Animelo 2006 on DVD = Animelol
So these babies came in the mail. LOL only means that it reminded me I already downloaded the DVD ISOs before new years. Time to watch!
Just for your information, if you didn’t know: I am a HUGE Masami Okui fan. I’m not even going to say why because I can’t bear to see my fanboy inner flesh sprawled out for no reason. By extension, I really dig JAM Project as well as some of Makkun’s (her fan nickname) collaborations. Makkun is also a very prolific anime musician, and over time she worked with a lot of different other musicians who have attachments with the anime scene. Chihiro Yonekura (and ROR/S), Minami Kuribayashi and Yoko Ishida are just a few.
But 2005-06 mark the years of Nana Mizuki’s biggest splash yet. She’s a pop cultural flag for the Densha Otoko generation, so it’s not a surprise to see her headlining this giant concert that is Animelo 2006. Animelo is this annual thing, for a couple years now, that the JAM Project folks have been throwing. It’s a lot of fun. And 2006 is their biggest show yet with the first time release of the show on DVD.
If you want to know how the show was, this is a much better read. For the sake of not reinventing the wheel I’ll just get the nitpickery regarding the DVD release out of the way and put in my two cents.
The DVDs, released by King Record (volume I) and Victor (volume II) are produced pretty much together. The design, art, the poster insert that you can put together for a full-size poster, and video production sync so they’re likely to be from the same production team. The release, however, are from two different labels. It’s no surprise because there are a bunch of different labels represented by the artists themselves, not even including our Suzumiya Haruhi trio: Aya Hirano, Yuko Goto and Minori Chihara. Their sole performance, Hare Hare Yukai, didn’t make the cut. Boo.
Other than that, all the acts seems to be on the discs. The DVDs also come with a behind the scene snippet, showing the day when all the performers arrived early in the morning, snippets of the rehearsal, people relaxing in the back room, people getting pumped before heading out to the stage, and stuff behind the scene during the massive roll call at the end. The featurette ends with individual post-concert interviews, each group telling us how Animelo 2006 was for them. The behind the scene bonus is on both DVD, and it’s exactly the same!
The DVDs divide the show up by gender, sort of. Naozumi Takahashi’s two songs went with the male medley on Victor’s disc (along with JAM Project’s songs, and Ali Project). Kuribayashi’s taunting outfit along with the very cute Aiko Kayo landed with the female medley on King Record’s disc. The division is begging someone to come along and rearrange it to the concert’s proper order.
Ah well, onward with the impressions.
I’m honestly shocked: this would be my first time watching ALI PROJECT live, and she (Arika Takarano)’s definitely a looker. And I mean it in a high class model kind of way–she’s got the built and she takes care of her face. I suppose that’s a must if you’re going to look good on camera prancing around in that hardcore gothloli getup. The goth drag queens as backup dancer was neat, and I have a hard time saying no to Rozen Maiden Traumend OP.
And it took me years to realize Chiaki Ishikawa is the other half of See-Saw. Or rather, it just didn’t stick when I read her name back when Kajiura was hitting the popular waves here. I even have a copy their old CD…well, she does have curly hair now. I like her songs, naturally–they’re crowd pleasers as See-Saw’s new stuff tend to be.
But I should’ve known, Ishikawa actually wrote and compose entirely the OP to Simoun, which she performed on stage. When I first read of Animelo’s content, this didn’t even register. Who would’ve known what that meant six months later? Savage Genius also performed Simoun’s ED at Animelo 2006, and … yeap.
I think I said Aiko Kayo is cute. She really is. And it’s not the frail kind of cute that the SOS-Dan trio seem to be. I think Kageyama cracked a joke on Matsumoto over it.
Minami Kuribayashi definitely wins the provocative dress award, even giving Takarano’s oddish gothloli thigh+cat-o-nine-whip a good run. Her white dress during the medley part is very nice.
Nana Mizuki has legs. But I am always happy with that Eternal Blaze going.
I think the real highlight of the show for me is the 9-man raid full of SKILL! You got the JAM Project folks plus Yoko Ishida, Chihiro Yonekura, and Minami Kuribayashi. I think Fukuyama spent more time on the DVD screaming than saying decipherable words. It doesn’t help that I’ve done group karaoke over that stuff before. It really is hella fun.
Runner up would be Kuribayashi and Makkun’s duet for Mask. I always like that song.
It’s a ton of fun. The DVD reproduction is just a fraction of its total energy, but even then it’s one (or two) of the most enjoyable concert DVDs I’ve had the chance to watch. If you’re a person into anime pop, this is hard to pass up. At 4800 yen a piece I snagged both during the holiday season when it was 20% off from Amazon Japan (ftw!). Even with fast shipping I spent less than $85, overall.
Totally worth it, worth beyond its impressive song list and guests.
Of a Dying 2006 Pancake Jamboree
This is the season to bake a cake
With our Queen of all pancakes
Her batter is first-rate
But one thing we all hate:
Skip her jam; your life, it’ll take.
Of the flame of wintry passions
Few hotter is an odd fusion
Of sickeningly cute “moe”
Mixed with a rarer, “moe”
An odd 萌え 燃え confusion?
Makoto, right before the snow
covers her, as if winter knows
that next year,
like every year,
again, memories anew will grow.
But what of tears under half a moon?
Of wishes undying, lovers swoon
to an eternal pledge
and they jump off the edge.
No, I’m not laughing at Black Lagoon.
But of kisses, war and boobs;
Fewer confuses more n00bs
than the trap gallery
on board the flying gallery
of Arctus Prima, the shoujo test tube.
Still there is no understatement
To fandom’s greatest testament
When the morning comes
And your alarm hums
Nayuki’s trademarked statement.
Still, it’s better to sing a song
Even if you get it all wrong
Like a undine
With a karaoke machine
to where the tone-deaf have gone.
If all of that is a pain
Then watch some Soukou no Strain
It’s serious as pie
And full of oppai
It belongs in its own domain.
But of wrecks this year
Perhaps none can possibly compare
To a sequel
With no equal
Because, she sang, life is a canvas.
And with a strong kiss, she landed.
Smitten, like heavy irony, candid
Of Paprika
As Hayashibara
Daughters of moe have commanded!
Amazing grace, how sweet the sound
When Renton did his flying round
For love
Kind of?
Death rained down all around.
If “pancake” was a code word
In this theater of the absurd
It’ll spoil the story
Of Jesus’ destiny
Savior of many, head of his herd.
Because we go to war over it
And idol singer acts for it
Awesome cameras
For positive otaku karma
Will FLAG as a banner, fit?
This deadly note must stop
But only because to slumber I drop
You can lament
In my comments
It’s a grand criticism swap.
The Theme of Memories is the Theme of Me
I’m not sure how many people out there recall the first few fansub renditions of episode 18 of Nadesico, but I thought that was always a touching way to translate something to get across the spirit of the language behind the title.
I’m not sure how many people out there enjoyed Kanon, either through the game, the fan stuff (radio shows and what not), or the Toei anime. I thought the new Kanon TV show is a self-fulfilling experience to re-experience your first time through Kanon, if you’re one of those people.
I’m not sure how many people out there even watched Simoun. I thought that was the saddest part about the whole thing. Who is going to stand vigil and remember the Chor Tempest?
The theme of memory is one that has real value the older you get. It doesn’t have to be mixed with regret, but it can. It certainly can be filled with “what ifs” and “now I get why.” Kanon is the story about a boy who grew up and couldn’t remember. It’s not a tropical, swashbuckling Peter Pan, but a downtempo, warm embrace. Because of that, re-watching Kanon is an enthralling experience. It’s not quite just going through the motions, but also going through your emotions when you remember your first trip with Yuuichi. It encourages you to remember. Could I remember Nayuki’s name if she asked?
What’s even more beautiful about this upcoming circumstance is that no longer we find our dusty, old remembrances dated with age. With even a critical eye we can re-examine Kanon through its new body. Thanks Kyoani! It’s really having the best of both worlds.
Memory is a favorite theme for many great pieces of anime. Hopefully I’ll be able to tell you just how that plays with Paprika tomorrow. I suppose that’s why I’m somewhat soft versus Charlie Kaufman’s films? Not to mention Satoshi Kon, but even Mamoru Oshii’s rendition in Jin-Roh and the two Ghost in the Shell films touch on this.
Trying to Get Simoun Out of My System, Attempt #2
With the shows I’ve been following coming to an end, a quick review is in order. Maybe it’ll remind me that there’s more to life than the girls onboard Arctus Prima.
Simoun vs. Ouran High Host Club
It’s not that I am not afraid of comparing apples with oranges, but it struck me that what is missing in Ouran Host Club is exactly what makes Simoun so good.
I like to criticize Suzumiya Haruhi no Uuutsu on the basis that Kyoani, outside of maybe Air, has generally gotten the short end of the stick when it comes to adding that “feel” to a show. I have a hard time putting it to words, but it can be said that the same effect can be replicated when you cook chicken breasts the wrong way, that they come out tasting like soft chalk. Granted, the effect is nowhere nearly as bad. FMP: TSR was as bad as it gets, and it isn’t that bad at all. Maybe it’s the consistency? Does it lack “soul”?
But I feel that is exactly what makes Ouran Host Club remind me of Suzumiya Haruhi no Uuutsu. Ouran, as visually impressive as it is, fails to reach that visceral-ness Suzumiya Haruhi did. But like Suzumiya Haruhi, Ouran is a very cerebral experience, it is very smart. The characters are both flat and round in order for the gags, both visual and mental, to work, and I think the show did a decent job of that. That’s not to mention my favorite part of the show–the direction. It’s sharp and clever. Even in its weaker moments it doesn’t fail to impress. In some ways it surpasses most anime that I can remember on the technicals, even if it couldn’t hit those “we pour love and money into this episode!” peaks that shorter, TV anime this past year did.
I can foresee that in the near future I’ll come around to enjoy Haruhi again. But for now, this show is the diametric opposite to Simoun: it’s clean, it doesn’t leave you attached, it impresses visually and mentally, but leaving you a little longing inside.
Tsuyokiss vs. Simoun
In some ways Tsuyokiss only reached the first step of what Simoun did, but since it gambled all 13 episodes on that one thing, it came out pretty well when we look at Tsuyokiss on that one thing, and only that one thing. That one thing, well, it is probably best described as a dialogue the anime production people have with the audience. It tries to tease you, it tries to please you. It knows what it has to work with is crap and it doesn’t care even if it is the worse case of original-adaptation-cide ever. It is unapologetic about it, but in a way it expects you to know that much. In the end it delivers on a platter of something that is like a B- high school group project, but since you were a part of the group, you get sentimental over it.
Simoun, on the other hand, has gotten that bit over with when Mamiina broke out with fists and claws. Since it is twice longer than 13 episodes, it can’t afford to do the same either. Their first tour with Wauf was all about it.
Simoun vs. Blood+
Blood+ is a very clean show. The production value shines through. It is intelligent yet it has the pacing of a typical 90s anime that aims to dramatize. The story, in retrospect, is a powerful one. However, most of the power was robbed by its mechanical, one-fight-per-episode formula that is as mediocre as it gets. There is some sense of overall planning and vision, but on the ground it doesn’t please or tease or amuse anyone. It tries too hard being cool the whole way, when it could have gotten a lot farther by shedding the drama and just get things done, and offer up some twists.
On the other hand you can look at it as a sign of respect. Blood+ knows we know what it has up its sleeves, and it’s just a matter of waiting it out. However it feels like all this formalistic pretense just gets in the way of me trying to enjoy Saya’s plea.
Simoun vs. Honey & Clover 2
I hope Mamiina didn’t mistake rats with hamsters.
The concluding 12 episodes of Honey & Clover was rather good, I thought. But the break between episodes 26 and the recapping episode 27 really spoiled things. As here we were, all ready to accept things as it was with how the first 26 episodes ended (and it was a decent way to end something that “doesn’t end” I thought). Yet now there’s real closure.
Of course, by episode 26 you get a good idea how Takemoto is going to take things, and what happens between Rika, Mayama; Yamada, Nomiya; and obviously Hagu… Can’t say I am NOT surprised but somehow how it ended felt right; things ended as it should (save for the little oddness with Hanamoto-sensei that will boggle and mislead a bunch of fools).
But was it all just ending for having an ending’s sake? Is it really just a long-ass ending thing? It would certainly make Honey & Clover one hella unique anime. Not only as a romantic comedy it was rather unconventional, it has the longest ending sequence ever.
Higurashi no Naku Koro ni vs. Simoun
Satoshi visits the Spring, only to realize boycotts and local conspiracies murdered Onashia and her relatives over dam construction at the ruins. Add drugs, dogfighting, gruesome torture, and identity crisis. Tempus Spatium makes a guest appearance in the form of Mion’s tatoo.
Higurashi was great up to episode 5. From then on it tries to explain and continue to add more to the wholesome mix of loli horror, but it never quite reaches the same peak. A mostly linear downhill ride, I’d say. Admittedly this genre is fairly NOT my bag of tea but I enjoyed what little there was to enjoy about this show. The OP itself was awesome for setting the mood and all.
Bokura ga Ita vs. Simoun
One makes me feel gay, the other doesn’t? And while I think I would be pretty comfortable watching Bokura ga Ita with other, non-anime people, I wouldn’t feel comfortable with myself watching Bokura ga Ita even if I was by myself. Those times I wish I was watching Ouran High instead. Less yucky, more pretty.
But nonetheless it’s a nice, alternative take to the same genre. I’m just not sure if I can take it…period. It drives me insane.
And let’s not forget. I’d rather have other people walk in on me watching Neviril kissing some other equally “moe-looking” chick than stick-figure Yano and Bokura ga Ita’s simple visuals. It’s that bad. Or it’s that good? I suppose that’s shoujo anime in its bare form.
Simoun vs. Coyote Ragtime Show
I’d be pretty happy if Angelica hooks up with Amuria or Onashia or something. She is a pretty, enlightened, old fashion gal and I think without her the Coyote Ragtime show would be only a shadow of its current self. I enjoyed the show, that said, because it has this die hard feel to it. Too bad objectively the show kind of tanked in some major aspects. I blame it squarely on Katana, Bishop, and Mister themselves. Being such important aspects to the show they are really pretty … lame. Swamp, being the token black guy, at least did his job well enough. Considering we have three (to 4 to 5 if the Coyotes break up) narrative perspectives, at least 2 out of 3 involves something less lame, like the 12 Sisters or Chelsea and Angelica, the show wasn’t too terrible to watch. But as a proof of concept I think it fails terribly. Maybe it would have been better if Bishop and Katana had more going on rather than being sidekicks.
Simoun vs. Aria the Natural
An episode of Aria is like an episode of Simoun once you remove any trace of conflict. The girls do not kiss each other, but they might as well. I think what really makes Aria works is the SD. I hated Aria-prez when Aria first got animated a while back, and now that’s all but a remote memory–it shows just how powerful your brain is in ignoring or filtering out stuff that it really doesn’t like. And that can include those girl-on-girl kisses. It would be just as an irritant as Aria-prez’s incessant whining.
And some might even like that!
Trying to Get Simoun Out of My System, Attempt #1
It’s over, it’s all subbed. But am I ready to move on?
There are so many things to say about Simoun, and I’m going to try get get to all the key things, lest I ceased to be motivated.
But let’s start with the very first, basic thing: spoilers. Simoun is a show that will not be worth your while if you saw it while spoiled. Try to steer yourself clear of that if you plan to enjoy this show at some point in the future.
That said, it’s hard to talk about Simoun without spoiling, so that’s probably going to happen if you continue reading :)
Another thing that’s easily addressed is the music. Ok, so we know Toshihiko Sahashi is the composer, and he’s famous for, say, grand stuff like Gunslinger Girl and Rayearth OAV; or the more staple stuff like Full Metal Panic and Gundam Seed. I don’t really think he’s superlative in his works in Simoun, but he really nailed it as far as the style of music that goes with this stuff–waltz, classical-appealing orchestrations, of things romantic. There’s the right degree of pompousness, and it characterizes the Sybillas well, as elite, and often rich, well-to-do daughters of other elite, rich people. And enough weird stuff for those more uptempo, mysterious scenes, too. Doubly sweet are those “image” songs, such as the music box song, the one waltz they keep dancing to, and Dominura’s surprising performance.
I think there’s less to be said of the OP/ED themes. They work as OP/ED themes, but standing alone they’re both not really strong. Of course now both pieces are completely covered with the sentiments from watching this show, and the words to “Utsukushi Kereba Sore de Ii” hammers the key points home.
And it really is about these salient points, or as I tend to call them as themes. And there are several prominent ones. The coming-of-age story, the find-one-self story, and the idealist/realist conflict. The confusing conclusion to the show all makes sense once you start to think along the themes, at least so I think.
The ending itself is a little loose, sad, and moody piece generally. It doesn’t tie up any of the loose ends plot-wise but the last two episodes give us the details of their lives after they had to make the choice. I think if you’ve seen it, some of the choices these girls end up with are self-evident (Lodore, Para). Some are fun (Floe, Morinas), others are a little ordinary (Alti, Kaimu). Anubituf and Grageif ended up fairly amusing. Will Vyuraf end up like them? One can only hope so.
But when it comes to Limone and Dominura; Yun; and of course Neviril and Aeru, it’s harder. If you recall Utena the Movie, we can write off Neviril and Aeru in that sense–the duo pursuit something more in abandon of what society has thrust upon them. The differences, mainly, is in the context. Utena was fable-ish within a backdrop of everyday society; where as Simoun had a specific context instilled within its elaborate universe. As a result the act of rebellion and the lesbian conquest had a very different meaning behind it.
Harder still is trying to fit Yun in all of this. She really is a victim of setting–we understand why she did it, but the how really bothers me. Perhaps it’s exactly in this way Simoun fails me as an end.
The same question of how stumbles me when I think about Limone and Dominura. We understand how and why of Limone and Dominura’s context in their travels (one of the several points in Simoun which a spinoff seems appropriate). But WTH? STD (Space-time Transmitted Disease)? I suppose Simoun has given us enough hints to piece together the framework, and I may just too dense to figure out as to why she’s flaking. She has Limone, after all?
The question of how is probably the greatest stumbling block to Simoun. Its unexpected road from climax to end is by no means the problem. Not having things explained, in itself, isn’t a problem either. The issue arises from its elaborate story and context and setting. It’s too good to be cast aside just because explaining it all will unravel this mighty-beauty suspension bridge of belief. Nonetheless, a few more road signs will go a long way.
But the setting, my, the setting. It is probably my favorite aspect of the show and it will stick with me for a long while. Gender bending, the tech, the faux steam-less-steampunk. The foreign languages. The Ri Maajons. The class system. Tempus Spatium. So remarkable. So wonderful twists. And all an integral part of this romance. It’s not just a gimmick.
Romance, I think, is the word I would use to describe the feel of the show. Some would describe it as WWII era drama pieces where a lot of the mood comes during scenes when the cast stare longingly down the runway and into the sky, pining at pilots at war. The similarity are there, and these kinds of elements, more than the interpersonal romance, played a bigger part in painting the show with the right texture, that gives traction to the rest of the drama.
I wouldn’t say the watch was easy, but it has a distinct taste and texture–creative and unique. For a jaded anime faux-intellectual like me, that’s just irresistable. Once you couple that with the roller coaster drama in the middle of the series, it was just too delightful. How the two big dramatic events mid-series affect the story is also pretty interesting, too, and rather unusual.
I won’t deny it, either, when you look back at the show and still only see a bunch of cute girls flying jet planes and blowing things up, while kissing each other…that is probably enjoyable too. But for those of us who would rather take it seriously, there’s a lot to take seriously of!
But when Dominura and Limone took their quantum leap, it was awe inspiring. Both in the acting and in the way they constructed the tension and released it. Now that I’ve had a lot of space and things to put in between now and then, it almost seem irrational and odd for Dominura to do what she did. Or rather, by finding the one (and possibly only) meaning behind her action can we sift through the real significance to it.
Indeed, if she knew what the Emerald Rimaajon did, why did she do it at that point? Are we merely fooled by Amuria’s destructive attempt? Is it unintended irony that Neviril’s moment of mercy caused a massacre? A rewatch (as I had several times since months ago) did show that the emerald Rimaajon is a peaceful transcendence, then and even again at episode 26. Was Dominura meaning to abandon? Probably not. Was Limone looking forward to the magical cure as a way out of their predicament? Maybe. It was what they meant to do as girls, as people living wholly for themselves. But it has other meanings too–Schrödinger’s CatAmuria, for example. (By the way, there is little doubt that she is dead, even if they left some space for the contrary).
On the other hand, it’s no coincidence that we were flashed back to Neviril’s performance in front of the inquisition regarding the Arctus Prima explosion several times during the show. While I personally would inject a particular perspective (like related to this), it’s probably safe to say that is a defining point in her path to what she turned out to be at the end of the series. Amuria is similar to Aeru in a lot of ways, sure, and Neviril loved both of them. The difference between the two relationships, logically, is where we can see how Neviril has grown and how she learned to come to terms with what she defines herself with. She made important realizations–about Tempus Spatium, about their organized beliefs, and about what a Sybilla is. It’s partly why she could anchor Chor Tempest in the later episodes of doubt and despair.
In fact, there’s a positively lovely domino effect where one girl helps another to pull through this trying time. Without Lodoremon, we won’t have the reformed Mamiina. Without Limone, Dominura would not have made the “right” decision later on. Without Paraietta, Kaimu and Alti would not have reconciled. Without many of theses we wouldn’t have a Neviril that we see at the end of the series. Of course, without Aeru and Neviril Paraietta would not have reformed and become the integral leader for the Chor Tempest girls. Even Aeru learned a few important things from Floe! Even the Plumbum priestesses had a couple big roles.
I think this is where Simoun remarkably differ from Utena or even Evangelion in dealing with these kind of themes. Utena’s characters were, as the show suggests explicitly, puppets pushing and pulling our protagonists along. The movie version does the best job, IMO, in showing that Anthy was the one true heroine at the end, and Utena is just her trusty partner during her trials in some ways. Evangelion, OTOH, dealt with the similar themes in a similar way, but there wasn’t real understanding between the characters, compared to Simoun.
This spiraling train wreck of a post will have to end here. Theories and conspiracies are great for this show because it beckons, yet I think it would still be imprudent to dive into it full force without reason as a safety rope. Meanwhile, enjoy some eyecatches. Simoun’s eyecatches are as amusing as eyecatches can get, and they do a good job highlighting each episode. A short stroll down Neg’s blog is in order here. When it comes to eyecatches I like it when they make the additional effort to make it a part of the entire experience, and they’ve done a great job. It’s like the first thing you see when people post it on 2ch, and it spreads like wildfire with raws and subs trailing behind. Plus, they’re just gorgeous usually.
Until next time.
