I attended Anime Expo for the first time, earlier this year. What struck me most at the convention was the number of fans and their high level of enthusiasm. Fans crowded in to see industry panels, but they also embraced fan-run presentations like the Old School Anime panel. Based on the enthusiasm I saw, I’m not surprised that anime conventions are thriving right now. For example, Japan Expo is starting a new convention in California next year. Meanwhile, the industry is stagnating. Bandai folded last year. Media Blasters has canceled releases. Sentai and Funimation are battling in Federal Court. Why the disconnect between the health of the conventions and the industry as a whole? A cynic might say that you can pirate a DVD, but not a convention ticket. The real answer is that anime conventions give fans what they want, at the right price. It’s time for anime companies to learn to do the same.
I’ve long been a fan of Taiyo Matsumoto, a guy who for years has ranked amongst my favourite mangaka. Hopefully you’ll know him as the author of Tekkonkinkreet (Black & White,) or GoGo Monster, or perhaps even Ping Pong? If not, you really should, because he’s a genius.
I had low expectations when I bought the Gunbuster movie on blu-ray. The visuals looked underwhelming, as did the plot summary. Still, I felt that as an anime fan I had an obligation to watch a Gainax classic, and I’m happy I did. Gainax could have created a forgettable story about girls battling aliens with giant robots. Throw in some fan service, and the show would have practically written itself. Instead, Gunbuster is a story that doesn’t pull any punches and explores deep, emotional issues. The only downside of watching Gunbuster on blu-ray was that the movie version left out a number of scenes that were included in the OVA. I enjoyed the movie, but I’m left wondering if the original version would have provided a better experience.
One of the biggest surprises of the summer season has been Muv-Luv Alternative: Total Eclipse. A name as bad as that is enough to scare away most, but that this is both a mecha anime and a bloody brutal one at that is stranger still. Whether it can live up to the intensity of these first two episodes is another question entirely, but right now, it’s just nice to reflect on a job well massacred! The root cause of it all? Aliens, of course! Earth’s invaded, humanity’s out-matched and Japan’s moe legions are our first line of defence. Would you feel confident?
One thing I’ve always been curious about is how many of you guys read this blog without knowing that there’s been a new post? Perhaps you visit us through a bookmark? I’ve made it so that this post won’t be included in our RSS feed, therefore it can only be read by those of you that visit in this way.
These days, I almost exclusively read websites through Google Reader and that tends to influence my approach to this blog, too. It’s all geared towards emphasising the newest posts rather than generating a more complete “website experience,” (God, that sounds awfully business-speak,) but I’d really love to hear from you, our loyal visitors!
How long have you been reading our blog? Is there anything you’d like us to do differently? Would you like us to update more frequently? Focus on new or old anime? More live-action reviews?
I’m sure that there’s so much more I could do to make this a better website, so please don’t be afraid to be critical. Just hearing from you, even if it’s only to say “Hi!,” would be great.
And as ever, thanks for reading!
I’m utterly torn by Sankarea. It has beautiful art direction and some fascinating ideas, but it’s also about as exploitative as anime gets. There’s just so much to like about it though, starting with the girl who became a zombie.
Of course, to become a zombie, one must first die. Sanka commits suicide because her father is a massive creep (and, I would argue, a moe otaku,) so obsessed his daughter’s innocence that he’s stopping her from setting foot in the outside world.
There’s a twisted logic to the metaphors being spun here, where a decaying body and spilt guts is symbolic of a girl’s coming of age. She’s happy to be damaged and sew-up the gaping tear across her stomach if it means being able to live a normal life.
Time of Eve is about a Japanese society assisted by intelligent, human-form androids. It draws heavily from the robots of Isaac Asimov’s books. Asimov’s and Time of Eve‘s robots are bound by a set of three laws that prevent them from harming humans or allowing humans to come to harm. Both Asimov’s and Time of Eve’s stories illustrate how humans react when faced with superior machines: namely they react with alarm. Time of Eve explores this interaction from a Japanese perspective; ie the reaction is one part alarm, one part sexual attraction.