direct two highly successful shows Showa Genroku Rakugo Shinjuu and Kaguya-sama!
Recynon Apr 28, 3:39 PM
I read up on part 2. I had no idea that this Madonna-Whore complex was a thing, or even that otaku prize purity and innocence in women.
"That said, targetification is much more prevalent than it ought to be in anime, and this is concerning. This goes hand in hand with the whole innocence fetish. She wasn’t trying to be sexy, she just accidentally happened to be! The message is: don’t be sexual, but be sexy."

I mean, with the amount of sexualization of young girls that I see, it is, as you say, ironic that people would sexualize something they want to be pure. Anyway, I agree that if a female character intends to appear sexually inviting, then showing her in a sexy light is appropriate. Like I said, I don't think this counts as fanservice because it serves a narrative purpose. I admit, it's a fine line. If a character is introduced and the camera zooms in on her rack to emphasize that she is very attractive to the people around her and her sexuality influences the nature of her interactions with other characters, then I think that's fine. But I think there are also clear cut instances, as you say with targetification, where it's completely out of place.

For example, we see a character getting dressed as part of their daily routine and the character rolls over her body. I saw this in Bubblegum Crisis a few times as the Knight Sabers were suiting up. Obviously, it's a rule-of-cool 80's action show and the focus is on fighting robots, and there are no men around the scene. So the fanservice is inexcusable. I suppose this sounds a bit fanatic, but the way I see it, we should treat the characters like actual people. If a woman intends to wear revealing clothing and walk into my personal space, then you can't say my vision is called the male gaze. If, on the other hand, I intentionally peaked into a woman's dressing room, when they have no intention of being seen, then there's a problem. The equivalent in a show would be the camera looking up and down over a character as they're being dressed in private. For a less extreme example, I dropped Code Geass because of repeated shots where the camera panned up CC's body as she laid in bed. Your mileage may vary, but I was creeped out by that.

About Asuka, the line is kind of muddied because she is aware of her own sexuality and does use it to her advantage sometimes. Like I said, though, a lot of the time it's used for cheap humor. No, it doesn't reduce her to an object because in this case the character's personality is very strong. She's got personality and she's sexy, you're right. However, I still find any sexual shots that did not align with her intentions to be extremely distasteful, like that panty shot in her intro episode used for a joke that fell flat. If I really like a female character, I don't want any fanservice to touch her, and this isn't the same as some notion of purity. I want to respect that character by intruding on her privacy. On a personal note, morality aside, fanservice humor is just dumb and not funny (though I'm not going to say sexual humor isn't funny, not after seeing the Booty Warrior). Also, I just dislike character designs that reveal too much flesh, man or women because it often looks highly impractical and contrived. Like, if you were wearing battle armor to protect you, why would you reveal so much flesh? (cough cough Kill la Kill)

I must repeat, I don't think I'm on any moral high ground for my viewpoint, and my mind isn't clean. But I just prefer to keep art and the erotic separate as much as possible.
Recynon Apr 26, 12:45 PM
Hey there, I came across your page and read your blog on fanservice. I highly dislike fanservice, and I've seen defenses of it, particularly citing Bakemonogatari as an example, so I thought I'd hear what you have to say.

"One thing I noticed is that many people who dislike fanservice are very conscious of the image of anime. They say things like “this is why people think anime is perverted shit for pedophiles” or “I just want an anime that won’t embarrass me if my family sees me watching it”. I understand where these complaints are coming from, but I don’t think they’re valid. After all, heeding them would encourage homogeneity of culture.

The final hypothesis of mine, and this is just speculation (no insult intended), is that fanservice makes many viewers uncomfortable. Finding a teenager that’s not even real attractive could set off alarm bells in the minds of many users. The unthought thought is “if I enjoy this, I’m a pervert”.

Like I said, that’s just a hypothesis, and I don’t mean to swing such a cruel generalization around with any authority.

Personally, I usually enjoy fanservice."

I didn't think that people disliked fanservice for the reasons you mentioned, so that's an interesting point. However, I would like to add my perspective on it. I don't like fanservice because it offends me on a moral level and I usually drop a series if it has fanservice. I'm not going to pretend I'm clean minded and abstain from all things sex-related, but it's the matter of the integrity of the stories and characters. It's not that I think finding a 2D teenager to be attractive makes me a pervert, because they're deliberately drawn to be attractive. It's that I don't like looking at characters through the male gaze. To do so is to objectify characters rather than treat them as people.

I don't think fanservice is ever a good thing, because the definition of (sexual) fanservice is that it's done to serve the sexual appetite of viewers. I find that the nudity in Revolutionary Girl Utena is not fanservice because it is cohesive with the subject matter of the show. I don't think the nudity in Texhnolyze is fanservice because they deliberately portray sex as an ugly thing. On the other hand, I find much of the fanservice in NGE to be crass and unnecessary because besides using it for characterization, NGE also used it for cheap humor.
CHC Mar 19, 10:13 AM
I’m glad that you watched it and enjoyed it somewhat! Now I think about it I probably should have warned you about the fact that the series has got no proper ending and probably never will (the original novel has been on hiatus for years.) That didn’t cross my mind because I’m not often mad about shows that got no proper ending. Surely I’ll be delighted to see more episodes of 12 Kingdoms. Not that I would prefer it to be left there. It’s just that I’m trained by seasonal anime to never expect a proper closure. Yeah, so I gotta apologise if it is the half baked second half of the show that made you disappointed about it.

Nonetheless, in a weird way, I love how it branches off from the "main plot" and tells us "side stories" like the elusive tale about a young kirin who had to perform his divine duty and pick his king. Indeed, if I were to write the sequel, I will probably continue the entire series in the same vein: it will be a collections of stories each of which written in different styles exploring different themes. They will be about characters who are cohabiting in the same world but aren’t immediately related by a “main plot”. None of these stories are necessarily going to converge into a one grand narrative, even though occasionally they do. More likely I would try to make each of these stories creating even more ramification for even more outward branching. Sometime the branches intersect briefly with each other, and sometime a few of them would converge and form a node in the giant narrative web that no longer has a narrative centre. I would write about the nice guy mouse in his quasi-Confucian school, about the revolting peasants after they've gone back to normal life, etc. Perhaps I will make different characters re-enact a similar arc, too, but with a variation, in the way how a Fugue repeats the same theme over and over, while continuously modifies itself, making comments on each variation that preceded it. Indeed I think it’s more or less the direction of the original author was heading to, after the Yoko’s arc was done (ie. after her first decree was made.) And that’s what really fascinates me. Because I won’t just get to see Yoko and her perspective. (To her, the world of 12 Kingdoms is a puzzlement to be overcome, and we, too, as the viewers, were invited to see that world as a source of unknown challenges and conspiracies, but that is not how every other character would experience their world to be.) I will get to see the entire world slowly being unfolded in all dimensions, through all directions. (For example, the kind story of the young Kirin cannot be told from the perspective of Yoko. The fatalism it explores and the mystical intrigue it contains would not be very useful in furthering Yoko’s character growth as a ruler, even though they definitely comment on Yoko's story, but they are not something that is available in Yoko's personal perspective bounded by her social role. To divert the focus from Yoko is necessarily if the series is to deepen on its world-building and to multiply the number of interpretative layers that can be added on each of these character's arcs.) I guess it is perhaps another reason why I’m not particularly mad about its lack of closure. I can imagine this show to run forever, incorporating all kinds of themes and storytellings as it wanders around and never having to worry about where the final destination is. So my main complain would be that the show/novel is on a permanent hiatus while it still has so many things to be done, rather than that it hasn’t got a proper closure. One of my favourite manga, Dragon Head, is open-ended too (to a lot of readers' frustration.) A lot of the films I love don't even have a coherent plot. Perhaps that shows how I don't really care that much about classical standards in storytelling and I should really warn about that to anyone taking my recommendation, haha!
CHC Feb 22, 2:16 AM
I would highly recommend 12 Kingdoms. It's a show that begins with a seemingly straightforward message (it can feels kinda preachy at the beginning) but as it moves on it ramifies into some highly complicated world-building and every time the heroine thinks she had learnt something about how she should deal with the world she runs into even more complication that makes her reconsider what she took to be the lesson she had from her last mistake. It's also very interesting if you're sociologically minded: it really goes into a lot of details in how things like the economy, the bureaucratic system, the religion, and all the different power dynamics work and fit into (or run into conflict with) each other. So there is a lot of stuff to ruminate about beyond the bound of authorial intention. Maybe it's apt to add a few more remark about LotGH too: detailed, ramifying world-building is another thing I didn't see in LotGH. It bugged me a lot that LotGH paid no attention at all to details and it's all about people talking about politics and strategising inside a generic spaceship or in a generic office. It comments on populism but never shows any human faces of the populists, how they become populists and the social condition that creates them. (If it does, it would leave the option for the viewer to come up with a different interpretation and a different judgement about what is the nature of the injustice Yang experienced.) The space battles also feel like a board game. (The role of on-field tactics and the individual talent would diminish drastically if the space battle was closer to real life.) That's another reason why I consider it to be middlebrow -- everything in it is too tightly controlled to convey exactly what the author wants to say about politics and military tactics, while leaveing no room for imagination and divergent interpretations, leaving no option for the viewers to make their own judgment.

Belladonna: yeah I think a lot of artsy anime would've been a lot better if they were not restricted by a conventional format of a feature-length or a 12 episodes season. If they're all about the style, but got no great story to tell, then it would be a lot better to keep them under 30 mins or so. But then it would also makes it a lot harder to commercialise, as you can also see how MAL rating is also extremely biased against shorts.

Sakuga: Perhaps you're gonna enjoy the new episode (ep.7) of Eizoken! I really loved how the girl made very subtle observation about mundane moment like how a person rise up from a chair. I have never paid attention to something like that in my life, and as I was watching it I just realised: ah, animation is really all about making the most nuanced observation about everything that moves in real life, and there is no other art medium that requires you to pay as much attention to moment as animation does, and that's pretty amazing!
CHC Feb 10, 11:14 PM
To be honest I can’t really recall what Psycho Pass S2 was even about. I just remember it to be very boring. And I dropped the S3 after a few episodes too. For me a middlebrow show doesn’t have to bad though. I would consider LotGH a middlebrow classic par excellence, even though I don’t consider it bad. It simply feels like reading something from Reader's Digest, which caters for readers who want something more than a fun time and something that's a bit more "educational", but they get either intimated by or confused by highbrow classic (eg. Tolstoy) and avant-garde experimentation (eg. James Joyce) for their highly challenging ideas. I don’t really harbour any enmity against middlebrow media as such. They can serve as a good way for educating people who otherwise ain't already interested in reading the more serious stuff. What I don’t like is people being smug about staying in their middlebrow stage and think of themselves as super intellectual just because they gave LotGH a 10 and OreImou a 1. I have seen people in their 30s talk like they believe they’ve learned everything they need about politics from LotGH, and therefore they’re intellectually superior to the “manipulated crowd”. And they constantly brag about it on facebook and complain about why the world is so stupid and won't just listen to their LotGH wisdom. It’s so annoying. That doesn’t mean I think the politics in LotGH is all wrong or very bad though. But if you compare it with something like The Twelve Kingdoms, which constantly questions itself, left you with no definitive answer, LotGH does more tend to give viewers an illusion of knowledge, especially if the viewers are successfully tempted to identify themselves comfortably with the perfect hero that is Yang Wenli. (which is precisely what makes it a Middlebrow classic par excellence -- it tries to offer wisdom for a cheap price.) Anyway, what do you think of Pycho Pass S2? How did it break your heart?

Talking about animation, have you read anything on Sakuga Blog? They makes pretty nice commentaries on seasonal shows.

I discovered Ga-nime last year as I began to actively look for artsy shorts from Japan. My favourite is Tori no Uta, also from Amano Yoshitaka. It has a mesmerising atmosphere and very relatable sense of melancholy. I felt like reading a stream-of-consciousness novella by Yasunari Kawabata. Belladonna of Sadness: yes, I’ve seen it a few years ago. Absolutely loved the art and the music. But I also hoped it wasn’t so long, because the story simply wasn’t great enough to keep me focused. It also has a rather straightforward message and there ain't a lot of things in the story that intrigue me. Indeed I would probably give it a 8 or 9 if it were under 30mins, but as is, it is a 6-7 for me, because despite how I loved it at the beginning, I struggled to keep myself awake for the last 40 to 30 mins of the film, haha.
CHC Feb 7, 7:01 PM
Yeah I agree with you on the market’s tendency to reward works of the lowest common denominator. I think it is also a problem of the entertainment industry at large, not just anime. That why I rarely expect to see a well-written drama when I go into a show. I tend to focus more on the other qualities that can’t be found in literary classics. So I’m actually quite fine with anime that isn’t trying to sell a good story and is all about sex, cuteness or silly comedy, as long as they do well on those aspects. What I’m particularly wary of are shows that take themselves way more seriously than they deserve. It often happens when a creator who has nothing interesting to say, no cultivated sensitivity to the conflicts of life, decides to act all solemn and serious just to impress the less seasoned viewers with cheesy self-help-ish "message".

Yeah I can understand how fandom can be annoying. I guess the problem with certain type of “elitists” is that they’re completely negative about the entire otaku culture and they try to justify their contempt for it by setting otaku anime against the works of Miyazaki, Kon, Yuasa, etc. They should realise these two kinds of anime are not always trying to achieve the same thing, and therefore is not very meaningful to make direct comparison. But everywhere there will be people who care too much about building their identity around what they consume, rather than what they produce.

Back to Yuasa though, I guess you would have a much better experience with his shows if you try to avoid thinking of them in the terms set by its the most obnoxious fans (“oh, it’s very deep/intellectual/etc”.) I think most of his other works are just like Eizoken — very playful. He tries to have as fewer limitations on how a scene can be creatively and expressively conveyed as possible, thus the “simplistic” /"trippy" art style, which allow him to forgo realistic demand of body proportion when there’s an opportunity to utilise the strength of animation to a more vibrant visual effect. I don’t think Yuasa is trying to make his viewers think Tatami Galaxy is very deep neither. His directorial talent was all invested in the visual playfulness. Sometime I think people are too ready to defend anything that has a unique formal style by saying “it’s deep”, as if a work has to justify itself for being not instantly familiar by having something deep to say as "compensation", as if they were secretly bored by it but they're ashamed to admit so they pretend it was a lecture, as if the value of art depends on how it serves to teach philosophy to people who otherwise won't read philosophy. For example, I tend to think Kaiba is one of his worst and Kick-Heart is actually very good, but look at their MAL score. Kick-Heart is visually so expressive and so full of chaotic energy, but just because it is a silly comedy and has none of the solemnity of Kaiba, it pissed everyone off, because now we don't have reason to put up with the weird art style. I guess you also won’t look like very brainy by listing Kick-Heart as one of your favourites. But then Kick-Heart is all about the eyes. For some reasons “elitists” tend to have contempt for the eyes. Perhaps it’s because when you’re talking about the visual, it’s less easier to make yourself distinct from the popcorn-eating passive crowd of lazy consumers. And they’re just all too obsessed with setting themselves apart from the "brainless crowd" on the surface.

Sorry for all the rant about the "elitists"! It just pisses me off way too often when some pretentious dude tries to divide anime into the brainy and the brainless, without realising they're doing the exactly most superficial thing, without paying any effort in understanding the art medium. As for still picture vs. dynamic animation, I'm a kind of a sakuga guy who pays constant attention to the animation. But I'm fine with a beautiful moving picturebook as well if it works in that particular context. Some of my favourite "anime" (that no one even watches) are from an OVA series call 画ニメ or "Ga-nime" ("picture-nime"), which has minimal to none animation in it. I think it all depends on context and overall effect.
CHC Feb 4, 9:00 AM
Yeah, I think there might be systematic reason in why there are so few original anime that have good writing. The industry itself doesn't seem to have any institution that helps looking for and training young original scriptwriters. So we are stuck with asking scriptwriter who have spent their entire career doing adaptation to write an original story, or we just wait for another accidental talent like Gen Urobuchi who just happens to become a scriptwriter rather than a LN/VN writer like most of the other do. But that’s just my speculation.

I haven’t read the later chapters in the manga but my guess is Vinland in this show will forever be a spectre that merely looms at the end of horizon but would never be arrived at. It's probably going to serve pretty much the same function for the Vikings as the Second Coming were for the medieval Christians who similarly suffers from wars, famines and diseases. But I find it to be a very interesting thing to install such a quasi-religious spectre in a series mostly consists of secular wars and political drama, because it adds a very reflective dimension to the show. The characters are not just totally absorbed in slaying people and doing the “plot things”, but also have plenty of moments of self-doubt about whether their whole way of life has been a complete mistake. So characters can completely change their line of action because of a radical shift in their ideological belief (which has always been shaky, before or after), which is what fascinates me the most about the characters. That's something I didn’t see, for example, in similar shows like Game of Throne. (Though I’d say the presentation of Canute’s conversion is a bit over the top.) Even though the worst character Thorfinn, who has been a typical shounen brat for almost the entire run, became interesting in the last few episodes as the reflective moment grasps him. He was forced to realise that he either has to give up revenge or he has to become the kind of cunning person who killed his father. None of his naive belief about the pride of warrior stands the test of the reality. He was forced to detach from his immediate urge for revenge, and ponder about what revenge means, what Vinland (a different way of life) means, what his father died for. I’m pretty excited to see how he will change.

I had the same doubt about Beaster on the first episode too! I thought if it’s going to be a typical teen drama about bullying it would not be interesting aside from the visual excellence. But the show turned out to be much more complicated and nuanced. It’s also pretty elusive about what it is eventually about, in a good way (the carnivore vs. herbivore dynamics was never shown to be just a metaphor for racism/sexism/etc.)

From what you said about Eizouken it seems that you have never been a fan of Yuasa? What did you think of his works like Tatami Galaxy?
CHC Feb 1, 4:33 AM
I pretty much feel the same about Magia and ID. I love the general art direction of Magia (background art, character design, soundtrack) but the drama so far is merely decent for me. I like stories about flawed characters tormented by being self-conscious of their own flaws but I’m not really a fan of characters yelling out what they think and feel so explicitly. This kind of unsubtle dramatisation happens far too often in anime. As for ID, I have doubts about how artificial the entire setting is, but
so far it seems to be a pretty fun way to melt room escape and Psycho-Pass together.

I really liked Vinland Saga too. I loved the idea that medieval people living in such a shithole are placing their hope in a far away utopia called Vinland, where in a new continent they suppose they could begin everything anew, but on the other hand we as the audience know their hope is going to be futile, and their torment is going to continue for a few hundreds years until they would see improvement, through a tortuous, conflicted path they could never have imagined, via a direction that would have never made sense to them. The idea of historical people trying to look for a future unimaginable within their historical horizon really resonate with me, because I think we are just like them, trapped in our own time, unable to imagine a world different than our own.

I see you’re catching up with Beaster right now. What do you think about it so far? Are you planning on watching Eizouken too?
CHC Jan 30, 12:10 AM
Hey thanks for the friend request! So what do you think about the shows in this and the last season?
Ciel_M Sep 8, 2019 2:48 AM
hey, it's nice to see people like you who have a Good taste & have a Great sense in this medium. i think we share the same taste Aka human nature / literature in anime. thanks for existing. Also why dont you make a discord server for your reddit, where we all can chat & discuss.