Personally, I wonder if this preoccupation with how 「C」 represented a further step away from the noitaminA they wanted to see blinded these viewers from looking for value in the show itself. Frankly speaking, 「C」 is arguably the only anime – perhaps even the only TV show – of 2011 that has presented questions so relevant to life in the countries of the developed world.

Let me start with a question: what is money? How would you describe it to someone who has absolutely no idea what it means? Somewhat simply, perhaps, you might say that it’s a way of measuring how much something is worth, which people use in exchange for things they need or want. It’s usually in the form of paper notes and metallic coins, which all denote a different, set amount of worth/value.

Yours assets are your futures...whatever that may mean...

But is that all it is? Why, for example, do we accept the value that a paper note denotes, rather than it’s actual value (which would be close to nothing)? This comes up in the second half of the series: it’s about trust. We value these notes because everyone else does as well. And the trust we place in it makes us place greater confidence in things that cost more, even if they might actually be inferior to something that is ‘worth’ less.

Another thread that might be interesting to think about is to do with politics. To put it bluntly, it’s about money being used as a weapon. Bribes and sanctions are the carrots and sticks of economic make. In fact, that money can be used as a weapon, e.g. in the form of economic sanctions, was the line of thought from which this series first sprang into the mind of director Nakamura Kenji (he made a comment about this in one of his early interviews for one or another of those anime magazines).

What is money? Is it just notes and coins?

In sum, what is money? Is it trust? Is it power? Is it the future? What do you think?

There are many other questions that 「C」 raises. Why do people work? Should people live for the present or for the future? As ‘god’ notes in the final episode, everyone thinks about ‘what’s right’ and ‘what’s wrong’, they all try to find the correct answers to these basic questions. But there is no right answer – or, to put it another way, all answers are right. Everything that people do will end up contributing to a hopefully better world, a better future. (At least, that’s what optimists would argue.)

Though, of course, I don’t think we can actually reset the world like Kimimaro did, but reversing the Midas money press…

And what does it symbolise?

My ultimate point about 「C」is as follows. This isn’t a series that was created to answer any of these questions. Nakamura Kenji and the other creators aren’t trying to say that the free market (as represented by Sennouza) is definitely better than Keynesian policies (as represented by Mikuni). The market and the political economy probably aren’t as simple as depicted in the show (not that I would have a clue, to be honest). Rather, I’d argue that 「C」is trying to get us to think about some basic questions about how the modern world works, instead of just taking everything for granted like we always do.

That, wouldn’t you agree, is something quite worth thinking about?

p.s. There’s quite a lot of ‘hidden’ information that may be of interest. What I personally found quite fascinating were the QR Codes that show up at the start of each ending theme, especially the ones about the relative abstraction of various forms of expression. Well worth checking out, IMHO.

p.p.s. Sakurai was crazy as Masakaki…and all his counterparts…

He's rather disturbing...but it's a fantastic performance, honestly ^^

First…on the huge staff makeover: some of us, especially on AS, were a little bit worried, especially in light of the fact that the new creators are known for series that have male otaku in mind…namely Queen’s Blade, Sekirei, Ladies vs. Butlers, To Love-Ru etc etc. Thankfully, this turns out to have been an unnecessary worry, as this viewer certainly did not notice anything out of the ordinary. Even the animal costumes that Kazue had the girls wear came straight out of the manga ^^

There are a few things about the adult world that you don't quite need to know about yet...

So what did we have this time around?

A few new faces (and percularities) added a few layers of amusement...

...to more of the same from the old crowd...

= the perfect recipe for amusement last season! Well…almost.

Working’!! actually turned out to be a little less humourous than its predecessor, at least to me. But I contend that there is a good reason for the discrepancy: a good amount of the second season was devoted to making some decent, arguably more serious, developments in the two key romantic relationships that were introduced in the first season. A lot of viewers still detest Inami, but I personally liked seeing Takanashi unknowingly start to fall for her even as she tried her best to stop punching him – and hey! she even made it through almost a month of non-violence! I’ve already written about the other development that had me smiling: all that’s left is for them to announce season 3! (though we might possible need Takatsu-sensei to finish the manga first…) The BDs WILL make it onto my shelf this year, so よろしくおねがいします！

And some important things took small but noticeable steps forwards...

p.s. It was also nice to finally get Yuukyan in my Working!! Though I’d still really like more Higashida…er…would you consider making a special, please please please, Aniplex…?

And so I finally come, to the original...

In the current Macross fandom, saying that one prefers Frontier to all of the older series is quite possibly a death wish. At least, I get the impression that older fans would roll their eyes and mutter about ‘n00bs’ who cannot appreciate a true classic.

The classic that introduced some of the best transforming units the world has seen...

But I have to admit it: I prefer Frontier to all the others. It’s not the most well-written of all the series (the ones I think worthy of that accolade will be revealed at a later time), but for more practical reasons – the music, the characters, the graphics – I like them all better. The last factor, of course, can’t really be helped, and nor can my partiality to the seiyuu involved in Frontier.

The original triangle - an idol, a pilot, and a senior officer...

To be honest, however, I think the greatest factor of all is that I don’t really like any of the characters in the original. Hikaru was basically a jerk in many of his words and actions, especially to Misa, Minmay was just incredibly inconsiderate for most of the series, and I really did not like how even Misa allowed love to rule her. I read a fascinating post about “good female characters” last year, where the writer asked for more female characters that

• fall down hilariously
• say the wrong things
• are emotionally repressed
• are depressed
• etc etc

Applying that list of flaws to SDFM, you can definitely say that each of the three mains is flawed. My problem is that their flaws are all ones that I can hardly tolerate, whether in myself or in others. The character arcs make sense to me – how their flaws are overcome fits with their personalities, the developments within the show, and also the context of the 1980s in which SDFM was made. But unlike many older fans, I simply do not like them and thus cannot appreciate them fully. For Minmay and Hikaru, this applies even for their improved selves in DYRL (Misa arguably regresses). As for the supporting characters: perhaps my relative youth is showing, but I found Exsedol and even Max and Milia, rather theatrical, and thus, mostly just sources of amusement.

That said, there is one aspect of the original series that I personally feel is under-appreciated by old and new fans alike. Most people I’ve encountered focus on at least one of the three things that form the basis of a Macross story: the mecha and the dogfights, the music, the character relationships. Perhaps I’ve been hanging out in the wrong circles, but I’ve never seen anyone talk or write about the intent of Macross, the overall message behind the story built on dogfights, character relationships, and music.

The ultimate representation of the core message of Macross: communication, understanding and compromise.

Does it matter? I’m sure that fans will have differing opinions about that. But watching the Gundam00 film shortly after ‘The Wings of Farewell’, followed by almost a year of reflection on the latter, has led me to the realisation that the overall message of Macross is quite simple. In my humble opinion, it’s about the idea that we do not have to fight, so long as we are willing to open our minds, to try to communicate with others, to understand them, and finally, to compromise. That’s what Macross is all about. In SDFM, Minmay’s music was the key that opened the channel for communication. And instead of following her father’s preoccupation with exchanging fire, taking an eye for an eye, Misa took the lead in trying to understand the Zentraedi, and used that understanding to reach for a compromise, to pave the way for peace.

In sum, the original series is iconic. It was the one that started it all – the transforming planes, possibly the most memorable anime music the world has ever witnessed. What time and technology have improved is the spectacle of it all. Only now, with the great developments that computing power and software has brought, can the dogfights and concerts look as splendid as they do in Frontier, but it was SDFM that first brought it together on the screen. But even more importantly, SDFM was probably one of the forerunners in emphasising the great importance of communication, of understanding, and of compromise. And for that, it has my utmost respect.

I did love the futuristic technology though - if only that really were possible today!

But even amongst such series, whilst I wouldn’t go so far as to call them diamonds, there are a few gems that are well worth watching. And CLANNAD, particularly the CLANNAD After Story part, I have to admit, is one of them.

A fateful encounter...

Boy meets girl, helps girl, and in the process grows up. That’s basically what the story of CLANNAD is, albeit with a supernatural element thrown in, one that apparently confused many people who had not played the visual novel (I spoiled myself long before I even started the series, so it did not have any negative effects on me…). The theme of growing up features in numerous stories of this vein, whether in anime, film, literature, comics etc etc. But at the very least, few anime series have accomplished it as well as CLANNAD does. The decisions that Okazaki Tomoya makes, the relationships that he forms, the understanding that he develops…all of this results in large part because of his interaction with Furukawa Nagisa. Some of it breaks him…but it also makes him stronger, and most importantly, teaches him the value of family, of the sacrifices that parents make for their children, that his own father made for him.

Lessons to be learnt and challenges to be overcome...

It is that message, of understanding what sacrifices people often make for their families, and most importantly, the great joy in their children’s success that they take as their reward, that resonated most in me. I can’t speak for Akio, Sanae, or for Tomoya’s father, but CLANNAD‘s message for the younger generation is, I would argue, a challenge for us to strive understand how our parents care for us, and thus, how we should answer their concern. Different individuals will probably have to address it in different ways – some people may feel uncomfortable with paying their parents back with large monetary presents, others may protest their parents’ preoccupation with steady, professional jobs, yet others will be unable to live in the same house as their parents, preferring their own privacy and freedom. But if our parents have been involved in our lives, even if it is something so arguably controversial as paying for our school fees without being asked, then there are always thanks to be given, no matter what form that takes.

And what waits on the other side is...

I feel like this comment has gotten away from me somewhat – it was difficult writing this after I’d already spammed about what I appreciated most with regards to the technicalities of this series. Another of those technical aspects is obvious: this is quite possibly the best role that I’ve heard Nakamura Yuuichi in – although it’s not my favourite. I won’t say I look forward to more from Kyoto Animation, since I generally have a hit-and-miss record with them. But I’ll always remember CLANNAD and its After Story for the two points it has driven home to me – an appreciation for excellent character animation, and the importance of family.

Series/Shows that finished in 2011 (season begun)

Ore no Imouto ga Konna ni Kawaii wake ga nai (Autumn 2010)
Kimi ni Todoke 2nd season (Winter 2011)
Fractale (Winter 2011)
Hourou Musuko (Winter 2011)
C – Control – The Money of Soul and Possibility (Spring 2011)
Ano Hi Mita Hana no Namae ha Bokutachi ga mada Shiranai (Spring 2011)
Usagi Drop (Summer 2011)
No. 6 (Summer 2011)
UN-GO (Autumn 2011)
Working’!! (Autumn 2011)

(Recent) Feature length anime seen in 2011

Macross Frontier: Sayonara no Tsubasa
Gundam00: Awakening of the Trailblazer

Older series/films I watched

Super Dimensional Fortress Macross
Do You Remember Love?
Macross Plus (OVA)
Macross Zero (OVA)
CLANNAD
CLANNAD After Story

Dramas/Live Action

Norwegian Wood

Dropped

er…nothing that I tried with the intention of seeing whether I was interested in continuing, but I did skim through a few episodes of Starry Sky and Sekaiichi Hatsukoi…
Actually, I completely forgot…
Kamisama no Memochou (3)
Itsuka Tenma no Kuro Usagi (1)

Backlogged

Level E
Ikoku Meiro no Croisée The Animation
Mawaru Penguindrum
Madoka Magika
Tiger and Bunny
The Disappearance of Suzumiya Haruhi
Gundam Unicorn
Steins;Gate
Natsume Yuujinchou San
(joining)
The Tatami Galaxy
Kara no Kyoukai
Hellsing Ultimate
Baccano
Sayonara Zetsubou Sensei
Spice and Wolf
Aoi Bungaku
Ghost in the Shell movies

Continuing…

Chihayafuru
Guilty Crown
Kimi to Boku (split cour)

It was obvious, wasn’t it? That it would come to this. Right from the end of last year, where Macross Frontier took the first spot on my first ’12 days of fandom’ review.

That said, it was only in 2011 that I really dove into Macross, particularly Macross Frontier. After seeing the first film at the cinema in January 2010, I really put it aside completely until October of that year (when the DVD/BD came out), to the extent that only one of the books, magazines and media that I brought home from Japan was about Macross – the Perfect Triangle guidebook for the first film. (A friend of mine in Japan has recently been finding out just how stupid that decision was – there has been a fair amount of eye-rolling and laying into me for that.) And then the Frontier Rewatch began, and I started to see the series and characters in different ways.

Perhaps it would help to take a look at my Macross ‘obsession’ over the last year:

• Finishing of the Rewatch on AS
• Making a detour to Ikebukuro to watch the 2nd film, and backtracking again a week later to visit the Sunshine 60 exibition
• Translating comments, interviews and information to share with the non-literate
• Watching SDFM, DYRL, Macross Plus and rewatching Macross Zero
• Committing myself to clarifying the ‘canon’ issue
• Rewatching both films several times once October 20th came by
• Heavily editing the translation for the 2nd film because the first sub was…incredibly disappointing (I will also be editing the most recent one out, even though it’s much better)
• Listening to the soundtrack over and over and over and over again

Hm…I think that’s about it. But it’s certainly a far greater involvement in the franchise and the fandom than I expected when I walked into that cinema on February 28.

And so, the story of two songstresses, and also of a sword dancer, continues out of our reach...

Ultimately though, that one detour is what it comes down to. If I had to do the impossible and narrow it down to one moment that represents 2011 in anime for me, it would be the giddiness I felt when I walked out of the cinema, the feeling encapsulated by “OMG Kawamori-sensei, you didn’t just do that…”

But that’s precisely what he did. Give us the perfect way to end the Frontier story, that is. Though whether you feel that way or not may well depend, IMHO, on whether you ‘get’ what he has done. It’s taken me just over three years to make my way from weekly anticipation, through great disappointment, and ambivalence…all the way to possibly the greatest satisfaction I’ve ever felt for a series. Yes, it rivals Code Geass, Hagaren and Honey and Clover in my book. Technically, Macross Frontier is not perfect – is anything ever? – but basically, the feeling I had when I finished the Hagaren manga – that’s what I feel for Frontier now. Thank you, Kawamori Shouji, and お疲れ様でした!! I’ll definitely be looking forward to whatever you have in store for us next year!

p.s. That said, the one thing that Frontier did not achieve, at least in my book: better dogfights than the king of them all, Macross Zero… Even though he completely dissed the series that made my year, I have only one word for Itano Ichiro: AWESOME!

"They have a cave troll."

I had thought myself lucky. My entry into the online Macross fandom started only as the release of the first Frontier film approached. By then, a certain troll that had antagonised everyone on AS, and even alienated a number of fans who were actually ‘on her side’, had long since disappeared. There were some on ‘the other side’ who could be trying, but they were endurable.

And then an apprentice came. Just before the release of the 2nd movie, as excited as the rest of us. But then the spoilers appeared, and the apprentice started their neverending tirades.

Those of us who had seen the film tried to be understanding at first. We constantly pointed out that everyone should see the film themselves before making any judgements. But the tirades didn’t stop – they only became more and more insistent. And continued even after the film was available on BD and DVD, when everyone who wasn’t a pupil of the troll could see how implausible those arguments were.

It was, shall we say, incredibly tiring.

And that sums up the most trying thing about having been heavily involved in a forum in the year just past. Of course, there were others, namely (1) encountering people who use words without knowing what they actually mean / how they are used, (2) encountering people who think that people are the same everywhere around the world, and (3) encountering people who like to criticise creators that follow their own creative spirit instead of giving the former what they want.

I know – WTF, right?

But on the other hand, it’s also possible to have some illuminating conversations on forums. Both in the threads and elsewhere. Just like in real life, there are pests, but also fun souls, entertainers, and some rather more serious people. The pests I can definitely do without, but the fun and informative exchanges will always have me coming back for more. At least, as long as I can spare the time.

And the ‘grand’ finale tomorrow. See you then!

p.s. and those who can’t guess what the final post will be about should really eat their hats…

I’m not sure how many people realised, but the title of ‘UN-GO’, which you pronounce as if they are English words rather than Japanese (i.e. ‘un’ as in ‘unlike’ rather than the うん used as a casual ‘yes’ in Japan), is a direct reference to the author who wrote the stories upon which most of the cases were based. Apparently, the essays of Sakaguchi Ango are required reading for high schools in Japan, though I certainly don’t recall hearing about them when I was there. Possibly a result of my school being quite low on the academic scale – here‘s one such essay, and its damned difficult to comprehend!

But thank goodness for translators like Quarkboy, who found and gave us the relevant section of the above essay.

Pardon me. I am completely hopeless. Why? Because I am no teacher. I am a student. And yet I dare to lecture.

I am but a single ball of unease. I am just searching. Be it women, the truth, whatever. I leave it to your imagination. I am just, definitely, searching.

However, that thing known as truth does not exist. Namely, truth has always been that thing which is searched for. People search endlessly for the truth, but the truth will never exist. It is a thing whose existence comes from that it is being searched for, and whose existence therefore implies its none existence. If there comes a time when truth comes into existence in our mortal realm, when truth’s existence is here before us, then humans will have ceased being human. Humans will be nothing but pigs in the form of humans. The truth will be fed to humans, and the humans will eat it, no different than pigs.

I did away with traditional Japanese thinking, and denied the concept of the impermanence of things (mono no aware) and the thinking of the occult. However, what I say is not the truth, or anything close. It simply has some meaning of the era. I, defeated, for the sake of the defeated words, the lies are seen through, the arguments are won. Putting my denial aside, I once again hold true the impermanence of things. There is no need for something like a dialectic. What I am talking about is obvious. People die. Things break. Just like the Hojoki states, there is nothing which does not break.

I have been broken from the beginning. All I am doing is searching. “You. Why do you search?” Because I am not so grand as to not be searching. I am not so grand as to say “This is a pain” and sleep for eternity without eating.

I search. And, along the way, I create. I create things with all my might. But, these things will all surely break. But, for just me, with my effort, they just barely stay intact. But beyond that I can do nothing.

If that is to be judged by the corner that runs counter to the public order and morals of the world, then I have no intention of being judged by the public order and morals.

I must be judged only by myself. Probably, I am also no longer a judge of “humans”.

I will discuss this in greater detail when I actually ‘review’ the series after I’ve seen episode 0, but the whole idea that the ‘truth’ is something that people forever search for but never completely arrive at is very compelling. Or, to put it in a different way, different people will see different truths depending on how much or how little you know, and it may never to possible to know the entire truth. It’s something that has really been brought home to me this year by real-life events too, and I sincerely wish that showing this series to the relevant person would help them realise that. Unfortunately, that’s quite unlikely to happen.

But the bottom line is, more than politics, or Japanese national identity, or anything else I saw people comment about before the final episode, UN-GO really was about the nature of ‘truth’. And that is one of the main factors that has made it my favourite anime TV series of 2011.

Scratch that…for it’s happened to me every year since I started learning Japanese. There’s only so much one can watch when most series also bring a pile of new items to the reading list!

So, here are the shows that I did not watch, but which, due to the “OMG! That development!” and “Great final episode!” posts on yaraon, not to mention the new subforums that graced AS and the crazy number of comments on RC, have made it onto my backlog.

Steins;Gate

Mawaru Penguindrum

Tiger & Bunny

Puella Magi Madoka Magica

Whether I watch them to completion is another matter altogether, but at the moment, I intend to find the time to do so. As for the other two big ones – Hanasaku Iroha and Fate/Zero…I’m still debating about the latter, and definitely don’t intend to watch the former at all. It’s not that I think it’s something it’s not (i.e. something like Kanon/Air etc), but I’m just not interested.

This past season has been a good one for comedies in my book, what with Kimi to Boku also giving me huge laughs week after week. But Working’!! is definitely where my loyalties lie at the moment, after an excellent final episode that more than rivals the former’s own strong offering this week.

The moment that stayed with me this season, however, is better described as being heartwarming:

Satou, smiling gently as he asks Yachiyo to talk about Kyoko as she always does...

He thus reassures her of his fondness for her normal self…

...earning a happy smile in return...although he also pays for it...

There’s no doubting it – Satou is still pretty much a wimp about this unrequited love of his, but just like Takanashi in episode 9 of the first season, he really shows his cool side here. Hence, it’s Satou’s turn to make my list for the year gone by. Just who will be on next year? ^^