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Otakon 2010: FUNimation Industry Panel

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...with Adam Sheehan and Josh MorrisFUNimation's industry panel at Otakon 2010

State of the Industry
(prescribed with a grain of salt considering the source)

Dubs are here to stay, as there is more consumer demand for DVD releases with subs than without. “There’s money to be made here.”

Viewers older than 25 now represent 51% of market, while those from 18-24 years of age represent 40%. People ranging from 13-17 years old represent the largest group of online viewers.

Convention attendance is steadily growing.

Social Media Branch
http://blog.funimation.com/ (which will post this entire panel in a week or so)
twitter.com/funimation (75,000 followers)
Facebook (72,000 fans)
YouTube.com (159,000 subscribers, 8th largest following worldwide)

Simulcasts
One Piece
Rainbow
Black Butler Season 2
Legend of Legendary Heroes
Sekirei Season 2
Shiki

Anti-Piracy Initiatives
Hired 1 lawyer and 3 additional staff to police and report online and offline copyright infringements.

DVD Releases
My Bride is a Mermaid (funimation.com/mybrideisamermaid)
Master of Martial Hearts – “Mortal Kombat with less clothing,” due August 2010
Casshern Sins (funimation.com/casshernsins) – parts 1 & 2 due August 17, 2010.
Corpse Princess (funimation.com/shikabanehime) – due September 14, 2010.
Hetalia (funimation.com/hetalia) – 26 episodes due out September 14, 2010.
Hetalia Season 2 – with tons of extras due out October 12, 2010.
Eden of the East (funimation.com/edenoftheeast) – complete series due out September 28, 2010 for $54.98 ($59 Blu-Ray)

Voice Cast Announcements
Oh! Edo Rocket (see picture for blurry but readable list)
Black Butler (see picture for blurry but readable list)

New Acquisitions
Phantom, Requiem for the Phantom
Strike Witches Season 2 (picture) coming 2011
Blessing of the Campanella (picture) coming 2011
Okamisan (picture) coming 2011
Hetalia Seasons 3 and 4 (picture) coming 2011
Hetalia “Paint It White” movie coming 2011
Summer Wars (picture) coming 2011
Evangelion 2.22 (picture) coming 2011 – possible theatrical release mentioned

Social Networking Site
Launching in September, with beta available sometime in near future, funimation.com will feature personal profiles for users as well as news, videos, behind-the-scenes exclusives, forums and contests. “Elite member subscriptions” will be available, which offer ad-free viewing and early access to dubs prior to DVD releases.

A Couple Answers from Q&A Session
FUNimation offers encouragement for small retailers via incentive support, streaming video services for in-store play, and free promotional materials that do not have to be returned.

Oasis performs opening song for Eden of the East, but only in first episode (could explain the price tag).



Click here for more of our Otakon 2010 coverage

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Otakon 2010: Aniplex to dub and distribute Durarara!! in the US

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Durarara!!

At their industry panel at Otakon 2010, anime studio Aniplex announced that they will be distributing their new 24-episode TV anime Durarara!! based on Ryohgo Narita's light novel series on DVD in the United States. The first part of the "High-Tension, Suspense Action, Mysterious and Totally Crazy Anime!!" will hit American shores on January 2011, with two more DVD sets (two DVDs per box) of eight to nine episodes each following close behind.

Following this already exciting announcement, Aniplex also revealed some of the dub cast for the series, while confirming that the DVD release will come with both dub and sub tracks. Celty Sturluson will be played by Kari Wahlgren (Haruko in FLCL), Ryuugamine Mikado will be played by Darrel Guildbeau (Satoshi in When They Cry), and Heiwajima Shizuo will be payed by Crispin Freeman (Togusa in Ghost in the Shell, Zelgadis in Slayers, Kyon in Haruhi). After some questioning from fans in the audience, representatives revealed that the Durarara!! OAV will be included in the DVD release, voiceover studio Bang! Zoom (Code Geass, Gurren Lagann, Haruhi) will be dubbing the show, and there is no guarantee of a box set until Aniplex finishes putting out the Japanese DVDs.

Interested fans can currently watch all 24 episodes of the recently-completed Durarara!! with subtitles on streaming video site Crunchyroll, though Aniplex did not mention if they would be taking down the streaming videos once the DVDs come out in the United States. (Aniplex has also put up an official site for Durarara!!)

At the panel, Aniplex reps also announced a Blu-ray release of anime franchise Read Or Die, featuring both the critically-acclaimed OAV and the television series of the same name.



Click here for more of our Otakon 2010 coverage

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It begins: Otakon 2010, here we come! [EDIT 1]

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A shot from the crazy lines at Otakon 2009. We brave the terror once again!

It would seem that Ani-Gamers is once again on the road, this time to Baltimore's resident anime convention (and one of the largest in the country), Otakon. But this is no normal convention. No, because this year I will be rooming with BakaTanuki and Lwelyk (along with Internet Heroes the Reverse Thieves and many others), while Ink and Uncle Yo will be off handling their own sleeping arrangements. Yes, friends, that is FIVE Ani-Gamers writers at one convention. If you ever wanted to get our autograph and then punch us in the face for thinking anybody wanted our autograph, there has never been a better chance!

Oh yeah, and we'll have lots of coverage, too! There are press conferences to attend, panels to write up, and podcasts to record, not to mention a final con report to write. If you can't get to the convention, please do your best to enjoy it through our coverage. Think about it this way: At least you won't have to listen to teenagers screaming "buttscratchers!" in your ear for three days.

Just to get the word out before the break, I want to let everybody know that I will be running my character designs panel, "The Changing Faces of Anime," after its positive reception at AnimeNEXT 2010, and Uncle Yo will be performing his stand-up comedy as well as his new "Embracing the Robot Apocalypse" panel and "Anime One-Night Stands." Below, I've included tentative itineraries for Ink, Uncle Yo and myself. If I get itineraries from the other bloggers, I'll be sure to post them in here. [EDIT 1: Added Evan Krell (BakaTanuki)'s schedule after the break.]




We begin with Ink's schedule, which is nicely organized and shows a sense of focus and thoughtfulness greatly envied by his editor-in-chief.

Friday
When What Where
9–10 am What’s the Point of Anime Intro & Ending Themes? Panel 6
11 am–12 pm La Corda D'Oro Primo Video 1
12–1:30 pm Madhouse Panel Panel 2
2–4 pm Bamboo Blade Video 2
4:30–5:30 pm Anime, Lost in Translation Panel 1
5–6 pm Dead Like Us: Shinigami and the Japanese Idea of Death Panel 4
6–7:30 pm Funimation Industry Panel Panel 3
6:30–7:30 pm Japan: The Most Convenient Place on Earth Panel 4
7:30–8:30 pm Bad Anime, Bad!! Panel 5
9:30–10:30 pm Modern Mythology: Mythic Elements in Anime & Video Games Panel 4
10:30 pm–11 am Voice Actors After Dark! Panel 3
11 pm–12 am Portrait of a Fujoshi: The Psychology of Ogiue Chika Panel 4
12–1 am Anime One-Night Stands Panel 1

Saturday
When What Where
9–10 am Experiments in the Anime Industry: noitaminA Panel 4
9:30–10:30 am The Changing Faces of Anime Panel 1
12:30–1:30 pm Anime in Academia Panel 1
1:30–2:30 pm Bouncing Through the Years: A Gainax Panel Panel 4
6–7 pm 10 Anime You've Never Heard of but Must See! Panel 5
8–9 pm Genshiken 2 Video 5
9–10:30 pm Bandai After Dark Panel 5
10:30–11 pm Japanese Folklore: Kitsune, Oni and Yuurei, Oh My! Panel 4
11 pm–12 am Feminism, Fandom, and Fanservice Panel 1
12–1 am Sailor Moon's Influence on the World of Hentai - Filthy Edition Panel 2

Sunday
When What Where
9–10 am I "Squeeee!" for Shoujo Panel 1
12 pm–1:30 pm Japanese Directors & Producers Panel Panel 6
1:30–2:30 pm Dubs that Time Forgot Panel 2



On the other hand, my list is full of overlapping panels and missing a number of panels I don't know I'm going to yet. I tried my best to include only the ones I'm sure I'll be at, but this is obviously still very tentative. (If a panel has an asterisk [*] next to it, I might not be there for the whole time, if I go at all.)

Friday
When What Where
9–10 am What’s the Point of Anime Intro & Ending Themes? Panel 6
12-1 pm Anime Journalism: The Story Behind The Story Panel 5
3-4 pm Hetalia Mock UN Summit Panel 3
4:30-6 pm Aniplex Panel * Panel 5
6-7 pm You Don't Like Moe -- And Here's Why! Panel 5
7:30-8:30 pm Bad Anime Bad!! * Panel 5
8-9 pm Gundam Unicorn Video 5
9:30-10:30 pm Modern Mythology: Mythic Elements in Anime and Video Games Panel 4
11 pm-12 am Portrait of a Fujoshi: The Psychology of Ogiue Chika Panel 4
12:30-1:30 am The History of Hentai * Panel 2

Saturday
When What Where
9:30-10:30 am The Changing Faces of Anime
(THIS IS MY PANEL. ONLY TRUE HEROES MAY ATTEND.)
Panel 1
11:30 am-2 pm Welcome to the SPACE SHOW (premiere) HD Theater
2-3 pm Podcasting for your Fandom Panel 1
6-7 pm 10 Anime You've Never Heard of but Must See! Panel 5
7:30-8:30 pm The Otakon 2010 Gundam Experience: Life Beyond 30 Panel 5
8:30-9:30 Uncle Yo: Otaku Stand-up Comedy Panel 3
10:00-1:00 Saturday Night Fan Parodies Video 5
11:00-12:00 Feminism, Fandom, and Fanservice * Panel 1

Sunday
When What Where
12 pm–1:30 pm Japanese Directors & Producers Panel Panel 6
1:30–2:30 pm Dubs that Time Forgot Panel 2



Meanwhile, Uncle Yo, also on a mission to rub my lack of coherent scheduling ability in my face, provides us with a succinct list of only the events he will actually be performing/speaking at. Nice going!

When What Where
Fri 6-7 pm Embracing the Robot Take-Over Panel 6
Fri 12-1 am Anime One-Night Stands Panel 1
Sat 8:30-9:30 pm Uncle Yo: Otaku Stand-up Comedy Panel 3



Here's a last-minute addition: Evan Krell (a.k.a. BakaTanuki)'s schedule. This is still very tentative, he tells me, but you can look for him hanging with the other cool Ani-Gamers bros throughout Otakon.

Friday
10:30 am-12 pm Vertical, Inc. Featuring Felipe Smith Panel 2
12-1:30 pm Madhouse Panel Panel 2
1:30-2:30 pm VOCALOID: Hatsune Miku & co. sing for you! * Panel 2
3-4:30 pm Takamasa Sakurai Panel Panel 2
4:30-6 pm Aniplex Panel 5
6–7:30 pm Funimation Industry Panel Panel 3

Saturday
9–10 am Experiments in the Anime Industry: noitaminA Panel 4
11:30 am-2 pm Welcome to the SPACE SHOW (premiere) HD Theater
9-10 pm The Life and Times of Akiyuki Shinbo (if I can brave it) Panel 4
9:30-10:30 pm Touhou Project Panel 1
6-7 pm 10 Anime You've Never Heard of but Must See! Panel 5

Sunday
9–10 am I "Squeeee!" for Shoujo Panel 1
12:30-1:30 pm Castles, Forests, and Bath Houses: The Worlds of Hayao Miyazaki Panel 5



Click here for more of our Otakon 2010 coverage

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News Briefs: Comic-Con Int'l, OneManga shutdown, Squenix E-manga

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Turn A Gundam, from studio Sunrise

Bandai Entertainment acquires Turn A Gundam, Tales of the Abyss: At Comic-Con International, the North American anime distributor Bandai Entertainment announced it has acquired licenses for the Yoshiyuki Tomino-directed 20th Anniversary Gundam project Turn A Gundam (1999), as well as the 26-episode RPG adaptation Tales of the Abyss (2008). As excited as I am to see Turn A finally get a DVD release, it pretty much makes no sense for Bandai to bring over a decade-old installment in a franchise with a historically poor sales record in the US. [Source: ANN]

Vertical acquires Lychee Light Club: Vertical's panel at Comic-Con International featured the revelation of the company's newest manga license — Lychee Light Club (2005) by Usamaru Furuya. The series, which ran in seinen magazine Manga Erotics F, follows the story of a group of boys who create a machine to seek out beautiful women of the world, only to find that it has become sentient! The single-volume release is set to ship on April 29, 2011. [Source: ANN]

Highschool of the Dead by Daisuki Sato

Yen Press licenses Highschool of the Dead, Betrayal Knows My Name, The Bride's Stories, and Higurashi – Demon Exposing Arc: Manga distributor Yen Press announced a number of new manga at Comic-Con, namely Highschool of the Dead by Daisuke Satō and Shoji Sato, Betrayal Knows My Name, a.k.a. UraBoku, by Hotaru Odagiri, The Bride's Stories by Kaoru Mori, and Higurashi: When They Cry Demon-Exposing Arc by En Kitou. [Source: ANN]

Manga scanlation aggregator OneManga shuts down: It would seem that the coalition of US and Japanese manga publishers who joined together last month to fight piracy has actually struck a chord with fan-run scanlation sites. OneManga, one of the largest aggregators of manga scanlations, has announced that they "have decided to abide by [the publishers'] wishes, and remove all manga content (regardless of licensing status) from the site." The announcement has sparked widespread rage from manga readers who have relied on the site for up-to-date (albeit illegal) translations of their favorite series. I'm personally glad to see the site go, as it aggregated many licensed manga series, but it will be a shame to lose a source of obscure, unlicensed manga. [Source: ANN]

Square Enix announces e-manga distribution service: In response to the previously mentioned fight against scanlations, Square Enix recently announced their plan to legally distribute manga online, which will — in theory — help alleviate the perceived drought of online manga caused by the shutdown of scanlation sites. The Japanese publisher's site already features free downloads of the first chapters of Fullmetal Alchemist, Soul Eater, Black Butler, and O-Parts Hunter, while it lists The Record of a Fallen Vampire, Pandora Hearts, Sumomomo Momomo, and Spiral: Bonds of Reasoning as "Coming Soon." Square Enix has made it clear that the paid subscription service may not feature all of those manga series when it launches in fall 2010. [Source: ANN]

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Ani-Gamers Podcast #032 – The Art of Active Viewing (ANext2010)

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Left to right: Karl (aka Uncle Yo), Evan (aka Vampt Vo), and Ink. Photo taken by Chris Cimi.

Hosts: Evan "Vampt Vo" Minto, Karl "Uncle Yo" Custer, Ink
Recording: A panel called "Fandom & Criticism: The Art of Active Viewing" at AnimeNEXT 2010

This episode isn't quite a typical Ani-Gamers Podcast episode, in that it's not a couple of geeks chatting on Skype about silly Japanese cartoons or video games. Instead, this is a recording of a panel that I ran with Uncle Yo and Ink at AnimeNEXT. The audio quality isn't great, so I apologize upfront for that. (And yes, Uncle Yo had to leave before the end without saying a word, which I forgot to mention in the podcast's foreword.) If you have any feedback regarding the episode, though, feel free to let us know in the comments or at our e-mail address — we'd love to hear you chime in on this interesting subject!

Show notes and links are, as usual, after the break.

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


(Runtime: 1 hour, 2 minutes)


[00:00] Opening Song: "R.O.D. Theme" by Taku Iwasaki (Read Or Die OAV OP)

[00:16] Evan's little foreword. You know, for people who don't read show notes (i.e. not you).

[01:31] Panel begins with some introductions.

[02:29] First question: "How exactly do we define a good anime versus a bad one, and should we even define a line between them?"

[07:51] "What IS active viewing, and what separates it from the typical viewing that most fans go about?"

[15:48] "How does the social and critical context around a work affect [what kinds of expectations we go in with]?

[21:32] "Can questioning the content of a [work] ruin your enjoyment (or someone else's enjoyment) of the work?"

[27:47] "What purpose do you think negative comments and reviews serve in critiquing and discussing? Do they help or hinder our discussions?"

[33:28] "How can suspension of disbelief help and hinder critical thinking?" (We bring up "Fan-Wanking." Hilarity ensues.)

[40:26] "Since anime and manga are foreign materials, how do those cultural differences (and also aspects of translation) factor into how we watch and judge things? A particularly interesting question is 'Are we reading good translations of Japanese or translations of good Japanese?'"

[49:59] "A big hurdle for young anime critics and people trying to become anime critics is the dated visuals. [How can we convince them to look past dated visuals and storytelling styles?]"

[1:00:10] The critic Ego's final review from Pixar and Disney's Ratatouille (as referenced by Ink in the panel). Here's a link to the YouTube video of the clip.

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Review: Golden Boy (Hyb)

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Golden Boy DVD cover

Medium: OAV (6 episodes, 25 mins each)
Genres: Comedy, Drama, Romance
Based on: Tatsuya Egawa's manga
Director: Hiroyuki Kitakubo
Studio: Production I.G
Release Date: 27 Oct. 1995 – 28 Jun. 1996 (Japan), Nov. 6, 2007 (ADV – N.America)
Rated: PG-13

Kentaro Oe is a 25-year-old genius who leaves college just before graduation in order to travel on his bicycle and work odd jobs, studying the real world and gaining experiences beyond any textbook. A pervert with a heart of gold, he wanders into people’s lives, writes everything he learns in his precious notebook, and moves on before his employers can thank him — like something between a rōnin and a temporary laborer. He goes from being an office temp at a software company to a noodle chef to a children’s swimming instructor, each time using his brains off-screen to win the day. Golden Boy itself is a beloved anime from a generation of American otaku before mine, and even fans like me refer to it as a classic. With its US distributor, ADV, vanishing last year, Golden Boy has all but become an obscure taboo that rarely finds itself mentioned. This is a tragedy.

Before FLCL came along and converted pre-teen sexual anxiety into metaphorical robots and rip-cord-powered guitars, Golden Boy openly addressed male sexual fantasy. There are times when this series borders on hentai; there is certainly enough female nudity in episode 4 when Kentaro meets a woman who can only get off on her motorcycle.

Golden Boy is pure fun to watch. Fanservice everywhere. No, no, I mean it this time. Put your mouse down and lean just a little closer to the screen: FANSERVICE EVERYWHERE. You think Colorful is about sex? If I were still fifteen this would be the greatest thing since Sailor Moon. Golden Boy has girls in swimsuits, kimonos, high school outfits, and just about everything else in between. Kentaro’s aggressive lust puts him in the most awkward situations; although to be honest, it could be avoided if he wasn’t almost molesting empty toilets, like he does in half of the episodes.

What I like most about Kentaro is his absolute moral integrity, honesty, and bottom-line desire to get his job done. The series’ final episode illuminates these virtues as he saves an animation studio from bankruptcy by calling in favors from nearly every woman in the series and proving that selfless teamwork and a little volunteering can pull off miracles. With the sun rising before him, Kentaro hits the road again. He may not have gotten the girl, but he changed all of their lives for the better.

Considering its age, (released in 1995) Golden Boy still looks and moves great. This is a series made by otaku in tribute to those big-haired action series like Fist of the North Star, where challenges were met with lighting-streaked backgrounds, and teeth were unnecessarily sharp for the fun of it. Whenever Kentaro begs for a job, he enters a shōnen parody animation style that is played purely for laughs.

What hasn’t aged well is the dubbing, which tried to copy the over-the-top (even for anime) voice performance of the original Japanese actors. I watched the entire run in English the first time because of my convention interaction with artist and voice actor Doug Smith, who plays Kentaro in the English translation, and I found his goofball voice too close to Barney the Dinosaur to enjoy. Most of the women portrayed are breathy or soft-voiced stereotypes you’d expect from a strict male fantasy, but most of the actresses still leave room for pathos and the good old-fashioned flashback monologue.

If I haven’t said it yet, Golden Boy is for any guy who wants a great sense of the anime fandom tradition: this is a boob-tastic series with plenty of laughs and odes to older series with just enough of a vague moral lesson to preserve and endure.

[Recommended]


This review is based on DVD purchased by the reviewer.

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FMA: The Brotherhood Diaries – Poetry vs. Prose

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Fullmetal Alchemist: Brotherhood

Inside the Heart and Mind of The Brotherhood Diarist



This is the final entry of Ink's weekly column in which he examined the differences between the original Fullmetal Alchemist anime and its re-telling, Fullmetal Alchemist: Brotherhood (based on the original manga). To read previous entries, click here.

The following might seem like it comes out of left field, but it’s important to know how, when, and to what degree I initially became involved with the original Fullmetal Alchemist series in order to understand how I distinguish between and admire both series. A little over six years ago (March 2004), my mother succumbed to a protracted battle with her own heart’s resilience. My brother — who though 7 years my elder acted (and to this day still acts) like a 12-year-old — blamed me for pulling the proverbial cord, which I made the decision to do. Raised by our mother alone for the larger fraction of our lives (our parents divorced when I was 6 and he was 13), my brother and I were suddenly left with no parent but an absentee father figure we had learned not to involve ourselves with too much. I took up the reigns as the responsible parent.

November 2004, just 7 months after the hardest decision I’d yet undertaken in my life thus far, the original Fullmetal Alchemist anime aired on Cartoon Network. It featured closely bonded brothers attempting to defy, via their own grief and skills, the fate that took their mother away. God, how I wanted to be Ed or Al. I wanted that hope. FMA1 gave me that hope by proxy and then exposed me for the fool I was (over the course of the series’ run) for even ever having considered wanting it in the first place ... for being that selfish ... for not accepting the past and moving on ... for not growing despite having been forced to overcome that obstacle and ignorantly forsaking the new point of reference I was inhabiting as home. FMA1 showed me a brother unlike my own, who blindly and stubbornly stuck to his brother’s side and gave him strength through collaboration despite supernatural levels of opposition. And in the end? Those brothers formed a more perfect bond with which to confront the rest of their lives. That storyline struck me to my emotional core, not only as a contrast to the life I had lived but the one I was living as well. It was poetry insomuch as it focused on a singular tragic event and applied it as an extended metaphor, it was overly dramatic and unapologetically so, and everything was image-based (literally visage-based).

I had mixed feelings about the announcement of Fullmetal Alchemist: Brotherhood. By the time of its release, I’d more than come to terms with my own emotional involvement with the first series as well as its correlation to my psyche and past. I was also totally content with the first series as a whole, yet interested to see how the second incarnation would differ — having never read the manga from which it purportedly was so exactingly derived (as opposed to the first series). As accepting as I was of my own relation to the characters despite series orientation, as ready as I thought myself to be to reengage a fantastic series about loss and redemption in an entirely different way, as much as I told myself, “this ain’t yo’ daddy’s FMA1,” I found myself, within the first episodes of FMA2, lamenting the lack of retelling of FMA1 — specifically the depiction of loss and solidarity of brotherhood. And then my brain kicked in.

“You’re not in here for the feeling,” it told me, “you’re in here for the storytelling.” And damned if I wasn’t humbled before my own psychoses right then and there. After the initial shock of being denied the depiction of these brothers’ emotional bonds as portrayed in FMA1, I started to accept any and all depicted events as building blocks and discovered them to be the base material of a well-plotted piece of prose portraying a story pertaining to something greater than my selfish self (ahem ... I mean of Ed’s and Al’s selfish selves). As FMA2 continued, it seemed obvious that its focus was not purely emotional. Instead, sociological and political themes took center stage upon a base held aloft by diverse emotional motives.

Fullmetal Alchemist: Brotherhood

As opposed to FMA1’s chronically dependent, fraternal protagonists, FMA2 builds brothers from a common emotional base, lets them grow for a little while together through shared trials and tribulations, and then divides them for most of the series to become their own stronger selves. No one could poignantly argue that FMA1’s Elric brothers were individualistically portrayed as more three-dimensional characters than FMA2’s Ed and Al (although the strength of an FMA1 Ed/Al hybrid vs. FMA2’s individualistic Ed and Al is intriguing). The grief and selfish struggle of FMA1’s Ed and Al might have been handled more competently than in FMA2, but the overall story was only a fraction of what FMA2 seeks to tell. FMA2 separately presents different circumstances for each bother, who has to confront the various issues at hand without the help of his respective brother (but not without the shared memories of each other’s temperament and rationale).

It could even be said that the strength of supporting characters lends strength to FMA2 by not contributing directly to its main characters. FMA1 relied upon supporting and background cast to do nothing but prop up its own protagonists whenever necessary. FMA2, however, endows Mustang, Armstrong (Alex and Olivier), Hawkeye, and many others, even generic state soldiers, with pertinent background stories that support their influence on the overarching plot rather than the motive of the series’ namesake. FMA2 only focuses on the characters to make a statement about the world, whereas FMA1 forsook the world for its characters. FMA2 is a classic example of animated prose, and a damned fine one at that.

I like Fullmetal Alchemist: Brotherhood far more than I’ve let on in the last 64 diaries, but I don’t particularly identify with it. I don’t believe this is due to any fault of the series other than the fact that one of a similar premise preceded it — one which appeared to me at an optimally influential time and place. That said, I believe FMA2 offers stronger overall character development for most of the cast and excels in manipulating story elements concerning the struggle of humanity vs. non-humanity, while FMA1 provides a more defined inner struggle via its depiction of humanity vs. itself. I’d not blame either for the course it has taken nor the results produced. But I leave you with a totally subjective question. Which is the greater example of artistic competence: the technical aspects behind a work’s execution, or the effects upon its intended audience? The answers are as different as our selves.

Thus has been my love affair with the brothers known as FMA1 and FMA2: 65 weeks of analytical thought, 90 pages of column material, and a greater understanding of both series. I want to thank any and all who’ve read this column and definitely those who’ve commented. If by some slim chance this column was what brought you to Ani-Gamers, I ask you to keep coming back and try clicking through a few of the other links spread around the pages here. We’ve got a great staff with vast insight on a variety of topics I’m sure you’d enjoy, and most know their way around anime and manga a lot better than moi. I also want to thank our editor-in-chief Evan (a.k.a. Vampt Vo) for allowing me to rant every week and for diligently catching any grammatical errors induced by lack of sleep, wine, or both.

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Digital manga isn't just for the pirates

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Buddha on the Kindle... if only!

You may have already noticed, but there is a lot of hullabaloo on the Internet at present about the presence of illegal manga scanlation aggregation sites (we won't link to them here for the sake of integrity) as well as the recent formation of an industry coalition to fight this particular practice. One response to this, and one I have personally echoed in my own vehement and nerdy voice, is that there needs to be a legal equivalent to fill the obvious market that exists for digital manga. There have already been some steps in this direction, as you will have seen from my review of the Astro Boy Magazine (Soon to be provided in iBooks, I hear!), but this is only available for Apple platforms in selected countries at present.

I want to outline how a digital marketplace for manga would make me a more lucrative consumer for the manga companies.

The first problem that can be solved by digital distribution is availability. There are two parts to this, because I can't help overcomplicating things.

Part number one: Retail availability can be a double-edged sword. Every few weeks I make a circuit of the two remaining manga booksellers that exist where I live and pick up things that interest me. This has led to some wonderful impulse purchases I would not have otherwise made, but as time has gone on this practice has declined just as the available space for manga has shrunk within these stores. More often it poses an issue — you see fragmented series missing volumes you wish to purchase, or only the very latest volumes of something you may be interested in. Ordering in copies can, depending on the service, be a royal pain and the time until delivery is often worse than shopping online.

Talking about online, these same issues are amplified in the digital bookstore, where ordering out-of-stock items is often a lot less transparent and impulse purchases are all but non-existent. I don't know about you, but most of the suggestions that Amazon offers me on its front page are for books I have already purchased from other vendors. Still, this shows that their system works.

With a digital product there is (barring a freakish technical fault) no such thing as “out of stock”, or “available in 7-14 weeks” — just a digital file on a server that is waiting for me to fork over my cash. While you lose some of the romance and physicality of a brick-and-mortar store, the instant and obvious availability of stock makes for a much easier purchasing experience overall.

The second part of the availability issue comes in when a manga is no longer in print, or hard to find. You may end up having to pick up volumes from many different places, both from physical bookstores and online counterparts, and trying to order unavailable volumes can be a lottery. I’m sure many of you can think of a time you have heard an exciting series described to you by a friend, enemy, or podcast with the soul-crushing words “Oh, but it’s hard to find now” appended on the end. Wouldn’t it be nice for there to still be an option available to obtain the series while still ensuring that the publisher feels the love?

For a personal example of this problem, I had a hell of time picking up Buddha recently. While not strictly scarce, the wildly fluctuating availability of individual volumes in the UK made picking it up for a reasonable (i.e. RRP or less) price a hellish endeavor. I ended up ordering it from four separate places, one of which was a bookstore in Croydon who did mail-order but had no e-mail and so I had to phone the (very pleasant) shop assistant.

How nice would it have been to simply press a big button on a digital delivery service labeled "Buy Series"? I would have done that in a heartbeat.

A digital option would also have cut out a big additional cost and inconvenience of manga purchasing — physical delivery. Instead of waiting 3-5 working days and/or paying a varying sum for delivery, the manga can come direct through your Internet connection at minimal cost. This immediacy would allow for an even greater volume of impulse purchases — something I am already highly susceptible on the iTunes Store and on Steam.

The next, and main, reason is amazingly boring and a bit obvious: Manga made from dead trees takes up space. Once you start a collection, the amount of space needed tends to skyrocket. I currently own the first 6 volumes of Fullmetal Alchemist, and while I would love to continue reading the series, I have no space to house it. I already have two full bookcases, and purchasing a long series like FMA would cause me no end of headaches trying to find a home for it. Note that this does not mean that I will stop buying physical manga volumes, but I have to be more selective about what I buy, especially longer series.

This leads me to a secondary item — while I enjoy reading Fullmetal Alchemist, I am not desperately chomping at the bit to devote the not-trivial amount of money and shelf space to the rest of the series. With this current state of affairs, I have no (legal) method of reading the series and the publisher is missing out on the money I would happily pay them for a digital version.

These are all issues with the current model that can be remedied by a digital marketplace, and would not displace my existing desire to buy physical copies. I haven’t even started to talk about ways that manga could be enriched and enhanced in a digital marketplace, but that is within the scope of a different article.



Editor's Note: Digital Manga Publishing is currently running eManga, a site offering digital distribution of manga through a rental system.

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Review: Kid Icarus (VC)

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Medium: Video Game (NES)
Genre: Platformer
Designer: Satoru Okada (Director)
Developer: Nintendo
Publisher: Nintendo
Release Date(s): Dec. 19, 1986 (JP), July 1987 (N. America), Feb. 15, 1987 (EU)
Rated: Not Rated

At E3, Nintendo revealed its new handheld, the 3DS; one of the titles announced for it was Kid Icarus: Uprising. There have been rumors of Nintendo reviving the Kid Icarus franchise for years now, but the prevailing one centered around a game by Level-5 for the Wii. Instead we got a game from internal Nintendo developers Project Sora that is very reminiscent of Sin and Punishment. This is a huge departure from the series' platformer roots.

The interesting thing about the original Kid Icarus is that it takes elements from Nintendo’s other franchises. The shooting system works much like Metroid, the shop system and upgrades feel similar to Zelda, and platforming is a major focus, like in Mario. OK, that last one was kind of a stretch, but the others are accurate. Despite this, it doesn’t really stand out like Nintendo’s other classic games from the NES era. It never had much staying power and just doesn’t hold up as well today; it really is just plain bad. I would say that this is mostly due to the difficulty, especially that of the game’s first world.

The first world is so hard because the levels scroll vertically, and when a platform scrolls out of sight, it’s gone. This can lead to death, because a platform just pixels away from the bottom of the screen is now gone. With the flying enemies going all around you, navigation becomes even more difficult. Thankfully, unlike Mega Man, you can shoot upwards in Kid Icarus, but some of the enemies are still surprisingly challenging to fight.

If you manage to get through the first three levels you get to the first castle level, which is at least different. (The castle levels are just mazes made up of one-screen rooms.) It’s a welcome reprieve from the difficulty of vertical scrolling, and, while still hard, is much more manageable. Starting in the second world, the levels are side-scrolling. These levels are much easier since it’s a lot harder to accidentally fall down an endless pit. I actually enjoyed the game a lot more once level 2-1 started, but it still never was much fun.

There are some other things to appreciate in the game though, such as the wacky enemies. The eggplant wizards are especially memorable, even if getting turned into an eggplant is very frustrating. The music and art style are quite good as well, and really add to the charm of the game. In fact, I’d have to say the charm is what I like most about Kid Icarus and is why I’m glad the series is coming back, even if I’m not exactly a fan of the original game.

The actual platforming and shooting works well enough, and I do like that it has a shop and upgrade systems, but the overall game never really clicked with me. I can’t recommend going out and playing it today — time has not been kind to it. As a matter of fact, I don’t think I could recommend it even if you enjoyed it back in the day either. Kid Icarus is not a good game; it’s unnecessarily hard and just gets really frustrating. If you’re still interested, it’s available on the Virtual Console for 500 points.

[Bad]


This review is based on the Virtual Console release for the Wii, purchased by the reviewer.

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FMA: The Brotherhood Diaries – Episode 64

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A blinded Mustang

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

Watch Episode 64 – Journey’s End

FMA1 has a reunited Assembly “reverse the Ishval policy and help them rebuild on their own land,” keeping the socio-political dealings with the Ishvalans relatively vague, which is understandable given the focus of the show is Ed and not Ishvalans. On the contrary, FMA2 shows Mustang legitimately boning up on anthropological issues in order to actively “solve this Ishvalan problem” before he becomes Fuhrer. So FMA2 goes into a little more detail not only about the plan — opening the formerly closed off areas and returning those living in slums to their holy land — but also in the portrayal of some of the backing effort needed to bring it to light. The ground gained through this specificity is lost morally, however, with the way in which Mustang chooses to accept Marcoh’s Ishvalan-made Philosopher’s Stone. He should have said he’d ask the Ishvalans if it was OK for him to use the stone to regain his eyesight to help their people, but instead Mustang intends to use the Ishvalan ingredients without the race’s consent for the greater good he imagines for them. He does recognize the faux pas as well as the subsequent affront the Ishvalans (as well as Ed) may take but decides to “use it anyhow.” He also uses it (supposedly, selfishly) to heal Havoc. And while we’re talking Ishvalans, I’ll mention the fact that FMA2 makes Scar more or less a diplomat for the advancement of Ishvalan integration instead of a martyr as in FMA1.

Treatment of Al’s body at the gate was always something portrayed differently between series. Whereas FMA1 used a vague “his body is still in there ... somewhere” approach, FMA2 makes it known relatively early on that Al’s body was waiting for his soul and eating itself alive with every passing moment. Thus the difference is a quasi-realistic portrayal of muscle atrophy in FMA2 when Ed and Al return to Resembool as opposed to the magically fully restored (sans memories), ready-to-go, 10 year-old Al of FMA1. Again, this is what both series do well. FMA2 tries to make its scenarios as realistic as possible to reap a naturalistic humanity, while FMA1 uses the fantastic to indulge the dramatic.

Speaking of homecomings, FMA1 had two, and both were vastly different from the one in FMA2. The first was that of the aforementioned restored Al. Though we don’t see how he got there, there is the fact that we see him with Izumi, Pinako Rockbell, et al at play and a family dinner type setting. It is at the latter when we see Al’s determination to go about learning alchemy in the hopes of getting his brother back. This finally makes Al akin to FMA2 Al via asserted individuality. The second is Ed’s arrival through the gate from our world. This one is so flooded with action, there’s little time to cry over Mustang’s devotion to depression over a missing Ed, Winry’s undying hope for Ed’s return ... sorry, got a little choked up just thinking about it. OK, so there was more than enough room for tears too. However, While FMA1 was waiting for the fantastic to happen, FMA2 makes a noble stride in the portrayal of Ed and Al’s combined homecoming by having the brothers go back home together as a fully restored pair. FMA2 plays up Al’s condition, Winry’s war wife walk to the front door (and subsequent tackling of the brothers), even the faithful dog ... and all those things combined made me need one heck of an absorbent tissue.

And I’ll say it: most appropriate wedding proposal ... ever! Although in FMA1, Ed and Winry never managed to consummate their mutual attraction/devotion — duty always called Ed away and Winry was forced to be always at the ready for him — it was always there in subtext. FMA2 however, true to its stronger character development, has the love formerly unspoken betwixt characters be issued outright and then make the characters still go their separate ways (to be reunited at least enough times and with enough time to have kids). Awwww.

A human mother raising a homunculus son is also a similarity of both series’ endings. FMA1 has the Rockbells take in Wrath, and FMA2 has the Fuhrer’s wife (re-)raise Selim. The difference is that FMA1 sees fit to just leave Wrath installed as a rogue family member unit (the angsty teen, if you will), who eventually comes around to save Al and further the story by sacrificing himself (not altogether selflessly). FMA2, however, uses the “adoption” as an experiment, monitored by the state, to see if homunculi can be raised to peacefully coexist with humans. This, again, emphasizes (if not directly embodies) FMA2’s dedication to the socio-political ... especially as there is very little emotion in the scene when the government threatens to kill him if he ever shows signs of stepping out of line.

That’s it for the episode blow-by-blow! Of course there have been many slight differences throughout this series’ run that I never touched upon, but that was only because there have been so many more juicy and thought-provoking differences that pleaded for pontification. There’s one final diary left. I’ve (overly) indulged in the analytical up until now, but the next diary will be my thoughts on both series overall, taking into account aspects both personal and logical.

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iPad Video Game Review Round-Up

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The iPad has opened up an entirely new avenue for iPhone developers to create new games and applications.

At the time of writing, the Apple iPad has only just come out in the UK and a smattering of other countries. Like the impressionable gadget nut I am, I bought one on release date, foolishly believing that all my existing iPhone applications and games would have up-scaled versions available to download right away. This was sadly not the case, and some of my favorite iPhone games look flat-out ugly on the larger screen. Being as impatient as you expect someone with a new £430 gadget would be, I decided to splash out on a few games on the App Store, further lining Apple's pockets. Here are some miniature reviews of the games I downloaded to assist anyone else who is interested in using their new touchscreen paperweight as a gaming platform.

After the break, check out reviews of Plants vs Zombies HD, Strategery, Words With Friends HD, and Geared HD.



Plants vs Zombies HD for the iPad

Plants vs Zombies HD

If you have already played the PC version of this PopCap-developed game, odds are you’ve already bought this version too.

Plants vs Zombies is a streamlined take on the "tower defense" genre, wherein you place aggressive plants in your back garden to fend off invading hordes of humorous zombies who are after your sweet, sweet brains. The game oozes charm, and looks even better on the iPad than it ever did on my PC, primarily because the graphics have been optimized for a single screen resolution rather than the innumerable screen resolutions of monitors. Another thing optimized for the iPad is the interaction; controlling everything directly through the touchscreen makes the game much easier and more pleasant to interact with than using a mouse. Like the original, PvZ has a perfectly tweaked learning curve that eases you into the many different gameplay facets that keep the experience fresh for level after level. The only problem is that once your opening strategy is perfected, the game can feel excruciatingly dull running through the same motions every time and you will find yourself wishing for a "speed up" button.

The game is priced at £7, and so can be said to be rather pricey, but considering the amount of hours you can sink into it and the high production values, I would say it is well worth a go.

[Recommended]



Strategery on the iPad

Strategery

No, that name is not a typo, honest. Strategery is, as you may guess, a strategy game in the vein of the board game Risk. You invade regions with troops, conquer them, and then place more troops down in your captured regions in preparation of the enemy counterattack. The main draws of the game are its neat, clean art style and randomly generated maps. Every game map looks subtly different, and there are a few options available when starting that slightly alter the way the game plays

Strategery feels well made, moving along at a brisk pace you could never achieve with a physical war game, but this is where my praise ends. The strategy core of the game feels rough and unrefined, lacking any advanced planning potential due to the basic blocky maps it draws. With its current mechanics, every game boils down to making the biggest blob of a county possible and then throwing obscene numbers of troops with no fear of effective counterattack. This inevitability sucks a lot of fun out of repeated play, especially as there are few options available that would spice this up. Including continents or encouraging conservation of troops would go a long way to solving these issues.

Sadly I have been unable to test the online multiplayer as there is no matchmaking and I could not manage to con anyone into playing with me directly. Local multiplayer works fine, but the game boils down to the pattern described above.

While the game includes both an iPad and iPhone version together, I would suggest spending your time and money elsewhere.

[Bad]



Words With Friends HD for iPad

Words With Friends HD

For those who have never heard of this before, Words With Friends is a competitive 2-player version of scrabble where you send moves back and forth between each other in a way reminiscent of play-by-email strategy games.

The game handles everything effortlessly, including in-game chat, a complete and accurate dictionary and very nice presentation throughout.

Anyone who has played the iPhone version: yes, it is the same as the iPhone version with an updated interface and shinier graphics. Yes, it is well worth your money even if you forked out for the iPhone version. You can use the same account and play games between both devices.

I heartily recommend it to anyone who enjoys word games but can’t get people to sit still long enough to play a tabletop version of Scrabble. If you fancy it, you can play against me; my username is "Elliotpage."

[Highly Recommended]



Geared HD for the iPad

Geared HD

Geared is a wonderfully simple puzzle game wherein you use a set of gears to link a moving starter gear up to one or more target gears. More gameplay twists are added at welcome intervals to help keep things fresh, and the difficulty curve is exceptionally well tuned. The game has grown considerably since I first bought it on the iPhone and now sports 150 levels as well as a helpful level skip function for when you get really stuck. The graphics are clean and simple, allowing you to concentrate on the puzzle. It even has a very nice win chime once you complete a stage, an encouraging little extra when you have spent 5 minutes staring blankly at the screen.

Geared HD is cheap as hell and amazingly addictive. I can attest to its grabbing power as both my parents love playing it and getting my iPad back from them once they start playing is like drawing blood from a stone.

[Highly Recommended]



Let me know in the comments if any of you find these helpful, and perhaps I'll check out another batch of iPad games.

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Raised by a Computer: To Terra and Childhood

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Best panel in the manga

Note: This article assumes that you have already read To Terra, or at the very least have an understanding of the main characters within the story. If you go to Kate Dacey's compilation page for the To Terra edition of the Manga Moveable Feast you will find a wealth of reviews and other articles about To Terra that you can sink your teeth into.

While re-reading and chewing over To Terra for the now-passed Manga Moveable Feast, I found myself drawn to something I had not considered in such a concentrated manner previously: the upbringing of the characters and how this drove their actions in very different ways.

The majority of the characters are raised under the Superior Domination (SD) system, a computer-moderated society put in place to produce pure, productive members of humanity. With echoes of Brave New World, To Terra quickly introduces its chilling, dystopian social environment where children are planned and conceived by computer before being passed to foster parents and raised without knowing their true origin.

Test tube baby Keith

Once the children reach their 14th birthday they are taken unawares for a "Maturity Check", administered by a central computer. The Maturity Check functions as testing and preparation for the child's adult life, with some of the intricacies left unexplained to preserve the mystery of it. Sounds an awful lot like puberty, doesn't it? The main difference is that the Maturity Check doesn't cause hair to suddenly appear in new places, and if anything it makes the characters immaculately drawn hair even more lush. During this enforced coming-of-age the child is told that their childhood was a fabrication produced for the sole purpose of providing them with a healthy emotional background and that their early memories are to be wiped.

This forces an identify crisis onto the children, one which is intended to clear the way for training that will form them into pure subjects willing to work for and perpetuate the Superior Domination Order, with the aim of restoring the now-ravaged planet Earth under the guidance of the Mother Computer.

It is worth noting here that the phrase "Mother Computer" would, at the time that To Terra was written, have sounded utterly outlandish and more than a little disturbing. While computers these days are benign things you have on your desk, in 1977 the microprocessor had only recently been produced, ARPANET was new, and the CRAY-1 supercomputer was the machine to beat. This new technology would surely have had a vague air of magic and threat, and to hand over the most basic of human interactions — the creation and care of children — to such constructs would feel abhorrent.

Firstly, I want to focus on those characters in the story who I believe most closely mirror how "normal" people such as you or I would react in the SD system: Seki and Sam. Both undergo the typical SD upbringing and we meet them early on in the story as classmates of Keith Anyan on a educational station having recently undergone the Maturity Check.

Seki regrets

Seki is an intelligent child, though he is earmarked for greatness and is prideful and arrogant as a result. He is emotionally sensitive and coupled with his outspoken distaste of the SD order he is considered a troublemaker and, even worse, a potential telepath. The source of his discontent is very basic and understandable; Seki resents the SD system for stripping him of his childhood, clinging onto the angelic memory of his mother despite knowing it was a fabrication. This grief accelerates Seki's frustration with his situation playing second fiddle to Keith and causes him to act in an increasingly impulsive manner to try and assert himself as an individual and to validate his upbringing. These actions spiral out of control, eventually leading to his death. For being intelligent and sensitive, the SD order drove Seki to self-destruction, wasting a potentially world-altering person due to its deception.

On the other end of the spectrum, Sam is dead average. He squeaks passes in his exams, neither dissents or swears by the regime that produced him, and doesn't sweat the small stuff. His main responsibility is to his friends, and sticks by Keith through thick and thin. An upstanding citizen, he graduates with average grades and takes a job as a space trucker, something that sounds even more boring than normal truck driving. Through this job he comes to meet the Mu and in particular the main protagonist Jomy, who he was childhood friends with. Faced with a filthy telepath, Sam acts upon the information that the computer education has drilled into him and freaks the hell out, attacking Jomy in a fit of primal fear. Jomy is horrified how his old friend has been warped and over-reacts, causing a massive explosion and injuring Sam.

We are later re-introduced to Sam and find out that this encounter has left him crippled at a mental age of 14. All the ingrained fear is gone, replaced by a much more carefree outlook. While this may be a bit of a stretch, I believe that this shows that the overbearing influence of the Maturity Check, illustrating that the computer education had left Sam without the mental tools to cope with adult life. The shock encounter caused him to revert to a simpler time without the choking influence that had warped him into a form so horrifying to Jomy.

Magical Segway that steals your memories

Jomy, the main protagonist of the story, also goes through the normal SD upbringing experienced by Sam and Seki, and like them he is abducted at 14 to undergo the Maturity Check. For him, however, things change when he is rescued by the leader of the Mu and made their new leader. Faced with so much responsibility and hostility from both the SD order and from his own people, it would make sense for Jomy to seek a return to the halcyon days of his youth, even while knowing that it was a fabrication. For the majority of the story he tries to bring happiness to the Mu by creating a stable home for them, free from the overbearing computerized system that hunts them.

Following a major tragedy Jomy finally heeds his predecessors’ imperative to bring the Mu to their homeland of Terra and to destroy the computer system that is warping humanity.

The first step on this journey is for Jomy to put his own past to rest by attacking his old childhood world and destroying the computer that oversees the Maturity Checks there. It it only with the destruction of that machine that Jomy matures both as a person and a leader, shouldering his burdens and doing what must be done to save. Not just his own people from the oppressive Mother Computer, but humanity as a whole as well.

Tony is a creepy manbaby

One of those burdens is Tony, who is the product of the first natural birth among the Mu, and an exceptionally powerful telepath. Brought up with utmost love and care by his mother Carina, he is overcome with grief when she dies. The resulting shock causes him to overreact and accelerate his physical growth in order to be of greater use to Jomy, the young leader who encouraged his birth and whom he now regards as his family. This change makes him as an abrasive, irritable person who is still very much a child emotionally, traits exaggerated by being the cornerstone of the Mu military due to his immense psychic power. This combination of personality and ability causes Tony and the few others like him in the Mu population to be treated as outcasts. They eventually leave the Mu to begin a dreamlike existence among the stars, having grown up too fast without the grounding to cope with the harsh reality they live in.

Finally, there is Keith Anyan, who is perhaps the most interesting of all of the characters in To Terra. Keith is the result of a more advanced version of the SD program — he is engineered to have a theoretically perfect genome and grown in a tank until 16 under the direct care and attention of the educational computer. He cannot recall his childhood, something which sets him apart from his school friends, and when he discovers the truth there is an initial shock at the confirmation but no great change or revelation takes place. This is, in my mind, because there is no subterfuge involved. Instead of having an illusionary childhood life stripped from him, Keith is left to ponder his existence as someone created for the express purpose of leading the SD order. While he does follow orders of the computer, Keith develops throughout adulthood, free of any anxiety or doubts lingering in his mind about his origins. In the end, it could be argued that Keith has the fewest issues with his childhood, primarily because he did not have one in the strict sense, and he had no other alternative but to adjust to his circumstances. He spends a large amount of time reflecting on the people he has met throughout his life, allowing these events to affect him rather than being a prisoner to his childhood and the computer overlords that he starts to question as time carries on.

With all this out of the way, what was Keiko Takamiya trying to say? I submit that the message is that there should be no lies in childhood, as this only causes mal-adjustment and traps people in a cycle of trying to reconcile reality with what they experienced and viewed as fact, thus stunting their development. In this story the computers are one thing used to provide and enforce this lie, but they could be swapped out for any real-life examples that you care to produce, such as an overbearing Nationalistic agenda. Even now, many years after publication, this message feels very relevant and lacking in due consideration, making the series all the more important to read and reflect on.

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FMA: The Brotherhood Diaries – Episode 63

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Dwarf-in-a-flask homunculus

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

Watch Episode 63 – The Other Side of the Gate

What equates to Ed’s final boss battle concludes with an implosion that brings Father back to the gate. There, free from their oppressive circle, Yin dot (dwarf in a flask homunculus) fights Yang dot (the world, god, etc.), and the two have an after-school discussion about self-esteem and selfishness ... about how separating oneself from one’s emotions does not a more perfect creature make. That may sound harsh, but really, FMA1 is no better. Its boss battle, betwixt Ed and Dietlinde Eckhart aboard a jet creeping with soldiers infected with truth, shamelessly and blatantly blurts out how hate is derived from fear and that intrigue leads to envy which leads to suspicion and fear. “It’s human nature. We can’t accept what we don’t see in ourselves. We fear it, reject it. And that is the beginning of war. When I look at you, I see a beast. That is why I can take your life.” Both series are equally heavy-handed in the delivery of their morals via talkative confrontations, and both ironically blame the lack of understanding about relationships on the outside world.

After re-watching the final “episode” of FMA1, there is a partial line of dialog between Ed and Eckhart that describes the motive behind the desire for inter-dimensional conquest – “obsessed with any world but this one” – that, while trapped in the FMA1 universe, very nicely applies to both series. Ed and Al in FMA1, as well as dwarf in a flask homunculus in FMA2, never seem content to grow within the world at hand. The characters always seem to search for something better, out of desperate hope or pure greed. The difference is that FMA1 rewards its truth-gluttons due to their sacrifices, while FMA2 strikes down its transgressor because of his insensitivity to the world at large. Both stay true to their series, with FMA1’s focus on helping others at any cost and FMA2’s focus on the undeniable participation and personification of the one-ness of the universe and everything therein.

FMA2 Ed draws a human transmutation circle similarly, though not nearly as elaborate as in FMA1, to get Al back. The difference in circles is superficial but can be explained by the circles’ respective purposes: transportation to the gate and human sacrifice. What’s sacrificed is also interestingly similar and dissimilar. At the end of the FMA1 series, Ed sacrifices himself and brings back Al, who returns to the flesh sans memories of all the years that have transpired since the brothers tried to resurrect their mother. In FMA2, it is Ed that gives up the intangible ability to perform alchemy, his own inner gate, in order to restore Al to the proper space-time continuum.

Along the same lines, FMA2 Ed physically brings Al back from the gate, as opposed to FMA1, where Al is restored a parallel dimension away from his sibling and later has to sneak back into his brother’s life. FMA2’s scenario shows an older brother fulfilling his promise and selfishly being able to reap the benefits, while FMA1 shows an older brother who is selflessly moving on under the auspice that he probably brought back his brother in another world and they are both continuing with their lives separately. So, true to their natures, FMA1 showcases inseparable brothers to make the end separation (and subsequent reunion) all the more dramatic, and FMA2 uses the distance between the brothers to make them stronger characters and to make the rescue seem smarter. Both, however, show a great growth in character via sacrifice.

Some last minor but mentionable differences include Mustang succeeding the Fuhrer in terms of duty (unclear in what position), while FMA1 has him demote himself and return to enlisted man status to serve his country in humble fashion. Also, Hohenheim does not die in the jaws of a permanently transformed talking dragon named Envy as in FMA1, but kneeling at his wife’s grave. This results in a touching sight and suitable end that befittingly contrasts FMA1’s dramatic sacrifice.

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Con Report: AnimeNEXT 2010

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Or click here for the Photo Gallery
June 18-20, 2010
Garden State Expo Center, Somerset, NJ
Official Site


AnimeNEXT is my "hometown con," so to speak. This is in part because it is New Jersey's largest anime convention, so it is the closest major con to my house, but also because I've attended it every year since my freshman year of high school. Unfortunately, for the past few years AnimeNEXT seemed to be struggling to find their footing. While the convention has certainly grown considerably — enough to make moving from Secaucus to the Garden State Exhibit Center an absolute necessity — it has also lacked a true Guest of Honor for about three years now. Despite some continuing stumbles on the convention's part, AnimeNEXT 2010 represented a refreshing return to form for the sizable NJ event.

Most notably, this year marked the return of the Guest of Honor spot, which housed Kenji Kamiyama, director of Eden of the East, Ghost in the Shell: Stand-Alone Complex, and Seirei no Moribito. With signings and Q&A panels spread throughout the weekend, it was clear that the AnimeNEXT staff was making the most of this exciting guest. I wasn't particularly impressed by his showing, but it may have had something to do with his translator, who — despite some noble efforts — didn't seem to communicate the questions and answers very well. (For more on Kenji Kamiyama, read the questions and answers from our brief round-robin interview with the director at AnimeNEXT 2010.)

Guest of Honor Kenji Kamiyama at his Q&A panel

As always, I was quite pleased with the panel lineup, as it included a number of popular panelists as well as brand-new presenters. A lot of the new panels that I saw (History of Mecha, Cosplay Comedian Joe) were pretty disappointing, but I'm always glad to see new faces presenting their stuff. In terms of known commodities, I attended the Sunday morning panel "Otaku: Perceptions and Misconceptions," run by the girls from the IchiP dance troupe. In my con report last year I remarked that they ran a startlingly interesting and thoughtful discussion during the first iteration of the panel, and this year they built on their previous success. Crowd control was much better than last year, though the panelists' discussion meandered a little more than I liked. Nevertheless, I enjoyed their open conversation about the "otaku" lifestyle and the stereotypes associated with it.

Brian Price, rocking out after his Bad Anime Bad!! panel

I checked out a number of panels run by convention veterans Walter Amos, Rob Fenelon, and Brian Price, who presented a compilation of odd video clips from Walter and Rob (These Are a Few of My Favorite Scenes), a bad anime clipshow from Brian (Bad Anime Bad!!) and a presentation on French animation from Walter and Rob (It Came From France!!), among other panels. I attended the first two, both of which always manage to entertain me with stuff I've never seen before, but I ran into a bit of a problem in going to It Came From France!! Namely, I had been avoiding lines with my press pass throughout the convention, but when Narutaki of the Reverse Thieves, Brad Rice of Japanator, and I tried to get into Walter and Rob's panel, the staffer said that we would have to wait on line. Naturally, we hadn't grabbed a spot on the line, since press usually don't have to do that, so we just ... didn't go. I heard some complaints from staff later that members of the press had been "abusing their privileges," so in the future, I would highly suggest that AnimeNEXT write out what those privileges ARE (and what privileges we don't have) instead of complaining that the press are doing things that they're allowed to do at every other convention.

Meanwhile, I ran two panels of my own, which generally went over smoothly. Convention staffers were very helpful in making sure I had all of the equipment I needed, and did their best to keep crowds under control while waiting for panels to begin. My first panel was the Friday afternoon "Fandom & Criticism: The Art of Active Viewing," which featured Ink, Uncle Yo, and me in a roundtable discussion of critical thought and its application to anime fans and critics. We did our best to engage the audience, and actually ended up getting quite a few very interesting responses from the crowd. On Saturday, I stuck it alone for "The Changing Faces of Anime." To my delight, there was actually a sizable line of attendees waiting to see the panel, in which I described the history of anime character designs, pointing out important artists and paradigm shifts. The crowd had a lot of great questions at the end, and they seemed to really enjoy it!

The pathway between the Expo Center and the Doubletree hotel, which only had space for two lanes of people and often got quite congested.

At times, I felt like the Garden State Exhibit Center, Doubletree Hotel, and other areas, despite reportedly being much larger than the space provided by the Meadowlands Expo Center and nearby hotels, was actually smaller that the convention's previous location. However, it might just be because of the attendance, which must be growing at an alarming rate if NEXT is already feeling cramped in its second year of the new location. A handful of the six panel rooms were tragically tiny, allowing for something like 30 attendees, and only one of the rooms was actually a large-scale panel room for particularly popular events. In fact, with such a wealth of great panels and panelists at AnimeNEXT, one of my top suggestions to the staff is to get bigger panel rooms. I would think that the last thing they want to do is drive away these presenters who provide such a great backbone to the convention.

Overall, I certainly enjoyed my time at AnimeNEXT this year. The convention seems to still be settling into its new location, which should hopefully be remedied for next year when they've figured out better ways to optimize their space. Regardless, I was very glad to see a Guest of Honor at AnimeNEXT 2010, which shows without a doubt that AnimeNEXT is still going strong and hasn't completely faded into the background as the little brother of the New York Anime Festival.



For more AnimeNEXT 2010 coverage, click here!

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