Tag Archives: anime

Gender in Recovery of an MMO Junkie

No, you did not accidentally click on a link to a different blog. I really did title this post “Gender in {Show}.” I think I’m okay, but I’m due for a physical soon anyway, so I’ll let you know if this turns out to be the result of a brain tumor.

Seriously, there’s nothing inherently wrong with examining the way any given show portrays gender; it’s just that the resulting analysis is something I usually find counterproductive. With most shows, you can usually find examples of gender tropes being reinforced, but also examples of these tropes being subverted. People will use either a glass-half-empty or glass-half-full perspective (“Why this Popular Show Secretly Hates Woman,” versus “Why this Popular Show is Surprisingly Feminist,”) to push whatever view they feel like on that particular day. On the rare occasion that someone is honest about what’s really going on with the show in question, then we get an essay that basically says that the show is gender-conforming sometimes, but not all the time. Which, despite the virtue of at least being honest, is a really boring read.

Therefore, most “Gender in {Show}” articles are either:

A) a lie

or

B) insipid.

Rarely do we get a show where enough of the meat on its bones is really about gender, meaning that writing about this topic is actually relevant. Recovery of an MMO-Junkie, (“Net-juu” if you’re saucy) is one show where a lot of the story actually relates to gender; how people think of themselves as female vs. male, how they present themselves, and what happens when they playact as the other gender.

The focus on gender isn’t that noteworthy in and of itself, because other anime have tread similar ground; what surprises me about Net-juu is just how nuanced the portrayal of gender is. When Morioka plays a male character in the MMO Fruits de Mer, she experiments with acting how she imagines a young man would act. However, what this show does that I’ve rarely seen elsewhere in anime, is acknowledge the fact that even her appearances as a woman involve a kind of role-playing.

Private Morioka: tousled hair, boring clothes, bags under her eyes and a furrowed brow. Poor gal could probably use a shower something fierce.

Left to her own devices, Morioka is unkempt: loose clothes, messy hair, heavy bags under her eyes from staying up too late in front of the PC. However, when she’s asked out on a date, she won’t go as her sweatpants-wearing, MMO-addict self. Her checklist for the things she needs to do to make herself attractive are very much like putting together a fairly elaborate costume. Does she need new stockings? Does she have stylish clothes that fit? How many different kinds of make-up does she need to buy? How is she supposed to know what hairstyle is considered optimal?

The post-makeover Morioka looks very different; classy, bright-eyed and healthy. Her skin seems to glow, likely because she’s wearing make-up on her face for the first time in months. She walks daintily in heels, as opposed to rough the way she throws herself around her room when she’s alone. She is essentially a different person.

However, is this pretty Morioka a fake? Not at all; dressing like this, being this person, was her life for a decade when she worked an office job. She’s a bit uncomfortable changing back to her old self after spending a long time shut up in her apartment, but once she’s there, she slips back into her old persona fairly well. Simultaneously, Morioka is putting on a performance (being the pretty, polite, well-coiffed woman that’s very different from who she is in the privacy of her bedroom), but she’s also being genuine; this is a different side of her than the one that plays a male warrior in Fruits de Mer, but it’s still her. But if her identity as a woman is at least part performance, doesn’t that make Hayate, her character in-game, a legitimate manifestation of herself? After all, whether she’s presenting herself as her actual gender or not, in both cases, there’s a large element of play-acting going on. What’s the difference?

Out-on-the-town Morioka: Stylish hair, Pretty outfit with jewelry, no lines on face (make-up, or just proper sleep?), etc. That little heart necklace calling attention to her clavicle is an especially feminine touch.

Sakurai presents another interesting case. A sensitive, soft-spoken man, he plays a pink-haired female healer in-game, where his kind nature is seen as an asset instead of a sign of weakness. We don’t see that much of his struggles with traditional ideas of masculinity (primarily because he’s not the main character), but it certainly seems like playing his female avatar is refreshing for him, something which probably wouldn’t be true if his role as a male didn’t grate on him sometimes.

Later in the show we find out that his elderly adoptive parents died when he was young, and that playing MMOs is the way he recreates the feeling of having family. Curiously though, as a nurturing-type character– not only a healer, but the kind of person who helps newbies by giving them great equipment– Sakurai is taking on the role of the kind of mother-figure that he clearly wishes he had. Wouldn’t it make more sense to try to get on the receiving end of that kind of relationship? Maybe, on some level, he doesn’t believe he deserves it. You could even say that playing the unfailingly generous Lily is a way of running away from his own neediness.

Then we have Koiwai, who makes the whole thing into a farce. He creates a female character, but purposefully makes her as large and muscular as possible. He has no real interest in role-playing as a woman, so it doesn’t make any sense for his avatar to look particularly feminine. If anything he’s just trying to be quirky, to stand out, but like a lot of fun-loving people, he may not fully realize the implications of what he’s doing. The whole point of Koiwai’s beefy Homare avatar seems to be that she looks out of place in the game; without necessarily meaning to, he’s reinforcing the idea that there’s something inherently ridiculous about masculine women.

So the show is about pretending to be the opposite gender online, but also pretending to be your real gender in real life, because you try to present a more idealized version of what your real gender is. It’s also about people who see the whole thing for the sham it is and treat it as a farce, which is admirable in some respects, but can also accidentally cause harm to those for whom the nature of their gender identity is a very serious affair. And all of this is complicated by the fact that the majority of these interactions occur online, where obfuscation of your real identity is not only allowed, but encouraged…until you reach a certain point of intimacy, at which point lying about who you are starts to feel dishonest, even if it’s “only” a game.

To be perfectly honest, I’m not aware of how much analysis of MMO culture is out there; I’m a single-player gamer, and I generally have no reason to even think about MMOs. So it’s possible that there’s a whole body of literature that discusses this sort of thing, and Net-juu isn’t breaking any new ground at all. But from my (admittedly uninformed) perspective, it seems like the show is not only tackling the thorny issues of gender identity, but it’s doing so with the added complexity of gender in the age of limitless, anonymous online experiences, where gender is a reflection of something the player wants to express with their avatar. Furthermore, online, gender is something that’s optional to buy into; people can try to make their characters seem particularly masculine or feminine (however they define those two terms) all of the time, some of the time, or not at all, entirely on a whim.

As I write this, the show still has two episodes left to air, so I’m probably jumping the gun here. However, the show’s interesting portrayal of gender dovetails with what I believe to be the show’s main theme, which is that the online world only seems like an escape. It may be liberating to play as someone who looks completely different than you, is a different gender than you, and does things that you would never do. But we’re all roleplaying to some extent most of the time anyway; the online variety is just more explicit about it. So no matter how much you’d like to use a game to substitute for real life, it’s not going to work, because wherever you go, there you are. You can try to play a man when you’re really a woman, or play a woman when you’re really a man; that will never change the fact that the only person you can ever really play is yourself.

An Open Letter to Funimation

I have some concerns about the way you’ve been handling anime localization lately. It appears that Funimation staff members in charge of dub scripts are taking liberties with the material, such as inserting lines that were not present in the original script in any form. This is not only distracting, but disrespectful to the creators of the anime.

Now, I’m not completely ignorant of the complexities inherent in localization, and translation more generally. I understand that a good translation is more art than science, and there’s never going to be a true consensus of opinion on what the “correct” translation is for any given line. While calling a translation an art form in and of itself is perhaps further than I’m willing to go, there’s definitely an element of artistry to it, which makes it hard to set the kind of parameters for right and wrong that we would be able to for a more  technical task. I also understand how difficult it can be to balance literal meaning with emotional resonance, which can be a thankless job; after all, the people who are quickest to criticize translations usually aren’t fluent in both relevant languages, meaning they may not really understand the nature of the choices the translator and localization team had to make. It’s not an easy job.

However, even with full knowledge of all of the above, the localization of episode 7 of the anime Hajimete no Gal crossed a line. Items of dialogue like “Plus, most of the freaks who come in here hate women, so seeing girls degraded gives them boners and makes them happy,” and “Maybe they don’t want to be debased just so you can sell a few more [bleep] chickenwings to horny losers with mommy issues,” are incredibly liberal translations of what was actually said (to put it mildly), but more importantly, they change the nature of the scene. While the original scene definitely had some implied criticism of otaku culture, the explicit and mean-spirited lines directed at the customers in the dub seemed to truly be directed at fans who enjoy sexual content in otaku media; in other words, the exact audience for a show like Hajimete no Gal. The localization added explicit insults to the show’s audience that were very subtle in the original (arguably subtle to the point of non-existence) and pretty much invented new dialogue out of whole cloth.

There are of course many discussions to be had about sexually explicit otaku media, and to what extent these properties may be misogynistic, but that is not the point; regardless of any merit to the issues the dub was raising, it was inappropriate to insert them into the script. If the writers of the anime wanted to include a statement about the apparent misogyny present in light novels, they would of course be entitled to do so, but in this case, the choice was taken out of their hands.

This may seem to be a small thing; only a few questionable lines in the English dub of a rather low-profile anime. Obviously, when considering the scope of problems in the world that I could be worrying about right now, it is a small thing. However, as the western market becomes increasingly important to anime, I think it’s more important than ever to ensure that the intentions of the original Japanese creators are respected; it’s also important to respect the fans who want to see this original work, without added changes or commentary by a third party.

If the way anime financing is going is any indication, western companies are going to have more and more power over anime in general; I don’t think it’s paranoid or unreasonable to have concerns about that power being abused. Choices like those made in the dub script for Hajimete no Gal indicate to me that Funimation is either unaware that this potential for abuse exists, or worse, does not care. If this were an isolated incident, I would likely shrug it off, but after the controversial choices made with the recent dub of Miss Kobayashi’s Dragon Maid, this kind of irresponsible localization appears to be becoming a pattern with Funimation.

I do not plan to purchase any more Funimation products while the company displays this chronic lack of respect for both anime creators and fans. I understand that, due to the volatile nature of social media, some of the complaints that Funimation has already received about this issue have been vulgar and abusive; that’s upsetting to hear, and a shame. However, because of these inappropriate responses, it may be easy for Funimation staff to believe that the only people upset about recent dub choices are angry internet trolls, who are unlikely to purchase anime legitimately in the first place; I’m writing today to tell you that this is not true.

My Funimation DVDs. Some of these are technically my husband’s (since I’m far too chicken to buy Hellsing: Ultimate), but you get the idea.

I’m an anime fan of over 20 years, I have an anime disc collection, and I’m a Funimation customer. I even subscribe to the Funimation NOW! service (although that won’t be true for much longer). I know other people who fit the same description (although the younger ones haven’t been fans for 20 years, yet), and they too have stopped purchasing Funimation products due to these concerns. If you have any illusions that the people who have been complaining about your current practices are not your real customers, than I hope to disabuse you of that notion. Dedicated anime fans want to see the creators original intent when we watch an anime, whether subbed or dubbed; please respect our preferences, before you do any more damage to your brand.

All I want from you is for these irresponsible dubbing practices to stop; if your localizations do not display these issues going forward, then I see no reason not to go back to buying your products. If this behavior continues, I can’t in good conscience send any more money your way. Anime is too important to me.

Sincerely,

Karen Mead of The Otakusphere

UPDATE, NOVEMBER 12: There is now a WordPress blog where people can submit open letters to Funimation, provided they are respectful and on topic. I just submitted my letter.

Submit Your Letter to Funimation

Fall 2017 Anime Impressions

Since I’ve been watching more anime than usual lately, I figured I may as well take advantage of it and talk about the new shows like a proper Aniblogger. Here are my takes on some of this season’s offerings; keep in mind I only watch shows that are available on legal streaming services. This is less of an anti-piracy stance, and more of a “I am too goddamned old to be dealing with malware on my computer from dling torrents,” stance, but let’s all pretend it’s because of my unimpeachable moral compass.

Urahara– This show puts me in a bind; I really like what I think it’s trying to do, but it’s just not working. The washed-out color palette, the intentionally wonky hand-drawn backgrounds, the surrealist feel, the enemies that turn into candy when defeated? I love all of that. But somehow the designs and the art style just don’t seem to work together, and the story has all the urgency of watching paint dry. It’s just so nonsensical that it’s impossible to care about anything that’s happening; it also doesn’t help that the magical girl designs are the absolute worst part of the show.

Right now it feels like a half-baked version of Flip Flappers, a show that often felt surreal but managed to maintain a sense that what the characters were doing actually mattered on some level. I’m probably going to stick with it, just because I like some of the things the show is experimenting with, but I wouldn’t blame anyone for bailing out; it’s pretty much an incomprehensible, silly mess right now.

Anime-Gataris– There was something off about the art in the first episode that made me wonder if this was the studio’s first anime, but it turns out Wao World, the studio responsible for Gataris’ animation production, is prolific. The production company, DMM Pictures, is new, but I’m not sure how much that actually matters. The director, Kenshirou Mori, has relatively few credits, but one of them is the first episode of Full Metal Alchemist: Brotherhood. So, not exactly a newbie.

Normally I stay away from this kind of inside-baseball approach to anime, because I don’t know much about what goes on in production, but something about this show really made me want to try to figure out what the hell was going on. It looked like the show was made by people who had watched anime and taken a lot of notes, but had never actually made it before; there was something just slightly off-kilter about the colors, the shading, the backgrounds, etc. Even the piece of stock animation that Arisu uses to summon her butler looks like it was made in 1998. By the second episode, things had smoothed out a bit, but I’m still wondering if the weird look the show started with was a real phenomenon, or if I’m just hallucinating.

In terms of the story, there isn’t much to discuss. It’s a show about people talking about anime, so it runs on in-jokes and nods to otaku culture. The main thing it has going for it is that it’s making nods to very recent shows, so it’s more topical than these in-jokey shows tend to be. I’m going to keep watching it, but it doesn’t have a lot to offer unless you’ve been actively following anime for the last year or so.

The Ancient Magus Bride– I have to admit, I was distracted during this show because I couldn’t help wondering what Anime Feminist was going to think of it. A young girl sells herself into slavery, to a huge monster dude who calls her pet names and treats her like a dog? Including forcibly bathing her? How could the show itself possibly compete with the entertainment value of feminists having a complete meltdown over it?

Turns out, the person who reviewed it for AniFem has read the manga, so was able to reassure feminists that the sundry “red flags” in this episode are not truly indicative of the story’s overall quality. You would think this experience would lead AniFem to question their policy of “Screen all first episodes for problematic content and judge them accordingly,” but apparently not. Remember, I may defend AniFem’s right to exist, but that doesn’t mean I have to think that anything they publish is any good.

Oh right, I just wasted time talking about another anime blog and not the show itself. So far, it’s high quality overall, but it’s a bit of a cypher to me…I need to see more before forming an opinion, which is rare for me because having opinions tends to be one of my strengths, really. I think I was just too distracted by wondering about how this show was going to be perceived to pay enough attention to the substance of it, and that’s on me, not The Ancient Magus Bride.

Blend S– One of the Immutable Laws of Karen is that I will watch any anime that takes place in a coffee shop; keep in mind that I have watched not just one, but both seasons of Is the Order a Rabbit?, making me quite possibly the only straight woman on Earth who has done so. Maybe it’s my love for coffee in general, maybe it’s pure nostalgia for Polar Bear Cafe, but this is The Law; I must watch all of Blend S, because it takes place in a coffee shop. It doesn’t matter if it’s terrible.

Fortunately, it’s not terrible. The premise sounds like it’s going to be toying with some S&M vibes (since the main character is roleplaying a sadist as part of her gig at the cafe), but right now it’s very reminiscent of the lighthearted workplace comedy of Working! and its sequels. The whole S&M hook is really just a tease so far, since the humor is about as adult, as err….well, Working! The only slimy thing about it is how Maika’s boss continually hits on her, which is only really objectionable if you’re on the “anime must never depict anything that would not be acceptable IN REAL LIFE” train. I don’t know why anyone gets on that train, it’s a boring-ass train.

Recovery of an MMO Junkie– Another anime about people who spend much of their lives inside an MMO, although this one has an unusually adult take on it. Instead of teenagers and college students, the characters on this show are definitely old enough to drink, so they can drink screwdrivers in front of the computer while they wonder why they’re wasting their lives grinding for levels. (No one has actually done this one the show yet BTW, but it seems like something they would do.)

It’s gender-swapped, with the female character playing a male avatar in the MMO and vice versa, and it looks like it’s mainly going to focus on the romance between the lead characters. Normally, I would expect betrayal when they find out about each others’ true identities, followed by inevitable reconciliation, but this show is sophisticated enough about MMO culture that I trust it to go somewhere more interesting with the relationship. It would be really cool if after the reveal, both players just went “Oh, well that’s not surprising,” and just continued playing as normal.

A Sister’s All You Need– This show turned people off with an introductory scene that tried to portray little sister fetishism as disgustingly as possible, and succeeded, with stomach-turning results. Some concluded that the show was simply gross, but I think I get what they were doing by taking the little-sister trend to it’s logical (if unsettling) conclusion. And the show features interesting relationships between insecure writers, who are all insecure for different reasons, and that’s right in my wheelhouse.

This show actually reminds me of The Pet Girl of Sakurasou, which also received some early backlash for having a “gross” premise, which turned out to be entirely overblown. Now, it may turn out to be just another forgettable show trying to earn some points with shock value, but it could also be the little sister show that actually examines why people develop this obsession, which would be interesting. I would call it “a deconstruction of Oreimo and it’s ilk,” except A)I don’t actually know what ‘deconstruction’ means and B)that sounds so pretentious I would have to slap myself. Let’s just say that this show has the potential to do something different with its premise, and hope that it does.

Konohana Kitan– This feels incredibly bland to me. I think it’s trying to be that kind of episodic occult show where the supernatural-creature-of-the-week is the focus, and the main characters are more there for consistency than anything else. (See: Mushi-Shi, The Morose Mononokean.) However, too much attention is given to the little fox girls in the foreground for the show to have that kind of oblique feeling, which would be okay if the fox girls weren’t such boring characters.

It’s cute as hell, and if you like anime girls with fox ears and/or tails, this could be your Show of the Decade, but I’m not sure if it has much to offer besides moe/fetish appeal; it doesn’t have the sophisticated appeal of an occult anthology show, nor does it have strong enough characters to work as a slice of life show.

Love Is Like A Cocktail– As a big fan of I Can’t Understand What My Husband is Saying, I was anticipating this one; anime about stable, married couples are rare and intriguing. However, it’s hard to get excited about something that’s three minutes long. I get that these kinds of shows are designed as shorts, and they’re not meant to sustain full 22-minute episodes, but I still think three minutes is a little lean; I would prefer half-length episodes, like Muromi-san and Encouragement of Climb.

It’s cute, and having each episode themed around a drink works nicely, but it makes me wish there was more to it.

March Comes in Like A Lion, Season 2– So, hahahahah funny story, I thought I had completed the first season of this show, only to realize that I somehow stopped watching it towards the end and had no memory of doing so. That may sound like it bodes ill for Lion, because if it were a good show, surely I would remember whether I had finished the season or not? However, I think of this show as being kind of like the Marcel Proust of anime: it’s very artfully done and nuanced and everything, but sometimes you just can’t take it anymore and need to put it down for about five months.

Anyway, now that I’ve had a nice break, I look forward to catching up on Lion and finding out what’s new with Rei and his deranged sociopath of a stepsister.

Food Wars! The Third Plate– By now, you probably know whether you enjoy the Food Wars! brand of attractive and talented people having elaborately illustrated foodgasms over curry, or not. I found the formula was getting a little stale for me by the end of The Second Plate, but it’s still amusing enough to keep up with, for now. I find myself beginning to genuinely dislike Soma though: like, why you gotta challenge EVERY chef on the show to a duel? Can’t you just be secure in the knowledge that you cook good food,? Did you watch too much Top Chef as a toddler and it totally distorted your view of eating meals?

That’s all for now; I may pick up a few more fall shows, in which case I’ll write an Impressions: Part Deux post. However, it’s entirely possible that that will never happen, in which case I would like you to forget that we ever had this conversation.

Otakusphere Weekly #26: No One Ever Expects Drill Boobs

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Karen’s great “please God let me catch up on the podcast backlog” project continues, with this episode covering the first of the Fall 2016 anime finales and plenty of the other usual nonsense. Personally, I think this episode’s greatest contribution to the human race is our well-reasoned decision to pick Bakuon!! Jesus over Drifters Jesus as the flagship Anime Jesus, but we’ll let posterity be the final judge of that.

Otakusphere Weekly #25: Cleanse Your Palette With Death Parade

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Guess who got behind on her podcast editing HAHAHAHAHAHA *cries* yeah I’m really behind.

On the plus side, this was a pretty good episode, where we discussed a lot of stuff and not just the current simulcasts, including some shoujo manga, the Sword Art Online Vita and PS4 games, older anime like Death Parade and Ristorante Paradiso, and so on and so forth. We also learn that Evangelion was Lifesong’s Gateway anime, and there’s something more than a little disturbing about that. Like, everybody else got into anime with Sailor Moon or DBZ or something normal like that, and Lifesong watches Shinji slowly turn into a vegetable from trauma, but then somehow thinks “hmm, this is a pleasant art form that I now plan to engage with at some length.”

In other news, I would know how intense Izetta: The Last Witch  had gotten if I hadn’t dropped it, Magical Girl Raising Project kills more magical girls before 9 AM than most people do all day, and we may be the only people on earth concerned about the animation quality in Yuri on Ice!!! and not just dissolving into a puddle of mush over Victor and Yuri. Oh, and we want actual Christians to give us their take on Drifters Jesus, since he’s a lot like real Jesus when you get right down to it.

Otakusphere Weekly #24: Finally, Anime Hitler


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In this slightly disturbing episode, we discuss Moe Magical Girl decapitations, evil witches put into stasis as part of a Nazi plot, and the fact that Drifters has given us the anime version of Adolf Hitler that we never knew we wanted. Err, we also discuss some lighter stuff, like funny shipping wars in Kiss Him, Not Me, love between figure skaters and ice dancers, and the fact that Kaiju Girls portrays neither kaiju nor girls with any real enthusiasm.

In other news, LB is reading Welcome to the Ballroom, which he’s not that keen on, but we all need to buy it to prove that a market for ballroom dancing manga exists. I’m just still stuck on the fact that someone made a ballroom dancing manga and tried to make it all shonen-y; now I want a shonen manga all about home redecorating or something.

Otakusphere Weekly #23: I Want You, Main Character Girl!

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This week Kae gets fat again and then unfat really quickly, Ren temporarily jazzes up Uta Pri by declaring his inexplicable feelings for evil succubus Nanami, Izetta handles it’s spying plot in perhaps the most obnoxious way possible yet somehow makes up for it by giving us the visual of Fine eating pie, and uh…something something gay figure skating? Look, I’ll give you a better synopsis next time, I think the Tofu Turkey I ate might have temporarily broke the thing in my brain that allows me to summarize podcasts. The yams though? Those yams were DYNAMITE!

Otakusphere Weekly #22: There Are No Admins

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This time around, Keijo!!!!!!!! and Yuri on Ice!!! continue to earn their exclamation points, Izetta: The Last Witch and Magical Girl Raising Project leave us with some doubts, and this season of Uta Pri continues to be stultifyingly boring. In other news, we have now confirmed that Drifters‘ Jesus is a bad guy (what?) and none of the monsters in Kaiju Girls are ever going to have a cool fight (WHAT?)

Otakusphere Weekly #21: The World Revolves Around Tonkatsu, Once Again

marchlions

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This time around, we discuss March Comes in Like A Lion and how we would all like to either a)Have an Akari-figure in our lives or b) Be Akari. In other news, Magical Girl Raising Project surprises everyone, Keijo!!!!!!!! treats the Vacuum Butt Cannon issue with the seriousness it deserves, and Gakuen Handsome is…there is no describing what Gakuen Handsome is.

Oh, and Drifters featured the Second Coming of Christ and apparently only 1/3 of the audience even noticed. Maybe religious people should be concerned?

Otakusphere Weekly #20: Monologues from Cats

flipflap

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This time around, we jump down the rabbit hole with Flip Flappers, discuss the hidden meaning of the cats’ dialogue in March Comes in Like a Lion, and ponder the proper diet for a modern Keijo player. Additionally, is Girlish Number annoying, or is it just so brilliant in its recreation of workplace incompetence that it’s just painful for anyone who has ever held a job to watch? These questions, and more, answered* on this week’s** episode!

*To be perfectly candid, we don’t really answer these questions. But they are posed, and that should count for something, right?

**Our podcast timing has gotten weird and I have no idea if saying “this week’s episode” makes any sense, but whatever, I’m not getting into “fortnight” or what have you.