A Date with 5 Centimeters Per Second - Part 2
Oh, hay, it’s June 16. Remember to say hello to this bloke for the rest of us in a few days? With a heavy, large stick nicknamed Envy? (Srsly, you UK fanboys ought to hang out and get it on more often. Enjoy your Shinkai.)
The months preluding to summer are rather busy; finding an appropriate Sunday evening to spend with the film was not easy. The warm air assaults outdoor travelers adjusting to the changing season but I’ve adapted rather quickly for a change. Perhaps a typical day walking the farm-lined country road of Tanegashima was not unlike the day I spent watching Baseball, doing errands, singing praises, and watching the struggle of Takaki Tono on a film-tuned HDTV running the BRD version of the film, 5 Centimeters Per Second. I had to feel comfortable about it, after all.
This time around I actually spent two hours watching both the Blu-Ray and DVD region 1 versions of the work, as I was joined by a co-conspirator who required subtitles. The re-tuned TV, as previously mentioned, is a Sony KDS 60A2000, to these specs. And sure enough, the opening scene in Okashou no longer pounces my visual senses like a sour Warhead. The interplay of the intermittent sunlight through the trees really stood out in the few scenes that offered the said visual magic. The scene when Akari pets the downtrodden Chobi was particularly exciting, which was a new find. (Well, as exciting as 5cm can be.)
The same goes for the surfing action; Sumida’s dark complexion remained both in her dusk-creeper mode and when she’s paying tribute to the ocean gods via her stretching exercises. The seaside glitter worked the same wonder as the twinkling stars–which now twinkle properly as she climbed the grassy knoll for the nth time.
It was also fun to just look at random things–the anti-theft mirror in the convenience store scene was a good example. The contrast between the lit train and the dark, snowy night was still appreciable but the night wasn’t as dark as I remembered. On the other hand, the train rides with the sun up was a little less exciting as the animation skipped out on some of the shadow animation coming in, at least some of the time.
It was like having a blown-up version of the pictures from Sora no Kioku in your living room, measuring 60″ from the diagonals. And having the ability to just hit pause and walk up to it was pretty awesome. I know I did that for a couple scenes. Like the shot from Okashou, entering the classroom in the morning–noticing the bags hanging from the desks and chairs, and reflection from the ceiling lights–it was sweet.
Unfortunately, I’m not sure it was all good. For example, the scene where Sumida’s sister admired her successful ride along the grassy shore was a little too windy that the grass can’t keep up? Or the simple character animation of making a paper plane…maybe Sumida needs to take notes from Alto Saotome. The simpleness contrasted with the elaborate details that confronted the viewer every five seconds, perhaps for the better, but I’m not sure.
Anyways, I enjoyed it, again. I have to apologize that there’s just no good way for me to make screen caps, so that promise may never be fulfilled. Instead, maybe it’s about time that I made a promise with a place beyond the clouds next?
On Tokyopop, Futari Ecchi, the OEL + Otaku, Science Fiction, and 東方 Fever @ Otakon
… not in that order. Just piecemeal replies to a couple threads of thoughts going on:
On Tokyopop: So there’s this post here. I don’t know what’s behind Tokyopop’s business strategy the past few years, but at a glance it did seem that scooping up cheap OEL artists, they can produce material to sell to the manga market in the US that they have created, at a lower overhead. They would be making deals with authors directly, without oversea middlemen. I normally don’t follow manga much at all, although it’s one of the things that we can find good retail numbers for.
However I’m boggled about how someone can really say Dramacon is better than “manga in general.” Granted I only read one volume of Dramacon, but it was off-putting enough that I have no desire to read the next volume. I am not sure what I have read that can be fairly compared with it, but it’s not as good as Karekano, Nana, or even the very tame Furuba–just to rattle off some titles that I also read just 1 volume of and in the same general category of manga. Of course, those latter titles are proven, popular hits both in Japan and in the US, so that’s a high bar. But to me, that’s the level of standard and quality necessary for a manga if I’m going to spend money buying it.
And that is the real clincher, and TP themselves admit to it implicitly: a lot of manga in the US from TP are just subpar. It’s not a surprise an initial reaction from fans who read US released manga is that of “maybe they’ll focus on releasing good titles”? I’m just paraphrasing what I read on places like ANN forums, but my recent trips to the local big box bookstores reaffirm this notion. Tokyopop is cannibalizing its own sales? Yeah, duh.
It’s almost ironic that on one hand we have TP who kind of outspent itself, almost making the same mistake (ok, not really) (financially) ADV did with its anime side, where as ADV’s manga side clinches a few, very good titles but sells far short because it ran out of money.
Personally I don’t know Chmakova and I don’t really know Fred Gallagher either, and I am sure both produce work that are appreciated by many. But here’s a crackhead theory: if what Scott said was true in that people want that exotic bit (they want to be weeaboos, and not weeaboo-liking weeaboos?), then what makes Megatokyo tick (to give Author a hand) is because Fred is a huge otaku. And I mean huge. Comiket-level huge. In fact, I think this is the singular, redeeming eccentricity that elevates this guy above most OEL illustrators and authors. And what’s more, he’s the kind of otaku of the generation past. He is not the materialistic, buy-10-copies-on-opening-day, Akibakei type that is best symbolized by Aya Hirano worship and Heisei Democracy (just to point out both sides of the coin). It’s not to say he doesn’t enjoy those things (I wouldn’t know), but this guy talked about things like Device High and went sight seeing so he can find scenes in gamesspin out stories about sad girls in snow? Nuts. He even incorporates Japanese in his comics and make an effort to depict the actual cultural divide between Japan and America.
Most Japanese otaku of the past generation are a bit like Gallagher–fans who are living on the association and friendship with other fans; a part of a network that is true to the etymology of the word “otaku.” It is a hobby but tuned to a particular scene and a particular social context. On the other hand, we’re dealing with an entirely different kind of fandom with Chmakova’s Dramacon–one that is unique to North American, English-language fans, I’d even say. The motivation, perspectives and pitch are all different. It’s not to say one is better than the other, but somehow I think far most people can connect with the perspective from Gallagher’s point of view as that is the same point of view shared by a lot of Japanese creators and fans.
And all of that doesn’t even begin to touch on the important facts. For example, Gallagher is just older, more experienced, and has the social resources to support his passion. And to that I think TP, regardless of their “LOL moral rights LOL FRANCE” clause (…and I don’t think there anything wrong with waiving it as an artist, as long as you get reasonable considerations for it </lawyer>), they are trying to develop and grow the industry organically by offering something different. I think it’s better that they exploit unwitting artists than nobody does anything at all.
JP talked about Futari Ecchi (and so did Scott) as one title that TP did try to cherry pick out and grow their market in a different way. I digged the anime OAV that came out some years ago, and as a result I did also took a look at the manga (back then). But when I was leafing (literally; wasn’t reading it) through the 20-or-so volumes of it at Book-Off, it was just a sea of, well, softcore porn. Pages after pages of skin. Not my kind of thing. I do agree that there is a particular niche that Futari Ecchi can sell to, but it certainly won’t be any of those niches that Tokyopop created as audience below the age of 18. I think the majority of TP’s market is below that age.
Maybe in 3 more years?
Some ideas are time-limited. Like Denno Coil. There’s this post on AnimeSuki forums that you guys should read even if Denno Coil wasn’t the best thing since sliced bread for you. It’s quite insightful if you like science fiction. Augmented reality is here today, believe it or not. Thanks introspect.
Lastly, let’s wrap this up with some Touhou news. I hope you know what Touhou is, because, speaking of Japanese fandom, it’s the latest bastion of doujin madness. God knows when it will capitulate to commercial mass media? It’s so much more than just curtain fire shooters now–it’s a monster that spins into doujinshi, (other) doujin games, music, video mashups, cosplay, its own line con, and many more things fans do.
A couple friends are going to run a panel about Touhou at Otakon this year, so I hope you guys can make it. Imagine that–fan franchise gets a fan panel as a (nearly) free cultural export. How cool would it be if ZUN was a guest at Otakon? Actually, probably not that cool. IOSYS probably makes better guests.
Japan Day 2008, NYC
I think Hinano does the event justice, so just go read her blog entry. And while it would have been great to meet up with Hinano et. al. I had to catch a train so I can eat some grilled, fresh Atlantic striped bass and black sea bass steaks.
Hmm, that didn’t look even a fraction as delicious as it tasted. Seriously, it was really, really good.
What I do have is some blurry pictures of Halcali and Shota Shimizu. The concert itself took place in the afternoon. We just barely made it and got to the stage near the end of the first act. No opinions about Gaijin a Go Go…
Three Simple Rules to Enjoying Anime Cons
Anime conventions are actually one of the most popular facet of anime fandom in the United States. I don’t have any real numbers to back this up, but I bet more people go to any major west-coast con than people who would buy the entire season of Nanoha StrikerS if it was ever licensed.
I’m writing down my observations because I’ve seen and read about how fans are learning to deal with cons as they age into either an exiting phase of anime fandom, or simply giving cons up to some extent. And while ultimately it’s up to each individual to evaluate their own investments and the returns on their joy-making, as well as their reasons for going to an anime con, I think it might be good to share some of the stuff I learned over the years. Hopefully this post will shape into a simple guide on fighting con fatigue, how to plan your con experience, and what to look for to max your enjoyment. I don’t really think this is going to be a great Convention 101 post, but more like something to think about after your first couple cons.
I am nowhere a hardcore con goer–I do anywhere between one to five full-blown anime cons a year, usually just two or three. I think my “home” con is Otakon (2008 would be my 11th Otakon) but it isn’t really close enough to commute to, so it’s a road trip + hotel cost-wise. I’m also pretty frugal and live a lowly and low-maintenance lifestyle. Every con, I do the math and figure out what’s the best way I can squeeze every dollar from rooming (I always book a room, even if now I have friends in the area to crash with), eating, and other expenses. Why? So I can afford more goods in the dealer’s room, buy some roses if it seems like a good idea, glow sticks for crappy con concerts, or for the next con I plan to go. Stuff like that. I like comfort and luxury, but it’s not high up on the list of priorities unless it’s necessary.
But still, cons get tiring. I think there’s always going to be a physical factor to cons. Unless you’re a hormone-driven teenager, it’s tough to get peppy on a Sunday morning with full realization of going back to work on Monday, that last night you didn’t sleep all that well because of all the ruckus going on at the hotel, after walking all day and standing in line for hours the day before. In general, a relaxing con is virtually non-existent. It’s tough on fans, tough on the staff, and tough on the guests and retail/industry guys working cons for a living.
Naturally, one of the first things I learned about cons is to make sure you take it at a pace where you can physically handle it. For some it means being tipsy 12 out of 24 hours while you’re there; for some people it just means to drink water and keep yourself hydrated whenever you can. For some it means watching a lot of anime at the video rooms or lounge around watching colorful pedestrians walk by as those are some of the most relaxing things to do. I mean, I hope it’s common sense that if you find cons exhausting, it’s probably because you are taking it at a too fast of a pace.
And for a lot of the big, proper cons, there are a ton of things to do and the trap is that you will end up doing a lot of them. It would be okay if you can handle it both physically and socially, but it won’t be the case every time. And to be honest it’s just going to make life miserable later on. It’s like eating too much at an all-you-can-eat buffet. If you plan to go all out at a con, try to get the Monday after off work. Or even Tuesday, too.
Along the same lines, anime con goers are often not that well off. I used to run cons with a Spartan mentality when it comes to financial discipline and luxury. As I gotten older it occurred to me that if I’m going to waste my vacation moneys and days doing these straining things, I don’t really want to be in a position where I want a vacation from my vacation. I think if you really want to hit a con, and can just barely squeeze it in, then that is okay if you know what you are getting into. But it’s not a way to do cons on a regular basis. In practice it does mean that for an away-from-home con I want to stay at a nearby hotel instead of crashing at someone’s, because the commute cuts into con and sleep time. It means I might spend more time doing nothing, or eating at least one real meal that weekend (not fast food, in other words), if not more. It means I take my time, and do spend that extra $3 for rip-off priced hotel or con food/drink if I feel I really need it; but waiting half an hour for an overpriced cup of coffee at the Otakon Starbucks is pretty dumb.
Another thing I learned really fast is how priceless a con buddy is. I use the term loosely but if you can find some kindred soul, who is interested in the same menu items at a typical con as you, definitely try to do those things together. It can be a Significant Other who is dutifully dragged to the con, but it’s more fun to go to a con with friends you can talk with, and enjoying his or her time there as much as you.
Besides the obvious benefits of con buddies–another set of eyes to spot good cosplays and interesting dealer room goods, line place holder while you go to the restroom, cameraperson, videographer, extra set of hands to hold your stuff, plus many other roles–it’s helpful to get a second opinion often. It can be simply as “I’m hungry” as a reminder for you to go eat when it’s appropriate. It’s not unusual that people lose track of time, money spent, friends, cell phones and personal effects, and/or sanity overall at a con. Having that extra person there makes all of that less likely to happen, and if it does, less problematic. And of course, you will want to return the favor.
There are still going to be times you want to keep to yourself, and likewise respect others’ wishes to remain by themselves, but don’t be a loner.
I think one thing we all realize, even if we rarely acknowledge this in words, is that anime cons are really just giant block parties. And at a party invariably you need to socialize, and socialize amiably. Fly with a wingman. Don’t get into stupid trouble. Be pro and don’t lose your head. Cool customers are welcomed everywhere, and it’s good to earn the favor of the locals and staffers. First impressions are important. But like I said, you should already know all that.
At the same time, it’s part of the point of a con to get your geek on. Part of being a cool customer is knowing when to do that. Talking and knowing what you’re getting into at a con panel is good if you’ve done the homework (or written the textbook). Screaming internet memes about dental plan is good only if you are in line for 4chan. It’s a balance, and I think if you got your head on the right way, it is a natural balance that is easy to strike.
In short, the veteran con goers are:
1. Chill.
2. Take it at their own, easy pace (which generally manifests itself in a way that they end up doing the same thing every year at a con; con vets find a comfortable niche).
3. Social creatures that run in a pack, large or small or even flying solo for a time.
One of the ultimate lessons I’ve learned the past few years is that anime cons are something that you make of it. If you put in the effort, it’s likely that you’ll reap the benefits. And even as attendees, if you bring a positive and fun-loving attitude balanced with respect and sensitivity, you will enjoy the experience. In fact, rather than an attitude of entitlement, I found that going to con as an excuse to give, to enrich the overall experience for everyone, is much more fun and rewarding. It’s like organizing an otagei and watching it pay off, or making a joke on your own expense to entertain guests.
And lastly, I think it’s fair warning that none of the above are reasons why I still go to cons today; they’re just reasons why I haven’t found a good reason to stop. No matter why you attend cons, these are just helpful guides to keep things fresh so you can focus on doing the things you like at the con.
HALCALI LOL
I like Zaiya’s coffee, even if it’s nothing special. Not sure if I can say the same about gothloli.
Samurai Beat Radio is this…project in which they record Japanese artists for a radio program that is broadcasted in Japan, in the US. They’ve hosted TM Revolution last time a couple months ago and they just did a show with Halcali on this past Friday. Both of their shows are free, located at Kinokuniya midtown, NYC.
There’s precious little information about this project, who it is supported by, who funds it, and with which organization it belongs to, but whichever organization it is, it’s doing marketing a little awkardly.
But it’s Halcali. And they are a little lol. I think they’re not at ease in this particular setting but at the same time they’ve had a tough schedule flying all over the place and performing. I guess if I can make it to tomorrow’s show A-OK, I’ll make some notes about that here too.
And if you didn’t know, there was an autograph and photo session after the radio program was over. The host was Brian Nishii of Happyfunsmile.
Meanwhile I’ll put this picture I got with them alongside with the picture I got with Bonnie Pink. It’s like musician artists just have more fun when they’re not tied up in an anime-cross-promotional convention?
