Yeeeeeeeeah, the European Collector’s Edition of Bravely Default: Flying Fairy totally isn’t worth being jealous over. What was Square Enix thinking when they decided to bundle this monstrosity among the other goodies? Couldn’t they have gotten Figma? Or maybe even Alter? Square Enix, here’s some advice: what looks to be equivalent to a Chinese knock-off isn’t worth the extra expense. Poor European fans.
THIS is a figure (now if only I could find one of Elise, then all would be swell).[/SPOILER]
So yeah, in other news, I’m pretty hyped for Bravely Default: Flying Fairy coming out in America next month. I may or may not get it at launch depending on my finances. I still haven’t bought The Legend of Zelda: A Link Between Worlds yet, after all…
Winter Break is over, my next college quarter has started, and of course I’ve also finished watching Kyoukai no Kanata prior to that.
I must say that the conclusion of Kyoukai no Kanata pretty much sealed my opinion of the series – that is to say, it hasn’t changed quite much. This post isn’t going to be as long as my other Final Impressions posts because, honestly, there isn’t quite much to say about the series.
Now, if you’ve managed to follow my blog since its conception (congratulations for putting up with my nonsense), you’ll notice that whenever I do overviews of an entire anime series (like Puella Magi Madoka Magica and Mirai Nikki, the latter of which I’m ashamed for even enjoying), you’ll notice that unlike review sites like THEM Anime Reviews, Anime-Planet, the anime portion of IGN, etc., I don’t end off my reviews by giving these series some form of a review score, be it stars or numbers.
Why is this? Well, to be frank, it’s because I believe the concept of giving out review scores is the most idiotic and counterproductive thing in the realm of proper critique. Review scores are something reviewers in general, let alone anime bloggers, shouldn’t use. At all.
Now that it’s Winter Break and I’ve escaped the hectic college life for the time being, I can devote more time into the blog. Let’s give a round-of-applause to free time not being eaten up by the PS3 and Pocket Monsters X! That being said, here’s my updated thoughts on the leftovers from the Autumn Anime season. I’ve put Kyousogiga on-hold for the time being, so I can marathon it all at once the moment it’s finished, in order write about this fantastic series in a separate well-deserved post.
Kill la Kill‘s pretty much near its halfway point, whilst Kyoukai no Kanata has one episode left to go. Let’s get this quick run-down started!
Greetings from college and relentless gaming – I hope everyone had a great Thanksgiving a few days ago. If you follow my Twitter, you’ll know that I recently acquired NISA‘s Blu-Ray release of Yuru Yuri season 1 on RightStuf (about three weeks ago?). Thank god I have a PS3 now, for I now have the luxury of enjoying my daily dose of “Akari~n!” in 1080p Blu-ray (no matter how abysmal her presence is). Tales of Xillia, Tales of Graces f, THE iDOLM@STER, watching Yuru Yuri, and trophy whoring back-to-back? Yup, I’m the worst person in the world for wanting these more than a healthy gaming PC with a Blu-ray player.
Anywho, as a person who has our lovable ignored side-character protagonist with hair-buns as my Twitter image and my Gravatar, it’s pretty self-explanatory about how I feel about the series itself. If you like an endearing slice-of-life with an innocent dash of yuri thrown in, then go for it! The question I’m tackling here, though, is: was this release worth the money?
Does being aimed at an older audience automatically mean an anime has a higher likelihood of being higher quality? What about shows for children? Does being aimed at a younger audience mean that the show is going to be filled with uninteresting drivel?
Just as there is a stigma of animation being an entertainment medium that’s solely made for children in the west, there’s a common notion that, if it’s made for children, it’s allowed to suck.
Truth be told, I was looking forward to going to Anime Expo 2013 during the earlier parts of the year – going to Fanime again this year was somewhat of a last minute thing. We ended up not having enough funds to afford going to LA and spending our time at the convention as pre-registered members. Fanime’s always fun, so I didn’t mind much. However, it did sour the experience in another way. Since we couldn’t book a room at the Marriott, Hilton, or any other nearby hotels this year (by the time we decided to go to Fanime again, all the reservations were full), we had to book a room at a motel called the “Hotel Elan” (yes, they call themselves a hotel) which was somewhat of a distance away from the San Jose Convention Center. It wasn’t too bad of a place nor was it miles away, but it was still far enough (approximately one mile) that we had to walk over there and take the bus every morning. We never got to the con at the earliest possible time, and since the neighborhood was pretty damn dangerous, we never stayed out too late. From now on, we’re definitely making plans for Fanime every year except when we’re 100% sure we’re going to another con.
“I found the romance somewhat lacking”, “the animation in this scene was horrible”, “good god what were they thinking while making this”, etc.
Sometimes, when you’re listening to a person’s opinion on a particular subject (say, a certain anime or maybe manga/VN), this person seems to go on long tangents about how a certain aspect of the story didn’t meet their expectations and continue by picking apart other qualities that the writers did wrong in their eyes, and seem to have more to say about the negative aspects than the positive aspects of the story. Jesus, this person must FRIGGIN’. HATE. THIS ANIME.
And then you realize: “No, wait… what? This person likes this anime? Not just like, it’s their favorite? Well hell, how the heck was I suppose to know that when they kept on talking down on it!”
I realize that I may be beating a dead horse, but I’m still (after all of these years) baffled at KyoAni’s business practices. They’re just so bizarre and simply do not match what your typical business-minded person would think of when you say “making a profit from popularity.”
This is seriously one of the ONLY times where I wished a company would milk their popular products, yet they don’t! They just don’t want my money. Do they like money? Because they don’t like mine.
How’s it feel knowing that people look at this and Bible Black as the same thing?
SINCE THIS RANDOMLY GOT A SURGE IN VIEWS, I FEEL LIKE I SHOULD ADD THIS POST IS REALLY OLD AND I HAVE CHANGED MY OPINION QUITE A DEAL. SO TAKE THIS WITH A GRAIN OF SALT. – WAHFUU
Oh boy, have I wanted to do this one.
I’m probably going to offend someone here, and if I do, I at least slightly apologize. I just can’t much take this anymore. I really get more and more annoyed every time this seemingly stupid subject comes up whenever the topic of VNs comes up. It’s driven me to the point of madness here, and this is at least a slight release for something I’ve wanted to say for awhile.
I’m not speaking for everyone who prefers Japanese audio in their Japanese media, but this is how I personally feel about dub fanboys. Fanboys, mind you, not fans. That, or people that think Japanese voice preferences are the qualities of lower lifeforms. I like a handful of dubs myself, so I can’t exactly be classified as a dub-hater, either. Just getting it out there before anyone jumps on me for being a fanboy of subs/raws. Truth is, I also can’t stand people who treat Japanese as the only language that deserves to exist either (it’s an awesome language, mind you, but wording it like that’s just going too far).
However, enough dub fanboys have ranted about such people in recent years, and the way they go about it is getting more and more obnoxious as the years go on. Even more obnoxious than the people who treat Japan as the only country worth existing. I feel the need to step in and give my own thoughts on the matter by picking apart common generalizations regarding people who prefer to watch their anime and play Japanese video games in Japanese. Basically, why these people (who act like it’s a cool thing to call people “weaboos” just because they prefer Japanese voices for certain things) are IDIOTS.
A few days ago, I decided to catch up on D•N•Angel thinking, “It’s been a year already, surely Yukiru Sugisaki picked it back up!”
It shouldn’t be surprising that my expectations were shot down. In typical Sugisaki fashion, the latest chapter of D•N•Angel in 2012 is exactly the same one I left of at during the beginning of 2011. Apparently she is really focusing on Ascribe to Heaven (which hasn’t gotten a translation past the first chapter) or she’s just lazing around and disappointing her fans. I mean, so far I like Ascribe to Heaven and find the art scrumptious, but I don’t have high hopes for it going anywhere seeing as Sugisaki has a track record of not finishing manga. This may sound hypocritical coming from a blog that might as well have been renamed to The Hiatus Spot in the past, but there is truth in what I’m saying here.
Sugisaki may be the worse offender of this, but there have been other manga groups like CLAMP that (despite having a number of completed works) also have quite a few unfinished works that are put on hold. Even then, they at least make an attempt to update sporadically and see it through(picking up Legal Drug again as Drug and Drop is a good example). Sugisaki, not so much. While she did pick up D•N•Angel, is putting it on hold RIGHT AT A CRUCIAL PLOT TWIST (just to focus on a NEW MANGA instead of updating her previous ones) a good strategy? Unlike me, some fans aren’t as faithful and persistent.
This is why I think mangaka should go with Kyoto Animation’s “one series at a time” philosophy, especially since it’s really just one person on the workforce plus a few assistants and editors. An advice to mangaka: Move onto a new project AFTER you’ve finished the one you’re working on now. It doesn’t matter if the art is delicious or if the writing is superb, all of it just becomes a downer if you’re going to deprive fans of it for most of the run… for nearly a decade, only for you to drop it again soon after picking it back up. For fans in places other than Japan, it hurts us even more since licensors will stop being interested in localizating their works because of their reputation of hardly finishing anything.
Do you guys agree with me on this stance? Should manga writers be limited to making one series and see it through before making a new one? If not, if you were to give the writer any suggestions on how to handle more than one series at a time, what would they be? Do you have any other examples other than the one mentioned in the post? Feel free to leave a comment and share your thoughts.
On the agenda for our pilot episode, we have the upcoming Little Busters! anime, Spice & Wolf and other light novels, Da Capo III and other untranslated visual novels, Tales of Xillia being localized, and of course, plenty of extra topics because we can’t stop talking.
Title: campo de girassol
Album: À procura de felicidade
Album: The Catcher in Greenwich
Yumeka of Mainichi Anime Yume wrote an article where she harkened back to her childhood and examined the origins of when her love of anime first began and, of course, why it still persists in her heart today. She asked her readers if they could trace any instances of early “nerdom” within their childhoods that may have contributed to their love for anime today and if there were any obstacles in regards to the indulgence in these hobbies (home environment, parents, peers, etc.)
Instead of sharing my own story as a comment on her blog, I decided to reply to it as a post of my own.
Now that I’ve finally got around to starting up Sword Art Online (the first three episodes), I finally gathered enough initial feelings about this anime in order to write a thorough impression on it.
I have to be honest here. The only other anime series about “playing an online game” that I ever really liked before this ever came around as an animation was the .hack series, if only for the strong character development, dialogue, and feeling believable as a high-caliber virtual MMO, despite the hazardous sides to it (Morganna, Data Drain, etc.).
So how exactly does Sword Art Online hold up for me in comparison?
It’s common knowledge within the anime fandom that series based off of on-going manga or light novels resort to producing original episodes, which serve as padding, in order for the anime’s story to maintain a certain distance from the original story.
However, there’s somewhat of an inherent problem with fillers or anime-original episodes. Half of the time they’re bad, sometimes they’re decent, and very rarely are they ever as good as the genuine articles. More on this after the jump.
That’s right folks! JAST has released the very infamous School Days visual novel for all the public to see! So grab your blanket and sad-faces, right? Everyone knows how this is going to go! Everyone has seen this damn anime, so naturally, the visual novel is probably going to be equally as disturbing! I bet everyone who is probably avoiding this visual novel, as if it’s been infected with the black plague, is probably wondering who in their damn right minds would play the gore-fest horror-story that is School Days.
…Except, not really.
Want to know how this went? Long story short, it went fine. No, I’m serious. It went fine. And I’m sure a ton of people reading this is going to call me a liar, but I promise! No shenanigans. Seriously. This was honestly the most anti-climactic experience I think I ever had. So, if it went fine, I bet you’re wondering what this post is about then? Well, it’s honestly half a review, half a rant. So, let’s get this started!
So, after Toei’s anime was cancelled after adapting the first seven volumes like total spazzes, Konami and Nihon Ad Systems decided to make their own Yu-Gi-Oh! adaptation two years later. Only this adaptation was made to be a pure advertisement for their card game. This was their plan: skip the first seven volumes of the manga, remove everything unrelated to Duel Monsters before and after (or make them related), and go straight to the first story arc where Duel Monsters take center stage as the main game – Duelist Kingdom. King of “Games”, my ass.
Problem is, it doesn’t completely skip the first seven volumes, per se. They decided to mesh up elements from the early manga and re-imagine them in their Duel Monsters-centric anime (such as characters), creating one of the worst introduction sagas in an anime to ever hit television. Ever. To name one, Seto Kaiba, the #1 gamer in Japan and poster boy for Magic & Wizards (as the card game is called in the Japanese manga), had his whole arc rewritten as the first episode of Yu-Gi-Oh! Duel Monsters.
Basically, the whole first episode is a “kitbash” of his two introduction chapters from the manga and the Death-T saga, a story revolving around his “amusement” park of deadly games – all designed to kill Yuugi and his friends in the name of vengeance. Needless to say, skipping seven volume’s worth of details and rewriting one volume’s worth of events into one anime episode will always result in one thing:
This episode was Yu-Gi-Oh!‘s official anime debut, based on chapter one of the manga, “The Puzzle of the Gods.” As you can guess, it shows Yuugi completing the Sennen Puzzle and awakening his other half “Dark Yuugi”, befriending Jonouchi, and starting his spree of mindraping just about anyone that messes with him or his friends/family through Games of Darkness.
Appropriately, the first episode is one of the more faithful episodes of this anime, despite some characterization changes and the Game of Darkness between Yuugi and Ushio (no, not the cute one from CLANNAD xD) being completely different, as well as his Penalty Game.