#it's had an OVA in the 80s

[littleeyesofpallas]

Kyoushoku Soukou GUYVER[強殖装甲ガイバー]

The Bio-Boosted Armor GUYVER

[veloriium]

becoming obsessed with devilman . AGAIN

[journeytojaburo]

Fascinated by mashymre's companion here who kinda looks like if they made a clone of amuro and char into one guy

[yuurei20]

Meet the Seiyuu: Maleanor is voiced by Fukami Rica

Fukami says that she did not talk very much as a child, but after being impressed by upperclassmen in her high school’s broadcasting club she decided to join and her gravely voice, pronunciation and enunciation all improved through daily practice.

Voice acting was still an uncommon profession at the time, so Fukami decided to enroll in an announcer training school.

When Fukami submitted her application a teacher told her they had a new voice acting department that she might find that more interesting. She took their advice and changed her career path.

Fukami is a prolific voice-over artist, doing Japanese-language dubs for over 240 movies and 60 TV shows including Angelina Jolie in the live-action Maleficent movie.

Since 1982 Fukami has voiced characters in over 100 anime and OVAs and 80 video games, including Sailor Venus in Pretty Guardian Sailor Moon, with Lilia’s Midorikawa and the Director’s Onosaka

She also voiced Fran in Final Fantasy 12 with Trein’s VA Koyama and Zephia in Fire Emblem Engage, with Ortho’s Aoi, Baur’s Koyasu and Floyd’s Okamoto.

[xenosagaepisodeone]

For the last 2 weeks I've been transfixed on a strain of lost media I've come to call "bad memory induced media", where the supposed media in question does not (or at least more than likely does not) exist, but there are swaths of people convinced that they have definitely seen it at some point. There is rarely anything more to go off of for the hunt than a vague summary outlined in a post on some forum, but the lack of specificity allows people to fill in the blanks with similar types of media that they've seen, giving them the impression that they've already experienced it. I've found that this is extremely common for alleged lost shock media in particular, which isn't surprising. I talked a little about this on my LOL SUPERMAN post, and I get the impression that a similar strain of logic applies on a smaller scale.

Anyway, 2 major cases I have been looking at for a while are Saki Sanobashi/Go For A Punch and Evil Farm Game. Saki Sanobashi in particular fascinates me because an urban legend like this should have crumbled to the wayside by like 2018 at the latest, since that's when anime more or less became demystified to normal people. The basic premise is that it is an 80s/90s horror anime about anywhere from 4-8 girls trapped in a bathroom. The girls talk about their lives, hopes, dreams and philosophies before slowly going insane and dying one by one. If you like horror stuff you probably are already getting the vague impression that it sounds familiar- which could be influenced by any swath of media artifacts from Saw to the Russian Sleep Experiment creepypasta to the Ikea SCP to ClockUp's Euphoria to snippets of Battle Royale to that one Grisaia no Kajitsu arc. OP insisted he found it fully subbed on the deep web (omegalul) and hasn't found a trace of it since, implying some kind of murky origin or legal status (the OVA is not pornographic btw). As you can probably tell, I think this is silly. Like, so much goes into anime production that it would be difficult to hide any traces of this thing's existence. Someone had to voice act those girls. Someone had to sit hunched over a desk and draw that settei. OVAs were such a new thing in the 80s and 90s that both sfw and nsfw series were advertised in magazines. The only way that this could be so lost that not even a MAL entry remains is if it had been a student/indie production or something made for a single comiket event...but even at that....you're telling me that someone still managed to rip this from a vhs and subtitle it? And then chose to upload it to the deep web instead of youtube? even the title sounds like something google translated but didnt format correctly ("Saki Sanobashi" being gibberish while "Saki-san no Bashi" translates to "Saki-san's Bridge").

And yet there are people who will say "I definitely saw this at some point" because they saw a reaction image similar to the alleged scene where the protagonist smashes someone's head into a mirror. "The neck scratching death sounds familiar...." because you watched a higurashi amv! And OP did too, and thought it was so creepy that he involved it in his fake story. It's almost grating how much you have to suspend your disbelief to embrace that something like this exists in the exact way that stories like this insist. While many people have accepted that the series is likely not real in the last 4 or so years, there still persists a cohort of people hunting for Saki Sanobashi, likely because they are kids who are now too old to believe in Squidward's Suicide.

Evil Farm Game gives me a chuckle because it goes like this: a redditor posts to r/tipofmytongue about an old flash game where you play as a farmer who kills his wife and then has to hide her body while going about his farm tasks. The setup is completely fine and actually kind of reminiscent of a few story driven flash games I played on newgrounds as a kid. Many people came forward insisting that they had played this as well, one person even producing a link to a file from their hard drive that they couldn't open, but strongly believed that the game was there. A subreddit was even created to support the search. The twist is that it was a misremembered joke from a vinesauce stream.

Everyone knows that memory is an extremely fallable thing; people can be coaxed into believing that they did or saw things that they didn't with the correct prompts. What gets me is that a lot of people on the hunt for "bad memory induced media" seem to largely be hyping themselves up. They want to believe there is something that exists against all reason no matter what. It's chuuni in nature. Do not get me wrong- the interest in finding a cool, mysterious, haunting piece of media isn't lost on me, but dog, the dopamine hit of finding a previously lost 1985 commercial for almonds in a box of vhs tapes you got from eBay is the same.

[centrally-unplanned]

As part of the 80's OVA binge, partner and I watched Dream Hunter Rem, a story of a paranormal girl detective who fights demons in people's dreams. A typical premise, but the opening shots of her office had this, uh, interesting detail?

...Is Rem Jewish? I don't think so, that is never mentioned. I feel like this is a typical "mysticism potpourri" thing, where throwing in any western religious symbols works for a vibe in Japan because they don't care, and the existence of things like kaballah made jewish symbols work extra well (though it otherwise isn't that kind of work beyond a character who is a buddhist monk using buddhist symbols organically). I lack the skills to tell what the text says - I don't think it tracks as Hebrew, but it might be a weird font, some other language, or just nonsense scribbles. Likely they found some poster somewhere and copied it as a form of reference - I am curious what that could be!

(Googling this in Japanese does not bring up any clarifying discussion, alas)

[arkus-rhapsode]

Are We Returning To 2000s Era Shonen Anime/Manga (A Discussion)

So this is going to be way more of a thinkpiece than I usually do for this blog, but recent trends in the space and niche that I devote a lot of time to, Anime/Manga, have been showing themselves that got me thinking. This is not meant to be a serious sociology case study taken as fact, it's going to be more a theory based on observations of the community that I, like many others, devote a lot of time into than a full on claim, but I do want to ask, is the anime and manga community is experiencing a resurgence in 2000s era shonen manga?

Background

Now let me get this out of the way, there is bias in these observations as I am a western anime fan, but also a North American anime fan. Meaning my gateway and gauges of pop culture are mostly determined by the history of my area of the world’s relationship with anime. From the OVAs of 80s hyper violent and hyper sexual sci fi that you had to purchase from the backs of video rental stores, to the Toonami era of 90s and early 00s programming block the centred around action anime and cartoons, the 4kids era of mass market japanese animated kids shows that were really just giant commercials with some of the earliest memetics in western sphere, and the explosion of shonen battle series in the western sphere in the mid to late 2000s marked by the rise of the colloquially named “Big 3” of shonen jump. I understand that continents like South America or Europe may have undergone a different exposure to the Japanese medium, but as I am going in with some bias in this observation, I would like to make it clear on where the formula is coming from. I also would like to lay down a certain clarification before making this, when discussing the topic of nostalgia I think a lot of people have forgotten what it actually means. If we go by the Cambridge dictionary definition, Nostalgia is “a feeling of pleasure and also slight sadness when you think about things that happened in the past.” This is often invoked when talking about pop culture because people from say 20 years ago don’t seem to enjoy or relate to the interests of today. The belief is that nostalgia is generational ergo if you grew up in the 80s you’re likely wishing to recapture the feelings of childhood that you associate with those trends from 20 years ago. In fact, most revaluation in media has often been catalyzed by a difference of those who grew up in an era rebuffing the opinions of those who didn’t. 

There is the well known “20 Year Rule” regarding pop culture nostalgia. That every decade it longs for what was popular 20 years ago. Probably no better example than “That 70s show” being popular in the late 90s, the return of many beloved 80s-90s franchises like “Ghostbusters” returning in the 2010s as well as series like “Stranger Things” that wrapped itself up in 80s aesthetics. DC's New 52 relaunch that seemed to bring back trends from 90s era comics.

Now it goes without saying that the 20 year rule isn’t a “real” rule, rather an observation that certain trends make a return to popularity because the ones who grew up with a certain media will be the ones who add to the discourse when they come of age and will be the ones having a chance to create consumable art for the masses and that may just be revivals of once popular IP. This isn’t necessarily wrong in regards to nostalgia, but I do believe that one doesn’t need to have been born in a certain era to be nostalgic for something when we discuss pop culture. Pop culture is really just trends and preferences that become en vogue and people can acquire a taste at any given time. Sometimes it can be due to those who grew up with something now having the chance to create and drawing upon their own childhoods, sometimes it's just due to not being exposed, other times it can be a certain feeling of disillusionment of the now, and seeking something that peaks your interest, and even sometimes it can be major corporations or networks looking for things with existing audiences to draw upon that actually expand the audience. In fact one of the most prominent Netflix adaptations of the 2020s has been live Action Avatar the Last Airbender and One Piece, both shows that got their start on American televisions in 2004 and 2005. One of the biggest animated shows right now is Invincible, based on a comic book from 2003

So I want to stress this is not necessarily about how if you grew up with the original Mobile Suit Gundam show you are being replaced by the kids who were watching GetBackers. And or if you are a fan of shows that came out in the 2000s you yourself were born in the 2000s.

But what was the landscape of the English speaking anime community like back in the 2000s? Well let me paint a portrait for you.

What was the 2000s like for anime fans?

The term I used, “shonen boom period”, is somewhat mythologized in the western anime sphere. There was a glut of high profile shonen anime running around the same time that most people identified with this time period and was arguably when we saw the most influx of people getting into the hobby. One Piece, Naruto, and Bleach served as big series known for their massively large casts, MCs with a level of attitude, some of the most hype centric power supernatural/extraordinary power systems, and certain brand of “Japanese-y” humor. We can’t deny that it wasn’t just these series however, as series like Fullmetal Alchemist became many people’s introduction to more narratively intricate series interspersed with a somewhat gothic action style. The gothic and somewhat edgy Death Note became many fans' first ever “battle series that’s not a battle series” that also incorporated many biblical and gothic horror elements into its presentation. And things like Code Geass also incorporated this combination of hyper stylized cat and mouse with ornate and gothic aesthetics and fighting robots. 

Series like Ouran Highschool Host Club and and Haruhi Suzumiya were basically gateways to the more hyper extraordinary slice of life series that didn’t shy away from fanservice and loud comedy. With ecchi like Rosario + Vampire taking it to an even greater extreme. For people willing to go even deeper, series like Fairy Tail began to pop up and share a distinct similar flavor to series like One Piece and Naruto which arguably started the popular conception of it coming from the same magazine as the latter. That’s not also discounting the amount of holdovers from the 90s like Dragon Ball z, Trigun, and Yu Yu Hakusho, which also had an edge towards fantastical combat and comedic oriented series.

All of this is to generally illustrate the media diet of what an average anime fan was expected to have some level of access to. As this was far before the eras of Funimation or Hulu having online services. Not a homogenized spread by any means, and im certain plenty of readers could name more underground or smaller series like Mushishi or Elphen Lied, but generally the popular mainstream you could tell that there was a consistent theme of long form media with a very loud, very flashy, and very action oriented type of series. Which I think is fair to say had skewed some people’s perception. And while I cannot claim with utter certainty that Japan was the same in this regard, you can look at magazines like Shonen Jump and notice a somewhat synchronistic trend. With series like Hitman Reborn, Gintama, D. Gray Man, Eyeshield 21, Bobobobo, etc.making a clear marcation of what was commercially successful at the time. Even series not inside the magazine but had smaller nicher, Tokyo-pop-esque series like Rave Master, Flame of Recca, Air Gear, History’s Strongest Disciple Kenichi, Soul Eater, etc all had a similarity to the shonen jump magazine. To the point it was not uncommon to see so many jump characters in a collage and one from shonen sunday or shonen magazine in there as if this was all coming from the same place.

Changing Landscape

Now with the advantages of the modern internet, we have the ability to actually keep up with the jump magazine in real time as opposed to the common practice of relying on scanlation site and fansubs that were often devoted to the most popular works. But with simultaneous publication and services like Crunchyroll, being able to access a wider variety of shows and series that we may or may not have access to. I believe that the 2010s in the english speaking fanbase was the decade we saw a somewhat expansionism of what people perceived as anime. Anime could be One Piece and Naruto, but it could also be Erased, it could be the Promised Neverland, Attack on Titan, K-On, Haikuu, and Durarara. With the representatives of the 90s no longer being holdovers in syndication like dragon ball but rather full on revivals of the likes of Jojo’s Bizarre Adventure and Hunter x Hunter. 

All of these could be "shonen" but also other genres like Seinin, Josei, and Shojo all had their own varying layers of what they could be in their demographic

The mood of what was popular was also changing, not just in the fact that more flavors of anime and manga were becoming mainstream, but new works from shonen jump showed a rise in almost subversive series like My Hero Academia and Demon Slayer that seemed to consciously deviate or place new spins from traditional tropes of the 2000s characters, and we saw works that were derivative of previous serious like Black Clover drawing upon Naruto the same way it was known that Naruto had drawn upon Dragon Ball before them. Series like The Promised Neverland and Doctor Stone offered up more dramatic series that still infused a certain energy of the shonen genre. 

And of course the series like Attack Titan whose much more darker and gorey storytelling seemed to have become one of if not the biggest hit of the generation with a well regarded adaptation, but something that had felt so removed from what were once contemporaries like the then ending Bleach or Naruto. We can also note that the late 2010s saw the rise of series like Chainsaw Man and Jujutsu Kaisen that began a trend of popular urban fantasy stories. Where fantastical concepts were now in contemporary Japan and the stories that focused on concepts like self identity and the harshness of maturing were juxtaposed to the real world inhabited by monsters. 

It seemed many tropes of the previous decade were still alive in the rise of Isekai anime. Which was particularly the only popular outlet for fantasy stories with an action orientation. But these almost felt disconnected from the wider world of manga as things like heavy harem action series had actually decreased in mags like shonen jump. There was also new tropes being established in this subgenre that became unique popularizations of tropes all on their own, such as the overpowered protagonist whose power everyone believes is weak. But many of these were based on light novels, a form of media that only in the last few years western readers are having official access to and not simply scans found on the internet.

We in North America truly have gone from anime being a niche that was primarily accessible through dedicated TV blocks like Toonami, to a full blown cultural relevance shift.

We also need to talk about this era in its perception of the past also shifted. The 90s and the early 00s often blend together as classics of the anime community. Somewhat encased in amber. However, there is no denying that “feels like a 2000s series” had become a bit of a shorthand for very goofy, Very horny, very action heavy series. Series like Fire Force and and Undead Unluck had their show what more problematic elements be equated to the problematic trends of the past that people just accepted as “a part of the medium.” But lets keep in mind, this is not really describing a time, more a trend. Superficial elements that invoke similar feelings of the past. 

Speaking of anime fans…

Fan Culture

So while I wanted to paint a picture of creatively the landscape has changed, there’s no denying that in the age of internet accessibility, the anime fan community has also changed. It is much much easier now to get in contact with people who are anime fans now than it was to rely on word of mouth like it was back in the day. I can still distinctly remember my anime club which wasn’t even really a club devoted to anime but rather other geek stuff like D&D and TCGs. Our hobbies just happened to have similar overlap.

Now though, anime fan culture is much more relevant and thriving. Going from just posting weekly reviews, to long retrospectives, comedy videos, abridged series, clickbait articles, fan theories, and podcasts. However, I think a defining feature of fans of the 2000s era of anime that were at their most prominent was hype culture. 

Due to many of the biggest anime series at the time being released weekly and focusing on action, many many many discussion boards and videos were often about staying in this cycle of wanting to see what happens next and the action made people very excited to see just how characters were going to win fights or even if they’d have fights at all. 

I want to make it clear that this type of activity doesn’t belong to a certain era, but you can see it shaped by the 2000s era. Especially when discussing “what is the next big 3.” As if it were a true position and title, rather than a moment in time where there were just three very distinct shonen series in the fanbase.This doesn’t necessarily have a “negative” effect on the discussion of anime/manga but you can see that certain genres lend themselves to hyping fans up more and more. 

Someone isn’t reading the most recent chapter of a romance like Blue Box with the same level of anticipation of who will face who like it was One Piece. But there have certainly been series that try.

The Present

Now we reach the 2020s and this decade is still young, so it is hard to say what the future will hold for certainty, but we can look at the last four years and notice some significant waves being made recently in Shonen Jump alone. I already spoke of Undead Unluck, a series that almost wears it would now be considered retro inspirations on its sleeve. With an opening chapter that establishes an MC that seems motivated by a sexual joke, A power system follows a verbal naming gimmick, and a loose enough world that allows for characters of varying aesthetics and to be incorporated into groups. With groups of these powerful characters splitting up to face each other and use their ridiculous power to the extreme. Even in the series' own meta arc about creating manga, the in-universe analogy for Undead Unluck’s manga is commented on as feeling retro. There is no doubt the biggest viral hit of the decade so far has gone to Kagurabachi, a manga about sword fighting and magical crime lords that seems almost indulgent in its stylistic slicing and or dicing of baddies. Its memetic success was primarily due to a somewhat sincere and somewhat ironic belief that it would be the “next big thing” as it promised to be a stylized action series. Another surprise viral success has been the manga Nue’s Exorcist which sees another supernatural swordfighter boy harness the powers of his sexy spirit lady while getting into harem shenanigans that echo a particular form of ecchi of anime’s past that had actually been somewhat absent in the past decade in jump. Both of these series have a somewhat noticeable similarities to Bleach, a long running shonen action series that has seen its own revival in the last few years of writing this with the long awaited adaptation of the final arc of the bleach anime. 

While the other members of the “big 3” never truly went away and became almost inter-generational, Bleach truly did feel like a “come back” as it was absent for so long. And unlike Hunter x Hunter and Jojo which were never really popular in the west and even their older anime are more regarded as anime deep lore. Bleach was one of the most popular series in the west at the time to never receive a conclusion animated. 

Speaking of anime of the 2000s Trigun Stampede was a reimagining of the original late 90s show. This errs a bit similar to Hunter x Hunter’s style of revival, but also seems uniquely its own in actually trying to find a balance between the original series but adding in things cut from its original late 90s early 2000s counterpart. 

And now we must examine other shonen magazines. Series like Gachiakuta created by a former assistant of Okubo, the creator of Soul Eater, carries with it much of the similar energies of that series. Its also noticeable as being a truly dark fantasy series. Not an urban fantasy, but rather a completely new world that had a very grunge and dirty world building. And then there is Daemons of the Shadow Realm, a series by Fullmetal Alchemist creator Hiromu Arakawa. This series is also set in modern day japan with supernatural elements, however Arakawa’s style of writing is practically unchanged from her time on FMA. With an emphasis on action, intricate mysteries, and character building comedy with her trademark over exaggerated blocky style. There is of course Hiro Mashima who has started another new series, Dead Rock, and his style has also not changed that much. Then there is just flat out sequels to 2000s series like Gamaran Shura.

This to me shows that we are  seeing a bit of a combination of people who are now entering the workforce inspired by creators of the past, but also that creators of the past still exist 20 years later and are still making content that hasn’t really undergone significant change. 

Of course, we can’t also forget the implementation of the Manga Plus/J plus service which has opened up a very interesting ground for creators to have some of the most creatively out there series than what you may have expected from the shonen jump brand. I genuinely don’t think series like Make the Exorcist Fall in Love or Fire Punch would’ve ever been acceptable in the pages of a weekly shonen series. However one series in particular does feel like it could've and boy its been quite the success. Kaiju no 8.

Kaiju no 8 almost feels as though it is the AoT of a new generation with the amount of anticipation this one series has as well as the similarities between the series superficial elements. However, I'd say the key distinction between the two has been the tone. AoT took a dark and practically dour tone on its titan infested world. With an MC declaring war on all of his enemies. The pain was realistic, with human bodies being brittle and vulnerable. And the belief that just because you were a good person you weren't going to make it out alive. Kaiju no 8 instead opts for a more action oriented tone. Down playing the bleak realism for more "Hell yeah!" moments. With super science weapons that feel more akin to a tokusatsu show and fights and battles between humans an kanji the feel like the Dragon Ball style wrestling matches of old.

And of course, that’s not to say Jump hasn’t continued with series that feel more modern like the realistic and mellow romance of Blue Box or the dramatic coming of age story of Akane-Banashi. 

But the presence of these series has caused somewhat of a friction with the popular conception of the magazine. Its safe to say that while “shonen” tends to think of action male oriented series, it can really just mean works aimed more at adolescents. But I think many tend to associate this familiar feeling of “what is shonen” with their popular introduction of the magazine. With a saturation of action and brash comedy series. This is further complicated by the fact many action series in jump are actually ending over the last decade. With new ones not popping up to replace them as frequently and series like One Piece and MHA and Black Clover basically stretching out across an entire decade or longer. In fact, I don’t think it's unreasonable to believe that the hype for something like Kagurabachi was in part a belief that it signaled a return of a type of familiar series and genre that had been missing. Or at the very least, looked to fill an inevitable gap the magazine was obviously going to be facing. Followed by the other commercial success of Nue’s Exorcist, we are likely to see these series last for a long time. At the time of this writing, Tokyo Revenger’s author Ken Wakui has released Astro Royale, a series that feels very similar to his previous work yet infused with this almost GetBackers flavor.

So that leaves us with the question at the start, are we seeing a rise in 2000s nostalgia in anime and manga?

Conclusion

So I'm sorry if I disappoint, but the best I can say is, I’m not certain. I do believe that from my observation I think it is reasonable to say that we are seeing a rise in creators in the shonen space being ones inspired by series from 20 years ago. However, I think we are also seeing creators who are from that time period also returning to write how they have always written. 

On the consumer side, I think we can see that fans of anime and manga have changed in the sense their tastes can now be shaped by a much larger catalog of series at their disposal. But in the case of shonen, I think we are simply seeing those who likely got their start in anime at around the 2000s resonating with newer series drawing upon those series, but also with younger fans now likely to grow up with the tail end of what was popular in the 2010s now being influenced by the 2020s. I also believe that one of the defining features of the anime community in the last decade is hype culture. And currently we are seeing a rise in series that actually feel more catered to hype, be it a revival of a series they liked or predicting what will be the next success. 

All and all, this piece was trying to tunnel on the shonen demographic in general, which is more likely than not going to have similar traits relative to itself. I do see us as a community endorsing trends of the past and there’s an excitement for these things to “come back” even if they may or may not have left. If you liked this please drop a like or reblog because I may do more of these think pieces in the future.

[jascurka]

what's please save my earth about? I keep seeing you talk abt it and I'm like 👀

"Please save my Earth" tells the story of a pack of highschoolers and a 7year old boy, who thanks to their connected dreams find out they have been living as alien researchers, studying and watching over the earth from their base on the moon in their past life. They have been reincarnated as humans and have to come to terms with the complicated relationships they had in their past lives.

And oh boy it gets interesting.

Note that the aliens I'm talking about are basically some sort of humans but upgraded. They just come from different planets apparently and have powers like communicating with plants or straight up ESP. And small spoiler but for some of them their powers activate again during the series when they're human.

The original manga by Saki Hiwatari was published in the 80s and 90s and the 6-episode OVA came out in 1995. You can watch it on YouTube although I wish I had access to a better quality of it. Personally I think the anime adaptation left some things kind of unsolved, there are implications to what happened but no deep dive into it, which is why I started reading the manga! Hopefully I'll find out more about what didn't make it on screen. So far I really like it, it's been a while since I've read shoujo, it has some humour in it and apparently it starts getting more serious and dark later on.

If you saw me posting about Jinpachi and Issei - they're kind of a subplot, the main character is Alice (Arisu) and Rin, the 7 year old menace. Their relationship is complicated and takes various turns.

Lastly for possible content warnings: there is an age gap relationship in please save my earth. It is also complicated but nothing too... shocking (??) for someone who isn't used to seeing stuff like that talked about in media. It's very tame if you ask me, you'd need to find out yourself orz

Anyways! I think I can recommend giving it a shot, it's really short but the artstyle of the anime is so ahh delicious, the characters feel so solid and shaped, I love that. And the animation is very nice as well!

(x), (x)

[wanderersrest]

An Abbreviated History of Mecha Part 4.1: THE EAST IS BURNING RED!!! (1990-1995)

(Read in the voices of Yosuke Akimoto and Tomokazu Seki) ANSWER ME, DOMON! THE SCHOOL OF THE UNDEFEATED OF THE EAST!!

THE WIND OF KINGS!!

ZENSHIN!!

KEIRETSU!!

TEMPA KYOURAN!!!

LOOK, THE EAST IS BURNING RED!!!

Welcome back to An Abbreviated History of Mecha! Last time, we saw the proliferation of mecha shows throughout the 80's. We also saw the introduction of an incomplete list of influential industry people who got their start in the 80's. In the 90's, we will begin to see a continuation of this proliferation of mecha works throughout the decade. The 90's will also see a lot of the stories I have talked about pay off, as

What we will also see in the 90's are a few major events that will affect the world of mecha in pretty major ways. The first is the bursting of the Japanese economic bubble, which would cause the Japanese economy to go from an era of excess to one of stagnation known as the Lost Decade. Another is the sudden arrival of a third honorary mecha series, except this honorary mecha series would arguably help to kickstart the slow decline of mecha stories. It should be noted that this series is not the only reason for the slow decline of mecha shows. That is a whole conversation in and of itself, and one that, maybe one day, I will talk about.

The last thing that should be noted about the 90's is that this would also see the creation of a handful of networks in the US that would help to bring anime over to the west, namely one Cartoon Network (and more importantly, its spinoff networks Toonami and [adult swim]) for the people in the US. While anime had seen some popularity in the west thanks to shows and movies like Robotech, Voltron, Ghost in the Shell, and Akira, it would be the four-part knockout of two of the series mentioned here alongside animanga juggernauts Dragon Ball Z and Sailor Moon that would cause anime to become mainstream.

That should be everything. With all of that out of the way...

Gundam Fight!

READY?! GO!!!

Yuusha Exkaiser/Brave Exkaiser (1991)

Starting us off in 1991, Takara would realize that, due to the sudden success of Transformers in the US, it might be time to diversify as Transformers had no longer felt like it was truly their property anymore. As such, they would create the Yuusha line, with their debut series being Brave Exkaiser. Exkaiser would prove to be a massive hit amongst its intended younger audience and would kickstart a whole franchise, which would also include:

The Brave Fighter of Legend Da-Garn (1992)

The Brave Express Might Gaine (1993)

The Brave Police J-Decker (1994)

The Brave of Gold Goldran (1995)

Brave Command Dagwon (1996)

The King of Braves, GaoGaiGar (1997), which I will talk about next time.

The Brave franchise is important due to how often this series gets referenced by other works, with the usual reference points being either Might Gaine or GaoGaiGar. More importantly, both Brave Exkaiser and the Giant Robo OVA would usher in an era of works that looked to the older mecha shows like Tetsujin 28, Mazinger Z, and Getter Robo for inspiration as opposed to Mobile Suit Gundam.

Super Robot Wars (1991) & Another Century's Episode (2003)

1991 would also see the start of Banpresto's Super Robot Wars, the ultimate crossover of in terms of mecha works. Super Robot Wars is where a lot of mecha-related terminology such as Super Robots, Real Robots, and the Holy Trinity (Mazinger Z, Getter Robo, Gundam 0079) come from. Super Robot Wars would also introduce its own set of original robot designs, each with their own unique pilots. Super Robot Wars would eventually gain a sister series in the form of 2003's Another Century's Episode.

One of the most important factors of Super Robot Wars is that, due to its celebratory (some might even say masturbatory) nature, these games can serve as a good metric behind what is a mecha story.

Giant Robo the Animation: The Day the Earth Stood Still (1992)

In 1992, Yasuhiro Imagawa and company would release the first episode of the now-legendary OVA Giant Robo the Animation: The Day the Earth Stood Still. This OVA, along with Brave Exkaiser, would begin the push for giant robot shows to take inspiration from works that were not Mobile Suit Gundam. The Giant Robo OVA, on top of being one of Imagawa's magnum opera (fun fact: the plural of magnum opus is magnum opera) alongside Mobile Fighter G Gundam, would also be the direct inspiration for western darling The Big O.

Kyoryu Sentai Zyuranger (1992) & Mighty Morphin' Power Rangers (1993)

If you're wondering why I mentioned Super Sentai in part 2, this series is why.

In 1992, the Super Sentai series Kyoryu Sentai Zyuranger would release in Japan. While, to my understanding, it was about as popular as the rest of the Super Sentai franchise, this specific series in particular would attract the attention of one Haim Saban. With some editing here and there, along with filming new segments featuring an American cast as opposed to using the original footage featuring the original Japanese cast, Saban and company would create Mighty Morphin' Power Rangers, which would air for the first time in 1993. Mighty Morphin' Power Rangers would go down in history as one of many series that would help pave the way for animanga to gain a foothold in western media.

Denkou Choujin Gridman/Gridman the Hyper Agent (1993) & Superhuman Samurai Syber Squad (1994)

1993 would also see the legendary Tsuburaya Productions, after a long period of struggles, finally make a comeback with their new series Gridman the Hyper Agent. With its smaller budget, the Hero of Dreams would come to be known as the hero who would help Tsuburaya Productions come back to relevance in the 90's.

Due to the success of Mighty Morphin' Power Rangers, other US companies would want in on the action. DiC Entertainment would buy the US distribution rights for Gridman and would try to put their own spin on Power Rangers by creating Superhuman Samurai Syber Squad.

Eventually, the people at Studio Trigger, who were interested in making an anime based off of Ultraman, would reach out to Tsuburaya Productions in an attempt to get permission to do so. While their initial request for Ultraman specifically was shot down, they were allowed to choose any of Tsuburaya's other properties for their anime adaptation. And they would choose Gridman for their subject, which would lead to the creation of SSSS.Gridman (a show I will talk about later).

If you have time to spare, you should also check out Cheese GX's video on the history behind Gridman.

Patlabor 2 (1993)

The fan-beloved Patlabor 2 would also release in 1993. Reflecting the realities of post-economic bubble Japan and the ensuing Lost Decade, Patlabor 2 would trade out the optimism commonly associated with the franchise with a much more cynical and grounded (even by Patlabor standards) tone. People tend to view this movie as being what Patlabor is all about, but in my opinion, this movie is an anomaly that can only truly be appreciated by knowing the context of everything that came before it.

Magic Knight Rayearth (1993)

1993 would also see the publishing of the shoujo manga series Magic Knight Rayearth. Created by the legendary mangaka group CLAMP, Rayearth would be one of the first magical girl series to really escape the long shadow cast by one Sailor Moon (if I understand my magical girl history correctly, Sailor Moon is basically the magical girl equivalent of the original Mobile Suit Gundam). How was Magic Knight Rayearth able to do this?

By adding giant robots into the mix. That's right: Magic Knight Rayearth is most likely the reason why there is overlap between magical girl and mecha fans. While remembered by many as being an important series in the canons of mecha, magical girls, and CLAMP, Rayearth's legacy would largely be overshadowed by one Cardcaptor Sakura.

Mobile Fighter G Gundam (1994)

1994 would see Gundam return in a radically different form with the martial arts-inspired Mobile Fighter G Gundam. Often considered to be the other iconic series of Yasuhiro Imagawa, G Gundam would mark the beginning of a new era of Gundam by being the first alternate universe series to exist, thus allowing the franchise to flourish while letting the original Universal Century timeline continue to exist and get its own stories. Because of its radically different nature though, G Gundam is oftentimes looked down upon as a series that spits on the legacy of the Gundam franchise.

And again, not to toot my own horn here, but I also have a trilogy of posts all talking about G Gundam. All three posts seemed to be pretty popular relative to my other posts, so there seemed to be something in them that resonated with a lot of readers.

New Mobile Report Gundam Wing (1995) & New Mobile Report Gundam Wing: Endless Waltz (1996)

Following on from G Gundam is 1995's New Mobile Report Gundam Wing, which is arguably the most important Gundam series after the original and Gundam Seed in the 2000's. As a return to the war stories of the original Gundam, the reason why this series is important is because Gundam Wing would be one of the big four anime series that would make anime become mainstream in the West.

In my opinion though, Gundam Wing's legacy begins and ends with it being the first Gundam series to air in the West. In Japan, another series would air at around the same time as Gundam Wing, one that would loom over the rest of canon of mecha due to its impact on the anime industry and Japanese pop culture as a whole.

Neon Genesis Evangelion (1995) & The End of Evangelion (1996)

Ah yes, the original "Not Like the Other Girls" mecha anime.

The series that would hamper a lot of Gundam Wing's cultural impact would be Hideaki Anno and Studio Gainax's legendary Neon Genesis Evangelion, and the second of Gainax's Big Four alongside Gunbuster. Created as an homage to shows like Ultraman and Space Runaway Ideon, Evangelion would take the zeitgeist by storm, forcing its way into the pantheon of the mecha canon like... well, like an Evangelion Unit tearing through an Angel's AT Field. There was a certain je ne sais quois to the series that made it stick to a lot of viewers at the time, and a lot of the history and context behind this series' production would help shape a lot of its more cerebral moments.

Anno would eventually revisit this series in 2007 by remaking this anime series into a quartet of films known as the Rebuild of Evangelion series. At first just a project to bring Evangelion to the 21st century, the Rebuild films would eventually become the first of the Shin Japan Heroes Thematic Universe, which would come to also include:

Shin Godzilla (2016)

Shin Ultraman (2022)

Shin Kamen Rider (2023)

The problem with a series like Evangelion is that, while it is a culturally important series that deserves a lot of the attention and praise it gets, a lot of Evangelion fans tend to go a little bit too far. It's subversive nature tends to become exaggerated to the point where Evangelion is often treated as being subversive of mecha, and thus, not like the other mecha shows. This is, in large part, why the infamous idea of Evangelion being "Not like other mecha shows because it deals with character drama" comes from, and it's something that I'd like to talk about at some point in the future after all of this.

Conclusion

And there you have it! As we get into the latter half of the 90's, we will see a lot of iconic mecha shows begin to pop up. We will also see [adult swim] begin to really play its part in making anime more mainstream, along with Gundam begin to decline and the end of the Brave franchise. We'll also see the appearance of the crazy man known as Tetsuya Takahashi make his directorial debut in what is quiet possibly the single most ambitious JRPG project of all time along with a surprise appearance by... LEGO?!

Next time, Part 4.2: A Grand Glorious Gathering!!

This will be the key to victory.

[aekatty]

⋆⭒˚｡⋆✮ ⋆ ˚｡𖦹 ⋆｡°✩

𝓶𝓸𝓿𝓲𝓮 𝓷𝓲𝓰𝓱𝓽 !!

ft. the strawhats

masterlist

a/n: going to see ayesha erotica tonight, omg what if she signs my right tiddy

what movies do the straw hats like?

─── ⋆⋅ ♰ ⋅⋆ ───

18+ !! MINORS DNI

─── ⋆⋅ ♰ ⋅⋆ ───

cw: my headcanons, if u don’t agree that’s fine just writing them cause it’s silly, grammar lowk rn cause im crazy

tags ✮⋆˙ crack fic, i just randomly thought of this and immediately had to write it on docs lmao, if it’s ooc i lowk don’t care

luffy

not say saying this to infantalize lil bro but i see him unironically into how to train ur dragon and mostly likely watched it over 100x. but tbh, i don’t blame him bc the movies are lowk gas so.

i also see him getting riled up over king kong vs godzilla or just any action movies like marvel. oh and he would definitely headcanon the crew as different marvel characters for funsies.

probably kins brad pitt

zoro

you cannot fucking tell me bro doesn’t watch kill bill or any bruce lee movie.

definitely got scolded by nami when she found him recreating a scene from charlie’s angels.

idk i don’t got a lot to say about him bc i feel like bro’s just interests are self-explanatory. he definitely is against the whole romance sappy shit.

nami

my girl loves some cute ass rom-coms, i can feel it. she definitely eats up 13-going-on-30 or 10 things i hate about you.

oh, she eats up telenovelas…who cares if it’s in another language, if it involves love, angst, and death, she don’t care. on the wings of love~

definitely cried watching marley and me, cannot tell me otherwise

usopp

this man is watching the rom coms with nami. he unironically loves romance movies. sure, he’ll watch a few action movies but come on…bro was prolly watching the new sydney sweeney movie his bestie (nami).

nami will invite him to the library while the whole crew is asleep for silly sleepovers. they’ll put on a random rom com while gossiping and giving eachother spa days.

him and nami were holding eachother while sobbing after watching the ending to marley and me for the 10th time.

sanji

watches any movie that discusses the beauty of culinary art.

he definitely enjoyed watching the menu and became fascinated with the horror elements that complimented a “sophisticated work of art.” oh and prolly watched the american girl movie with olivia rodrigo as grace (cause she’s like a baker in the movie lmao).

*sigh* ok so like he prolly LOVES titanic and imagine rose as nami. prolly tried sneaking into usopp and nami’s sleepover but got his ass beat cause he wasn’t chill enough to come ova.

robin

ik she into them campy movies or horror but mostly psycho horror. in terms of camp, definitely the devil wears prada. for horror, she’d prolly like hereditary(?) (lemme sit on it ill prolly change it later) or she’ll like them classics and im not talking about just 80s classic, no, she prolly watching dracula before it had fucking sound.

franky

fucking top gun maverick. bro is the definition of a gen x mom. or prolly crying to a studio ghibli movie or the notebook(?) OR he can be cunty by watching legally blonde bc elle woods is SUPPERRR tbh i think bro’s taste would lowk be diverse.

chopper

mid joining usopp and nami’s sleep over and crying with them to marley and me. or he prolly watching zootopia and would be so amazed bc it’s an allegory for segregation

jinbe

watching that one lowk boring movie about stocks with christian bale. lowk fucks with that one princess diana movie with kristen stewart. yk what, fuck it, he prolly fucks with the godfather.

brook

some stupid ass movie from the 50s?? full on black and white shit. wait, ok, i did a film class and all i can remember was like vertigo which was lowk good and whats up doc.

[typingatlightspeed]

Metal Gear Fanfic - Thunder

Hal discovers another metal gear leak, in perhaps the most obvious of places. A very stupid fic with a very stupid joke. Ao3 Link! @tarisbackyard made a joke about this months ago and I knew then I needed to write a silly lil ficlet of it, lol.

---------

The frantic clicking of Hal's laptop mouse and absence of any other active sound was what alerted Snake to the fact that something was amiss.

Typically, even when deeply engrossed in work, a flurry of sound tended to accompany Hal's computer activity. He usually listened to something, background noise to help him focus in the form of some 80s city pop or an episode of a mecha OVA, rarely actually paid attention to. When Snake was doing something in the same room, he'd wear headphones, but when he was alone, he didn't bother.

So when Snake walked out of the bathroom, fresh from a shower and toweling off his hair, it immediately set off alarm bells to find such relative silence, doubly so as he walked into the living room to find Hal sitting cross-legged on the couch, hunched over his laptop like a shrimp in near-complete silence, save for the sounds of his own busy typing and clicking.

"Everything okay?" Snake asked, digging in his ear with his towel. Rounding on the couch, he caught sight of Hal's face and stopped, his guts clenching tight. The man looked like someone had just shot his dog.

"Not even slightly," Hal murmured. A few clicks, and he sat back to let Snake see the screen, upon which were a set of metal gear blueprints. "This was just posted. Publicly, on the War Thunder forums."

Snake came up alongside Hal, peering at the screen, eyes wide. "War Thunder forums?"

"War Thunder's an online military vehicle combat game. It's whole gimmick is that it tries to be as realistic as possible with its portrayal of the vehicles it features."

"And they've added a metal gear?"

"Yes, but this isn't their post. Their public forums have a reputation. People get really passionate about their favourite vehicles, their specs, the verisimilitude, and a bunch of times over the years, there have been players with access to classified design and specification documents who've posted those documents on the forums in order to win arguments about the vehicles they're discussing."

"You're serious?"

"Never underestimate a military nerd with an axe to grind. Some people get so deep into it that they forget that winning an argument on the internet isn't the be-all end-all," Hal said, shaking his head ruefully. "It's happened enough times to become an internet meme known outside of the player base of the game. People who have no interest in the military, vehicles, or the game know about the War Thunder forums and people leaking classified information on it."

"And someone leaked metal gear plans."

"Yeah. Recently, they added TX-55 to the game, and it's caused a bit of an uproar on the forums. Some people are mad earlier iterations of metal gears weren't added first, others are angry that something that powerful was added before the infantry models like Metal Gear G, but for the most part there's been a lot of back and forth about the actual specs of TX-55 itself, how it compares to other metal gears, and modern innovations. And then someone leaked these plans."

Snake squinted at the schematics onscreen, scanning the information as quickly as he could. There was no mistaking the shape of it. "That's REX."

"It is," Hal confirmed, the weight of it making him sink in his seat, slouching over again.

"Who posted it?"

"That's what I've been working on," Hal replied, taking his mouse back in hand. "The username is a jumble of letters and numbers. It looks like a bot username, honestly, but the poster uses enough slang and has enough grammar errors in their post history that I'm reasonably sure it's a human user. They're here to argue about tanks and planes and metal gears, no doubt about it. So I've been working on figuring out how to hack into the forums' database and get their IP info. Once I do, I can work on finding them."

"You can do that." It wasn't a question, it wasn't a statement. The words left Snake's mouth bereft of tonal indicator, himself unsure which direction they should go.

"Of course I can." Hal smirked, and began typing something out.

"Alright. While you get on that, I'll go get dressed. Once you've got a bead on them we can make our plan from there," Snake said matter-of-factly.

"You gotta get dressed?" Hal lamented, reaching out and giving Snake's ass an appreciative squeeze.

"If I don't, you'll get too distracted to work," Snake chuckled, grabbing Hal's hand and removing it from his butt.

Hal pouted. "Now I really hate this leaker," he grumbled, turning to watch all the same as Snake chuckled and sauntered out of the room, swaying his hips for Hal's benefit.

[uchuukaijugundan]

SDF Macross

超時空要塞マクロス

(Anime)

Mecha romance musical by Shoji Kawamori

Era: Early 80s

Rating: S

Plot: In the late 90s, a giant spacecraft of unknown origin falls on an island, leading to the creation of the UN Spacy, to both protect earth from a possible alien invasion and to rebuild the spacecraft. 10 years after, the SDF-1 Macross is ready to be launched, and in attendance are Hikaru Ichijyo, a young stunt pilot at the invitation of friend Roy Focker, Lynn Minmay, a waitress in a Chinese restaurant in the city that grew around the Macross during the rebuild process and Misa Hayase, a first lieutenant working on the bridge of the Macross. However, during launch the solar system is invaded by the Zentradi, who identify the Macross as a ship of their former enemies.

Length: 36 episodes + 1 film + 1 OVA

Thoughts: And here's one of the big ones. Hard what may have come to the heads of two Gundam fans to think "what this needs is jet fighters with legs and singing", but I'm guessing saying "we can sell a lot of toys and soundtracks" at a meeting was probably it. How they *convinced* them it could work is another issue, but oh boy, does it work. It pretty much defined what the series would be known for in the following iterations - the variable fighters, an aspiring music star with a connection to protoculture (after all, what is music but an universal language) involved in a love triangle and the tensions between the civilian side of the Macross and it's military leadership in what's often terrifying life-or-death situations.

The weakest point of the story is probably the love triangle itself, making it where all vertices are very wishy washy about their feelings is just messy. Extending the story to the aftermath of the conflict also didn't seem such a good bet for this show (would payoff in terms of exploring the role of the Zentradi in the post-war) and probably would be better served focusing on different characters. Animation varies a lot (unsurprising for a show that may have had more than a handful of studios involved in, including very young Gainax), but the action scenes are pretty thrilling and you can still feel the impact they had on the medium as an whole, if only for the "this machine transforms into another machine" thing. Wonder if that picked up.

Might do a DYRL post separately, but in brief it's a condensed version of the story with some changes (Hikaru is already a rookie pilot and Minmay a up and coming star) and outstanding production values and maybe *the* defining song of the franchise that gives the movie it's title. Flashback 2012, which serves as the epilogue to the story, is a video album featuring Minmei's songs over footage from both series and movie and new sequences planned but not directed showing her final gig at earth, as she boards the Megaroad (captained by Misa), humanity's first colony spaceship. I don't think it replaces the series (for instance, it compresses the Jenius - Fallyna relationship to a bare minimum, and their kids appear all over the place over the rest of the franchise) but it allows you to get to the basics of the story.

Recommended to: fans of big robots and idols

Plus:

The variable fighter design by Mikimoto is one of those for the ages.

While animation can be a bit spotty, combat is generally on point. Ah ah missiles go brrrrrrrrr

Asking the important question, can singing save the world, which feels very 80s

Unsurprisingly, the music. Iijima is great as Minmei and this role as a virtual idol launched her career and is what best remembered from the show, but Kentaro Haneda's work on incidental music is incredible as well.

Inconsistencies between the TV series and DYRL being attributed in-universe on it being a war film? That works.

Minus:

Other than the infamous baby tossing scene, the added 9 episodes feel like a complete afterthought and feel the only reason to reignite a love triangle is to change it's shape.

Said triangle narratively is a complete mess.

Some bits of animation were very, VERY rushed.

[scope-dogg]

What mecha shows did you enjoy but would not recommend to people (flawed personal favourites, shows with high entry barrier, etc.)?

Several come to mind.

Blue SPT Layzner: TV run got shitcanned prematurely and has probably the mast slapdash ending of any mecha show save maybe the TV run of Ideon. OVA adaptation opens with rushed compilation of first half of TV series that's dull to watch and not especially coherent on its own before it gets to the altered and much improved ending. Feels like there's no right way to watch it, you have to do both and piece it together in your head. Definitely one to check out after you've seen Takahashi's better work like Votoms and Dougram, though it's infuriating because the series has banger music and mecha design, and the hypothetical ideal version of the plot that you don't have to basically kitbash together in your head is really good.

Dancouga: Production values are amazing in first episodes and then turn to complete dogshit shortly thereafter, like they literally spent their whole budget up front and then had to pay their animators in loose change and leftover fast food. Very strange pacing. However I've always really liked the main protagonist Shinobu Fujiwara whose voice actor honestly carries the show on his back, and I've had a soft spot for Dancouga the mecha itself for a long time - but it doesn't actually show up until half way in. Yet somehow I can't deny the charm of the show despite how slapdash it is thanks to its interesting approach to the super robot formula, and it leads into Requiem for Victims which is the true ending for the TV plot and a followup called God Bless Dancouga, both of which are banger OVAs (and then another kinda shitty one after that but who cares.) Unfortunately they all make no sense without watching the TV run. It's a franchise for hardcore mecha fans only, though IIRC the 2000s sequel Dancouga Nova is basically disconnected and stands on its own, for better or worse. I've yet to watch it.

Tryder G7: 80s super robot show that's kind of like a part slice-of-life anime, honestly ahead of its time in a lot of ways. Would be my go-to recommendation for 80s super robot shows if there was a decent fansub. The one that exists is a Russian translation of the official Italian subs that then got translated into English and it's as disastrous as you might expect. Not only is it incoherent but even as a non-Japanese speaker I can tell it's often inaccurate. Frustrating because I can tell it's a good show that deserves a proper English sub for fans.

Cross Ange: Notorious show by the Gundam Seed creators. The concept and lore of this show is batshit insane, the mecha are cool, the main character turns out to be interesting and likable despite very negative first impressions, however there's no denying that it's buried under a thick vaneer of shallow coombait and it runs itself off the rails with zany plot at points. Honestly better than its reputation suggests but hard to recommend without looking like a pervert.

Shinkon Gattai Godannar: Basically the same thing, coombait super robot series, fun action, not a bad story. At the same time if you've ever seen a gif of absurd breast physics in anime from the 2000s there's a decent chance it's from Godannar. Good show at the end of the day, better than it has a right to be, artstyle is gonna be a big turnoff for many people and I don't necessarily blame them.

Gundam Build Divers Re:Rise: Probably the weirdest of the build series, also IMO the best. Downside: you have to suffer through the profoundly mediocre original Build Divers to get the most out of it and I'm not sure that price is worth it.

Probably more that I could add. Honourable mention has to go Gundam Seed Stargazer because you have to suffer through Gundam Seed Destiny to get to it, but I hear that the new Gundam Seed movie that's also set after Destiny is good so perhaps the cost-to-benefit ratio of suffering through Destiny has changed.

[yumedoca]

The Visual Genius Behind UY2022 [Character Designs]- An Analysis 🧐 (Long Post)

Hai there, hope you’re having a great day! Today on ‘Yuca Analyzes Silly Things (For No Reason)’, we’ll be talking about how the remake uses different methods and techniques to achieve the fun aesthetic it’s known for as well as analyzing character designs and colors!

Note: There’s a lot to talk about when it comes to this topic, so I might not be able to cover ‘everything’, So I’m only analyzing sub- topics which comes to mind. And more importantly this is the first part of the analysis, since I had to split it because of how long it is and Tumblr only allows 30 images per post, so yeah.

With all of that aside, let’s begin!

First, We’ll divide the analysis into sections to make it easier to understand and explain, for this part we’ll be talking about:

Naoyuki Asano and Colors

Lum’s Multicolor Hair

Character’s Designs

Conclusion (for now)

Naoyuki Asano and Colors We start off with Naoyuki Asano, who is the Character Designer as well as Chief Animation Director (for the first ED, as well as episodes 1- 13) for the remake. As in the reason the remake looks so bright and colorful and the characters is mostly because of him! Actually, this isn’t his first time working on a retro revival which he gave fun and aesthetic designs, since he’s actually done work as a Character Designer on Osomatsu-San as well…

(Fun fact: Takahashi has stated that she has enjoyed his work on Osomatsu-San! But if he was chosen to design for UY specifically because of his work on this show has never been stated). Anyways, there’s a difference in how this remake is colored compared to most standard anime, on the topic of standard anime coloring, let’s look at the ‘Obstacle Course Swim Meet’ since it was first time Urusei Yatsura’s been animated with digital animation (if you don’t count the pachinko machine’s and stuff):

Now, don’t get me wrong, I LOVE THIS OVA. Not only does it adapt three chapters into one episode, plus it’s own original material, but it also manages to capture the perfect essence of UY. This OVA is basically UY in a nutshell, lol. Storywise it’s hilarious, as to be expected as special created for the 2008 anniversary, but there’s one thing I didn’t like about this OVA, and that is… the colors. Like, how to put it? Boring? Yep, that’s it. The colors are the ones which are usually used in that specific era and were also used for Inuyasha (The Final Act) and Ranma 1/2 (Like this one, OVA 2008) and these colors (or atleast similar ones) were used in other anime at the time. It’s a natural choice they picked cuz Sunrise was doing Inuyasha at the time. But boy do I wish these could be better, It’s like a case of this is how it is because that was the only option at the time, but from a modern point of view it could be made much better, and that’s exactly why UY2022 is such a visual gem!

Lum’s Multicolor Hair Of course, we can’t do a visual analysis on the remake if we don’t talk about what caught all our eyes first: Lum, or more specifically her new design. The fist aspect of her design we’ll be talking about is her hair. Lum’s ever changing iridescent hair has always been one of the most solid parts of her manga design, if you don’t count the bikini that is. But even though it was a staple of her design, when the manga was getting its anime adaptation, they were unable to animate Lum’s hair with it’s original look because of how difficult it was at the time with the restrictions when it came to 80’s animation, so instead they opted to choose a different color, something more grounded instead of the multi rainbow one and they chose dark green since that’s the color they chose for ten and they thought the color balanced well with the yellow in Lum’s design. And because of that most media depictions showed Lum with green hair and because of how more popular the anime is than the manga, her green hair became more well known then the manga’s iridescent color. Which brings us to now. For the remake they opted to give Lum the green(-ish blue for more of a standout color I guess…) hair, but here her hair changes color like in the manga, but here it depends on power, mood and surroundings. Here’s almost all of the different hair changes I managed to find in the remake:

You can also see how her hair is layered with different or similar colors just even in one photo (not the Otoko Kumino one since she’s pretending to be a human), this is something which is inherited and applies to everyone in from the maternal side of her family by the way (as in her, her mom, ten and his mom). However since everyone sans Lum’s hair’s color doesn’t change, the only difference in the layered colors is that they’re more or less darker than the base color. Also to note is that there are some official art which gives her more Iridescent colors from the manga:

And finally her hair changes color rapidly while electrocution…

Then there’s her eyes, Lum’s eyes are colored bright green in the manga, most of the time that is, other times it’s colored dark green, blue or even yellow, so the remake’s colors aren’t that far fetched. Same for her eyeshadow. (Also her bikini’s a bit different as well in the sense her tiger stripes are limited and she also has string which holds it whereas she had no such thing in the manga. This isn’t a big change either, but I just wanted to point it out. I do prefer the manga’s though). That’s all for Lum, Now we can move onto the rest of the characters!

Character’s Designs The character design in general is a lot cuter (like the round faces and all) than the manga’s artsyle, like the manga’s artsyle is cute af, but when the characters are drawn in a clearer and with closer shot they tend to look more elegant (or masculine if we’re talking about the guys). I tend to think of the artsyle as a combination of UY’s early artsyle and it’s final artsyle. It also kinda reminds me of how Takahashi draws the characters in smaller panels.

‘My Man, his Gremlin gf, his cute ex, and the rich dude who stole his ex’

I also realized that the characters hair highlights were based of RT’s art as well, she doesn’t always give her characters highlights, but when she does, they look like…

‘See how the outer highlights look like each other??’

Oh, and I should also state the the highlight change color depending on the surroundings as well similar to Lum’s hair. Now we’ll talk about the different method for colors used to determine the character’s hair:

Characters like Ataru and Sakura have their hair colored as their most notable color (notable cuz of the coloring in the 80’s anime), Like Ataru’s hair in the manga is brown, but I’m pretty sure Sakura’s is black.

Characters like Shinobu and Mendo have their standard hair colors as well, brown and black (which are also their manga hair colors as well), but both are tinted with other colors, for Shinobu it’s a tint of (purplish) pink and Mendo has a tint of dark blue, AKA the most used colors when Takahashi gives them abstract colors for their hair in official manga art:

See?

Characters like Ran and Rei have their manga colors, but as you can see their highlights are colors which sticks out more compared to their actual hair colors.

And Characters like Benten have their alternative hair color from the manga instead of her actual hair color (In the manga, it’s black except when Takahashi’s going abstract, then it’s red). I think there’s also the option to use a random abstractly tinted color or just a random abstract color in general, like for Ryoko, but it’s used very rarely it seems. That’s really all the different types of hair color decisions made in the remake, everything I can think of that is (idk if I missed anything and sorry if I did). The decisions for the eye colors are really more according to what would suit them, and the colors chosen are different colors, some have regular Japanese eye colors like brown (like Ataru and Sakura), some have colors which the average Japanese doesn’t have (like Shinobu and Mendo). The aliens’ eyes also have two differences from the humans’ eyes…

The Aliens…

The Humans…

First, The aliens eyes are colors which are realistically impossible like ‘Hot Pink + Blue’ or ‘Bright Orange + Yellow’ meanwhile the humans have colors which are realistically possible. And second, the aliens have an extra layer of color surrounding their pupils, while the humans do not. An extra thing I want to point out is that Tobimaro’s stars are yellow instead of white, which I found kinda weird since what they were supposed to reference were originally white, but I guess these guys thought it would stand out more or something. Anyways, that’s it for the eyes! Now we’ll talk about skin and clothes. For skin color almost every character is the same as their manga counterpart except for I think Tsubame and Tobimaro, who are noticeably a bit more tan (but I don’t really care cuz somehow they look more handsomer because of that, also Tsubame doesn’t look all that alike to Godai now). As for the clothes it’s a combination of the manga’s and og anime’s colors like the ribbon on the sailor suits are colored like in the og anime instead of plain in the manga, Benten’s outfit is red in the anime instead of the steel color from the manga, The Tomobiki school uniform is like it’s manga counterpart with the black jacket and the shirt instead of the og anime’s blue jacket and random t-shirts and so on… We’ll end this entire part by appreciating how well the remake adapted Oyuki and everything related to her (like she has her actual ice hair? ice one piece? more icicles on her hair? All like the manga instead of the injustice they did to her in the og anime? Hell yea!)

(Okay I have to say she does get ice hair later on in the 80’s version but it’s clearly purple and kinda soft like actual hair, and not much like ice minus a few blocky lines and little glazing, I still prefer the remake though. Also the 2008 OVA gives her ice hair as well but it’s no where near pretty as this one.)

Conclusion (for now) For now we’ll have to stop here since I’ve hit my image limit. I hope I’ll be able to complete this with the next part. The character designs for the remake is very well thought out and a lot of people probably watched the remake because of the character designs. I apologize if I’ve overlooked anything or made any mistakes. If you have any doubts or questions about this analysis feel free to send an ask and if you want me to do an analysis about other characters, feel free to send an ask for that as well (but once I’m done with the next part as well as an analysis on another character). You can check out my other analysis on my analysis tag.  And finally, likes are appreciated and reblogs are even more appreciated (seriously, please reblog this so more people can see this post, since I spent a lot of time on this!!). Hope you have a great day ahead!! 💕

[pomegranatefiend]

Natsume Yuujinchou S7 Episode List anime cf. to manga

So very happy new season of Natsume anime finally have to watch!! Quick list (will edit as S7 goes on) of Natsume's Book of Friends Season 7 episodes (no summaries of the storylines, just a list) mapping the episodes to the manga chapter(s) covered in each episode.

I have S1-6 in a (much older) tumblr post here

Ep 1 = Chapter 84 (Volume 21 of manga): 破片は愁う= Haheh wa Ureu = The Fragment's Lament (Oct 7: CR's title translation)

Ep 2 = Chapter 81 (Volume 20 of manga): いつかの庭 = Itsuka no Niwa = Someday's Garden (Oct 7 CR's title translation (also what Google gave too))

Ep 3 = Chapter 80 (Volume 20 of manga): とおかんや = Tookanya (From JDIC = Harvest Festival held on the night of the tenth day of the tenth month)

= First instance of Yorishima (Natori knows, used to be an exorcist) in the anime

Ep 4 = Chapter 83 (Volume 21 of manga): 頁の奥 = Peeji no Oku = Depths of the Page (CR's title translation)

Ep 5 = Chapter 108 (Volume 27 of manga):  ちょびの宝物 = Chobi no Takaramono = Chobi's Treasured Item

Ep 6 = Chapter 77 (Volume 19 of manga) and Special 19 (Volume 22 of manga):  廃駅・ふたつの輪 = Haieki ・Futatsu no Wa =  The Abandoned Station, Two Wheels (CR's title translation)

Short chapter so presuming a chunk of AO content will have. Oops, Sp19 short, but finally got Ch77 in anime form (changes, omissions cf to the manga (as tends to happen))

Ep 7 = Chapter 95-96 (Volume 24 of manga):  苦手なふたり= Nigatena Futari = Two Difficult People

1st appearance in the anime of Taki's (older) brother, Isamu. Sounds like (from Preview) Fukuyama Jun is voicing him. :) ***Yes, he is (Nov 18)

Ep 8 = Chapter 87 (Volume 22 of manga):  月夜の夏目 = Tsukiyo no Natsume = Natsume on the Moonliit Night

Nishimura centric story

Ep 9 = Chapter 92-94 (Volume 23 of manga):  儀式を阻む者 = Gishiki wo Habamu Mono = Disrupter of the Ceremony

2 parter has to be. Natsume and Nyanko-sensei meet up with Natori for loquat picking at Yorishima's old estate which leads to unplanned involvement with Matoba (clan) next door at Miharu estate who are continuing a youkai welcoming ceremony whereby an unknown yokai wants to prevent from happening because...

Ep 10 = Part 2: 約束の残る家 = Yakusoku no Nokori Ie = House Where A Promise Remains

Ep 11 = Chapter 88-89 (Volume 22 of manga):  名前を教えて = Namae wo Oshiete = Tell Me Your Name

Reiko story

ED sequence NOT usual one: Reiko's dream that Natsume got to see (via the ayakashi), endless field full of blue flowers ... Natsume talking with Nyanko-sensei while credits continue

Ep 12 = Chapter 99 (Volume 24 of manga): 夢路より = Yumeji yori = Out of the Realm of Dreams

Ep preview shows the Dog Circle gang visiting Natsume, Natsume's school friends, and the Fujiwaras, none of which are in Ch99 so AO material presume as Ch99 is a shorter one Ep 13 = Dec 23: Official Natsume X (Twitter) account post states Ep12 is final of S7 airing on TV. So Ep13 (listed on Vol5 Blu-ray/DVD) is disc only episode.

==================================

Dec 23: Updated list of chapters NOT yet used in the anime did, in THIS post.

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Presume we get at least 12 episodes?? ***Oct 8: Natsume X (Twitter) official account had Aniplex online store post with the Blu-ray/DVDs listed already for pre-order! 5 Volumes will have = 13 episodes (13th is disc only (OVA?) maybe? **Yup disc only)

Soooooo easily could have had 24-26 episodes! ***Oct 8: Entry to win ticket for a Natsume live event (Kamiya and Inoue among the guests) being held Mar 2, 2025 get in Blu-ray/DVD release (Vol1 at least) so fingers crossed a S8 announcement will be made at the event :> =================================== Oct 8, 2024: Aniplex S7 Blu-ray/DVD release list

From the Aniplex Online shop (Japanese) Natsume page: Vol1&4 are 6820Yen w/tax, Vol2,3,5 are 7920Yen w/ tax

Vol1 limited (special release (and Aniplex Store version has more bonus items than can get if order from other stores) version as well), 9020Yen w/ tax

Vol1 out Dec 16, 2024 Ep 1-2 Vol2 out Jan 29, 2025 Ep 3-5 Vol3 out Feb 26, 2025 Ep 6-8 Vol4 out Mar 26, 2025 Ep 9-10 Vol5 out Apr 23, 2025 Ep 11-13 (Disc info says special edition beside Ep13 so means Ep13 is a disc only (OVA?) episode? **Dec 23, definitely disc only episode)

[canmom]

Animation Night 164: Yaoi, Yuri

The fashion on Tumblr lately has been to divide everything in the world into yaoi and yuri, hasn't it? Well, tonight we don't need to make any abstract stretches of the imagination: it's time for anime where boys kiss boys and girls kiss girls.

So. Five minutes ago, before Tumblr deleted it, this post was off to a pretty good start! I was happily explaining about the differences of nuance between 少年愛 shōnen-ai, 耽美 tanbi, ジュネ june, やおい yaoi and ボーイズラブ bōizu rabu on the one hand, and on the other, why 薔薇 bara (rose) isn't a genre title but nevertheless the editor of 薔薇族 Barazoku ('rose tribe') magazine coined 百合 yuri as a distaff counterpart, the 'lily tribe', and that really caught on.

I was starting in on a brief sketch of some history, how Tokugawa Japan was super gay and had a defined set of social rules for gay relationships in the form of 男色 nanshoku, but this was squashed by the Meiji restoration, and thus gay manga became a subgenre cultivating its own specific otaku audience.

So then I was gonna tell you about how the early shōjo manga focusing on gay relationships, taking the old term shōnen-ai [which originally referred to pederasty], were quite nerdy and literary, but the subgenre rapidly grew in the 70s and 80s, cultivating an otaku audience of its own - primarily women termed, somewhat disparagingly, 婦女子 fujoshi but this demographic breakdown is certainly not absolute and there is a term for male fans, which is 普段し fudanshi. We coulda gone into the whole world of doujinshi, of the massive convention comiket; I coulda cracked open Kimi Rito's History of Hentai Manga for some interesting tidbits about how certain images become encoded as symbols and then reused routinely in manga.

And you know, I might have talked about how this is distinct from manga aimed at gay readers in gay magazines (like the above mentioned 薔薇族 Barazoku) which might be termed ゲイ漫画 gei manga. Perhaps we might mention here the upcoming adaptation of gay manga meme sensation kuso miso technique:

I was maybe gonna talk a little about some of the older genre conventions of BL; the masc top or 攻め seme and the effeminate bottom or 浮け uke; maybe a little about how yaoi fandom got exported into anime fan culture in the West and the strange phenomenon of the 'yaoi paddle'.

...well, it looks like I managed to skim over all that anyway. Spite works wonders for typing speed, it turns out. But believe me, that's really just surface level stuff. We're working on a followup to the legend of Animation Night 69, so we'll be able to get in a lot deeper in a few weeks~

Anyway, even today, BL and yuri works rarely get adapted into anime in a particularly high profile way. But 'rarely' is not never! In Animation Nights past, well: on Animation Night 69 we watched the delightful 風と木の詩 Kaze to Ki no Uta (The Song of Wind and Trees), an OVA adapting the seminal (ha ha) shōjo manga about a French twink at boarding school. That was the direction of Yoshikazu Yasuhiko, known also for Venus Wars and definitely the subject of a future Animation Night, it was as moving and melodramatic as you could hope from 70s shōjo. Sayo Yamamoto (AN36) brought us the incredibly charming figure gay skating series Yuri on Ice; and then of course Kunihiko Ikuhara (AN155), bless his heart, made his always bold statements on yuri with Yurikuma Arashi ('Lesbian Bear Storm') and BL with Sarazanmai, which I will surely cover if we ever reach the point where we're like 'let's marathon a TV anime' again ;p

Tonight though? We'll be looking at a couple of relatively recent films on both sides of the fence.

For the BL wing, we have the film 海辺のエトランゼ Umibe no Étranger, aka L'étranger de la Plage or Stranger by the Shore. Kanna Kii, the mangaka, had previously worked as an animator at Studio Hibari, a small anime studio that dates back to the late 70s and broadly seems to specialise in shōjo. Kii returned there to design characters and supervise the film, and evidently Hibari were very excited to adapt the work of their alumnus, because they absolutely spared no effort.

The story centres on orphaned highschooler Mio and his neighbour Shun, an aspiring gay novelist on a remote island in Okinawa. The pair grew close three years before the start of the story, but Mio had to leave Okinawa; we join him now as he returns to that same shore, still holding feelings for Shun.

I'll admit, I don't know a ton about this movie - but it comes highly recommended by kvin who described it as one of an 'oasis' of strong BL works released around 2020. And the clips I've seen - well, they're the gifs used in this post, really nicely drawn scenes of affection. So I'm pretty excited!

Our yuri wing... well, there's a few good choices for yuri TV shows I could show you, but tonight it's late and we need something short and sweet, and that really narrows the field! What I have is あさがおと加瀬さん。Asagao to Kase-san [Kase-san and the Morning Glories], a one hour OVA adapting the manga 加瀬さん Kase-san by Hiromi Takashima. The OVA starts partway into the manga, when plant nerd Yui Yamada has already started dating her crush, the athletic Tomoka Kase. It follows the trials of the girls' relationship as they are coming towards the end of their time at school - relatively low-key, slice of life first relationship typea thing.

The animae was adapted by studio Zexcs under the direction of Takuya Satō, who you might remember as director of the first part of Armitage III [AN153]. Zexcs spun out of JC Staff at the end of the 90s, and they've been pretty busy since then - for me their most notable creation is Aku no Hana (The Flowers of Evil), a truly unique rotoscope anime with an incredibly engaging, tense story about teenagers and the imp of the perverse... which sadly never got the love it deserved! yes I'm still beating this drum!

Anyway, while I have not been able to find a ton of production information, I am told at least that Kase-san was a passion project for Satō - evidently a yuri fan given he also took on the adaptation of Otherside Picnic. It began first with five-minute web adaptation Kase-san and the Morning Glories in 2018 that's more of a musical montage of moments from the series, which was then able to be expanded the next year into an hour-long OVA...

A lot of romance stories focus on the characters getting together, so it's interesting that this one skips right over those chapters of the manga and gets going once the characters are already together, focusing more on the trials of an ongoing relationship between two goofy hormonal kids trying to figure out if this is just a class S thing or something that they want to last. A great deal of effort is put towards character animation, intimacy, the little flinches and reactions. You can read a little discussion about it here on ANN.

So! With apologies for the late start once more (T_T), it's time to begin! Animation Night will shortly be live at twitch.tv/canmom, and I hope you'll join me for a gay old time~