Review: Shikabane Hime - Corpse Princess, Season 2 (Sub)

Medium: TV Anime
Number of Episodes: 12
Genres: Action, Horror, Supernatural
Director: Masahiko Murata
Studios: Feel, Gainax
Licensed? Yes (FUNimation)

"Shikabane": human spirits whose regrets in life cause them to return as vengeful monsters.
"Shikabane Hime": young (usually hot,) undead women employed to seek and destroy shikabane.

A few months ago, I reviewed the first season of this supernatural/horror/drama/fan-service extravaganza by GAINAX with great delight. The cliff-hanger ending of episode twelve gave me plenty of motivation and desire for more.

To recap, there are monsters, and there are strike teams of monks and undead teenage girls who fight off said monsters. Ouri, an introverted youth fascinated with death, has been following his adoptive older brother, Keisei and his partner, Makina Hoshimura. In a critical moment of defiance and selfless sacrifice, Keisei finally lays down his life for Ouri and Makina, setting the stage for the second half of this passionate drama.

In season two, we turn our attention to the Seven Stars, a team of untouchably powerful shikabane who seek the utter destruction of the Kougon Sect and their shikabane hime. With a clear central villain and a clear conflict of interests between central characters, you would think the story has plenty of steam to keep this freight train on the move.

Then the middle of the series comes, and with it the mid-season-two-drag. We fall into the shallow grave of flashbacks, recaps and tertiary character development, but only to emerge stronger than ever.

Somehow during the transition of acquiring Ouri as her new contractor monk, Makina has developed a curse, a super-power that gives her unlimited regeneration at the cost of shortening Ouri’s life. This twist is more for dramatic effect then an actual plot point, as she continues her regular Shikabane Hime duties of monster-mashing and self-loathing. Although it does lend itself to some pretty impressive fight sequences.

Some support characters are developed for the sake of cautionary tales between Ouri and Makina, while some new characters are introduced for the sake of fan-service. Not to say that Shikabane Hime loses any of its dark, morbid charm. Most of the fights leading up to the final conflict with the Seven Stars are downright cruel to viewers. Bravo. All that was lacking was development on the Seven Stars: a majority of them are not given memorable names or even discernible powers. Come on guys, you had 25 episodes! At least give me a back story!

Eventually, the Seven Stars and Akasha, the “traitor monk,” get their acts together and start causing mayhem on a grand scale. By using their young leader, a seemingly brain-dead girl named Hokuto, the Stars wreak Left 4 Dead-style havoc on Tokyo. The potential for mass-slaughter is ignored for a handful of “I’m-gonna-follow-my-path-no-matter-what” speeches, but I can overlook them.

The series caps out at twenty-five episodes, and while the plot does not resolve entirely, the characters’ resolve is set in stone, and we leave the series with a satisfying acceptance of life over a peculiar fascination with death, and the changing of the guard - the passing of the torch - is complete.

A huge part of Shikabane Hime’s appeal was its convenience. Using Hulu, I was able to watch the entire series at my leisure with about a minute of commercial interruption. Other than the obvious mid-season-two-slump, Shikabane Hime delivers and pushes its characters to develop their motivations, not just their powers. (Something Bleach might want to take note of.)

good.

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Guin Saga creator Kaoru Kurimoto, 56, passes away

Award-winning Japanese fantasy author Kaoru Kurimoto (real name Sumiyo Imaoka) passed away at age 56 last Tuesday. The novelist, who is succeeded by her husband Kiyoshi Imaoka, was known best for her long-running fantasy light novel series Guin Saga. She was diagnosed with pancreatic cancer in 2007, but did not have a chance to complete the continuing story of Guin before her untimely death. Regardless, Kurimoto will be deeply missed by the countless fantasy writers, manga artists, animators, and fans who have been inspired by her imaginative and evocative stories since Guin began its continuous publication in 1979.

The Guin Saga novels are currently being published in English by Vertical, Inc., and there is an ongoing anime based on the series running now on Japanese television.

[via Japanator]

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FMA: The Brotherhood Diaries - Episode 7

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 7 - Hidden Truths

National Central Library is not blown to pieces by the Scar vs. Lust and Gluttony battle as in FMA1, but is explained away instead by Lust (who’s returned to Eastern HQ) being concerned with Marcoh having given Ed the location of the research. This is a major departure in the motives of the homunculi of FMA1, which was to get other people to do their dirty work and create a Philosopher’s Stone. This leaves me curious as to what the intentions of the monsters/failed experiments in human alchemy known as homunculi are plotting (way to go FMA2!). But if that plot turns out to be the same as FMA1, my heart’s gonna break over this plot oversight. In addition to that departure, there’s an excellent hatred between Lust and Scar, unspoken but shown through every last bit of animation and dialog from her concerning him, that makes the diversion totally worth while.

Gluttony: Can I eat him?
Lust: Right down to the last strand of hair.

Otherwise things are pretty much the same in terms of episodic development thus far. Scar’s bloodied clothes are found, the same assumptions are reached about his whereabouts and condition. We’re also still treated to the introduction of 2nd Lieutenant Ross and Sergeant Brosh (Bloch), a little later but still better than never. Their roles are more important in FMA2 though, as they are the ones who suggest going to see Sheska (Scieszka , the bookworm with a photographic plot device...I mean memory). Once again FMA2 is making life easy for Ed, whereas FMA1 has him doing some detective work to accidentally stumble upon Yomiko Readma–Whoops, I mean Sheska!

Still, in terms of arduous work, Ed still has it cut out in terms of deciphering Marcoh’s “1,000 Type Menus for Today” (I’ll chalk the title goofiness up to translation, but I must mention Volume 2’s title, “Nutrient Rich Meat,” Volume 12’s “Spatch Cock,” and Volume 38’s “Boil Thoroughly Potato Dishes”). There is a greater sense of elapsed time in FMA2, and Ross/Brosh serve less emotionally than they do implicating-ly (Brosh questions rashly how the military could be involved) when Ed and Al finally crack Marcoh’s code.

Lament and woe! Woe and lament! See what happens when we skip filler? True to FMA1, FMA2 has Ed and Al sneak into the fifth laboratory (Lab 5) after a lead. But there can be no Barry the Chopper in tin can form (Number 66), because he was never introduced! The world shall mourn his maniacal banter! Hope springs eternal, however, as Number 66 is still included in FMA2 as a tin can, and this episode ends pretty much the same as its counterpart in FMA1. However, it is worth noting that we are on FMA2 Ep. 7 and FMA1 Ep. 19 (main plot only). Has the stress on action been worth the forsaking of deep character development? Or are old opinions just too tied to a preceding series? Weigh in!

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Exiled Hardcore: Can SEGA tap Nintendo's lost demographic?

It was a feeding frenzy. Lots of sweaty men crowded around a small TV screen, watching the blood splatter as a stylized video game character was thrown into a saw twice his height. The crowd cheered as bullets broke through the carapace of a giant alien bug. A startled gasp was heard as a zombie leapt out toward the camera. And in the hands of these gamers was not a black gamepad, but a remote control: sleek, white, and all-too-familiar.

There were no grandmas playing these particular Nintendo Wii consoles, which were on display at the 2009 New York Comic Con. In fact, your grandma would probably disown you if she ever caught you playing the brutal cartoon action game MadWorld. I'd venture a bet that she wouldn't be too keen on the zombie game House of the Dead: Overkill either, and the science fiction shooter The Conduit is quite a far cry from Wii Bowling.

Welcome to the new SEGA on Wii.

Japanese publisher SEGA's move toward "mature" Wii games has struck a major chord with Nintendo fans and gaming journalists alike. On its release, the Wii split Nintendo fandom in two, as many disillusioned gamers felt that the game maker had abandoned them, choosing to focus its efforts on titles appealing to a "casual" demographic. Nintendo has tried in the past few years to hold onto its image as a publisher that appeals to all types: casual and "core" gamers, Nintendo's euphemism for the more commonly used "hardcore."

Early in the console's life cycle, Ubisoft released Red Steel, a violent first-person action game on the Wii that was already riding a hype wave that it couldn't handle when it crashed into gamers' homes in late 2006. The game was pulled down to a Teen rating due to the removal of blood (and the necessity for "Red" in the name), and the gameplay attracted widespread ire from video game critics. Ubisoft's highly-publicized flop seemed to spell certain death for mature games on the Wii.

It is natural, then, that the gaming community jumped straight out of its seat when High Voltage Software announced almost a year ago today that they were developing a science fiction first-person shooter along the lines of Perfect Dark or Halo. The game, called The Conduit, had no publisher when it was announced. This bizarre decision was made in order to give the developers (who self-funded the venture) complete creative control, so that they could make a Wii game "that we ourselves wanted to play," according to High Voltage's Chief Creative Officer Eric Nofsinger, who I spoke with at the New York Comic Con this February.

Mr. Nofsinger animatedly explained his team's creation, to the extent that sometimes it was possible to forget that I was talking to a developer and not a fellow gamer. When asked about the stigma against mature games on the Wii, he spoke with an optimism that I have heard only sparingly since the launch of the console. "The Wii deserves it," he said quite bluntly. "[The Wii] is a powerful enough system in order to make compelling content, but more importantly, it's a really unique input peripheral, and provides you a type of gameplay that you can't do on the 360 or PS3."

Months ago, fans began to fret over The Conduit, worrying about when it would get a publisher, and who that publisher would be. Mr. Nofsinger described the unusual process of development-sans-publisher as "scary as hell. We believed really strongly in what we were trying to do," said the designer. "We put our money where our mouth was." In November of 2009, High Voltage reached a publishing agreement with SEGA, and The Conduit finally had a home amid the publisher's growing libary of "hardcore" Wii games.

These included MadWorld and House of the Dead: Overkill, which were both on display beside The Conduit at the New York Comic Con 2009. Overkill built on the existing House of the Dead arcade franchises in an attempt to bring light gun zombie action to the Wii. MadWorld, on the other hand, was to be an outrageous, cel-shaded action game about a man trapped in a twisted game show and forced to kill his opponents in order to survive, in a game that is equal parts The Running Man and Sin City.

Nofsinger seemed very happy with High Voltage's publishing partner, telling me that even after the publishing agreement had been made, SEGA "let us continue to do our thing." And naturally, he thought that SEGA had just the right environment for an aspiring hardcore game on the Wii. "I don't see a lot of third parties really pushing the system outside of SEGA," said Mr. Nofsinger. "SEGA's doing some really cool stuff, and I'm really proud to be a part of that."

But can a game like The Conduit succeed on a system in which most hardcores seem to have lost all hope? When even the gaming press has largely given up on the console (well, not everybody), it's hard to argue that "core" gamers are still flocking to the Wii (or even turning them on).

Mr. Nofsinger hopes that The Conduit will solve this problem by relying on the philosophy of a game made by gamers, with input from gamers. "We realized that even within our own office, there were a lot of opinions about what a good Wii first person shooter could be. So we reached out to a lot of the fan community, the Nintendo fans, and the media, and we got a lot of opinions," said Nofsinger. "What we landed on was [that] there was no one right answer, so we opted for a great deal of customization." That all-inclusive development style is a break from the practices of most third-party Wii developers, and it shows High Voltage's acute understanding of how important its game will be. The Conduit, MadWorld, and House of the Dead are all referendums on the demand for mature gaming on the Wii. Their rise or fall will ultimately determine if there is truly a viable market for games on the Wii that break outside of the casual.

House of the Dead and MadWorld have received some great press desite a lack of promising financial performance. SEGA said that the former has "absolutely met our expectations" and described the sales of the latter as "very encouraging," but the numbers tell a different story. Both games have performed significantly under par, with each taking only a middling or low position on the top 50 charts for its respective release month, then promptly dropping off the chart. It is not clear if SEGA's strategy will ultimately find success in the fickle world of game sales. Will The Conduit be the saving grace in SEGA's desperate pursuit of the "Exiled Hardcore"?

No one knows just yet. But one thing at least is clear: These aren't your grandma's Wii games anymore.

The Conduit hits stores in North America on June 23, 2009. MadWorld and House of the Dead: Overkill are currently available wherever video games are sold.

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Surprise! Tatsunoko vs. Capcom to see the light of day in North America

American fans might be very familiar with Marvel vs. Capcom, the popular fighting game series that pitted some of America's most iconic superheroes (Spiderman, Wolverine) against their capcom rivals (Chun-Li, Megaman). Now imagine the very same excitement of seeing Spiderman take down Ryu, but for a Japanese person. That is what Capcom has hoped to achieve with their new arcade game, Tatsunoko vs. Capcom: Cross Generation of Heroes.

Japanese anime studio Tatsunoko might not be a household name here in America, but its properties have seen marked popularity on both sides of the Pacific, from Gatchaman (a.k.a. Battle of the Planets) to Speed Racer to Casshern. Most American Tatsunoko fans were under the impression that the game would never come to North America because the lack of fan recognition for Tatsunoko over here, but lo and behold, the Capcom-Unity Blog has confirmed the North American release of the Wii version.

The characters on the Capcom side include the usual characters from Street Fighter, Megaman, etc., while the Tatsunoko side includes Ken the Eagle and Jun the Swan from Science Ninja Team Gatchaman, Yatterman-1 and Doronjo from Yatterman, Casshern, Tekkaman, and Karas, among others. And who could forget the giant lighter-turned robot, Gold Lightan (who has the silliest robot design ever)?

With so many awesome Tatsunoko characters, this is looking like a really fun time for any fans of classic Japanese animation. As such, I'll definitely be looking to pick this up when it hits stores on its as-of-yet-undisclosed release date.

[via Capcom-Unity Blog]

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Ani-Gamers Podcast #015 - The Weak Lose and the Strong Survive

Hosts: Evan "Vampt Vo" Minto, Kyle Hebert
Topic: Street Fighter IV (2009)

As promised, this episode features a special guest appearance from anime/game voice actor and podcaster Kyle Hebert (of The Big Bald Broadcast), as he joins Evan to discuss the always fun and often frustrating Street Fighter IV, a game which Kyle starred in as Ryu.

I fully recognize that our release schedule is totally screwed up, and I am currently looking at a better way to deal with that. A monthly or once-every-two-weeks schedule might be in our future, though the latter might result in slightly shorter episodes. If you've got a preference for the release schedule and/or show format of future episodes, do let us know by emailing us.

Show notes and links can be found after the break.

DIRECT DOWNLOAD - RSS Feed - iTunes - Send us Feedback! - More episodes


(Runtime: 42 minutes, 22 seconds)

[0:00:00] Intro: Ken Levine, 2K Boston's creative genius behind the hit game Bioshock. (Goddammit Garageband, why can't you get those stupid volume levels right?!)

[0:00:05] Opening Song: "R.O.D Theme" by Taku Iwasaki (R.O.D. OVA opener)

[0:00:20] Kyle's on the show with us, and he introduces his voice acting career to those who are unfamiliar. Then Evan touches on the Schoolgirl Milky Crisis contest winners.

[0:02:36] What'cha Been Doing? Evan has been reading the 1949 Osamu Tezuka manga Metropolis (it's not from the 1950s, as he mistakenly claims in the episode) and watching the 2001 anime film based on the same. Kyle has been watching Death Note and playing some Left 4 Dead and Halo 3.

[0:11:00] Break: "The Next Door - Indestructible" by EXILE (Street Fighter IV title song)

[0:11:50] Discussion: Kyle and Evan talk about what they love (and hate) about Street Fighter IV. They don't just talk about the game itself, but Kyle's role in voicing Ryu as well. Highlights of this segment include: slide kicks, the terrible secrets of voice acting, and SETH IS A BITCH.

[0:30:28] Promo: Fightbait Anime/Gaming Podcast

[0:31:30] Links of the Day: Kyle starts off with a video about how silly William Shatner is, with all of his mispronunciations of simple words like "sabotage." Then Evan makes things uncomfortable with news about a Japanese man's record-breaking... masturbation session? Judge for yourself.

[0:36:44] Kyle plugs The Big Bald Broadcast and KyleHebert.com, and Evan promotes Ink's new Ani-Gamers column, The Brotherhood Diaries.

[0:41:09] That's a wrap!

[0:42:00] Ending Song: "WORLD END Instrumental" by FLOW (Code Geass R2 second opener)

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FMA: The Brotherhood Diaries - Episode 6

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 6 - A Home with a Family Waiting

This episode starts off very similar to its FMA1 counterpart, with Ed and Armstrong headed to Resembool (and Al in tow, minding the sheep in cargo). And after that's when the chaos of contrast rears its head. Oh sure, it starts off easy by spending a little more quiet time in the train with Ed and the Major, but next thing ya know, Armstrong is spotting Doctor Marcoh while stopped at a random station and Ed is making an active decision to leave the train. Another divergence is Al’s accompaniment; Ed and the Major remembered to bring him along (gotta love brother-in-a-box...kind of wish I had one). FMA1 used the prematurely unloaded Al gimmick to explore feelings Ed had about his automail appendages (and the constant reminder they wrought).

But then a bit of familiar, for lack of a better word, calm: Marcoh’s reaction to Ed (plus Armstrong) is remarkably similar, but don’t be taken in! There’s change afoot! Marcoh volunteers the experimental Philosopher’s Stone to Ed and the Major as an example of his work instead of Ed going all Sherlock-Holmes and discovering his stash by himself. The later chaos between FMA1 and FMA2 is great. Since FMA2 has already killed off Basque Grand, how are Ed and Al supposed to save Marcoh from Scar, especially since they just boarded the train toward Resembool again? Oh wait, that chase around Eastern HQ already happened last episode. So how is FMA2 going to take care of Marcoh, who was transported to a safe-house by the Fuhrer only to be discovered by Lust and Gluttony? I guess Marcoh just has to entertain Lust at his own abode!

Speaking of Lust, who is every fanboy's (and lesbian fangirl's) favourite mechanic-gone-wild? Helloooooo Winry! There's less of a wry insult interchange between Ed and Grandma, but more of a tease between Ed and Winry ... and I find myself torn between my love of short jokes and my love for the Ed/Winry relationship aspect. Judge for yourself. Moving on, Winry gets a preemptive reiteration of FMA1 Grandma's line of concern for the boys' lifestyles before FMA2's Grandma gets to deliver it, in almost the exact same scene as FMA1. An annoying little difference is that Grandma Rockbell spells out the Elric’s reason for burning their house down, a less annoying one is that her dog (Alexander) wakes Ed out of a spell at the site of that burnt down house as opposed to his mother’s grave.

There’s something emotionally devoid of FMA2’s automail attachment scene, it seems easy on Ed, and his feelings about the pain he feels being nothing next to the price Al has had to pay is disappointing, but there is a warm moment between Grandma, Winry, and Al in which he thanks them for being the earnest surrogate family they always are to both of them. With that, and Winry bidding farewell in a nightshirt, we head of to Eastern Library.

Of special note, there’s teaser before the next-episode preview, where we are treated to a post-script revelation of Winry's, showing that she’s forgotten one of Ed's crucial parts (of his automail...get you mind out of the gutter!). In FMA1, this came only after a fight, lessening its implications. Revealing it early adds extra drama. I approve!

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Review: Schoolgirl Milky Crisis - Adventures in the Anime and Manga Trade

Medium: Book of Collected Essays
Writer: Jonathan Clements
Publisher: Tor Books

Don't judge a book by its cover. Or by its title for that matter. Almost everyone who saw me reading Schoolgirl Milky Crisis gave me a weird look or asked me a hesitant question. Who wouldn't? With a name and a cover like this, the book positively demands an explanation.

But perhaps that is what Jonathan Clements (translator, voice actor, columnist, and co-author of the Anime Encyclopedia) is actually getting at in his book, a series of collected essays (published and unpublished) detailing the behind-the-scenes world of anime, manga, and Asian pop culture. It's a world that doesn't quite operate like any other entertainment industry, with its multiple levels of licenses and its cross-cultural sensibility. Schoolgirl Milky Crisis is striking at first glance, in part because it mirrors the striking, question-filled world from which it draws. Appropriate, since the book's contents provide some fascinating answers.

Answers about the grueling work of a weekly manga artist. Answers about the origins of Chinese animation, and its connections with Japanese anime. And even answers about the importance of erotica in the anime world. Conversely, Clements often provides questions of his own, asking the reader to contemplate the idea of an anime industry where "No Format" is the new media format, where digital distribution takes over our viewing habits. He asks us if placing animation in its own category in the Oscars is an honor, or equivalent to a creative ghetto.

Throughout it all, Clements' writing remains crisp, snappy, and funny, and his essays are made especially entertaining because most of them are short magazine articles, each of which can be read in a mere five minutes tops. His observations about the companies he worked for, the shows he worked on, and the people he met are often surprisingly insightful, with a tone that alternates between bemused cynicism and honest passion.

Unfortunately, much of the book is comprised of articles that Clements has already published in magazines such as Newtype USA or NEO. As such, many former Newtype or NEO readers will find that they have already read a good portion of the book. Luckily, there are a fair number of articles included that have never been published, such as unpublished sleeve notes from DVDs, and two lectures given by Clements at British Universities. These lectures are undoubtedly among the highlights of the book. One describes erotica, and it's place in anime, with an eye to the historical developments of hentai/ecchi and the reasons for said developments. (He also has the best description of moe ever.) The second essay describes the behind-the-scenes work of anime translators and subtitlers, and is a must-read for anybody who has ever tried to debate subs-versus-dubs or fansubs-versus-official subs.

But of course, there's still the question of why the hell Clements would name a book "Schoolgirl Milky Crisis."

The reason is, of course, that he uses that name as a catchall for anime series that he does not want to name, for fear of incriminating staff or companies involved in some of his anecdotes. This practice is used throughout his essays, and while I understand the necessity of it, this constant use of replacement names can occasionally make his stories very confusing.

Schoolgirl Milky Crisis is more than worth its $15 price, especially for anybody who hasn't read very much of Newtype USA or NEO. (Otherwise, it might feel a little redundant) Either way, I encourage any fan with even an inkling of interest in the industry to go ahead and give it a try. The confused stares and awkward questions are well worth it for a book so packed with insightful answers.

[Disclaimer: This review was written based on a free review copy, kindly provided by Titan Books. We would like to remind our readers that Ani-Gamers reviewers do their very best to provide unbiased reviews of all titles.]

great.

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Sony denies PS3 redesign despite rumors, photos

The world of video games goes haywire around E3, and this year is no different. As such, Sony is trying to keep a tight lid on any rumors coming out about their video game platforms and games, including the big-time speculation over a possible redesign of their ailing PS3 platform. However, Sony told CVG yesterday that "We currently don't have any plans for a redesigned PS3." The outlet was quick to take Sony's word and dismiss the idea of a redesign coming so early in the console's life cycle (released in 2006 after all), but 1UP has got a rumor that puts Sony's quote into question.

According to a Chinese message board, the picture to the right is the official box for the newly branded "PS3" (no longer the full "Playstation 3"), which would seem to sport a new, slimmer redesign. The source claims that the images come from a Chinese factory, and they look real enough. Even so, don't be fooled by a realistic fake, since Sony will be sure to confirm this near-finished design at E3 if it really is happening.

Check out the rest of the allegedly leaked factory images after the break, but – as always – bring along your ten-ton grain of salt.

[via 1UP and CVG]

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Winning entries for our Schoolgirl Milky Crisis contest

Well, we've certainly had a lot of fun judging the Schoolgirl Milky Crisis giveaway here at Ani-Gamers. (For those who are just cluing in now, the blog contest required readers to create a crazy, fictional anime title in the spirit of Jonathan Clements' new book, Schoolgirl Milky Crisis.) But, since we had no entries in our podcast contest, I've decided to give away a copy of Clements' book to the top three entries in the blog contest. Those three are:

1. Homicidal Group Therapist Kayla (Brian)
2. Vampire Moon Priestesses' Mecha Kombat: The Miniseries (Kevin)
3. Kinky Hamster Demon Fujala (Peter)

While a homicidal group therapist is pretty unheard-of, I'm gonna venture a guess that vampire moon priestesses have already participated in mecha combat in some anime or another, and a kinky hamster demon sounds like a Go Nagai anime just WAITING to happen. But damn, did those names make us laugh! Some of the runners-up evoked quite a chuckle as well, such as "The Tale of Confusion Over Navy Seal Special Operations Sniper Soldier" (arguably based on a true story) from Dorian and "Super Pretty Kitty Theif Club" from Matt, who needs to learn how to spell "thief" before he can start winning contests around here.

Thank you so much to everybody who entered the contest – I'll be contacting the winners and shipping out the prizes as soon as possible. Meanwhile, make sure to look out for my upcoming Ani-Gamers review of Schoolgirl Milky Crisis.

[Schoolgirl Milky Crisis is now available in stores from Titan Books. Visit the official blog, run by Clements himself.]

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Kanon Wakeshima to appear at Otakon 2009

Otakon, the massive, 16-year-old anime convention, and the most popular one on the East Coast, has announced their first musical guest, and its not the expected J-Pop or J-Rock band. This year's Otakon will see the United States debut of cellist and pop vocalist Kanon Wakashima.

The rising pop star began performing at age 15, and was signed by Sony's DefSTAR Records label soon after. Visual-Kei star Mana became her producer, and worked with her on her first single, the May 2008 "still doll." Wakashima's first album, Shinshoku Dolce, just released in February 2009, though some anime fans might be familiar with "still doll," which was used as the ending song for the Vampire Knight anime.

It's interesting to see Otakon bringing in a brand new performer like Wakashima, who doesn't yet have a large following in the United States. Mind you, this could simply be due to financial constraints, but I'd like to think that it could represent a positive trend in anime fandom going into the future. Perhaps anime really is a gateway to popularity for Japanese musicians. Perhaps, with the help of anime conventions here in the States, they can "Hit in America."

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FMA: The Brotherhood Diaries - Episode 5

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the difference between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 5 - Rain of Sorrows

It’s getting graphic, twisted, and dark. Had I not seen FMA1, I’m not sure how I would interpret this. Is seems rushed, but wasn’t the sudden immersion into the dark side of humanity what was so valuable about FMA1? Only you can tell. Onwards with the play-by-play!

First honorable mention goes to the 2-minute dream sequence that involves a very familiar scene of Ed Elric’s alchemic pride from FMA1 that goes somewhere completely awesome (if by awesome you can say “need therapy much?”).

We’re then returned to Liore, where depictions of the crowd’s division of the formerly exposed prophet, Cornello (now, Envy in disguise), are tantamount to the beginnings of actual riots. Impressively raw, really, and again showing FMA2’s dedication to violence (on-screen and off). Another important direction in Liore comes when noticing Gluttony’s role. He is no longer a mindless, flesh-eating minion, but someone who actually forms opinions. Nothing grandiose, mind you, but far better than the “can I eat him now, Lust” Gluttony of FMA1 (as charming as he was). Also, at 6:14 into the episode, I’d just like to give a personal shout-out to Lust: “damn, baby!” And since I can’t forget good ol’ Gluttony, “use a napkin, man!” Needless to say, this is FMA1’s episode 2 ending. After which, FMA2 cuts to a little meeting with Mustang, Hughes, and co., and then...

Instead of taking place in the back alleys of central, Ed’s initial confrontation with Scar happen on top of (and through) Eastern HQ! The battle is excellently executed, but one has to ask if a full frontal assault is out of character for someone we’ve only seen killing at night and in back alleys. Also, however inappropriate/exposition-esque dialogue may seem during a chase, the interchange between Ed and Scar here seems...off. FMA1’s had a natural flow to it, but Ed and Scar’s exchanges in FMA2 seem too blunt, even for anime. It is also during this chase that, unlike FMA1 where Armstrong saves the Elrics via intervention, Mustang ends up saving them (a la FMA1’s later conclusion). This furthers a more direct relationship in FMA2 as opposed to FMA1’s keep-‘em-guessing, friend-or-foe ambiguity that was Mustang. It is also worth noticing how blood-curdling Al’s screams of concern for his at-risk brother are.

Armstrong does come back later, balancing the compare/contrast, and the same excellent one-upsmanship of Hawkeye to Mustang from FMA1 still exists (way to be a wet towel, Mustang). It is after these events that most of the FMA1 dialogue comes back into play to describe Scar’s use of alchemy – or rather lightly brush over it in a very suitable manner – and go over his Ishbalan roots (or rather the nature of the rebellion that stemmed from there) in a manner entirely different from FMA1 but very effective all the same. After a familiar rebuttal by Ed on Scar’s flawed motivation, this episode leaves off with Ed and Al headed to Resembool to get their bodies fixed. And perhaps... Winry fans, prepare to holla!

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New Staff Welcome: Ra1don (and a promotion!)

I'd like to introduce everybody to our newest member of the team here at Ani-Gamers. Dorian "Ra1don" Bogdanovski is an Xbox 360 and PC gamer with a particular interest in indie games, so he will provide his perspective on the gaming market through occasional video game reviews. He's also a casual anime fan, but we're confident that our collective obsession with the medium will turn him fully to the dark side soon enough.

My other big announcement is that Karl "Uncle Yo" Custer, formerly a contributing anime reviewer here at Ani-Gamers, will now be our Anime Reviews Editor. In this position, he will continue writing his fantastic (and funny) anime reviews while performing some editing functions for reviews written by other Ani-Gamers staffers. Congratulations, Karl!

EDIT: Okay, so I spelled his alias wrong. Blame l33t.

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FMA: The Brotherhood Diaries - Episode 4

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the difference between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. (As of this Sunday, we will be caught up with the latest episode in the FUNimation release.) To read previous entries, click here.

Watch Episode 4 - An Alchemist's Anguish

This is another episode that packs a couple of FMA1 story arcs into a single installment. Skipping a bit ahead of FMA1, we’re treated to the introduction of Basque Grand (The Iron Blood Alchemist) and his death via Scar via a rather impressive show of alchemic talent that was sadly little more than alluded to in FMA1. Again, this shows FMA2’s commitment to action sequences and exposing state alchemists’ abilities.

My favourite worm from FMA1, Lieutenant Yoki, also gets an early introduction. Paperwork being passed about in a room between Hawkeye’s crew and one line of dialog explains the whole of the FMA1 episode involved in his story. Although that particular episode was just a is-it-a-Philosopher’s-Stone quest, it served to set up an ultimate betrayal in FMA1, so it will be interesting to see how FMA2 uses him, if at all, or if they’re just keeping FMA1 fans like me happy by alluding to him.

The meat of this episode focuses on Shou Tucker (The Sewing Life Alchemist), who is directly recommended and introduced by Mustang as a tutor to the Elrics. This immediately lessens the manipulative implications of Roy’s FMA1 persona. Another difference is that the brothers don’t live at Tucker’s place as in FMA1, just going there to study (and play with Nina/Alexander) instead. This puts less believable emphasis for Ed’s distress over Tucker’s later action. Also, having Ed and Al at Shou’s after their exams puts less emphasis on learning to become State Alchemists and, in my opinion, rightly highlights their desire to perform human transmutation.

Continuing its tendency to tell-not-show important character development, FMA2 has Tucker explain the assessment process to his daughter instead. Thus the gravity of Shou’s motive doesn’t come as a dark epiphany to Ed but as a babble directly from Shou after his ill-fated work is completed. On the contrary, there is a very quick, but very effective flashback to the Elric’s estrangement from their father because of his obsession with alchemy, forming a closer identification with Nina.

Speaking of the ill-fated act, Ed’s discovery of Tucker’s Chimera’s components, the bludgeoning is more graphic and intense, with Ed losing control of himself during the beating. More importantly, the Chimera asks “does it hurt” of Tucker instead of FMA1’s “Edward, why does it hurt?” The ramifications are great, as this little line of dialog sways sympathy to Tucker’s side (via his daughter’s concern for him) instead of promoting the sense of pain and betrayal felt by the Chimera. This, together with Mustang’s darker and more matter-of-fact assessment of the situation, does lend a bit of a more real-world feel to the series that stresses the emphasis of an uncaring world as opposed to FMA1’s internal personalization of the same. Which is more effective? I’m not actually sure, which is a compliment to FMA2.

Lastly, but not at all what anyone should consider least, Scar kills Tucker(!) in a military safe-house. Needless to say Shou’s role in FMA2 will not be a repeat of FMA1...unless he comes back as a zombie (sorry, homunculus). Tucker is killed in front of his Chimera, which repeatedly and lovingly calls him “daddy.”

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FMA: The Brotherhood Diaries - Episode 3

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the difference between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. (We will finally be caught up with FUNimation's release as of next weekend.) To read previous entries, click here.

Watch Episode 3 - City of Heresy on FUNimation.com!

Since “City of Heresy” covers FMA1 episodes 1 and 2 (nearly completely and chronologically), I’ll merely cover story arc differences and their implications. Starting off, this episode covers 2 episodes of FMA1; expect compression.

To start off, according to FMA2, the common townsfolk have heard former knowledge of the Elric brothers, contrary to FMA1, where the only being with such insight is a mysterious hooded lady (Lust). Also of note, a nifty-looking, very visually effective background on Cornello is made to introduce his character and also ends up more intelligently showing/explaining his “miraculous works.” Also of note, however, is the lack of emphasis on the debt the people of Liore owe Cornello for "reviving" their town throughout the episode.

Faith in women’s adeptness at science takes a hit with FMA2, as seen in a scene, funny as it is, that depicts Rose being dumbfounded upon hearing Ed’s chemical breakdown of the human body. As the setting for this scene, the main altar is noticeably brighter instead of seeming like a basement cult. This is more realistic, but it foreshadows to a lesser degree (if at all), romantically, the mood of the situation. There is also an allusion to Icarus and his father here, made by Ed during his Alchemists vs. God speech, which is quite impressive, although FMA1’s scientific simile of the sun as “a mass of Hydrogen” was equally effective. This fundamental difference is related in other ways as well, most notably by the omission of the Al vs. Ed discrepancy in terms of faith in people vs. possibility.

Appropriately enough to the structure of FMA2, but still contrary to FMA1, is the fact that Cornello’s men (specifically the assistant pastor, FMA1’s Cray) are in on "the plan." This leads into a slight reworking of the ambush in the basement, which offers a very interesting, active role for Rose. Also herein, Cornello does not admit to having the Philosopher Stone, as opposed to FMA1, where it is explained away as a gift from the sun god. In FMA2, he claims it instead to be an ordinary ring, an explanation that plays on the manipulative soul he is. With regards to the action in the scene, there is an excellent rendition of the fight between the chimera and Ed which seemed more graphic and to have a lot more punch than FMA1 (though admittedly the FMA1 dub had the better lines). This scene also has Al protecting Rose as a shield in Cornello’s attack against Ed, which serves to show Cornello’s heartlessness but negates the more effective, omitted scene of Al saving Rose in her abandonment by Cornello later on that was included in FMA1.

Afterwards, there is an extended expository dialog between Al and Rose concerning the motives behind the brothers' taboo. This lays everything flat in FMA2 instead of portraying the sense of shame and emotional pain that FMA1 accomplishes so well via careful and purposeful omission. Thus this scene feels almost robotic and definitely less ambiguous and dark than FMA1.

There are also differences with Ed and Al’s exit from the battle with Cornello, including Ed’s capture after his clever ruse of Al’s death in FMA1. Instead, FMA2 has Ed split with Al after escaping and use Cornello’s office microphone, which is small but important because the brothers are working more separately than as a team, though it does highlight Ed’s advantageousness.

Speaking of Ed, his final battle with Cornello doesn’t take place in front of the people of Liore, but it does come with a Level 2-boss-stage Cornello. Afterward, there is a brilliant (if only somewhat cliche) reprise of Rose’s active role as cloaked in an atmosphere of desperation. After the fight, there is an excellently violent ending involving Cornello, Lust, and Gluttony. Sadly, Envy and her specialty are not introduced. Also omitted in the episode was FMA1's subplot of Cornello’s manipulating Rose by trying to revive her dead boyfriend, leaving a subtle emphasis and personal attachment somewhat lacking in terms of the nature of Ed and Al vs. those they come in contact with (namely Rose, but also any viewer who’s lost someone near-and-dear to themselves).

Judgement: I am thoroughly open to loving this new series and am doing so thus far. However, based on the characteristics brought forth to date, I’d have to say FMA1 does a heck of a lot better job in telling a deeper story. I hope to be proven wrong in the long-term, though, as this is, after all, only the third installment on a journey that will take well over a year to take in.

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This Month in Ani-Gamers ~ April 2009

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Spring is finally in full swing here on the East Coast, bringing with it green trees, blue skies, chirping birds, and all of those things that don't really bring out a particularly strong impulse to sit inside and punch letters into a computer. But how could we possibly resist our inner bloggers, when there's so much to write about? In the coming weeks, we've got convention reports, long-overdue feature articles, and of course, Ink's new column – Fullmetal Alchemist: The Brotherhood Diaries!

Outside of that, I've just settled my plans for my first ever weekend at Otakon in Baltimore, where you should be able to find Ink, Karl, and I come this July. And in the next week, you just might see a new staff member on the team, and a special promotion for a current one. Stay tuned for all the fantastic things up ahead.

If you weren't paying attention, this month had some great developments in anime, with the streaming of tons of new spring season anime series (discussed in Podcast #014), as well as the first in what will hopefully be a major trend of free manga online – Viz's preview of Rumiko Takahashi's Rin-ne. We also had some bittersweet news of Will Wright's leaving EA, and tragedy in CPM's bankruptcy. Two anime reviews, a comic book review, CPAC 2009 coverage, and TWO chances to win Schoolgirl Milky Crisis (Enter the blog contest and the podcast contest) round off a fantastic month here at Ani-Gamers.

If you're man enough, read about all of this month's posts after the break.

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News:
Will Wright leaves EA to focus on Stupid Fun Club
Code Geass: Lelouch of the Rebellion now available on CrunchyRoll
Viz announces simultaneous release for new Takahashi manga, Rin-ne
Central Park Media breathes its final breath

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Reviews:
Dog Eaters (Issues 1 and 2)
School Days (Sub)
Ga-Rei -Zero- (Sub)

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Features:
CPAC09: Hey, you got your socio-political analysis in my anime!
Con Report: Castle Point Anime Convention 2009

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Columns:
Fullmetal Alchemist: The Brotherhood Diaries - Mission Statement
FMA: The Brotherhood Diaries - Episode 1
FMA: The Brotherhood Diaries - Episode 2

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Podcasts:
Ani-Gamers Podcast #014 - Offensive to Pretty Much Everyone

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Notices:
Win a copy of Schoolgirl Milky Crisis!

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On Deck:
[Review] Paranoia Agent (Hyb) - Uncle Yo
[Review] Beck: Mongolian Chop Squad (Hyb) - Vampt Vo
[Column] Otakudemia: Beck - Ink
[Con Report] Sakura Matsuri 2009 - Vampt Vo & Ink
[Review] Schoolgirl Milky Crisis - Vampt Vo
[Review] White Album (Sub) - Uncle Yo

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Thanks for reading. See you next week!

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