Katawa Shoujo

I hadn’t followed the development of what’s commonly known as ‘that 4chan eroge about disabled girls’ but since the finished product isn’t really anything like that, maybe I was better off in blissful ignorance after all. The initial reactions at its full release, claiming it was tasteful and respectful towards its subject matter, were what caught my interest; reading the developers’ blog archives, I realised that it evolved independently from the infamous /a/ board and I eventually came to the conclusion that it’s not an eroge about disabled girls either.

It’s no more an eroge than Tsukihime and F/S N are if I’m honest. I would’ve thought the story-to-smut ratio would have to be lower for it to qualify since, like those Type Moon forays into the genre, Katawa Shoujo involves a lot of reading to get to the H-scenes so it’s plot-driven before anything else; outside of fiction written for a young audience, characters end up in bed together every now and then in many romantic drama stories anyway.

Mahoromatic, a series I hate to love

Way back when, I watched the first season of Mahoromatic because I’m a Gainax completist and later made a mental note to pick up the second season when time and finances allowed. Even then, Something More Beautiful sat on my backlog shelf for months. The fact that I have an entire DVD shelf dedicated to my backlog might explain why that happened, but Mahoromatic‘s second half wasn’t something I was in a hurry for in the first place.

I found myself compelled to see it through to the notorious end, but I can think of so many reasons why I perhaps shouldn’t have bothered. My lasting impression is that it really wasn’t bad; ignoring the waste of time that is the Summer Special (a course of action I thoroughly recommend, by the way) it still had its fair share of problems.

Fate/Zero? I’ll drink to that

After my review of Fate/Zero‘s opening episodes over at UK-A I was a bit shocked at how opinion on Google+ was so critical of the storytelling approach, to the point where I felt I was in the minority who didn’t mind it. I know it doesn’t appeal to everyone: squinting at reams of subtitled dialogue in an infodump opener and wading through thick waves of exposition from that point on isn’t everyone’s grail of mead, but still.

It’s just that this is closer to how I’d imagine a Nasu adaptation to be (yes, I know Urobuchi did the legwork) so quite frankly the idiosyncracies go with the territory. Introducing a cast of this size, especially considering the relationships and connections involved, was never going to be a painless exercise for the viewer, in any case.

Examining the ingredients of the Pineapple Salad

Groups of friends often develop in-jokes and running gags over time, like memes on a localised scale. One of the most well-used in my experience crops up when a fictional character dies in tragic, dramatic and heroic style: we refer to such an admirable and Manly Tear-inducing exit as getting the ‘Pineapple Salad’. It’s given a passing reference in TV Tropes under Fundamentally Funny Fruit, but there’s nothing funny about getting the Pineapple Salad. Nevertheless, it’s the best kind of tragic.

This accolade is never given lightly. Given its origin, it demands to be an award of the highest order as a recognition of epic courage, selflessness and sheer badassery; spoilers for Super Dimensional Fortress Macross are coming up, by the way.

Contact and conflict in Macross and Good Luck, Yukikaze

Super Dimensional Fortress Macross and Good Luck Yukikaze are two offerings in the diverse and well-trodden region of speculative fiction in which humanity tries to come to terms with, and survive, an alien invasion. Although they have not directly influenced one another as far as I know, they do share a similar level of care and attention devoted to showing how the events affect individuals.

Macross is renowned for being a character-driven romance rather than a political space opera; for all the loving detail lavished on the hardware and military tactics Yukikaze still has plenty of time for humans and their relationships (even when the relationships are with machines!). The war is of course for the whole of humanity, but often for the combatants very personal issues are what matter.

Love Exposure

I can’t even remember how Love Exposure made it onto my Lovefilm rental queue, then the discs sat on my desk for the best part of a fortnight. Before you read past the jump I should warn you that it’s a very long film (the commercial release is four hours; the director’s cut, which I haven’t seen, clocks in at six) and it’s not one for the easily offended.

The plot synopsis is hard to summarise but at its core Love Exposure is a coming-of-age romantic comedy. Its intertwining plot threads feature graphic gore and manga-style violence, domestic strife, panty shots, teen angst, sexual and religious taboos and numerous awkward boners. To reiterate: not for the easily offended. It’s still bloody genius though.

Kaiji makes me want to drink beer and gamble

It’s been a long while since I last saw Kaiji’s ragged mullet grace our screens (since my old blog, in fact) and given the average lifespan of most anime blogs I’m not sure how many other fans of the first season are still around to enjoy this one. For the benefit of everyone else, I think watching the first season is helpful to know where this guy’s coming from but I don’t think it’s essential in understanding the premise and appreciating what this second one sets out to do.

HE HATES IT

The gritty and unconventional storytelling and aesthetic of Kaiji are refreshing and it’s therefore still a heady weekly dose of ugly, dirty, suspensful badass-ness and, well,  everything that the generic otaku fodder isn’t. The fact that there’s nothing quite like it around right now is as true now as it was way back in ’07…and it still kicks.

K-On and the guitar geek

K-on #27 turned out to be the perfect way to spend a lazy Saturday afternoon – it’s amazing how entertainment value can come out of so little. The girls don’t get as far as going on holiday but even the inconvenience of applying for a passport somehow comes across as fun. *shrugs* Since there’s not enough going on to warrant a post in of itself I might as well use it as an opportunity to write about my own angle on the show as a whole.

AKGs and Fender combo HELL YEAH (1)

2DT did a good piece about the evolution of moe and how it relates to K-On and the early days of anime heroines such as those in old-school Ghibli movies, which led to me making some massive rambling comment about the characters. There’s a great discussion going on there if you’re interested but I wanted to make a proper job of elaborating on my comment to 2DT’s article…namely how it’s more to do with the fact that I’m a shameless tech nerd.

Madoka Magica: science is a verb now

I didn’t find enough time to reply to the comments in my first Madoka Magica post and there’ve been so many plot twists and food for thought since then I feel I need to say more about it. The fan reaction to this show is staggering: it makes Twitter a very dangerous place at certain times of the week but I honestly can’t recall a new anime series that had everyone fired up like this.

Back when I started blogging it was all about Haruhi Suzumiya…and that was the first season before everyone got upset about Endless Eight. For Madoka though the opinions I’ve seen so far have been overwhelmingly positive; while in the NoitaminA slot Fractale has met a lukewarm reception and Hourou Musuko has been excellent in a more understated way, Shinbo’s latest offering has set the fandom on fire…consistently and repeatedly.

Rawr~! Godzilla is still the daddy

It’s embarrassing to admit that I consider myself a fan of Japanese cinema yet have never seen, for example, Akira Kurosawa’s Seven Samurai. It reminds me of the concept behind I’ve Never Seen Star Wars in that there are some glaring gaps in my knowledge and life experience that need to be filled. Another good example is that I had never sat down to watch the original 1954 movie of Godzilla. Until now.

It goes without saying that Godzilla is a cultural icon; the image of a giant lizard owning the streets of Tokyo is one of cinema’s most enduring images but out of the people who recognise the popular silhouette of this radioactive dinosaur, how many have seen its first silver screen outing? With the aid of my Lovefilm subscription I decided to conduct a little experiment in experiencing a piece of filmmaking that’s around the same age as my parents…and the results were surprising.