krpalmer: (anime)
Back on the upslope of last decade’s anime and manga boom in the English-speaking world, I did feel tickled at the first reports of series being optioned for Hollywood motion pictures. It’s been a while since then, though (including a bust that might not after all have amounted to “complete retrenchment to a handful of obsessives for all time”), and as some productions got lost in a maze of development and some did show up to reactions at most unimpressed among “fans in the know” and a general slide into obscurity, I suppose I fell back to “the original work isn’t diminished for me.” I can also ponder whether I’m more content than some with “drawings” and less requiring “the legitimization of live-action,” aware as well of live-action manga adaptations made in Japan that I don’t take too much interest in either, even if I’m also aware of snickers about “detachment from three-dimensional reality.” There might be a connection between that and how, while I don’t take a lot of interest in “live-action superhero movies,” I did go see Spider-Man: Into the Spider-Verse at the movies after noticing the enthusiasm of others, then indulged myself watching The Lego Batman Movie on Netflix.

When it worked its way around to release at last, though, one more live-action adaptation of a manga that had been in production for a long time did seem to produce some positive reactions from people with their own solid interest in anime and manga. They seemed positive enough I even started wondering about taking my own chance on the movie. While I couldn’t see it during its opening week, on its second weekend I went to see Alita: Battle Angel. I was wondering a bit about this being one franchise I’d been aware of without ever quite managing to take it in, having missed out on previous releases and then supposing Kodansha Comics’s latest version did seem a bit over-produced for me as large-format hardcovers. As I watched the movie, though, I did get to thinking that while I wasn’t distracting myself “comparing it to the original,” that didn’t seem the only thing keeping up my interest in it.
An uncomplicated appeal )
krpalmer: (anime)
“Soon to be an anime” announcements do catch my attention every so often, but “soon” is a relative term, and when the chance to watch those series arrive at last I seem lucky to feel a vague “I think I’ve heard about it” push towards picking up on them. However, two announcements close together on Anime News Network, both declaring manga series I’ve read in the last little while will get anime adaptations, did seem to pack a bit more impact than usual in their combination.
Astra: Lost in Space )
To the Abandoned Sacred Beasts )
krpalmer: (kill la d'oh)
I've been watching anime for long enough to have come up with a few reasons for why I've stayed interested in it for all that time. One of them could be that I've been able to adapt to changes in style, subject, and ways to see it. (However, this boast of adaptability might have some small bearing on how seeing certain complaints about changes in domestic genre entertainment doesn't just annoy me but seems to detach me from those works themselves, which has been another reason I've come up with for my enduring interest in anime...) Changes in style and subject do seem to happen at a slow enough pace to only notice in retrospect, but sometimes changes in ways to see it can hit fast. The announcement the partnership between Crunchyroll and Funimation would be dissolving did feel that way. I can remember past seasons where I'd see Funimation license series for streaming and suppose I'd just have to wait for the home video release, given the grand shows of negativity some people kept displaying about their streaming service; the only problem there was that by the time of some of those releases initial interest had faded and I'd decided instead to buy titles Crunchyroll had licensed and Sentai Filmworks had wound up releasing on disc.

Of course, since the partnership began I'd merely gone from "not watching the series Funimation licensed" to "not watching the series on Amazon Prime or Sentai's own 'Hidive' service." (That might have been one factor in having gone several seasons without watching new series streaming.) The distaste of others for "having to pay for multiple services" is obvious enough, even if I can think a bit of the theatre chains the big studios had owned in the Golden Age of Hollywood and a previous era of winking at vertical integration as a form of oligarchical monopoly. So far as affording things goes, I am thinking of how I just contributed to the Kickstarter for Right Stuf's Nozomi label to go back and dub the Victorian Romance Emma anime, just perhaps more for a glow of altruism than having to face that long-standing subtle distinction "I don't seem to feel the disdain others display towards English dubs, but I always wonder if watching too many of them might develop that..." Maybe I'll just have to try harder to not be swayed by the disdain of others.
krpalmer: (anime)
Hearing Vertical had licensed a title called Anime Supremacy!, said to be about three women working in the anime industry, did get my attention; a few thoughts of "it might strike a fine balance of comforting familiarity with, yet fresh differences from, Shirobako" came to mind. It wasn't until I was taking a copy off the shelf in the bookstore, though, that I seemed to really realise, or at least remember, it wasn't a one-shot manga but a translated novel. That did for a few moments have me wondering about all the times I've thought translated-from-Japanese prose not quite sparkling as I've plugged through it; as in other cases, however, the premise was appealing enough I was willing to take a chance.
Three characters, three sections, a few questions )
krpalmer: (kill la d'oh)
A famous-for-being-famous celebrity (as far as I know, having to admit to steering clear of the reality shows and gossip reports that build that kind of fame) making a perhaps vague social media comment about anime but including artwork of a character from a new series now streaming raised a flurry of discussion among already identified anime fans. I took my own time contemplating some of the things said, but consider them I did. They did have me bumping back into the latest answer I'd slid into for a long-standing and perhaps important question.
Answers long forming )
krpalmer: (kill la d'oh)
Consistent proof might not be needed that "you can't please everyone," but announcements of anime series being licensed for one form of release or another on this side of the Pacific can seem to fall into that unfortunate category, even if it depends both on the company making the announcement and who's reacting. I shouldn't pretend to be above this, but I do have to admit I can shrug off the indignation some show at announcements from Netflix, which sticks to a "make it available in large blocks" schedule at odds with the "as soon as possible after it airs in Japan" strategy shaped years ago by "fansubbers" and given above-ground force by other streaming services. I've been watching anime for long enough that I can think back to days when my interest was piqued by comments overheard from the better-connected; I can also admit that the building excitement of generally positive week-by-week reactions seems much outweighed by souring moods.

When I heard Netflix had licensed Violet Evergarden, a series that had attracted attention just by being made by Kyoto Animation, I managed another shrug. I'd waited to watch Little Witch Academia, and supposed I'd enjoyed watching it "by myself." Then, just a few days ago, rumours started flying that some countries outside the United States would be shown the series one episode a week, and my own country seemed included. I told myself things might not pan out, and kept thinking that right up to seeing news it had happened just like the rumours had it. It just amount to a bit of long-delayed compensation for the years-past indignation I saw some stirring up over Canadian content rules keeping out the American cable channels that showed dubbed anime and certain other issues; it might only be the second wrong (whether in itself or in the risk of coming across as "gloating") that doesn't make a right.

Anyway, I did tell myself that helping to add to the "week-by-week" viewing numbers might do something towards Netflix extending this model to larger countries, and for all that it meant not getting around to Space Battleship Yamato 2199 as soon in the week as I'd been managing last year I connected my iPod touch and budget Chromecast to Netflix instead of Crunchyroll and started the first episode of Violet Evergarden. I'd managed to miss out on the previews beyond an impression the series was supposed to be more serious than the Kyoto Animation shows that first come to my mind, and perhaps even set somewhere beyond Japan. After first impressions of the exceptional attractiveness of the animation, I started getting a definite "just post-World War One if safely elsewhere" vibe; the sudden revelation of the episode (for me, anyway) might have made that resemblance that much stronger by having me think of Fullmetal Alchemist. I do want to be cautious about what the reactions of others might be to a "post-action series," especially with the passing of time and the reactions of others to recent Kyoto Animation series that haven't hewed close to possibilities of formula, but at least the opportunity being available (if for others who might really want it as much as for myself) is something.
krpalmer: (kill la d'oh)
A piece on Anime News Network described the president of a Japanese television network speculating about artificial intelligence taking over the production of anime. I have to admit one of my first reactions was that this felt so much one of those "one of these days" cyber-utopian visions that there did seem an edge of "trying to provoke a strong reaction just for the sake of attracting attention" to the posting of the article itself. Anime fandom, at least that part of it I can follow, does seem to have a strong undercurrent of disdain for what computer animation has worked its way into the industry. An AI-produced work might look like it was drawn by human hands (assuming tastes don't change at last by then, even if only by the fandom itself turning over), but I can still imagine other people looking ahead with specific aesthetic concerns for the future, given how ready some seem to make accusations about "stuff produced by formula." Beyond that, there's the whole deal with and issue of "sharing the profits of production out to as few people as possible"; the piece made a point of mentioning the familiar worries about how little money gets to the actual people with the pencils.

I can manage to think beyond even all of that, though, and there seems at least the possibility what might begin as "expert systems in the hands of the existing producers" might yet wind up "available to everyone." There, I could remember an online anime magazine from years ago (even if not which one it was to try and delve into the Internet Archive) that had looked ahead with apparent enthusiasm to the moment when people will just have to tell computers what they want to get entertainment tailored to them. The thought of everyone becoming more-or-less inarticulate moguls with endlessly patient creative staffs at their disposal can seem to hold the solution to some very familiar fan woes; the only cost would seem to be collective experiences dissolving into a certain kind of solipsism.
krpalmer: (kill la d'oh)
As I worked on my latest "quarterly review" of anime watched at the beginning of last month, in commenting on how impressed I'd wound up with the series Nichijou I did contemplate how I'd also been quite impressed by some other series I'd only seen via the underhanded method of "fansubs," and then added the comment that in some cases series that had impressed me that way had actually been licensed for official subtitled release over here, and yet sometimes watching through those discs had wound up with ominous sensations of feeling like an "obligation." The sudden news that Funimation had managed to license Nichijou (they've recently released two other series from Kyoto Animation Bandai Entertainment did get to release before being shut down) therefore didn't have to dredge up that ambiguous impression from very far. It might not be a strange personal record in terms of "least time passed," but it does sort of feel like one.

I'd at least like to hope impressions that Nichijou's comedy can be enjoyed over again will turn out all right, although there I'm reminded I now have five volumes of the original manga waiting to be read; at the moment I'm trying to concentrate on working my way through another manga series I'd piled up a stack of thick volumes of before getting around to it. I suppose it turned out Vertical getting to license it wasn't just a singular occurrence.
krpalmer: (anime)
Not interminable limbo, then, or even that broken at last only by final dismissal, but news of another tomorrow. It is nice to hear there should be an eighth omnibus published in English of the Viking manga Vinland Saga, even with the temporizing I did at the end of the seventh that "this wouldn't be the worst place to leave off." I'll just have to wait and see where and how things go.
krpalmer: (kill la d'oh)
While it may have snowed here last night, making the ground much whiter than I can remember it being for a lot of the winter, one however-skewed sign of "spring" is a new season of anime series starting up. I'm still in that evanescent early stage where I can at least consider watching the series as they stream, hoping they won't be dismissed by everyone else. For one series in particular, I was contemplating going a bit further to take it in; I hadn't quite expected the invitation to go that much further.

Seeing news the Japanese discs for the new Macross Delta series had been listed with English subtitles did remind me how the Macross Frontier movies had been released with them, and how I had gone to the point of ordering the box set from Japan as "I value it that much higher than these other titles" converged with "I'm not just spending money on an object I'd put on a shelf and never actually watch," although I tried not to make a big deal of that afterwards the way a certain number of importing English-language anime fans sometimes seem to do. It is, of course, the "end-run" way around the perpetual licensing enigma some people are very intent on assigning exclusive blame for; it's also going to get very expensive to buy all the discs the series is going to be split up among. I remembered all the times having got my hands on "fansubs" of an anime series would make me buy the licensed release before getting around to seeing the series, just because that was the right thing to do (even if I could suppose some insisting it was that much more righteous to import the Japanese releases). The simple, cheap, and unexciting solution is not to watch the Macross Delta fansubs. That, though, does happen to be a lot like what happens quite often with me.
krpalmer: (kill la d'oh)
When Kodansha Comics announced they'd be publishing Makoto Yukimura's Vinland Saga manga in English, another "if only you could see this too" title got ticked off the list. A number of years ago now, I had been quite impressed by his Planetes manga, one of the first to leave me with a wistful "now what else can live up to this?" feeling on finishing it; hearing he had moved from the future to the past and was working on a manga about Vikings did get my attention. Time passed without a licensing announcement for it, though, and after enough time, when it was mentioned it was on that metaphorical list I just mentioned.
Ups and downs )
krpalmer: (anime)
Not that long after pondering "out loud" whether there are more anime and manga fans on this side of the Pacific than I'd supposed, the Answerman column on Anime News Network did happen to address a question like the somewhat more specific one I've wondered about, "how many people in Japan watch anime on TV without buying the discs afterwards?" Any reminder there are more fans of anime and manga in Japan than the few thousand implied by the usual sales figures (and that our own tastes don't necessarily "outweigh" theirs) seems welcome, even if the "they have to be higher than that" numbers I once thought had to be out there remain elusive.
krpalmer: (kill la d'oh)
The "Monster Musume" girls looking out from the magazine racks at the nearby bookstore meant another issue of Otaku USA magazine had arrived. I buy it regularly, "I can start at the beginning, so I will" having led straight into "it's the last English-language North American anime magazine--might as well do my bit for it." It could also be, though, that just what it covers and how seems a "known quantity." As I pulled a copy out, however, one of the cover blurbs caught my attention.

"Do We Matter?
Geek media is huge, but what about anime?"

This was something different. Getting to the article "Do We Count?" by Daryl Surat about how "As 'geek' culture assimilates, 'otaku' remain outcasts," I spent some time mulling it over, and as I did I just happened to see an online piece (on a site that does at least try to mix in some coverage of manga, and even an occasional piece on anime, in with its "comics" news) making a similar point about manga, one pointed out in a few other places afterwards.
I was interested in what Surat would say, but... )
krpalmer: (smeat)
The news some months ago that Viz had licensed the long officially-unavailable-over-here Sailor Moon caught even my attention; long years of history came to mind. I have a recollection of having first seen a bit of it on TV just before first leaving for university, where I saw some posters not that long after arriving and joined the anime club to at last see more of the stuff I'd seen watching Robotech ten years before, and in connection to that I sorted out (much quicker than with Robotech) that Sailor Moon had also come from Japan. Those first glimpses of it pretty much convinced me I wasn't in the target demographic, though (the line from the song "One Week," "the boom anime babe that makes me think the wrong thing," can seem to cut a little close), and the unimpressed opinions the anime club had about it didn't quite seem to just dwell on the "localization." Within a year or so, though, I was getting the sense that whatever disdain those who held themselves in the know had had to start with, the show really was managing to broaden the anime-watching audience over here. Before I'd left university, the club had just happened to show a "fansubbed" short subject attached to one of the Sailor Moon movies when I was there to see it. Beyond that, though, I still didn't count myself as very familiar with something "everyone else" seemed more so, although when a certain memorable MSTing gaped at Sailor Moon and Daria getting crossed over into a "technothriller" I realised I knew more about the Japanese animated series than the American.
Not that long afterwards, all things considered... )
krpalmer: (anime)
Solicitations for anime discs that'll be on sale next year usually catch my attention right about now, provoking a few mixed feelings about time's endless rush. Beyond that, though, one of Sentai Filmworks's "we'll surprise you by only saying we've licensed this title right when you can start ordering it" announcements did get my attention. I only watched a few episodes of the mecha anime series Muv-Luv Alternative Total Eclipse when it was streaming; everyone else seemed to get annoyed pretty fast with it (some even for the specific reason that it didn't measure up the "visual novel" computer games it was based on), and that seemed to sap my desire to keep watching it until, when I went on vacation for several weeks, I came up with what seemed a clever explanation for why I was about to drop it and didn't return to it after getting back. That should have been the end of it with stacks and stacks of other stuff to watch, but I suppose I got to feeling sorry for the series for not being what other people wanted to see (even as that might have added to a persecution complex built on the thought of "modern mecha" series getting squeezed between people who aren't interested in the genre to begin with and people whose tastes were set with series made two to three decades ago and can't accept more "modern" touches folded in), and now that a second, altogether unexpected chance stands open I'm toying with the thought of taking it.

The obvious objection there does seem to be there was always a "second chance open" in that the streaming video was still available... but I suppose that in this, and in a few other cases, there's a difference between buying and watching. There are certainly some series I feel sorry for but haven't bothered to buy, in any case. For example, while I feel sorry for the unpopularity of Stella Women's Academy, High School Division Class C3 Club for ending up something different from what it started as but struggling to wrap everything up and I'm contemplating buying it (although there's a contrary opinion or two out there), I feel sorry for Fractale for starting with grand promises but not managing to deliver just about anything such that its director wound up a figure of derision, but never got around to buying it.

All of this does mean discs piling up, though. Perhaps I'm beginning to grow more level-headed at the thought of more Japanese companies directly entering the North American market and "harmonizing" their disc prices with those in Japan to help protect their home market from "reverse importation" because I'm starting to think it won't be all bad to just save the money to buy an exceptional standout every year or so and otherwise make do with the streaming video that seems there to increase the pool of potential "cost is no object" purchasers as much as possible. If, on the other hand, streaming video also passes away for some unimaginable reason, I suppose I'll start watching old movies or reading more books.
krpalmer: (anime)
I noticed the announcement of a Kickstarter intent on raising almost six hundred thousand dollars to make a "pilot episode" for a science fiction anime series and wondered how close it would get to its goal, then perhaps didn't dwell too much on it until, in an aside to a related discussion, I noticed someone talking about how the rate of donations had picked up in the final days and the project was getting pretty close to being funded. All of a sudden, the thought of contributing and getting to see just how this latest experiment in "crowd-funding" would turn out got to me despite the reproachful awareness of "only pitching in now," and I went and added a pledge. Later that day, "Under the Dog" reached its funding goal with time to spare.

One just-earlier Kickstarter with a similar intention but different results was sticking in my mind, though; it might have played a small role in my wondering about just what would happen and holding back. Of the two large anime discussion communities I delve some depth into, I did notice some people on The Fandom Post's message board being quicker than anyone in the Anime News Network talkback thread to gloat about how the "Robotech Academy" Kickstarter had ground to a halt and was shut down well before its actual deadline. There were, however, also people on the official Robotech site forum dwelling on how Under the Dog showed more, and more interesting, preliminary work. I do just wonder a bit about whether for some people Under the Dog was more appealing because its creative team didn't bring as much of a "track record" to mind.

How the episode's worth of animation now crowd-funded will turn out is something I'll have to wait to see. How much further crowd-funding can be stretched is a question I continue to wonder about; at some point, the compromises of seeking funding from deeper pockets may have to be made. As much as promises of the show being "old-fashioned" in a good way appealed to people, I can think that if they want to see three anime movies that feel that way to me right now, they might try Mardock Scramble. Nevertheless, the accomplishment does seem something.
krpalmer: (anime)
I can suppose "dreaming in anime" is "a thing," but also something that to make a big deal of will make you seem "obsessed." However, dreaming about the way it's sold on discs and what happens after those discs are sold does seem sort of different...

Waking up, the impression that an exchange program had been announced for the box-set release of Zeta Gundam managed to stick with me long enough to transfer into waking memory. That that particular release would sneak up on me dreaming caught my attention. I have the impression the combined scandal of the opening and closing themes being left off the DVDs sold over here and the subtitles seeming sort of inaccurate marked the end of a golden age to some fans, and certainly did seem to throw Bandai Entertainment into the unfortunate role of the "R1" company that could always find a way to mess up its most eagerly awaited releases until the day it was shut down, but I also have to admit I watched through Zeta Gundam, and then a second and a third time just trying to confirm the personal impression, with the feeling I'd been oversold on it beforehand. On the other hand, I'd watched through all seven Blu-Rays of Gundam Unicorn just the week before, and felt better about it in particular at the end.

In any case, I somehow don't have the impression the dream included news of the replacement DVDs including the opening and closing themes, which made what you would get sort of elusive. Nor did it seem to identify just who you'd be sending away to, which eliminates any sort of prophetic edge. It was still odd enough to be remembered, though.
krpalmer: (anime)
In another last flurry of contributions, the third and concluding DVD set from the online streaming and crowdfunding site Anime Sols for the series Dear Brother has been funded. It's a relief for me to know this series should be completed; after all, I'd actually found the time to watch the first episode of the series to get a first sense of motivation for contributing to it. At the same time, it was about as nervewracking a wait as the one for the final volume of Creamy Mami. If the site does get around to pledge drives for other anime series in the future (it didn't start anything new in these final days), I fear I may be a bit more inclined to rest on my laurels in general cases.
krpalmer: (anime)
Reading an interview on Anime News Network with Jonathan Clements about a "history of anime" he'd just written piqued my interest. While I'm not as familiar with his previous work as some, the thought of adding another volume to my small number of actual books about anime did interest me. I went ahead and ordered it, but even as I did I might have been wondering just what I would be getting into, whether I would be informed and interested or finish with the uncomfortable feeling of having read a very extended introduction to the sort of "portents of doom" forecasts made by those who seem convinced the stuff they're interested in isn't being made any more.
Numerous parenthetical asides )
krpalmer: (anime)
After three successful pledge drives on the streaming-and-crowdfunding site Anime Sols for the series Creamy Mami, I had supposed the fourth and final set would have a fairly easy time getting funded. After all, the site had even sent out the DVDs for the first set and proved there are results available (although it then had to send out replacement discs for one DVD with malfunctioning subtitles). However, as the deadline got closer and closer and the set was still thousands of dollars short, I started to worry, and also contemplated how there had been a special (American) Thanksgiving deal for the third pledge drive, where every pledge would count for two pledges, and whether this might have let a few people drop out of the grind.

Things started to pick up in the very last days, though, and I even got to the point of increasing my own pledge to the point of a "get your name on the DVD" promise. With hours left, the set reached its goal, and now I just have to wonder about the final Dear Brother set. It gets nervewracking, and it also gets expensive. There's also the little wrinkle that I haven't actually gotten over the name (and the thought that least other people want it more than I do) and watched any of Creamy Mami yet; it at least seems possible I won't be left in the middle, though.

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