Are Japanese Games Better Than Western Ones?

2b and 9s Nier Automata (1383)I think it’s no secret that, due to immense cultural differences, the Japanese and Western gaming markets operate very differently in both the way their games are made and the actual products that are released to the public. Japanese games tend to be more “out there”, more cartoony and colorful, often being released on handheld systems like the 3DS or Vita (sometimes exclusively, other times alongside a console release). They experiment more, and when you pick up a Japanese game, you know that what you’re getting may not always be good, but it’s certainly going to be interesting and unique in some way. Western games, on the other hand, tend to be a bit more formulaic, focused instead on pushing the envelope of technology. Bigger worlds, more realistic graphics, more weapons and modes and content! Western games tend to be rather similar in nature (for example, “Call of Duty: Advanced Warfare”, “Call of Duty: Black Ops III” and “Call of Duty: Infinite Warfare” are so similar that they’re almost indistinguishable), but each one is bigger and more advanced than the last.

Up until now, the question of whether Western or Japanese games were better was purely a matter of preference. Some people enjoy brand new experiences – they like the quirky world, battle system and music of “The World Ends With You”, or the complete mindf*ckery of something like “Katamari Damacy”. Others prefer a more straightforward experience – a couple of matches of “Fifa” after work, or a new “Assassin’s Creed” game that gives you exactly what you expect from it. Nothing’s wrong with either approach, and over the years we’ve seen countless amazing games coming from both hemispheres. But something changed in 2017. A quick look at the top-rated games of the year shows that quite a few of them came from the East – way more than in previous years. “Breath of the Wild”, “Persona 5”, “Nier: Automata”, “Nioh”, “Resident Evil 7”, “Dragon Quest VIII”, “Yakuza 0” and many, many more games in the top charts came from Japan and not the West. That’s not to say that there weren’t any Western games found at all, with “Horizon: Zero Dawn” and the recently released “Prey” and “What Remains of Edith Finch” both finding a place near the top spot, but they’re definitely in the minority here.

So what’s happening? What changed? I feel like it has a lot to do with development cycles. In the West, games often have a set release date the moment they’re given the budget to start development, even if that release date isn’t always announced that early. Remember when in 2014 Marvel announced release dates for all of their movies going forward 5 years? Something similar happens with games, except it’s a lot less public, as games’ release dates tend to be a lot more finnicky and likely to be pushed back. However, games are also extremely expensive, and if a product is pushed back, it’s going to cause major setbacks to the developers, hitting them with heavy financial losses. The reason why so many games are released completely broken and then get fixed post-launch is precisely because some studios literally can not afford to not release a game when it’s scheduled, even if it doesn’t work. And then there’s the fact that in the West upper management often has more creative control over the games than the developers – they decide what gets released and what gets cut and sold as separate DLC, for example. The constant pressure of working long hours under a strict deadline while constantly taking into account executive meddling AND planning for the sequel all at once tends to drain many Western developers of their creativity.

Japan, on the other hand, does things a bit differently. For one, while in the West crunching for 10-12 hours in order to meet deadlines is considered an anomaly exclusive to game developers which tends to lower morale, in Japan extra long work days are common across the board, and even though they’re not particularly healthy, they’re considered the norm within that culture. In addition to that, while loose release windows are set, most Japanese companies tend to value creativity and a quality product over shipping something out the door as soon as humanly possible. While a Western developer like Activision absolutely needs a “Call of Duty” every single year to maximize profits, even if most of those games aren’t that great, Japanese developers are cool with waiting for an absurdly long time. The gap between “Final Fantasy XIII” and the next main single-player “Final Fantasy” title, XV, was eight years. The gap between “Persona 4” and “Persona 5” – also eight years. The gap between “Metal Gear Solid 4” and “Metal Gear Solid V”? Seven years. And probably the most famous example, the gap between “Shadow of the Colossus” and the studio’s next game, “The Last Guardian”, was eleven years. In the time it took Team ICO to create and release this one game, Ubisoft Montreal (just one of the numerous studios working under French publisher Ubisoft) released 44. And sure, some of these 44 games have been great, and it’s true that the developers have had help from other studios, but we’re lying to ourselves if we believe those games wouldn’t have been improved significantly if they were cut down in half.

But the thing is… Many studios can’t really afford to cut their workload in half. They need the revenue just to exist. Japan has a different standard than the US – if a Japanese game sells one million copies, it’s considered an astounding success, but if a Western game sells the same amount, depending on its budget, it may actually be considered a failure. Western developers need to release games constantly, and they need to be games that make money – even if they’re not necessarily good. If they don’t, they’ll just go the way of THQ and close their doors sooner or later. It’s lamentable, and the sad part is that there’s no real solution to this. Think about it – the best, most innovative Western games of the last few years are either indies with minimal budgets and not too much to lose or console exclusives where the console manufacturer foots the bill and allows the developers to get wild, because quality ships consoles. I don’t really see that changing, and as Western games keep pushing technology forward, game development will become more and more expensive and we’ll see Western games start taking less and less risks, hoping to appeal to the broadest demographic possible in order to sell. And don’t get me wrong, they’re probably still going to sell – by all accounts “Mass Effect Andromeda” is not a good game, released in a shoddy state and plagued by terrible writing and characterization, and yet it still managed to outsell “Nier: Automata”, one of the best action-RPGs ever made. Western games may be doomed to be inferior to their Japanese counterparts, but no matter what they will always sell better.

What Constitutes An Anime?

PapmhdiYeah, guys. We’re talking about “Shelter” today. Everyone else that is even marginally connected to anime is doing it, so… Sure, why not? It’s not like I’m going to be original about it… And besides, I did discover it before it blew up! Hang on, let me put on that scarf and fedora I keep around here… Seriously though, the funny story about “Shelter” is that I actually discovered it through the YouTube algorithm when it only had a little over a thousand views, and I sent it to a bunch of friends telling them “Holy crap, you guys totally need to watch this”, and of course not a single one of them watched it. And later on, when everyone and their mother realized that “Shelter” is one of the best animated music videos of all time, garnering over 3.5 million views at the time of this writing, suddenly those very same people were sending it to me. Gotta love it. In any case, don’t be dumb like my friends and go watch “Shelter” if you haven’t already. It’s 6 minutes long, and I promise you every second is worth it.

Anyway, my friends’ idiocy aside, there was another incident which happened pretty early on in the short’s lifespan which kind of helped boost its popularity even further, because as we all know controversy sells. /r/anime is one of the biggest communities for sharing anime stuff around, and that’s because it’s a very tightly moderated subreddit (subforum of the social media site Reddit). Off-topic threads get deleted pretty quickly, there are dedicated topics for each currently airing series, that kind of stuff. Overall, the moderators have been doing a pretty great job. Well, naturally, “Shelter” was uploaded there and immediately reached the top, garnering hundreds of thousands of upvotes… before promptly disappearing, never to be heard from again. The moderators even went as far as to add a script to the subreddit which automatically removed any threads with the word “Shelter” in their name or body. Why would they go to such extremes to ban this amazing short film?

Well… Because according to them, it’s not anime.

And if you haven’t actually watched the video, I can see you going “Yeah, that makes sense, just because something looks anime-ish doesn’t make it anime – I mean, look at Avatar or Teen Titans, those aren’t anime!” But anyone who has actually seen the short is probably going “Huh? It’s not?” After all, “Shelter” looks, sounds and even smells like anime! It wasn’t just inspired by anime, it decidedly feels like anime. It would look right at home airing on Japanese TV. The voice acting (what little there is of it) is all in Japanese. The color palette is just right. Honestly, the only non-anime thing about it is the song that plays over the music video, which features English vocals, but that’s about it. And the reason why the short feels so natively Japanese is because… Well, it was, um… Actually made in Japan, by Japanese people. You know, like all anime.

The short was made at the Japanese studio “A-1 Pictures”, which are responsible for anime classics like “Anohana”, “Sword Art Online”, “Black Butler”, “ERASED”, “OreImo” and many others, including “Persona: Trinity Soul”, but hey, we all make mistakes. They’re masters of their craft, with years of experience in the anime field and numerous legendary series behind their belt. So, it’s an anime-styled short that was made entirely by a Japanese studio, right? How come it’s not anime? Is it because of the music? Well, sort of. The thing is, “Shelter” is a passion project of Porter Robinson – a highly successful musician and avid anime fan. It’s his song, also titled “Shelter”, that plays over the animation, and the entire concept and storyline was his idea, with Robinson also acting as a producer, funding the project himself with some help from streaming service Crunchyroll. It’s his involvement, apparently, that disqualified “Shelter” from being considered anime. Because, you know… If the team behind an anime has a single white person on board, regardless of their role, then I’m really sorry, but that anime is no longer anime. It’s, um… Something. I’unno. No, seriously, you think I’m exaggerating? This is what one of the mods of /r/anime had to say about it:

“This is a music video by an artist that contracted out a studio that happens to also produce anime. If A-1 was contracted to produce episode of Spongebob, we wouldn’t allow that either.”

Woooooooooow. Just wow. Apparently, someone missed the memo stating that “Shelter” is not “Spongebob”. Well, at least this exchange gave us the “Spongebob is an anime” meme, which will probably circulate on Reddit for a little bit until it goes to that big deadpool in the sky when people move on. This whole thing begs the question – why did this happen in the first place? Well, two reasons. First of all, many hardcore anime fans (as in, the people who live and breathe anime, to the point where they do very little else with their lives) are kiiiind of sticklers when it comes to technicalities. To them, everything in anime must meet a certain set of criteria, or otherwise it doesn’t count no matter how obvious it is. For example, many anime fans don’t consider “Code Geass” to be a mecha anime because the giant robots in it aren’t the main focus like they are in, say, “Gundam”. So if one of the criteria for defining a certain piece of art as “anime” is “It’s produced by an entirely Japanese team”, the presence of a single white guy on the team has forever ruled out that particular artwork as “not anime” in their mind. Second of all, Reddit admins in general do tend to be a little bit totalitarian, banning people who disagree with their own views even when no rules have been broken and removing threads at their own personal discretion rather than by the community’s request.

Soon after “Shelter” was taken down from /r/anime, the sheer pressure from the userbase caused the mods to restore the original thread, even if they did so begrudgingly. Still, that whole debacle raised a whole lot of interesting questions. Is anime a set of criteria that need to be kept, or is it more of an artstyle? Why is something like, say, “Panty & Stocking”, which looks decidedly less like a traditional anime and more like a Western cartoon, considered anime just because it covers some arbitrary criteria while “Shelter” is not? In 100 years, when everyone involved in the creation of “Shelter” is dead, will it still matter who was white and who was not, or will the work be judged on its own merit? Or am I just overthinking an incident that lasted for a few hours and was triggered by a six minute short? Probably the latter, but… Hey, that’s what I’m here for, right?

Is Whitewashing A Big Deal?

Zac EfronNext year, we’ll actually be getting not one, but two major Hollywood productions based on anime series – “Ghost in the Shell”, starring Scarlett Johansson, and “Death Note”, starring Nat Wolff. Both adaptations have been trying to get off the ground for a really long time now (“The Matrix” was originally supposed to be a “Ghost in the Shell” adaptation, but the Wachowskis didn’t think they’d get the rights, so they took some main themes and styles and presented them in their own way, while “Death Note” had a failed adaptation with Zac Efron, which was a real shame because Zac Efron is literally Kira), so I’m actually really excited to see how they turn out! You already know that most anime adaptations are terrible, so if those two also suck, at least they’ll provide us with an entertaining experience, and maybe a fresh perspective on some beloved characters. And, of course, there’s always the chance that they might surprise us and turn out to be pretty damn awesome, which is what I’m rooting for! In any case, that’s not what I’m here to talk about. Instead, there’s another, more interesting topic that these movies touched on – the topic of whitewashing.

You see, “Death Note” is about a Japanese high school student who finds a notebook with the ability to kill people whose names are written within and decides to use it to ascend to godhood, and his struggle against the British detective of Japanese descent who is dispatched to catch him. “Ghost in the Shell”, while set in the future, stars Major Motoko Kusanagi – a cyborg heading a law enforcement division in a cyberpunk future. As you may have noticed, both of those characters are Japanese, and yet the actors who will be playing them in their live action adaptations, Nat Wolff and ScarJo, are very much not Japanese, or even Asian. That led to numerous news sources denouncing the movies, calling the practice of casting white actors to play Japanese characters “whitewashing” and saying that it stays in the way of diversity. Well, I’m here to tell you that whitewashing isn’t actually a big deal, and it actually helps diversity. Crazy, right? Keep reading!

First of all, it’s important to note that certain characters and settings really do require characters of a certain ethnicity to play the part. Iconic characters such as Luke Cage, Shaft, Storm and Black Panther must absolutely be black, otherwise they simply don’t work. Similarly, when a movie is very deeply entrenched in a certain culture and mythology, it’s generally a good idea to have actors that belong to the same culture. This is one of the biggest problems of “The Last Airbender”, which is already a terrible movie in many ways – its four nations were inspired by Tibet, China, Japan and the Inupiat tribes… So, naturally, the movie is mostly full of white people and Indians. Huh?

But let me ask you this – is the Japanese setting truly integral to the plot and themes of “Death Note”? Is anything lost by changing the setting from Japan to America? Similarly, is the character of Light Yagami (or Light Turner as he’ll be known in the Western adaptation) truly dependent on his ethnicity? The answer, of course, is no. The things that define “Death Note” are the gradual transformation of its protagonist from a well-intentioned extremist into a murderous psychopath, and the elaborate cat and mouse game between him and the detective sent to catch him in which they both lay out plans over plans over plans. “Death Note” is NOT entrenched in Japanese culture, nor does it rely on its characters being a certain race to tell its story. So all of the accusations that the movie doesn’t have diversity because of whitewashing are stupid, especially because L – the detective in charge of catching Light – has been changed from a Brit with Japanese ancestry to a black man. Considering the fact that I have personally seen forum posts of black cosplayers who wanted to cosplay L, but were afraid that their skin color wouldn’t enable them to, this is actually pretty huge and a much better choice in my opinion than just making him Asian. You know what movie REALLY doesn’t have diversity, though? The Japanese version of “Death Note”, which is great, I admit, but it casts Japanese actors in every single role. Including the people who, in the manga and anime, are Brits. Everyone is Japanese. But wait! It gets WORSE! In the “Attack on Titan” manga and anime, all the characters are Western – the fact that people no longer have distinct races (because there’s so few of them) and a certain character is the last Asian (and she’s only half-Asian to boot) is a plot point. Come the movie, and every single one of the characters is once again played by a Japanese actor. Why did no one accuse those movies of yellow-washing or something? Oh, that’s right – because Japanese people actually don’t care about this sort of thing whatsoever.

That’s probably the funniest part of this whole charade. Many Westerners go on this anti-whitewashing crusade thinking that they’re representing Asian people (as if Asians are some kind of oppressed minority that doesn’t have a voice of its own and needs the mighty whitey to speak for it), when in reality most Japanese people aren’t really all that bothered by it. If you look at a Japanese message boards, the people who are actually disturbed by the casting in any capacity are in the minority, and a lot of them are bothered because of reasons other than the actress’ race (one commenter points that ScarJo looks too kind to be Major Kusanagi, which I can kind of see). The majority of comments actually defend the casting, citing reasons such as the lack of high-profile Japanese actresses in Hollywood (at least none that have the star power that rivals that of Scarlet Johansson) and the fact that putting a particular race on a machine (which is what the character is) is ridiculous. The bottom line is that, nine times out of ten, there’s absolutely no reason to get outraged at whitewashing. In most cases, it’s really not a bad practice, and it can sometimes be good! Just ask any black L cosplayer you see from next year onwards!

Kiznaiver Review – Would You Share Someone’s Pain?

KiznaiverWhile “Kill la Kill” is definitely a very “love it or hate it” kind of show, in the same vein as “Attack on Titan”, it served the purpose of putting its creator, studio Trigger, on the map, and making them one of the most recognizable names in anime. As such, when it was announced that they were working on a new anime that would air for a 12-episode run in 2012, you can bet that all eyes were on it as the starved fans waited to dig their teeth into whatever weird-but-deeper-than-expected adventure they’d be presented with next. Upon its release, “Kiznaiver” immediately became the stand-out anime of the season, with many praising its premise and characters before quickly… forgetting all about it and moving on to other things. Surprisingly, “Kiznaiver” neither became a classic nor was despised by fans, so… Is it good, or is it bad? Let’s get to the bottom of it together!

The series is set in a near-futuristic city and centers on a small group of classmates who find themselves kidnapped by a mysterious organization and forced to participate in an experiment. Don’t worry, the series is a lot more cheerful and upbeat than something like “Danganronpa”, as the experiment doesn’t involve any physical harm coming to them… At least none that is caused by the organization. Instead, the teenagers are turned into Kiznaivers – people with a mental and physical connection who can share each other’s pain. If one of them is punched in the face, all six of them feel the pain of being punched in the face. Their primary task is to survive until the end of the summer, which is when they’ll stop being Kiznaivers and can go back to being normal students again.

Now, let me say from the beginning that the premise is AWESOME! Sure, the idea of a cast of characters being brought together by something is used in pretty much every single anime series ever, but this time the cast has a literal connection to each other that causes them to watch out for each other and help their fellow Kiznaivers whenever they can. Keep in mind that, one exception aside, most of the Kiznaivers are complete strangers despite being in the same class, so the experiment acts as the push they need to truly bond and become friends, which is fascinating to watch. Another thing I need to point out is the animation, which is absolutely stellar. I mean, geez, just look at this opening – so much creativity in just 90 seconds! Within the series itself, the character designs are great, the animation is fluid and smooth, and the colors pop out quite nicely. It’s a beautiful anime to just watch! Unfortunately, that’s about where the good points end.

A lot of praise went to the characters, but honestly? Most of them are just stereotypes. Main character Katsuhira is your standard quiet protagonist with a mysterious past that every woman seems to love anyway – there’s nothing new under the sun. Chidori is the unlucky childhood friend with a crush on Katsuhira who is too embarrassed to admit it. Tenga is the big dude who’s not that smart and loves to fight, but has a big heart. Yuta is the popular pretty boy who, um… Did something, I guess. I don’t know, I don’t remember much about Yuta. The best characters are undoubtedly Nico and Maki, who are still stereotypes, don’t get me wrong, but they’re also a bit of a subversion. At first, Nico seems like a very typical cloudcuckoolander, with her energetic over the top reactions, the fact that she still believes in fairies despite being in high school and her very unique fashion sense (seriously, what is wrong with her hair), but it’s quickly revealed that this is just a persona she built for herself because she didn’t want people to think of her as the spoiled rich girl. Maki, on the other hand, seems like the typical kuudere who refuses to open up to people, but honestly, this behavior stems from some very real trauma she sustained, and there are numerous hints pointing towards the idea that she might have Asperger’s, which further helps to explain her behavior. Sadly, not even Nico and Maki can save this otherwise very boring and typical cast of characters.

Another thing that stands against “Kiznaiver” is just how many missed opportunities it has. As I said, the premise is fantastic, but unfortunately it – much like the premise of “Sword Art Online” – is better developed in your head than on the screen. While there are certainly moments in which the anime takes advantage of its premise in unique ways (asking questions such as “what if a Kiznaiver is physically unable to feel pain”, or “what if a Kiznaiver is a masochist”), a lot of interesting ideas remain unexplored. Half of the Kiznaivers are girls, so what happens when they get their periods? Seeing the guys struggle with the kind of pain that girls need to bear every month would’ve made for some pretty fun comedy, and more importantly, it would’ve deepened the characters’ understanding of each other. Or what if one of the characters was sick and required painful treatments or even a surgery? It might have been interesting to make one of the cast members diabetic and see the cast react to the daily insulin injections. I could go on and on, but my point is that “Kiznaiver” could have done a LOT more with its premise.

Instead of just creating some interesting characters and setups and letting them free into this world, “Kiznaiver” feels the constant need to literally force situations on us. Throughout the summer the organization behind the Kiznaivers continuously place them in various experiments and setups in order to test out various features of the Kiznaiver program, and honestly, I feel like it would’ve been way better if those results were achieved naturally. For example, in one episode the group is chased by murderous mascots controlled by the organization, with the hopes that they would be split up into pairs which could form romantic attractions so that the effects of pain from heartbreak can be studied. And I’m just sitting there thinking… “Could you have a less natural way of shipping your characters?” Instead of just letting the relationships grow gradually due to subtle character moments, “Kiznaiver” seems intent on picking up a few canon couples and just shoving them down the viewer’s throat as forcefully as possible in scenarios like the one I explained above. And, of course, at the end of the series, almost everyone ends up with someone, tying everything with a nice little bow. And while in any other series two characters finally ending up together is seen as a climax, here my reaction was more along the lines of “Meh, whatever.”

If the premise of “Kiznaiver” sounds interesting to you, then maybe the show is worth a watch just for that alone. Just be wary of the fact that it’s not a masterpiece, and will likely be forgotten within the next few years. Enjoy it for what it is if you can, and if you can’t, don’t worry – it’s not that long, anyhow. And besides, if push comes to shove, “Kiznaiver” is a fantastic anime to test out the 3 episode rule with. If you’re interested, watch the first 3 episodes and see if it grabs you. If it doesn’t, the remainder probably won’t either.

Persona 3 vs Persona 4 – Which is Better?

PersonaHey, remember how last time I said I was going to go into some articles about fan-favorite franchise “Shin Megami Tensei: Persona” (which I’m going to refer to from now on simply as “Persona” in an attempt to shave off a couple hundred words from having to constantly write the full names of the games)? Well, here I am, ready to keep my promise! While “Shin Megami Tensei” is still kind of a niche franchise that only JRPG aficionados have any real interest in, its “Persona” spinoff has grown into a cultural phenomenon. Nobody thought that a game that is so deeply rooted in Japanese culture, philosophy and mythology could be successful worldwide – in fact, when released overseas, the first “Persona” was majorly overhauled for an American audience, with changed names and locales to make it more Western. Neither the first nor second games were really big hits on the original PlayStation, but when “Persona 3” hit on PS2… Boy oh boy.

The game acted as a soft reboot of the franchise, changing many of its core elements and overall acting as its own thing, and it was beautiful. Shortly afterwards, the world was treated to “Persona 4”, which managed to sell about a million units worldwide (which may not seem like much, but for an obscure JRPG in 2008 it was a ton) and made “Persona” into a cultural phenomenon. “Persona 4” built its own story, characters and world only loosely connected to that of “Persona 3”, but kept many of its predecessor’s mechanics and assets, inviting numerous comparisons between the two. Now, don’t get me wrong, sales and popularity-wise, “Persona 4” blows “Persona 3” out of the park, to the point where it was popular enough to receive two anime adaptations, an updated re-release on the Vita, two fighting game spinoffs and a dancing game spinoff. But putting that aside, if we compare P3 and P4 objectively, which one of them is superior?

I’m not going to be comparing things like graphics, mechanics or any other technical stuff – honestly, the two games are nearly identical when it comes to those. Instead, I’d like to focus on the story, characters and atmosphere of each game, which is where they REALLY start to come apart. Story-wise, there’s absolutely no doubt about it – “Persona 3” is infinitely superior. “Persona 3”, at its core, is a tale about life and death, exploring them as both sides of the same coin. It’s a constant motive throughout the game that you need to die so that others can live, and vice versa. Hell, the way you fight is by shooting yourself in the head – if that doesn’t make the themes clear, I don’t know what does. But even if we place the symbolism and complex themes aside, the plot is actually really interesting, featuring numerous turns, twists and revelations, including one of the best mid-game reveals I’ve ever seen in my entire life, which I won’t dare spoil here. “Persona 4”, on the other hand, places a lot less emphasis on its plot. At its core, it’s a murder mystery, but it’s a pretty terrible one – none of the victims are even remotely likeable (in no small part because you end up saving most of the victims before their deaths so they can become your party members), there are really no major clues that point out towards the identity of the killer, and you need to figure it out based on circumstantial evidence alone. It’s not great.

When it comes to characters, on the other hand, “Persona 4” is the winner… Though it is pretty close. Don’t get me wrong, I love the “Persona 3” characters, but… I don’t know. Look, it’s complicated. It’s not like the “Persona 3” cast is bad, quite the opposite – they’re great guys, all of them. But “Persona 4” has two things that distinguish it from its predecessor – first and foremost, it has based its dungeons on its characters, which allows you to learn about them during combat and exploration rather than simply through dialogue. Second of all, “Persona 4” is kind of like wish fulfillment – it’s a fantasy friendship. Everyone gets along with everyone, they constantly hang out together and do fun stuff… You get the feeling that they’re not just together because of the events in the story, and that they’d remain friends even if they weren’t obligated to be. On the other hand, the “Persona 3” cast goes through a lot of turmoil, and they’re not quite as close as their P4 counterparts. It’s made pretty clear that, at the end of that story, all of them will go their own separate ways, and that’s fine. On the other hand, you truly feel like you’ve lost some real friends once the credits of “Persona 4” start rolling, and that’s not something that can be easily replicated.

What about atmosphere, though? Considering the fact that P3’s motif is all about life and death, you can imagine that the game gets pretty grim at times. Almost every single party member has to deal with the loss of someone in their life. Party members die, deal with depression, consider suicide, undergo nervous breakdowns, but ultimately come off as stronger people than they have been before their ordeal. The atmosphere is dark, but I wouldn’t call it “edgy” or “emo” – there are just enough bright and happy moments to offset the darkness. The message of the game is quite clear – “Being a Persona user is suffering. The fact that we have this power gives us the responsibility to use it for good, as well as all of the burdens that come with it.” On the other hand, there are nothing BUT happy moments in “Persona 4”. Well, sure, that’s not entirely right, there’s exactly one sadder moment that gets resolved pretty much immediately (as long as you’re not an idiot and trigger the bad ending). Other than that, the message is very clearly “Being a Persona user is having a fun time with friends”. Neither is better than the other, so I guess the final result is a… Draw? That’s kind of anti-climactic, but it is pretty accurate. The thing is, neither of them is better than the other. They’re both great, in their own, unique way. If you’re looking for something a bit darker, more complex and with a great plot, if you get a tickle from psychological titles with lots of symbolism in the vein of “Silent Hill”, go with “Persona 3”. If you prefer to have pure, unadulterated fun in a character-driven JRPG, “Persona 4” is for you. Now pick your favorite and go hunt some Shadows!

Do People Hate Pachinko?

PachinkoOkay, people, we’re taking a little bit of a break from our usual anime and anime-inspired topics for a little bit in order to dive a little bit into Japanese culture! I promise that I’ve got plenty of anime-themed posts for you to enjoy (including, but not limited to, a review of “Kiznaiver”, the new anime from the folks behind “Kill La Kill”, and a multi-part retrospective of the “Persona” franchise), but for now I’d like to focus on something a bit different which I regardless find quite interesting, and somewhat relevant to our interests. If you’re strictly interested in my anime thoughts, then feel free to stop reading and wait for my next article, but if you’re fascinated by Japanese culture, then keep on reading! In particular, we’re going to be talking about pachinko machines, which have been a staple of Japanese arcades since the 1920s and have become a big part of the country’s identity, with entire pachinko parlors popping up in numerous cities hosting nothing but dozens upon dozens of pachinko machines. Since gambling, in most of its forms, is strictly prohibited in Japan, pachinko is the closest that most people get to real gambling. It’s actually an ingenious system that has been created by someone deserving of a whole lot more credit than they actually got – when you play pachinko, you earn tickets that you can exchange for prizes. Next to most parlors are entirely separate businesses that will buy those prizes back for cash, so as a result you’re pretty much gambling without breaking any of Japan’s strict laws. Brilliant!

But if you’ve been on the Internet… Well, at all in the last couple of years, you might have seen a lot of backlash towards pachinko machines. The announcement of pachinko adaptations of beloved franchises such as “King of Fighters”, “Silent Hill” and “Metal Gear Solid” was met with an uproar among the fan community even though the overwhelming majority of them will never even get to play them, since pachinko is practically non-existent outside of Japan. Controversy after controversy surrounding the announcement of Pachinko machines happened, and even if we put that aside, there seems to be hardly a good word about them on the Internet. Gaijin Goomba – a popular YouTuber whose whole shtick is that he’s intimately familiar with Japanese culture, seemed utterly flabbergasted by pachinko. But why is that? Why all the hate for pachinko when traditional Western gambling doesn’t receive anywhere near this much hate? I mean, sure, there’s still people who go all “slot machines suck your soul and online gambling is the Devil”, but for the most part people seem to be pretty okay with it, especially if we take into consideration its excellent online casino reviews. So why do people hate pachinko?

Well, I asked a couple of my Japanese friends, and the truth is… Drumroll, please… They don’t. Not in Japan, at least. In Japan, people regard pachinko more or less in the same vein that Westerners regard their own gambling. Keep in mind that there is a bit of a generational gap – while in the West gambling is enjoyed by people of all ages, in Japan pachinko is mostly played by older people, which is a big part of the reason why many developers try to push machines bearing the licenses of franchises that appeal to the 20-25 demographic, like “Metal Gear Solid”. And that’s another part – to many Western fans, the existence of a pachinko machine means that the core series suffers. And the worst part is that they’re usually right. Konami, the publisher behind the aforementioned “Metal Gear Solid” and “Silent Hill”, had announced not too long ago that they would cease development of any console titles in favor of pachinko machines, since they cost less to make and as such are more profitable. And while they appear to have backed down on that decision, at the time it truly angered many fans of their franchises, including me. My point is that the hatred isn’t really directed towards the pachinko machines themselves, more towards Konami (and other developers) and their decision to prioritize them over more substantial experiences. It’s like hating on a younger sibling who receives all the affection – we’re not really hating the sibling, just the fact that they get all the love. I hope that clears at least some of it up, and if you enjoyed my little dive into a tiny part of Japan’s culture, then I wouldn’t mind doing it again sometime! And if you didn’t, then stay tuned – we’ll be back to our regularly scheduled programming next time!

The Problem With Anime Adaptations

Hokuto No Ken MovieAttack on Titan. Higurashi No Naku Koro Ni. DragonBall. Three beloved anime series that many consider to be among the best. You know what else connects them? All three were adapted into live action movies, and all three (well, five, technically – “Attack on Titan” and “Higurashi” were split into two parts) of those movies were absolute garbage. “The Guyver”, “Devilman”, “Hokuto no Ken”, “Usagi Drop” and many, many, many more examples released over the years just continue to prove, over and over again, that neither Hollywood nor Japanese filmmakers have any idea how to take an anime series and adapt it into live action properly. I mean, sure, there have been a handful of successes, such as “Death Note” and “Ruroni Kenshin”, but those are very few and very far in between. And with “Ghost in the Shell”, “Akira” and the Western “Death Note” set to debut within the next few years, one has to wonder if the problem with anime adaptations will be finally resolved.

But what is the problem, anyway? Why do so many adaptations actually fail? Let’s take a closer look at a couple of examples and try to discover the reason. Right off the bat, one of the main causes for this discrepancy, in my opinion, is that many filmmakers simply don’t understand the source material that well. As fans, we all want to see as much of what we love on the big screen, but at the same time, we’re prepared to accept the fact that you can’t properly adapt a full anime series into a 2 hour movie (or even two 2-hour movies) without cutting some things out. However, what we expect to see is the essence of the story, its core. To pull an example from a different adaptation, when you go and watch an Iron Man movie, you go to see a movie about a billionaire playboy who built a high-tech suit of armor in order to fight crime – the details around that are irrelevant, but that core is essential to all movies starring Iron Man. If, all of a sudden, you went to watch Iron Man and all of a sudden you saw a medieval drama, you’d be disappointed. You might think that there’s no way this can happen, but this is exactly what happened with the Western adaptations of “Dragonball” and “Hokuto no Ken”, which completely lost the essence of what the original stories were all about and instead turned into something that was an entirely different genre.

Another great pitfall that many filmmakers fall into is making unnecessary changes. A lot of directors think that they absolutely NEED to change things around in order to leave their mark on the franchise when that’s not necessary at all. Two good examples are “Higurashi No Naku Koro Ni” and “Attack on Titan”. There are many elements in “Higurashi” which have been preserved, and prove that the filmmaker was quite familiar with the source material and was clever enough to leave easter eggs that only the most hardcore fans would get. And yet those very same hardcore fans are later disappointed by the revelation that character personalities, appearances and relationships have been completely altered for absolutely no reason whatsoever. The changes don’t help the plot along at all – in fact, many of them actually hinder it. For example, Keiichi, the relatable protagonist that’s portrayed as a level-headed, fun-loving young man in the source material who gradually grows more and more paranoid of his friends, is depicted in the movie as an absolute douchebag with a virgin moustache who doesn’t seem like he even cares about his friends to begin with, so as a result the audience has no reason to care about him or anything that happens to him.

And then there’s the adaptations with are simply unfilmable. An excellent example of that is “Gyakuten Saiban”, or “Ace Attorney”. True, it’s not based on an anime (its source material is a visual novel), but it’s close enough, so we’ll count it. On paper, this should’ve been the perfect anime adaptation – the style was nailed to a T, the story is presented very accurately, nothing of importance has been cut… So why did the movie fail? Well, it’s because it portrayed its source material a little too well. Anime and movies are different mediums. Anime (especially something as wacky as Ace Attorney is) relies heavily on exaggerations in order to get its messages across, because it’s often limited in its animation. If you need to show that a character is shocked, you can’t just have them open their eyes a little bit wider like a normal person would because nobody in the audience would catch that – you need them to go “WOAH!!!” and just have the most over the top anime reaction you can think of. Real life actors, on the other hand, are not cartoons, and as a result are capable of portraying a lot more subtlety than their drawn counterparts. They don’t need to go “WOAH!!!” when they’re shocked, they can express that through body language. So when you try to make them act like cartoons, it’s only going to seem jarring and unnatural.

As I said earlier, “Death Note” is definitely one of the examples that gets brought up a lot when discussing good anime adaptations, and with good reason, too. It absolutely nails the core of the story (a cat and mouse game between a detective and a serial killer from the perspective of the killer), it hits all the important story beats from the source material while cutting out all the fluff, and all of the changes (and I do mean ALL of them) make the story better. It’s clear that the people who worked on it have a deep appreciation for “Death Note” and didn’t just want to make a quick buck with the live action adaptation, but were genuinely trying to deliver the best movie they possibly could. And at the end of the day, that’s really all you could hope for.

Japanese RPGs You May Not Have Heard Of

Radiant HistoriaQuick! Name the best Japanese RPG you’ve ever played! No, no, don’t think about it, just say the first thing that comes into your mind. “Final Fantasy VII”? “Persona 4”? “Secret of Mana”? Ha, you know nothing, Jon Snow! Everybody knows that “Final Fantasy VI”, “Persona 3” and “Adventures of Mana” are the superior games! Seriously though, when it comes to JRPGs in particular, there’s usually a couple of titles or series that seem to pop up on everyone’s radars, whether it’s because they grew up with them (like “Chrono Trigger”), because they discovered them and realized they’re consistently good (like the “Tales” series) or because, well, they’re just really, really great (like “Xenoblade Chronicles”). However, there’s just as many awesome JRPGs that you may not have heard of, yet still deserve your attention! Today we’re gonna do something a little bit different and, rather than talk about anime, we’re going to be talking about games inspired by anime! Sound good? Alright, let’s get cracking!

1. Conception II

Let’s start off with something unbelievably weird, shall we? “Conception II” is definitely very Japanese, so if you’re looking for something a bit more conventional, you might want to look elsewhere. The basic plot is simple – monsters are coming out of dungeons and terrorizing the peasant in a fantasy/sci-fi land, and it’s your job as a student at a warriors’ academy to enter those dungeons and shut them down for good! One of the ways you can fight those monsters is through the use of Star Children – magical creatures of various levels of ability that can assist you in combat and can belong to various different classes. Only problem is, the only way you can create these Star Children is, um… Well… You see, when a male JRPG protagonist and a female party member love each other very much… Don’t worry, the process is entirely PG-13, but that doesn’t make it any less awkward . The closer you are to your party member, the stronger your Star Children are, which adds an element of dating sim to the game, with each of the girls having her own storyline that you can follow, in addition to taking her out on dates and such. Add to that some actually pretty solid fighting mechanics and you’ve got one of the best Vita JRPGs out there… If you can handle all the weirdness!

2. Fate/Extra

If you’re a fan of anime, then you’ve most likely seen something related to the “Fate/Stay Night”, be it the mediocre original anime, the EXCELLENT “Fate/Zero” or the “not quite as good as Zero but still pretty good” “Unlimited Blade Works”. For the five of you who haven’t seen it, the “Fate” franchise basically revolves around the Holy Grail War – a competition between seven Mages, each of which has summoned a heroic Servant (a legend from history) to serve as their proxy in combat. In “Fate/Extra”, which is set in an alternate universe to the anime, the war has escalated and now there are 128 Mages competing for the Holy Grail in a single elimination tournament. The winner gets to move on in the bracket, the loser dies. That dynamic creates one of the most emotional games I’ve ever played, since you basically spend each in-game week collecting every possible piece of information about your opponent and interacting with them, only to end up having to kill them at the end. It really says a lot about how emotional the game is when it made me shed tears for Shinji Matou, of all people. On top of that, the game has a very unique rock/paper/scissors battle system which rewards you for knowing your opponents well while keeping combat fast-paced, and I can’t praise it enough for it! I just wish that the sequel/alternate story, “Fate/Extra CCC”, would get released in the West already.

3. Radiant Historia

Now, I’m going to keep this entry short because “Radiant Historia” is truly one of those games that are better experienced going blind into them, but suffice to say, it’s by far the best JRPG on the DS, and that’s a system with “Final Fantasy”, “Dragon Quest” and the absolutely amazing “The World Ends With You”! Basically, if you liked “Chrono Trigger”, but were hoping for something a bit more tactical without going into a straight-up tactics game, “Radiant Historia” is absolutely going to be your jam. Seriously, I didn’t think I’d enjoy it, and 35 hours later I was like “Huh? I’m at the credits already? What happened? Wait, why is it Wednesday?!”

Is “Attack on Titan” Really That Great?

attack on titanIn 2013, the anime series “Attack on Titan” hit the world by storm, creating one of the biggest anime hits of all time. Come on, don’t pretend – if you’re here you know about it! Practically every single anime convention ever since 2013 has had at least one member of the Survey Corps among its ranks of cosplayers, and even today, in early 2016, the Internet is STILL buzzing with discussions about it! Hell, the anime was so successful that even the creators didn’t expect it to grow THAT big, which is why today, 3 years later, the second season is still in development. That didn’t stop the Japanese movie machine from releasing two live action movies of dubious quality, several animated features with footage from the show and, of course, countless ads featuring the titular Titans. And after playing numerous videogames based on the franchise, the latest of which (titled simply “Attack on Titan”) released weeks ago in Japan, I can’t help but stop and ask myself… Why? Why is this anime so unbelievably popular, to the point where it has overshadowed everything else released in the last 3 years? Let’s take a closer look.

First, let’s discuss the things the anime does really right. It doesn’t take a trained otaku to realize that the visuals are phenomenal. This is a show that spared no expense in crafting its visuals, and it really shows. While “Attack on Titan” looks great practically all the time, it really shines during the action scenes, which involves the main characters leaping around in an attempt to reach the necks of the gargantuan Titans. The camera spins around, tracking each member of the Survey Corps as they leap across buildings in a way that would make even Spider-Man jealous. It is by far one of the best-looking anime series to date, and I’m comparing it with the best, such as “Fate/Stay Night: Unlimited Blade Works”. Another thing I really loved about it was the depiction of war and PTSD. While there isn’t such a thing as a draft in the “Attack on Titan” universe, a lot of young people are pretty much forced to either join the army and help fight an enemy that they don’t understand nor stand a chance against or starve on the streets. As such, when the Titans finally attack, it’s little wonder that everyone is absolutely, gut-wrenchingly terrified. Some even go as far as to take their own lives, considering that a preferable option to being devoured. Watching the first real battle of the anime gave me chilling “Enemy at the Gates” vibes as I saw these young people, literally on the day of their graduation, being slaughtered like cattle. It’s horrible, it’s hard to watch and I love every second of it.

There were, however, many things that I didn’t love. Can you give me a synopsis of “Attack on Titan”? Okay, so the main character Eren is living a peaceful life with his family… And then Titans attack and everybody he knows dies safe for his best friends Mikasa and Armin. He vows to fight and kill all the Titans, joining the army and training to become a soldier… And then Titans attack and everybody he knows dies, safe for his best friends Mikasa and Armin. Distraught, Eren decides to join the Survey Corps and leave the comfort of his own home in order to kill all the Titans… And then Titans attack and everybody he knows dies, safe for his best friends Mikasa and Armin. You seeing a pattern here? The anime doesn’t have a plot, it just has a series of skirmishes against the Titans, which I guess would’ve worked out fine if they were spread out across Eren’s lifetime, but after the initial Titan attack in his childhood the guy seems to be attacked by Titans every few weeks. It’s ridiculous. This war, if you can call it that, has been fought for thousands of years, and all of a sudden this dude shows up and survives numerous battles in the span of a month or so alongside his best friends? I call nonsense.

And speaking of the best friends, have you noticed that all of the characters are extremely simplistic? Eren’s entire character can be summed up in 5 words – “Wants to kill the Titans”. Mikasa, his best friend since childhood, is even simpler – “Wants to protect Eren”. Don’t even get me started about how problematic it is that a female character’s entire being and everything she does and feels is based around a male character, to the point where when Eren is considered dead Mikasa almost ceases to function as a human being in the middle of battle. Armin is the most complex of all, since he takes slightly more words to describe, but essentially he wants to prove that he’s not as useless as his friends despite being the worst out of them when it comes to killing Titans. But that’s another major problem, isn’t it? Eren, out of nowhere, has the ability to turn into a Titan at will. Mikasa, out of nowhere, proves to be the most proficient soldier who ever lived, even putting veteran Titan killer Captain Levi to shame. Armin is hinted to be a strategic genius, but I’ll leave him alone for now and just focus on Eren and Mikasa. Why are these two people so special when all of their compatriots die left, right and center? And more importantly, why are we even following them? This is supposed to be a war story, even if the enemy isn’t human. You don’t see the Terminator pop up to save Private Ryan in the movie, do you?

But at the end of the day, maybe this simplicity is precisely what makes “Attack on Titan” so popular. It’s not an anime that requires you to think too much. Its premise alone provides you with thrills, excitement and drama, so as long as the writers keep throwing Titans at us we’ll be happy. Not every anime needs to be “Ergo Proxy” or “Neon Genesis Evangelion”, after all. Sometimes otakus need comfort food – something that’s, as the meme goes, same same, but different, but still same. “Attack on Titan” is that comfort food, and it does its job well. Just don’t expect it to be a gourmet.

Which Anime Series Would Make Good Slots?

slotsAs some of you may already know, I’m actually a pretty big fan of online casino games, slots in particular. It’s not something that I obsess over religiously (you know, like anime), but it’s still an activity that I absolutely adore. The few of you who already know about it have probably read my previous article in which I complained that every single slot I’ve played which was based on an anime series has been, well, pretty damn bad. I was thinking about that a few days ago, more specifically wondering how to make them better. Ultimately, the question I ended up asking myself was this – if I could turn any anime into an online slot, which would it be? Now, keep in mind that I don’t believe that “Neon Genesis Evangelion” and “Ghost in the Shell”, whose slots I complained about in my article, are bad series – very, very far from it. But I do think that they weren’t suitable for slots. In this day and age, when online casinos are so advanced (especially the casinos that allow their customers to deposit with PayPal, which are typically top of the line), we can’t afford to settle for subpar slots.

So, what series are suitable, in my opinion? Well, first of all, we have to keep in mind that there’s a bit of a culture shock here. Anime is entirely a Japanese invention, and most series remain strictly in Japan, and when they do leave the island they’re mostly consumed by Anime fans and not the general population. The problem is that the circle of anime fans and the circle of online gamblers overlaps only a little bit, so we need to pick series which appeal to not only anime fans, but Westerners in general. As such, it’s a bit of a no-brainer to pick “Attack on Titan” as one of the best series that can be adapted into a slot. There’s more than enough characters and enemy variations to create more than enough symbols without having to resort to letters (just make all the major symbols characters and the minor ones Titans and you’re all done! In addition, you can also make a Titan Slaying bonus game where you need to navigate Eren or Mikasa as they leap through the streets, picking a direction and hoping to dodge all the Titans, with every kill netting you more money. See, this slot designs itself!

Another extremely popular slot is, of course, “One Piece”, which I’ve written about before. As you know, it’s the most popular manga in the world, by a gigantic margin, with every single volume that comes out topping the sales charts of its respective month, every year. “One Piece” is also a series with a whole ton of characters, which is a quality that lends itself very well to slots. And besides that, the main character can stretch his body like rubber – just think about the countless bonus games you could create with that! Maybe you can have him protecting his friends from cannonballs by punching them out of the sky or something. Or if you’re looking for a variation of the classic “cups” game which shows up in almost every slot (where you have a bunch of items laid out and you can select one or several, with a different prize hiding in each one), then you can always have the Grand Line in there! Have a bunch of islands that the crew can choose to visit in any order they want, with one island containing One Piece (and ending the bonus game, giving you a huge bonus) and one island containing Blackbeard (once again ending the game, but without the bonus). If someone wants to hire me to design this, please use the “Contact” form at the top of the site!

“Paranoia Agent” – A Peek Into The Mind Of One Of Japan’s Greatest Directors

paranoia agentWhen you ask somebody who’s not really all that interested into anime to cite a couple of anime films, the responses are always the same. “Akira”, “Ghost in the Shell”, “Spirited Away”… But a lot of people will also mention another movie by the name of “Paprika”. While most anime movies don’t receive a wide release outside of Japan, “Paprika” did, and it’s very easy to see why – its stellar animation, mindbending visuals and story that’s confusing in all the right ways made it a hit in Japan, and won it a moderate success outside of it, which is about as much as anime movies can enjoy, really. “Paprika” is a very interesting case within the anime industry because its director, Satoshi Kon, has never actually made a bad movie. Not only that – he’s never made anything that hasn’t been absolutely and completely stellar. From “Perfect Blue”, which inspired a generation of Hollywood directors, through the brilliant “Millennium Actress” which showed the world how a character-driven historical drama was supposed to be made, to the amazing “Tokyo Godfathers” which is, by far, the best Christmas movie I’ve ever seen despite coming from a culture that celebrates Christmas by eating lots of KFC. His movies could be terrifying, but they could also be quirky and hilarious when they wanted, but most importantly, they consistently pushed the boundaries of what could be done with anime and animation in general as a medium. Still, I believe that none of his works give us a better look inside Satoshi Kon’s mind than his first and only foray into serialized anime, “Paranoia Agent”.

While “Paranoia Agent” has a semblance of an overarching narrative, it is, for the most part, an anthology show. Characters cross over from story to story, giving the semblance of an interconnected world, and yet for the most part each episode revolves around a particular character and the struggles that they’re undergoing. The theme of the show is how our mind gives our problems physical form, manifesting them and causing us to confront them. Each character is plagued by something, be it guilt, regret or a feeling that’s a bit too complicated to describe in a single word, and the primary antagonist of the series is a creature that confronts them with their issues, allowing them to achieve catharsis in the most unusual way possible. At the heart of the story is a young woman named Tsukiko Sagi, who some time ago created a mascot character that has since taken Japan by storm. The character, a small pink dog named Maromi, appears on keychains, posters, toys, and even has his very own TV show. Pressured by everyone to repeat her success, Tsukiko starts looking for a way to escape… and finds it when, rather conveniently, a young boy on roller skates attacks her in a parking lot, giving her an excuse to take a few weeks off. Naturally, the detectives assigned to the case are skeptical of the existence of such an attacker, until a second victim reports being struck by a young boy on rollerskates. Then a third, a fourth and fifth. Little by little, hospitals start filling up with people who have been attacked by the mysterious boy (nicknamed “Lil’ Slugger” by the media), and as such have been allowed to escape their problems. Is this a mass psychosis, or is something a lot more demented and mysterious going on?

From what you just read you might be thinking that every episode is the same – “Oh, we’ve got a guy who has some sort of problem and deals with it during the episode until Lil’ Slugger comes and hits him on the head”. Yeah, well… No. Episodes are as varied as they would be on an anthology show, and while the theme of Lil’ Slugger and his influence connects them all, building up to a climax which brings Tsukiko back alongside several other characters in order to solve the mystery once and for all. In the middle of this all too delicious hamburger we’ve got the meat, which consists of stories that are as varied as they come, and the best part is that they’re not all about people with problems that Lil’ Slugger has to solve – some are about people with problems caused by Lil’ Slugger, while some only tangentially involve him. For example, one of the earlier episodes is about a young boy who matches the description of Lil’ Slugger, and the rumors start ruining his life. Another episode is solely about a couple of housewives gossiping about who, or what, Lil’ Slugger actually is, with each trying to one-up everyone else in order to relay the most shocking account of the events regardless of just how ridiculous they sound. My favorite episode is when the members of a chatroom decide to meet up in order to commit suicide together, except one of them turns out to be a little girl, so the whole episode becomes about them trying to bring her to the authorities while pretending to be searching for a suicide spot. It’s surreal, it’s bizarre, and yet it’s presented in such an amazingly intriguing way that you can’t help but be invested in it.

I really can’t talk in depth about the nature of “Paranoia Agent” without getting knees deep into spoilers territory, but suffice to say that you’re in for a ride! If you’re interested in checking out a crazy, creative semi-anthology series from one of the world’s greatest animators, then you owe it to yourself to give it a watch! It’s worth every second!

“Plastic Memories” – The Anime That Will Make You Weep

plastic memoriesFor the next few blog posts, I decided to switch things up a bit on the blog! I’m usually talking about anime series from the 80s which are directly related to Saint Seiya, in some way, and by “directly related” I mean they’re Hokuto no Ken. Well, even though I’d never get sick of writing about Seiya and Hokuto, but I’m fairly certain you guys might get sick of reading about them if I don’t mix things up, so why don’t we fast forward a bit in the timeline and talk about some current anime that I’d recommend? At the end of the day, while 80s anime had a certain charm to it, anime from the last 10 years is also pretty darn great!

The first series I’d like to talk about is “Plastic Memories”, which is notable for being one of the best dramedies I’ve ever seen in my life. And I’m not just talking about anime, I’m talking about any medium here. It manages to take a setup that is so utterly depressing and make the best of it, because the characters choose to make the best of it. The drama comes naturally, but the comedy is enforced by your typical wacky character archetypes (the normal guy protagonist, the shy, quirky romantic interest, the tsundere, the aloof superior, the womanizer – you know the drill) doing typical wacky things. It sounds like a weird, even inappropriate contrast, except it really, really works!

“Plastic Memories” is set in the not too distant future where lifelike robots named Giftias are the latest trend. The robots don’t age, obviously, but other than that look and act exactly the same as humans – they can learn, they develop a personality based on their environment, they gain their own dreams, wishes and aspirations, hell, they even have certain civil rights! The only thing that differentiates them from humans, aside from the whole “no aging” thing, is that their lifespan is only 81920 hours – roughly about 10 years. After that, their memory and personality starts to fall apart, and if they’re left to deteriorate completely very bad things will happen (suffice to say, having a super-strong automaton without memories or a personality roaming the streets is not a good idea). In order to prevent this from happening, units known as Terminal Services retrieve Giftias shortly before their expiration date, by erasing their memories and OS, essentially killing them and then recycling their body to be used for a reinstalled OS – though the new Giftia will have a significantly different personality and no memories of his or her past life.

In case you didn’t grasp that, let me put it this way – their job is to go to families and take away their children, husbands, wives, parents or siblings, euthanize them and then recycle their bodies. It’s the equivalent of working as a doctor whose job is to do nothing but tell people their loved ones have died. It’s heartbreaking, heartwrenching and not something that anyone should ever have to do, and yet certain people have to because it’s better than the alternative. One of those people is Tsukasa Mizugaki, a high school student who flunked his final exams because he developed appendicitis. On his first day of employment he gets paired up with Isla, a Giftia who’s set to train him in the best way to retrieve targets (sometimes all you have to do is ask, but other times families are quite reluctant to part with their Giftias) and to assist him in his job. Naturally, it’s not long before feelings between the two blossom.

This is sort of where the beauty of “Plastic Memories” lies – it’s a brilliant drama, a brilliant comedy, a brilliant romance and a brilliant sci-fi all rolled into one wonderful package, and it is beautiful. I was often surprised about just how much I laughed, considering the overall rather depressing setting. The characters are all funny and memorable, including the regular cast and the side characters that they encounter during their retrieval missions. I really loved how, in merely 13 episodes, we were able to examine realistically just how many uses society would potentially have for human-like robots. The most common ones are, of course, children, but on several occasions we’ve seen humans being raised by Giftias, or them being used to do certain jobs such as being a bodyguard. And of course the anime doesn’t shy away from the darker side of humanity, with a particular character being a black market dealer who steals Giftias and reinstalls their OS so they could presumably be used as sex slaves.

Honestly, the whole retrieval aspect of the anime was the most interesting part for me, personally, but for better or for worse in the latter half of the series that takes a backseat to the romance between Isla and Tsukasa. And don’t get me wrong, it’s a great romance – unlike so many other anime romances, it doesn’t end just as soon as they decide that they’re a couple, quite the opposite. Sure, there’s a bit of a “Will they, won’t they”, but the moment they decide that they do want to be together after all (um, spoilers, I guess?) they start going on dates, joking about at home, stuff that normal couples do. After all, a Giftia’s lifespan is pretty limited, and they know that better than anyone. It’s not about crafting a relationship that will last – it’s about crafting memories that will.

I honestly can’t recommend “Plastic Memories” enough. It’s got everything you might want from an anime – action, drama, comedy, romance, sci-fi, you name it. There’s no reason for you not to watch it, so stop reading and get on it, people!

Saint Seiya: Soldier’s Soul – Review

Gaming“Saint Seiya”, just like pretty much every huge anime franchise, has seen a ton of videogames based on it. Starting with “Saint Seiya: The Sanctuary” ten years ago on the now archaic PS2, the franchise has seen three more games based on it, with the latest, “Soldier’s Soul”, being released only a few months ago on the PS3, PS4 and, rather surprisingly, PC. While this may seem shocking, it’s really not – as I said, most big franchises of fighting anime have gotten plenty of games, including “Hokuto no Ken” (no, I’ll never stop talking about it on this blog, so sue me), “Bleach”, “Naruto”, “DragonBall” and so on and so forth. And admittedly, most licensed games haven’t been very good. Essentially, if you’ve played one of them, you’ve pretty much played all of them – they’re all 3D fighters with lots of flashy special attacks that play exactly the same way. “Ultimate Ninja Storm” is exactly like “Heat the Soul” which is exactly like “Dragonball Xenoverse”, minus a few differences.

Sadly, “Saint Seiya: Soldier’s Soul” falls into that same category of flashy 3D fighters, but I’m happy to say that it’s done well enough to definitely warrant the interest of both casual and hardcore “Saint Seiya” fans! First of all, it’s very important to note that this is the first “Saint Seiya” game that allows you to play through the entire story, starting from the tournament arc and finishing up with the Hades arc. And what’s even better is that the story in between the fights is narrated by fully 3D cinematics, which means that even if you know literally nothing about “Saint Seiya” or its story you can learn everything you need to know just from this game. I love it when games do that! By the way, “Hokuto no Ken: Ken’s Rage” does the same thing, just so you know. I told you I’d never stop talking about “Hokuto”! I should’ve titled the blog hokutonoken2014… But I digress!

About 40 characters are playable in both the story mode and in versus mode, which is really cool – I personally didn’t feel like anyone was missing from the roster, so that’s definitely a very good sign. Aside from story mode, you can play in a variety of tournaments and extra battles, against the AI or against your friends. One of my favorite features was the offline tournament mode for up to 8 players, which is something that’s pretty rare in these types of games! But at the end of the day, if you’re not a fan of 3D anime fighters, there’s not much in “Saint Seiya: Soldier’s Soul” that’s going to change your mind. The standard gameplay is the same – do some combos to fill up a meter at the bottom of the screen, then unleash special attacks while trying to avoid an opponent trying to do the same. It’s not exactly “Street Fighter” level of depth, nor is it trying to be. I don’t think you should hold it against it, though – not every fighting game needs to be a perfectly balanced tournament fighter. Sometimes, all we need is a faithful adaptation of a beloved storyline and some awesome sequences!

One Piece – The Japanese Phenomenon

What do you think is the hottest manga right now? It’s okay, I know that, unless you’ve researched this, you probably don’t know the answer off the top of your head, but take a wild guess. “Attack on Titan”? Close. “Naruto”? That actually ended last year. “Bleach”? Hahahahahaha, no. Give up? Well, if you’ve read the title of this article, you should know that the answer is “One Piece”, a manga that has been running continuously for 18 years and shows absolutely no signs of stopping. How popular is it? Well, take a look at this chart of the best-selling manga in 2015. When we examine them by series, “One Piece” is at the very top with 14 million total volumes sold, which is 4 million more than the second place. But it doesn’t stop there! “One Piece” is also first when it comes to the number of individual volumes sold… And also second, third and fourth. May I remind you that there were only four volumes of “One Piece” released in the entirety of 2015, and those four are at the very top of the bestsellers list.

This isn’t a new phenomenon – the overwhelming majority of “One Piece” volumes have been at the top of the charts, barring unnatural circumstances. Even so many years after its inception, the series is still going as strong as it always has while other manga series have slowly dimmed away until nobody even cared about them. Why has “One Piece” persevered? Well, there’s three main things, really. First and foremost, it’s very well-crafted, almost to the point of perfection – nothing feels ham-fisted or heavy-handed. Second, its themes and characters are timeless. “One Piece” is about following your dreams regardless of what they are. In its world, even the most pathetic person can train and become a fierce warrior – we’ve seen several examples of this where utterly laughable characters put in the necessary work and eventually manage to become soldiers and fighters, acquiring the means to fight for their dreams. It’s a theme that resonates equally with all generations, and will continue to do so. And last, but not least, the manga seems like it knows where it’s going.

A lot (and I do mean a LOT) of mangas lose their steam after the first few arcs. A fantastic example is “Bleach”, where following the first two arcs (which seemed very well-crafted and thought out) we literally just got a repeat of them for the next two arcs, followed by some pointless fighting to close off the series… Except it didn’t end, it just kept on going, but nobody kept reading because nobody cared. In 2006 I still read “Bleach” every time a new volume came out in English. In 2016, I don’t even know if it’s still going or not. “One Piece”, on the other hand, has a very clear direction that it has established from the very first pages. We know exactly where the characters are going, and thanks to the manga’s structure, we even know just how far into their adventure they are. It never feels like the writer has ran out of ideas.

Overall, I think that’s really the most important aspect of a manga that hopes to live a life as long as that of “One Piece” – the mangaka (writer and artist) needs to know exactly where he or she is going with it, and make the story just as long as it needs to be. Readers don’t mind long stories. They do mind bloated ones, though. And on that note I shall leave you, dear reader! If you haven’t read “One Piece”, give it a shot – omnibuses of the first several volumes are available for pretty cheap on Amazon!

The Problem With Anime Slots

EvangelionI’ve got to admit – I’m not the biggest gambler around. I don’t really like to play casino games, mostly because I’m really, really bad at them. No matter what I do I can’t seem to win at card games. I’m a dud at poker even when I think I’ve got good cards, and I’ve never won more than I’ve lost at blackjack. I do, however, quite like slots. There’s something awfully relaxing about watching the reels spin, and in the Internet age you don’t even need to go to a casino in order to play some great slots! Since I’m a huge anime fan, I recently decided to try and track down some anime slots… And boy, oh boy, was I disappointed!

As you know, there’s plenty of things you should consider when playing online slots with real money, such as RTP (Return to Player) percentage, bonus games, free spins and so on and so forth. With licensed slots, meaning slots which are based on movies, games or TV shows, there’s also the question of just how accurate the slot is to the source material. For example, if, say, there was a “Saint Seiya” slot with a romantic theme (hearts everywhere, bonus games that involve kissing girls, etc), then that wouldn’t be very faithful at all. Certain slots, such as “South Park”, “The Avengers” or “Pink Panther”, are really great at being faithful to the source material while also delivering a stellar slot experience. The problem is that slots based on anime don’t do either.

First of all, I have to say that I only managed to find two slots that are actually based on anime (there’s plenty of slots INSPIRED by the anime artstyle, but that’s not really what I’m looking for). Luckily, they’re both based on some of my favourite series, namely “Ghost in the Shell: Stand Alone Complex” and “Neon Genesis Evangelion”. Oh, and also both of them suck bad. Neither has anything to do with the source material outside of a few pictures. They have wildly inappropriate music and are very bare-bones, meaning that they lack any sort of cool bonus features or bonus games. Sure, one of them has a Free Spins bonus, but that’s something that all slots have anyway.

I’m not going to go into too much detail about why the slots are terrible, as I’m not a slots reviewer, but suffice to say they’re not that great, and I have absolutely no idea why. Both of these licenses are absolutely amazing, and I’d think that it’s literally impossible to make a bad slot based on them, but alas! It’s not like that’s some small license that the developers just didn’t treat with enough respect because nobody knows about it – both “Ghost in the Shell” and “Evangelion” are huge, especially outside of Japan. So what the hell?

Why You Should Read Hokuto no Ken Right Now

As I mentioned in my previous article, Saint Seiya was pretty heavily inspired by another manga named Hokuto no Ken which came out in 1983 and ran for five years. Written by Yoshiyuki Okamura (better known by his penname Buronson) and illustrated by Tetsuo Hara, Hokuto no Ken, also known as Fist of the North Star in English, became one of the biggest pop culture phenomena to ever come out of Japan. In its homeland, it single-handedly started a revolution of martial arts mangas with over the top attacks and manly protagonists, with certain works inspired by this genre, such as Bleach, Naruto and One Piece still enjoying immense success. Overseas Hokuto has also been extremely influential, with pretty much every single franchise that takes place in a desert or starring a single, proficient protagonist going around solving everyone’s problems being at least partially inspired by it (without even counting the American live-action adaptation whose quality is… questionable). While Hokuto was inspired by the American Mad Max movies, especially the second one, it has gone on to influence them, with the newest one, Mad Max: Fury Road feeling more like a Hokuto no Ken movie without any martial arts than like an actual Mad Max movie. Now, 30 years after the original manga was first published, new projects bearing the name continue to be made.

Kenshiro sees a mirage of his beloved in the skySaint Seiya‘s popularity can be explained relatively easily – it was a very well-made manga that appealed to a large demographic and rode an already very high wave. But that wave was started by Hokuto – while there have been violent martial arts manga before, it was Hokuto that solidified the genre. But why? How come so many people fell in love with it? Sure, it was good, but there have been plenty of great manga over the years, and very few have endured the way Hokuto has. What is its secret? After all, on paper the concept sounds absolutely terrible – a boring guy who’s the best at everything going around a bland desert and solving everyone’s problems? No way that can ever go anywhere! And yes, in a way you’d make some pretty valid points, but the true strength of Hokuto aren’t its world, characters or story. It’s how they are all presented within the narrative. Let’s take a closer look at the manga’s very first chapter and see what we can get from it!

Right from the beginning of the first chapter we’re given a dark and depressing look into the world of Hokuto no Ken – the world (or at least Japan, but it’s heavily implied that there are almost no areas that were unaffected by the conflict) has been devastated by a nuclear armageddon which reduced its population to the brink of extinction. Most, if not all animal species have been extinct, large areas are heavily irradiated, and resources such as food, gasoline or even water have become commodities. In order to survive, some have formed small communities in which they attempt to grow their own food on the mostly useless soil, while others have regressed to their most primal instincts and have become hunters, scavengers and bandits with their own societies (which are more like small armies that pillage whatever they come across). Almost none of this is narrated through the text – it’s all very visual imagery, like a young girl with a can of gasoline being chased by bandits. While other manga, such as Bleach, take its time to get us familiar with the characters and then introduce the world, Hokuto wants us to understand EXACTLY what kind of world we’re going to be exploring.

Kenshiro uses his powers to make Rin speak againIt’d be so easy to introduce Kenshiro in the middle of battle, kicking ass and taking names. Hell, that’s how a lot of manga introduce their protagonists in order to show just how badass they are. In fact, a lot of movies and videogames do the same, starting with a high-action scene to catch the viewer’s attention and establish the main character’s fighting prowess. But that’s not what Kenshiro is about. Sure, he can make your head explode with a punch, but he has never been defined by his fighting ability, and Hokuto wants you to know it. While we do see the results of one of his rampages, we never see him actually fighting anyone. Instead, we see him stumble into a village exhausted and dehydrated. This is another important lesson about our protagonist – he’s not an all-powerful god. While he does possess immeasurable martial arts skills, he’s still very much human and is subject to the very same weaknesses that the average human is. Mistaking him for a bandit, the villagers quickly lock him up alongside an actual bandit – Bat, a young boy who grew up in the midst of the apocalypse and had to learn to survive in it. When Bat attempts to assault their warden – an 8 year old mute girl by the name of Rin, who was trying to bring them some water – Kenshiro not only refuses to help him, but actually pushes a pressure point on his arm to make him let go of Rin. When asked why he would sacrifice his freedom like this, Kenshiro merely responds with “What do you think would’ve happened to the girl had we escaped?” Placing innocent lives before his own has always been one of the character traits that has truly defined Kenshiro. Soon afterwards, we see him use his knowledge of pressure points to cure Rin of her muteness. This is the very first time we’ve seen him use his devastating powers… and it is to help a child speak.

But, of course, this wouldn’t be a martial arts manga if there weren’t any martial arts. Soon enough, the village is attacked by bandits who plan to steal its resources and do other despicable things. The bad news is that the only person who could possibly help them is locked up in the village’s prison. While Bat is desperately trying to reach the keys dropped by Rin, Kenshiro simply stands up, walks up to the bars and… Pulls them open, going through them. He could’ve left the prison whenever he wanted, but he didn’t to avoid getting Rin into trouble and because he didn’t want to startle the villagers. After all, how can you possibly help those you’ve sworn to protect when they don’t even trust you to follow their rules? But when push comes to shove, Kenshiro is perfectly willing to bend said rules for the common good. He finds the bandits and, naturally, quickly and easily dispatches of each of them, except for their leader, whom he hits several times over different parts of his body in quick succession. The leader falls on the ground, but quickly stands up. “Your little fists couldn’t hurt a fly!”, he gloats with a grin on his face. To which, Kenshiro merely responds with “You are already dead”. Moments later, the bandit’s head explodes in a painful, bloody mess. Kenshiro had pressed his vital points in order to manipulate his blood pressure to the boiling point. He intentionally didn’t give him a quick, painless death – Kenshiro wanted his opponent to suffer. Because, in his eyes, that’s what you deserve when you hurt the innocent. Having saved the village single-handedly, Kenshiro departs, but he is not alone – Bat and Rin have chosen to follow him. For the first time since his journey started, he will not be alone in it.

Within the span of 20 short pages, Hokuto no Ken has taught us absolutely everything about its world and its characters, with almost no exposition except for when it was absolutely necessary (I doubt many people would get the exact nature of Kenshiro’s abilities if it wasn’t explained to them). And while the setting of a desolate desert where people have turned into savages is not new at all (you can see it in practically every single post-apocalyptic film, book, manga or game), but the notion of a protagonist who is not out for revenge, or for love, or to survive, but to try to make the place even just a little bit better than it is, was a very new one for the genre, and it still is today. Kenshiro as a character was never out to get stronger – as a matter of fact, he never really received any progression as a character, and never became more powerful than he was in the beginning. The real focus of the manga was on how he, as a constant, would influence the world and characters around him. That was why it was a brilliant idea to also have Rin and Bat tag along with him – while they were never really important characters, they provided a fresh perspective on Kenshiro and could evolve instead of him. And they did, ending the series as warriors worthy of continuing Kenshiro’s legacy.

I can go on and on about all the brilliant moments and characters throughout Hokuto no Ken, but I think I’ll leave you to discover them all on your own. The manga is, of course, a great place to start, but the (surprisingly faithful, if censored) anime adaptation from 1984 is also an option for those of you who prefer their pictures to move (you can purchase it in its entirety on DVD for relatively cheap). In addition, several more recent animated movies loosely adapting certain arcs of the manga were released between 2005 and 2008, to commemorate the 25th anniversary of the franchise. And if you’d much rather experience the story in an interactive medium, then Fist of the North Star: Ken’s Rage and its sequel Ken’s Rage 2 are excellent, as they adapt the entire story of the manga into a 3rd person brawler. Ken’s Rage only adapts the first half of the manga, but has an English dub as well, while Ken’s Rage 2 adapts all of it, but only features the Japanese voices (though, in fairness, the second arc, which deals with Kenshiro’s homeland, is not very good). Additionally, both games feature lots of extra modes where you can play as various characters alone or in co-op, and those differ between games, so if you’d like to get the complete experience then I’d recommend picking up both, but if you only want the complete story and don’t care about the English dub then just skip to Ken’s Rage 2. Regardless of what non-live action medium you choose to experience Hokuto no Ken in, I can almost guarantee that it will always be worth it!

How Saint Seiya Became Popular

Seiya, main character of Saint SeiyaLet me take you back to early 80s Japan. The country’s economy is in a boom – the highest point since the war, with an average of 4% growth per year throughout the decade. Unemployment is at less than 5%. Japanese people suddenly found themselves with a lot of disposable income, which led to a natural increase in entertainment products, such as movies and comic books. Additionally, videogames such as Donkey Kong and Super Mario Bros. gain Japan worldwide recognition, forever sealing its place as the premier developer of videogames – a position that it would hold for at least the next 20 years, and arguably for a lot more. But there was another character created around the same time who, while not nearly as popular as Mario, proved to be just as influential. His name… is Kenshiro.

Hokuto no Ken, also known as Fist of the North Star, began publication in the weekly manga magazine “Weekly Shonen Jump” on September 13th, 1983, and very quickly became a phenomenon. The manga featured an overly masculine protagonist named Kenshiro who was extremely fluent in martial arts walking around a post-apocalyptic world and solving everybody’s problems while occasionally shedding a few manly tears (I’m not kidding here – if you google “manly tears”, most of the images depict Kenshiro). Hokuto proved to be unbelievably successful, beyond anyone’s wildest dreams. While there have been martial arts manga series before, none proved to resonate with audiences as well as Hokuto, which continued for 5 years and spawned multiple anime series, several movies (including a hilariously bad American version starring Gary Daniels and his mullet) and too many videogames to count. It became a phenomenon that influences the manga/anime culture to this very day, with fans still repeating the famous phrase “You are already dead” (often spoken when Kenshiro has killed his opponent without them realizing it yet) to this very day.

Kenshiro spouting his trademark phrase. Hokuto‘s popularity gave rise to martial arts mangas that followed the same formula. Numerous attempts were made, some successful (such as 1984’s DragonBall) and some not. One of those attempts was Saint Seiya, created by Masami Kurumada. While not a direct ripoff of Hokuto, the influences were obvious – Saint Seiya also had a highly masculine protagonist (though more emotionally than physically) who used martial arts to right wrongs. But there were also several differences – for example, instead of a desolate wasteland, the Saints (Saint Seiya‘s word for martial artist) fought in a world that mixed sci-fi and Greek mythology settings, and instead of a sole protagonist wandering with a small supporting cast that mostly cheer him on, main character Seiya was joined by four other Saints. But there was another extremely important difference, one that I believe helped elevate Saint Seiya above the status as “just another martial arts” manga. While Hokuto no Ken was aimed at adults, with hyper-violence, complex themes and often depressing or bittersweet endings, and DragonBall was unquestionably aimed at little boys, with a child protagonist, simple plots and unquestionably evil bad guys, Saint Seiya managed to hit the tonal middle ground in order to appeal to almost everyone.

First and foremost, all violence was significantly toned down when compared to Hokuto no Ken. While there are certain instances of violence, such as an infamous event in which Seiya sticks his hand into the chest of one of his enemies in order to kill him, for the most part the violence is very PG-friendly, yet without compromising the integrity of the martial arts, which still remained impressive even just on paper. Additionally, while the villains never exactly argued philosophy with Seiya, they still had realistic goals and weren’t just moustache-curling, dastardly bad guys like in so many other mangas around that time (even quite a lot of the much more mature Hokuto villains fell into this trap). And at the end of the day, the messages of Saint Seiya just resonated with the readers. While Hokuto was about a lone man trying to bring at least some hope to a world that has none, Seiya is all about companionship. It’s about learning to rely on your friends and working together with them in order to protect something that’s precious to you. They’re themes that hadn’t really been explored in a popular martial arts manga up until then (most of which tried to copy Hokuto‘s sole protagonist), yet have become staples of the genre since then, becoming prevalent in some of the most popular mangas in the following years such as One Piece, which holds the theme of companionship and fighting for what you believe in at its very heart and is, to this day, the best-selling manga ever. Seiya didn’t just come out at exactly the right time to grab people’s interest – it also knew how to keep it.

In 2015, Saint Seiya‘s legacy is arguably just as big as that of the manga which inspired it. It spawned an anime that ran for 114 episodes (half of which were dubbed into English, albeit poorly, and aired as Knights of the Zodiac), alongside another series of OVAs, multiple spinoffs (some of which are still airing today) and way too many videogames to count. It has been almost 25 years since the original manga ended, and yet new stories bearing the Saint Seiya name continue to appear constantly, as recently as September 25th 2015 when Saint Seiya: Soldier’s Soul hit store shelves worldwide. Even if it started as nothing more than a ripoff trying to cash in on the immense popularity of the martial arts manga genre in the mid-1980s, Seiya has since grown into one of the most beloved and fondly remembered martial arts series ever made.

Welcome!

Remember the early 2000s? Ah, that wonderful time when most of us didn’t have Internet (and those who did had to be content with download speeds of about 10-15kb/s), so we had to trade and organize CDs if we wanted to exchange anything; when Lindsay Lohan didn’t need to sue a popular videogame in order to be relevant and when Stephanie Anderson was the coolest kid in the class for being the first who had a flip phone with a camera? Crazy times, I know! If you, like me, were a kid during that time, then you might remember that literally the only way we could get any kind of entertainment was to sit on our butts every Saturday morning and watch cartoons. And boy, did we get some AWESOME cartoons at that time – “Samurai Jack”, “Justice League”, Teen Titans”, “Clone Wars”, “Fairly OddParents”, friggin’ “Avatar: The Last Airbender”, man! So many classic cartoons that are still remembered fondly to this day as some of the best of all time were made in the early 2000s! But honestly, while I agree that all of these are AMAZING, I didn’t really watch most of them when they aired. Instead, my favorite cartoon was a little show by the name of “Knights of the Zodiac”.

You see, back in the early 2000s a whole lot of Japanese anime were being localized and aired overseas. The trend actually started in the mid-1990s with shows like “Sailor Moon” and “DragonBall Z”, but arguably peaked a few years later when “Yu-Gi-Oh!” became an international sensation, prompting Konami to defictionalize the card game depicted on the show, start selling the actual cards and make a whole lot of money in the process. Suddenly everyone wanted a piece of the pie, and quite a lot of anime were localized for airing in the States, such as “The Cardcaptors” (“Cardcaptor Sakura” in Japan), “Shaman King”, “Cyborg 009”, “Naruto” and so many more. One of the least successful ones was “Knights of the Zodiac”. It told the story of a young martial artist named Seiya who, alongside his group of friends, was tasked with protecting the incarnation of the goddess Athena. And it was AWESOME! I absolutely fell in love with this show – it had colorful animation, excellent fighting scenes and a ridiculous storyline that made no sense, but who cares, I was a kid!

Years later, I actually discovered that “Knights of the Zodiac” was way bigger in Japan than it ever got around here. “Saint Seiya”, as was its original title, aired for far longer in Japan than it did in the US, and it also had a lot more complex storyline and characters now that it wasn’t dumbed down for American audiences. And, much to my surprise, it was way better than I remembered it! That experience of rediscovering “Saint Seiya” made me think about what other anime from Japan may have been butchered for its American release, and also what other series from that time period people remember fondly. That’s why I decided to create this blog in order to talk about anime-related stuff like that. I can’t tell you exactly what I’ll put on here, and what you can expect from me, because I’ll mostly be making it up as I go along, but I hope that you enjoy it nonetheless!