The Infinite Zenith

Where insights on anime, games, academia and life dare to converge

A Milestone at the Six Year Anniversary

“Endurance is not just the ability to bear a hard thing, but to turn it into glory.” –William Barclay

Today marks the six year anniversary to the chilly October evening when I opened discussions with my Hello World! post. To put things in perspective, World War Two lasted six years from the moment Nazi Germany invaded Poland to Imperial Japan signing the surrender documents on board the USS Missouri, and it took six years to build Surrey’s Port Mann Bridge, which is the world’s second widest bridge and was fully finished in 2015 (although it opened to traffic in 2012). Six years is also the lower limit for the average student to complete their undergraduate program and conclude a Master’s degree in Canada; a great deal can happen over six years, and therefore, it is something of a milestone that Infinite Mirai has reached this year. The site’ continued endurance over time is largely in part thanks to an immensely loyal and well-read reader base such as yourselves. I cannot emphasise how large of a role you’ve played in motivating and inspiring me to continue writing content for this blog – thank you for continuing to stick around. This blog has lasted well beyond its projected lifespan in part because of all the interesting discussions that continue to be provided courtesy of our readers. While some blogs have been around for a much longer period, they also have had the advantage of several authors: Infinite Mirai is a solo act, and I write only as time allows. As I continue to move forwards in life, I foresee my time becoming directed towards other pursuits, but for the present, I’m still going to stick around, presumably, to the displeasure of folks where the name “Infinite Zenith” is synonymous with “disturber of the peace”.

  • There’s something about this particular wallpaper that makes it particularly appealing; the composition of the sky and the girl’s expression gives off an indescribably serene quality. I don’t often run with anime wallpapers for my desktop or mobile devices, but this one’s the exception. At this year’s anniversary mark, I’ve opted to do things a little differently, so the endless stats about my site for 2017 so far are not so endless. So far, 120 posts were written this year (including this one), and the largest post we’ve got now is the Kimi no na wa review, which has a total of 14401 words and 100 screenshots. Site traffic is also down 30 percent from last year, and the top post is the location hunt post for Garden of Words.

  • Now is a good as a time as any to note that for the remainder of 2017, blogging will proceed as usual. In 2018, I’m planning on easing back on the throttle: I’ll be returning to the twenty screenshot, “after three and whole series” format for any new shows that I follow. I’m also thinking that, once I finish with Girls und Panzer: Das Finale‘s discussions, it’s likely time for me to ride off into the sunset and pursue my other interests. With this being said, Girls und Panzer: Das Finale is likely to last quite a while, so I’m not going anywhere yet.

For this anniversary post, I am deviating from my usual modus operandi and will take the remainder of this post to address my particular approach towards writing about anime. While I’ve long counted myself to be someone who watches anime purely for entertainment, I find additional enjoyment when an anime aligns with challenges facing the real world – this allows me to compare and contrast real-world issues with their portrayal in anime, and the value comes from watching how people address these concerns. As a fictional medium, there is a great deal of freedom in portraying the journey that characters undertake. Their learnings, in forming the theme for an anime, can provide some insights as to how the authors see the world and ultimately, mirror how they might go about seeking out solutions for problems, in turn enriching perspectives. This is the main reason why I place such an emphasis on the big picture in my discussions: I am not particularly worried about minor details if they have little relevance on the overall outcomes of a narrative. If the entire story follows logically from the presented sequence of events and yields a message that is consistent with what has occurred, then I will view an anime favourably even if a few details are amiss. The recent trend on fixating in minor details and inaccuracies is incongruous with what might be considered good anime discussion, and this is why I have taken the approach that I do towards discussing anime. It ends up being much more fun this way, and moving into the future, I do hope that you, the readers, will continue to find the contents here both enjoyable and informative even as my posting patterns continue to shift.

We Are Wake Up, Girls!- Wake Up, Girls! New Chapter! First Episode Impressions

“In our obscurity – in all this vastness – there is no hint that help will come from elsewhere to save us from ourselves. It is up to us.” –Carl Sagan

Since WUG’s successful performance at the Idol Festival, where they displaced I-1 Club in a competition to become the national champions, difficult times forces even I-1 Club to close one of their venues. Without any performances, WUG’s exposure to the world is limited, and the girls have returned to their old duties of being local idols for various media outlets. To break them from this rut, Junko announces that WUG is to produce an album within the next six months and later secures a performance for them at Song Stage. When they gear up, they learn their old uniforms have decayed in condition: Yoshino fashions scrunchies for each and every member to remind them of their origins. At the performance venue, Mayu and the others run into the current I-1 unit, whose centre regards them with hostility. While Airi nearly causes a delay in their live performance by rushing back to retrieve her scrunchie, WUG nonetheless performs well and later, the others reassure Airi that superstition prior to performances is a natural thing, gently reminding her to be more mindful of professionalism at the same time. On the way back home, Junko announces to an exhausted Kōhei that she is planning a national tour for WUG. Meanwhile, a group of students produce fan-inspired versions of WUG’s performances, drawing the girls’ and Kōhei’s attention. It’s been a while since I’ve written about Wake Up, Girls!, with the last time being for the second movie Beyond The Bottom. A series that has held a special place in my heart, Wake Up, Girls! makes a triumphant return to the anime form, with this second season being produced by Millepensee, which collaborated with Ordet on the movies.

Ordet themselves worked with Tatsunoko Production on the first season, and while this first season was characterised by deficiencies in the animation, Wake Up, Girls! and its narrative proved quite enjoyable, inspiring to follow. The new animation style that Millepensee brings to the table is a balance between the old and new: the characters look and sound as they did during the movies and first anime season, but with more fluid animation, it feels as though they’ve been given new life. It is most welcoming to see Mayu, Minami, Yoshino, Nanami, Airi, Miyu and Kaya return in this new form: their first performance is a smooth one, with camera effects and movements that far surpass what was seen in earlier incarnations of Wake Up, Girls!. The improved animation, coupled with new directions of Wake Up, Girls! New Chapter! (New Chapter! from here on out for brevity), means that the second season is off to a fine start – Wake Up, Girls! has always added a healthy amount of realism into its story, and in spite of their successes, WUG has a ways to go in order to sustain their success in a market saturated with idols. By presenting plausible set-backs and challenges, it was remarkably satisfying to see how WUG overcame their tribulations, and New Chapter! appears to be continuing along this path, which corresponds with more surprises in this upcoming season.

Screenshots and Commentary

  • A quick memory test for myself: from left to right, we have Yoshino, Minami, Airi, Mayu, Nanami, Miyu and Kaya. One of the biggest challenges I face when writing for Wake Up, Girls! is recalling who’s who: Minami and Nanami share very similar romanised names, as do Mayu and Miyu. Their character designs have also been quite similar, but with Millepensee stepping up to the plate for animation in New Chapter!, the characters look a bit more distinct from one another without losing their basic designs seen in the anime and first season.

  • As the opening episode discussion, I’ve opted to go with the usual twenty screenshots, striking a balance between details and ease of writing on my end. Here, Junko reads about the declining I-1 Club in a newspaper article before addressing WUG. WUG’s president, Junko handles dealing with partners and associates, and despite her brash personality, she always manages to find ways of helping WUG get started with their goals. Kōhei is WUG’s manager and has the group’s interests at heart, having brought all seven idols together during the prequel movie.

  • WUG is based in Sendai of Miyagi Prefecture. With a population of just south of 1.1 million, Sendai is only a shade smaller than Calgary, which has a population of 1.2 million. Nonetheless, Sendai depicted as a “small” town in Wake Up, Girls!, compared to the likes of Tokyo. The area was damaged during the 2011 Tōhoku Earthquake, and I vaguely recall that the anime project was originally intended to recruit voice talent in the Sendai area and promote the region as a part of a recovery project.

  • Itsuka Atsugi, Otome Morishima and Ayumi Hayashi are three new characters in New Chapter! – their family names mirror those of their voice actors (Nanami Atsugi, Yūka Morishima and Yūka Morishima, respectively). Junior high students who’ve been inspired greatly by WUG, they’ve taken to doing their own performances and uploading them to YouTube. At the episode’s opening, Minami and the others dub over the performance while watching it, and Kōhei remarks that the appearance of fan videos are a sign that WUG’s having some tangible impact on its viewers in inspiring them.

  • After practise, Junko announces that she’s managed to get WUG a performance slot in the Song Stage programme, marking the group’s first live performance since the events of Beyond the Bottom. The girls are naturally excited and their first query is whether or not their old uniforms are in any shape to be utilised for their performance. However, their age (three-and-a-half years in real time) means that they’re frayed and otherwise don’t fit all that well, as Kaya quickly finds out.

  • When Miyu inquires further, Kaya suppresses all further discussion. The oldest member of WUG, Kaya, reminds me of Glasslip‘s Yanagi Takayama in appearance and even shares Yanagi’s hobby of jogging. As a result of her age, she’s looked to as the de facto second-in-command after Yoshino, and originally did not take her role in WUG too seriously, but her time with the group has led her to be much more devoted and passionate. By the events of New Chapter!, even Airi has improved to the point where she can keep up with Mayu and Yoshino.

  • Junko authorises new uniforms for the girls, to their excitement. In this first episode of New Chapter!, song producer Tasuku does not make an appearance. It is with his trying approach of management that leads WUG to improve dramatically, and while presenting an oft-indifferent air to the girls’ fates, he grows to respect their tenacity greatly, expressing disappointment whenever they fail and is genuinely happy when WUG’s performances are successful. Since the events of Beyond the Bottom, Junko’s gotten in touch with some old friends to help with writing and scoring music, so presumably, Tasuku will make fewer appearances this season.

  • The page quote for our return to Wake Up, Girls! comes from Carl Segan, renowned astronomer and astrophysicist. While Segan’s dealing with humanity and the need for our species to advance in order to survive catastrophes that could end our civilisation, the quote finds equal applicability in Wake Up, Girls!, where WUG must find ways of surviving and making themselves known before fading into irrecoverable obscurity, and that this process is something that the girls themselves must undertake, as they can reasonably expect no assistance from the outside.

  • Things fast-forwards to the day of departure, where Miyu is very nearly late for their train. The shinkansen line allows folks in Sendai to arrive in Tokyo in around two-and-a-half hours: the road distance is around 360 kilometers and would require a four hour journey by motor vehicle. The relative efficiency of the shinkansen means that one of the challenges I had while following Wake Up, Girls! was ascertaining whether WUG was in Tokyo, where most of their major performances are, or back home in Sendai.

  • Owing to the separation in airing, Wake Up, Girls! is probably the longest running anime I’ve followed outside of OVA series like Gundam Unicorn (four years) and Gundam: The Origin (three years by the time the finale releases): I began watching Wake Up, Girls! back in 2014, and only had the chance to write about the 2015 movies this year. Interest in this series has been generally low, and while folks consider it to be somewhat unrealistic and unenjoyable (hence the lack of discussion), I found the series to be a heartfelt one.

  • After finishing Wake Up, Girls!, I returned to the more idyllic approach that Locodol presented while working on the Giant Walkthrough Brain – Locodol never places Nanako and Yukari into difficult positions as Wake Up, Girls! does to WUG, rather similar to how working on the university project that was the Giant Walkthrough Brain felt a little more comfortable than working in industry at the time. Back in New Chapter!, Yoshino hands out scrunchies that she’s made from their old uniforms, allowing everyone to keep a small piece of their origins: the group’s marching band uniforms were first seen during the regional competition back during the first season of Wake Up, Girls!.

  • While not quite as apparent while animated, the static nature of screenshots mean that the differences in art style are much more noticeable. While folks have criticised Wake Up, Girls! original run for poor animation quality, the art aesthetic was quite distinct and contributed to the rough-around-the-edges-but-genuine nature of Wake Up, Girls!. The new art style is an improvement from its predecessor overall, and it’s much easier to differentiate between the characters now, but it will also take some getting used to.

  • Mayu and the others run into I-1 Club’s team on stage, whose centre meets them with a cold reception. While Wake Up, Girls! formally has no antagonist beyond the characters’ own doubts and internal challenges, the presence of I-1 does much to remind viewers that the business of being an idol is no doubt an unfriendly, competitive one. Despite being a veritable giant, they too are suffering, as their viewership declines forces their Sendai facility to be closed.

  • Airi risks delaying WUG’s live performance when she forgets her scrunchie back in the green room, but with the encouragement of her teammates, she retrieves it just in time to begin the show, where they perform the group’s now-signature “Seven Girls War”. Used as the first season’s opening theme, they’ve delivered fantastic performances of it throughout the anime’s run: in their first performance in New Chapter!, WUG is outfitted with new uniforms that appear much lighter and conducive of movement than their previous ones.

  • Some viewers are unaccustomed to the new character designs and miss the old ones; as I’ve remarked earlier, some time will probably be needed to get used to things. With this being said, one of the design elements that endured from the days of Tatsunoko Production and Ordet’s interpretation are the strangely-shaped smiles. On the whole, however, Millepensee has largely improved on the girls’ expressiveness in New Chapter! and their facial features seem much more natural, rather than forced.

  • Millepensee makes use of CG to animated WUG’s dance sequences – they’ve evidently made an effort to replicate the visual features of the conventional scenes and make a seamless transition, but the differences are still noticeable. I believe Tatsunoko Production and Ordet stuck with traditional animation during their dance sequences, and while video artefacts are visible in Millepensee’s, their execution allows for much more dynamic ranges of motion, synchronisation and camera movements to be present compared to their predecessors.

  • The end result is that the dances are actually quite fun to watch, really capturing the distance that WUG has come since their earliest performance on a December’s night in a park where the audience numbers could be counted on one’s fingers. While “Seven Girls War” is a fun song by all counts, one of the things that I look forwards to seeing in New Chapter! will be whether or not any new songs are introduced into the series.

  • Strictly speaking, while I personally enjoy Wake Up, Girls! and have positive things to say about the series, I understand that this anime is not for everyone for its execution. Further to this, IdolM@ster and Love Live! are much larger and better-known than Wake Up, Girls!, so it is perhaps not too much of a surprise that there is limited discussions of Wake Up, Girls! out there. For WUG, they are faced with rising out from obscurity in-show, and in the real world, Wake Up, Girls! deals with similar challenges: I’ve heard that Wake Up, Girls! initially did not perform particularly well in Japan, but once WUG began finding their feet, reception to the anime warmed.

  • Following their performance, Mayu and the others reassure a worried Airi about her decision to retrieve her scrunchie earlier at the risk of jeopardising the entire group’s performance. The team has had conflicts in the past with Airi, when Takusu forced the team to choose between dismissing Airi or becoming disbanded as a whole to test their resolve. Since then, WUG’s unity has remained unshakable, and the team will do what is necessary to ensure that everyone’s on the same page. When Mayu mentions superstitions for performers, I’m reminded of the rituals that players in the NHL and other professional athletes have prior to a game.

  • En route back to Sendai, Junko forcibly wakes up Kōhei and informs him of her plans to take WUG on a national tour to elevate their presence. My plans presently for New Chapter! will be to write about it after every three episodes. This brings my first talk in New Chapter! to an end, and in the very near future, I will be aiming to watch In A Corner of This World and write about it, along with Girls’ Last Tour.

One of the elements that I’ve noticed about Wake Up, Girls! is its relative obscurity in the English-speaking community – it’s a bit of an irony that Wake Up, Girls! is about overcoming obscurity in their world when in the real world, there’s been very little talk about the series in other blogs and discussion venues. While expectations for Wake Up, Girls! has always been low, and reception mixed at best, I found in Wake Up, Girls! an earnest series about a group of youth pursing their dreams and dealing with setbacks to the best of their abilities. This is why even three-and-a-half years following Wake Up, Girls! original run, I am quite keen to continue with the journey that Mayu and the others embark on in pursuit of their dreams. I will be writing about New Chapter! periodically this season, returning after every three episodes to consider what New Chapter! has covered, as well as where the series is headed. In addition, with the addition of three new characters in the form of students who are also fans of WUG, one of the possibilities include seeing whether or not they will interact directly with WUG at any point in New Chapter!‘s upcoming episodes.

Call of Duty: WWII- A Reflection on the Open Beta

“Hot today, forgotten tomorrow. I’m not buying anything.” –James Marshall

Activision has stated that development on Call of Duty: WWII began long before negative reception to the franchise’s shift into future warfare began. The full title will release on November 3, and during the last weekend of September, an open beta was available for Steam players to try out. Offering five maps and four game modes, the beta was an opportunity for players to test the game out prior to its release. After installing the beta initially, I found myself unable to run it; the game would not load, and it was not until I reinstalled the title where the game would open. After entering my first few matches, it became apparent that the game has not been optimised fully for PC yet: frame rates dropped, the game stuttered, and death followed. When frame rates stablised, I began my own boots-on-the-ground experience, making use of the different divisions to get a feel for the gameplay. Call of Duty has always been more about small maps and fast-paced combat, as well as kill-streak rewards over the slower, more methodical and large-scale gameplay that characterises Battlefield 1. Maps feel like closed-off sets designed to give the sense of a well-designed paintball arena, rather than the wide-open spaces of Battlefield 1, and the numerous corners and hallways encourage a very aggressive, forward style of gameplay that rewards reflexes over strategy. Filled with details, from aircraft flying overhead and artillery, to muddy and damaged set elements, maps definitely exude a WWII-like atmospheric that, in conjunction with traditional movement systems, looks to return Call of Duty back to its roots. However, well-designed set pieces and premise can only carry a game so far, and the major deciding factor in whether or not a game is worth playing lies with its gameplay and handling.

During moments where the Call of Duty: WWII open beta was running with optimal frame rates, the game feels modestly smooth, although the Infinity Ward engine is definitely feeling dated. Movement is a little jagged and uneven, feeling somewhat sluggish. In a game where the goal is to move around in a high-paced environment and play the game aggressively to score points, the movement system is not particularly conducive of this particular play style, as I found myself getting stuck in geometry on more than one occasion, leading to death. Inconsistencies in movement and hit detection meant that the Call of Duty: WWII open beta felt like one protracted match on Prise de Tahure. I was dying to players coming from unexpected angles and places. Exacerbated by lag, I would open fire on players first, only for them to whip around and instantly nail me, suggesting that I had in fact been firing at air when my client put a player on screen. Performance issues aside, the chaotic nature of Call of Duty multiplayer environments and an emphasis on twitch reflexes with a high RPM weapon over finess means that Call of Duty: WWII‘s multiplayer certainly isn’t for me. This beta reminds me of my advancing age – long ago, I enjoyed close quarters combat for the rush it brought. With age comes decreasing reflexes, and I’m not able to keep up with the whipper-snappers out there now. The kind of gameplay I might have preferred a few years ago no longer feels fun to me compared to methodically picking off distant enemies and moving cover-to-cover.

Screenshots and Commentary

  • Call of Duty: WWII introduces a new game mode called “War”, which is a close-quarters objectives-based match. On the “Operation Breakout” map seen in the beta, Allied Forces must capture a German outpost and then build a bridge, allowing their tanks to destroy an ammunition depot. German forces must prevent the Allies from succeeding. The game mode is admittedly similar to Battlefront 2‘s Galactic Assault, albeit a much smaller-scale version.

  • I’m not sure if this were the case in earlier Call of Duty multiplayer games, but in Call of Duty: WWII, there are different classes players can spawn in as, from the jack-of-all-trades infantry class, to the more nimble airborne class that emphasises high speed gameplay. There’s also an armoured class that can equip heavy weapons, the mountain class that is suited for long-range sniping, and the expeditionary class that dominates in close quarters.

  • Here, I equip the Bren LMG, Perrine’s weapon of choice from Strike Witches. However, despite its WWII-setting, I do not feel that Call of Duty: WWII is able to capture the Strike Witches atmospheric and aesthetic anywhere nearly as effectively as does Battlefield 1, despite the fact that the latter is set during World War One. This further stems from the very static, arena-like maps as opposed to the larger, more natural-feeling maps seen in Battlefield 1.

  • I’ve heard folks complain that the STG-44’s sight to be completely inauthentic: while it is true that modern electronic red dot sights with LEDs were developed during the 1970s, the concept of a reflex sight has been around since the 1900s. Earlier sights either depended on ambient light to function or else had a built-in light source whose operational time was constrained by limited battery life.

  • I only spent two hours in the Call of Duty: WWII open beta on account of a cold that saw me sleep most of the weekend that the beta was running, but I don’t feel like I’ve missed out on too much. By comparison, when I played through the Battlefront 2 beta last week, I had largely recovered and so, put in closer to nine hours over the Thanksgiving Long Weekend. During the moments where I was feeling a little better, I hopped into a few matches and found myself outplayed at every turn.

  • Averaging a KD ratio of less than 0.25 in almost all of my games, I’ve found the movement and handling in Call of Duty: WWII to be very poor. This is especially problematic, considering that Call of Duty: WWII is meant to be a fast-paced shooter where reflexes and high sensitivities are king: slow movements and aiming made it difficult to aim and fire, taking away from the run-and-gun style of play that Call of Duty emphasises.

  • I’ve heard that client-side modifications were widespread during the open beta, allowing people to one-shot other players with instant headshots, or else gain awareness of where all of the other players were. As I’ve mentioned in other posts, I would prefer a hardware ban for folks caught cheating as Blizzard has implemented in Overwatch: this forces all but the most resourceful of cheaters with deep pockets to think twice before using tools to bolster their in-game performance.

  • On my end, I do not believe I encountered any cheaters. The biggest enemy ultimately ended up being the game performance itself: my hardware, while four years old, is no slouch with respect to performance. Nonetheless, I saw the game dip below 15 FPS during some moments, and I could only watch as other player lined up their sights and pasted my face into the walls. The lag, coupled with the fact that the beta did not even open made the Call of Duty: WWII‘s beta a little difficult to enjoy; the Battlefield 1 and Battlefront II betas were characterised by a straightforwards setup process where I activated the installer and then joined matches without any difficulty.

  • From a visual perspective, Call of Duty: WWII looks average at best, especially when compared with some of the other titles available. Textures are a bit dull, and lighting isn’t terribly complex: in fact, I feel that the graphical fidelity of Infinite Warfare and Modern Warfare: Remastered to be superior. While this is just a beta, Call of Duty: WWII does not inspire me to give the game a go, whereas Battlefront II‘s beta convinced me that, provided the loot crate system doesn’t completely suck, the game might merit a purchase shortly after launch.

  • I saw some footage of Cr1tikal playing through the closed beta a month ago, and recalled his use of incendiary shells in the expeditionary class. In his video, Cr1tikal criticises the map design, and ultimately, makes extensive use of the shotguns to squeak by in a match before switching over to mountain class briefly. I was hardly surprised by the expeditionary class’ efficacy with incendiary shotguns and found myself doing much better than I had in previous rounds.

  • Stationary weapons in multiplayer shooters are always a death-trap, leaving users exposed to attack from behind and snipers, but here, I use one of the mounted weapons to defeat another player from a distance. Despite the splintered wooden poles, shattered concrete bunkers, muddy ditches and remnants of sandbags, the maps in Call of Duty: WWII simply do not feel as though they are World War Two settings, but rather, feel like World War Two-themed settings.

  • The under-barrel grenade launcher in older Call of Duty games was counted the “n00b tube” for its ease of use. Under-barrel grenade launchers are gone in Call of Duty: WWII, but the incendiary shells of the expeditionary class are probably going to be regarded  as fulfilling a similar vein: despite dealing the same damage as a conventional shotgun shell, the incendiary shells apply damage over time by means of burning opponents hit, and because they replenish fully on death, they are an appealing weapon for beginning players who can gain a kill even after they are killed.

  • During my time in the beta, I did not hear any complaints about use of incendiary shells and so, like Cr1tikal, I used them during the later period of the open beta. I’ve heard that the release version of Call of Duty: WWII will see several changes, and one of the top-most changes proposed will be reducing the damage dealt by incendiary ammunition.

  • During one particularly lucky short, my pellets outright took out one opponent and burned another to land me a double kill. One feature in Call of Duty that I’ve never been fond of is the killstreak system, which rewards players purely based on how many kills they’ve gotten before dying. The most infamous killstreak bonus is the tactical nuke, which instantly wins a game for the team that the player triggers it on. Overall, I prefer Battlefront II‘s system, where playing the objective and actions helping teammates will unlock battle points that can be spent on perks.

  • Despite the closed, arena-like maps, the Operation Breakout map has long, open avenues that are well-suited for sniping. The Commonwealth rifle proved fun to use: it’s a one-hit kill bolt action rifle, and coming from the likes of Battlefield 1, where I’ve acclimatised to bolt-action rifles lacking a straight-pull bolt, this weapon wasn’t too far removed from my usual play-style. I never did get around to learning the performance attributes of the different weapons, and I didn’t make it far enough to unlock most weapons. Instead, I looted weapons from other players to give them a whirl.

  • Medals are earned in Call of Duty by performing specific actions or scoring kills in a particular manner. They will confer a boost in XP, and are similar to the ribbons of Battlefield, appearing at the top of the screen. I believe they were introduced in Black Ops II, although as mentioned earlier, I’m only vaguely aware of game mechanics in Call of Duty titles and I find the game engine to be quite out-dated.

  • Some folks have asserted that Call of Duty: WWII is a blatant rip-off of Battlefield 1 for featuring similar features, including the bayonet charge and for returning things to a World War setting. At the opposite end of the spectrum, others claim that Call of Duty: WWII will cause Battlefield 1 players to switch over on account of limitations in the latter’s gameplay. Quite honestly, while Call of Duty: WWII is quite unique in both game mechanics and time period, I found that I have more fun in Battlefield 1. After one particularly tough match, I returned to Battlefield 1 and perform considerably better than I did during the Call of Duty: WWII open beta.

  • My last match during the Call of Duty: WWII beta was spent in a match of domination with the airborne class and the starting M3 submachine gun. I attached the suppressor to it and snuck around the map to get kills. Capture points trade hands numerous times during domination, and one thing I noticed is that in Call of Duty: WWII, the submachine guns do not appear to have an improved hip-fire accuracy.

  • One of the most infamous constructs to come out of Call of Duty is the notion of a “360 no scope” and “quick scope” moves. While considered to be trick-shots with little practical advantages in a real game, folks on the internet suggest that people of middle school age take the move quite seriously and consider it a viable tactic. Regardless of whether or not this is true, one thing is for sure: until the PC version of Call of Duty: WWII is optimised, trick shots will be very difficult or even impossible to pull off.

  • After this match ended, I decided to call it a day and went back to sleep with the aim of fighting off my cold. Two weeks later, I’m back to my usual self, although an occasional cough continues to persist. I usually get sick twice a year: once before winter appears in full, and once before spring completely displaces winter weather. I’m hoping that this means winter is upon us; it’s certainly been colder as of late, although forecasts show pleasant weather over the next while. Overall, I would say that I had much more fun with the Battlefront II beta than this one, and while the campaign looks interesting, I’ve got no plans to purchase Call of Duty: WWII at the moment.

Playing through the beta reaffirms the reasons behind my decision in not playing Call of Duty multiplayers, but having tried the Call of Duty: WWII open beta, there are a few things that Call of Duty does well; my favourite is the instant spawning back into a match after death. The quick time to kill is also great for high-speed engagements, even if it is hampered slightly by the movement systems. However, compared to Battlefield, which has a better movement system and larger maps that accommodate all styles of gameplay, I cannot say that I’m won over into Call of Duty‘s multiplayer aspects. The single-player elements are a different story: until Battlefield 1 introduced its war stories, Call of Duty games had consistently more entertaining campaigns, and I am looking forwards to seeing just what Call of Duty: WWII‘s story entails. From what has been shown so far, it’s a return to the European front in the later days of the Second World War, featuring a modernised take on the D-Day invasion. Overall, I am not particularly inclined to purchase Call of Duty: WWII close to launch, or at any point soon, for its multiplayer content. If the single-player campaign is impressive, I might purchase the game some years later during a Steam Sale – the game certainly does not feel like it is able to offer the value that would make buying it at full price worthwhile, but I’m always game for a good war story, even if it is a shorter one.

A Photogrammetry Exercise in Kimi no Na wa (Your Name): Determining the location of Taki’s Apartment and a fly-through from Tokyo to Hida

“Where is Taki’s apartment located?”

This question was posed by one of our readers shortly after Your Name began screening in Japan, and at the time, information about the film, especially amongst the English language anime community, was limited. Consequently, when I received the question, I wondered if it were even possible to answer it accurately. For one, metro Tokyo is the world’s largest city, and even Tokyo Proper has a surface area of 2187.66 km² and a population of 13 617 445 as of 2016. By comparison, Calgary has a tenth of the population, and it’s already tricky enough to find things here — it took me ages to realise that Pure Pwnage‘s Lannagedon event was hosted at the Bowness Community Centre, for instance. However, the challenge was an intriguing one, and I began wondering how to go about solving it. When I recalled an episode of The Raccoons back in July, I felt that I had my answer: in the episode “Search and Rescue”, Bert Raccoon and Cedric Sneer go looking for a meteorite that lands on Jack Pine Island in the Evergreen Forest. Assuming that recovering the meteorite is a day trip, the two do not leave any information behind as to where they went, and when their raft floats off from the island, the two find themselves stranded. Despite the effort of their friends, who search the Evergreen Forest through the night for them, the two are not found until the next morning. After Lady Baden-Baden reveals that she saw the meteorite, Professor Smedley-Smythe is able to use triangulation to work out where the impactor landed, leading to Bert and Cedric’s rescue. The concept of triangulation is a reasonably simple one: if there are at least two known points, then the location of an unknown point can be determined by forming a triangle by means of the existing points. The version in The Raccoons is the simplest one: the baseline distance and angles are not used, as a map is available. However, slightly more involved forms allow for a distance to the unknown point to be determined provided that one knows the baseline distance between two observes and the relative angle of this baseline to their line of sight. In this exercise, I apply a variation of the technique, plus several landmarks in the Tokyo, to form the starting point for answering this question.

Locating Taki’s Apartment

  • Figure I: Taki viewing Tiamat’s fragment splitting up in the eastward direction. The Yoyogi Tower and Tokyo Metropolitan Government Building are highlighted in this image for clarity. All of the images in this post can be expanded for viewing at full resolution.

  • Figure II: A section of the Tokyo skyline seen in Your Name. Here, I’ve highlighted some of the buildings visible in the image. Landmarks with a red label were used in my preliminary estimates to narrow down which area Taki’s apartment is located in.

  • Figure III: Approximation of where the skyline in Figure II might be viewed from. Using the four landmarks and roughly their angles, the area one can begin looking for Taki’s apartment is highlighted in blue, enclosed by the sightlines. All of the map data in this discussion are sourced from Google Maps and have been modified to improve clarity.

From footage in Your Name, Tokyo Metropolitan Government Building and the nearby Yoyogi Building is visible from Taki’s apartment (Fig I). In the image, the Tokyo Metropolitan Government Building is right of the Yoyogi building. Inspection of a map allows us to work out that Taki’s apartment must be east of these buildings. The second set of points we can use can be derived from the fact that Taki is seen leaving home with Tokyo’s skyline visible on the horizon (Fig II, Fig IV, Fig V, Fig VI, Fig VII). Visible in the frame’s left-hand-side is Akasaka Palace, accommodations for visiting state dignitaries. Tokyo Tower is also visible, along with the Embassy of Canada as the frame pans right. Thus, we can use Tokyo Tower and the Embassy of Canada as the first of the known points for our calculations: in the images, the Tokyo Tower is left of the Embassy of Canada, so we can reason out that the scene is taken from a point north of these buildings. The estimated sight lines allow us to constrain Taki’s apartment to an area in Shinanomachi, Wakaba, Yotsuyasakamachi (Fig III). These are densely-built up neighbourhoods, and while we’ve worked out roughly where Taki’s apartment could be, exploring the area bit-by-bit would still take a while. Fortunately, we have two more points that makes the calculations easier to approximate: Akasaka State Property is visible in the frame shown when Taki (Mitsuha) is looking over Tokyo. We use this to further constrain the possible region to an area west of the Akasaka State Property (Fig II). The second point is rather more subtle – there’s a small apartment complex called the Meiji Park Heights, and it is visible in the image’s lower right hand corner (Fig VII, VIII). This apartment is located southwest of Taki, so using the same technique and tracing backwards, we find a line that passes over a community centre north of the Chou Main Line (Fig IX).

  • Figure IV: Identifying buildings visible from the perspective seen in Your Name. When we zoom in to the area highlighted in Figure III and rotate the camera, we find a distinct set of landmarks not dissimilar to the buildings seen in Figure II. I use some of the more distinct skyscrapers in the image as comparisons.

  • Figure V: The equivalent spot from Figure IV in Your Name. Amongst the buildings I’ve looked at include the 43-story Park Court Akasaka: The Tower, a residential complex that was completed in 2009, the Sogetsu Concert Hall and the Embassy of Canada. The Embassy of Canada was chosen as a point primarily because of its distinct roof. This building was completed in 1991.

  • Figure VI: Panning east from the perspective in Figure IV. When the camera pans right, other buildings become visible, including Tokyo Midtown, a mixed-use building that is, with its height of 248 meters (814 feet), the second-tallest in Tokyo. By comparison, Brookfield Place East of Calgary will have a completed height of 247 meters (810 feet). Other buildings highlighted for their visibility include the International Medical Welfare University Graduate School, Honda Welcome Plaza Aoyama and the TK Minami-Aoyama Building.

  • Figure VII: The equivalent spot from Figure IV in Your Name. With the number of familiar landmarks visible in Your Name, we can say that Taki’s apartment must be located close to the Akasaka Imperial Property. There is one final structure that is present when the camera pans, and this is the Meiji Park Heights, with its distinct roof and windows.

  • Figure VIII: A closer view of Meiji Park Heights. Despite its unassuming appearance from 3D imagery, the building houses spacious, luxury apartment units and is conveniently located to two train stations, as well as the Akasaka grounds. With two-bedroom units that have a total area of close to 1125 square feet (110.41 square meters), rentals start at 350000 Yen per month (3900 CAD), more than double that of an equivalent in Calgary (1500 CAD per month).

  • Figure IX: Using the Akasaka State Property and Meiji Park Heights to constrain the possible region of Taki’s apartment further. The Akasaka State Property was visible in Figure II, and together with the Meiji Park Heights, allow us to say that Taki’s apartment must be in a narrow area where both structures are visible. Using the sightlines running east-west, the possible location of Taki’s apartment can be searched for in the highlighted area.

We now have an area small enough so that we can start looking around manually, and immediately north of the community centre are some apartment complexes. We are left with several options: Taki lives in an apartment with an outdoor hallway, which allows us to eliminate a larger apartment nearby with windows facing south, as well as a green-roofed apartment (Fig X, XI). Adjacent to the green-roofed apartment is a slightly taller apartment, and while it has south-facing balconies, this is our candidate, located at the address 〒160-0011 Tōkyō-to, Shinjuku-ku, Wakaba, 1 Chome-22-15. The building itself is called 離宮ハイム (Rikyū haimu), and from details in the film, Taki lives on the sixth floor. Despite the descrepancies in design, especially with respect to the placement of balconies and the angle of sunlight seen in the film, when we descend down for a closer look along a road, it becomes apparent that we’ve located Taki’s apartment. Details in the road he’s seen running along, both to school and to meet up with Miki for his date, line up with what is visible from the site’s real world location (Fig XII, XIII, XIV, XV). Without the use of too much trigonometry, we’ve found Taki’s apartment with some reasoning, a bit more guesswork and liberal use of Google Maps. I remark that a more precise and sophisticated technique can be applied here: because we have the heights of the Tokyo Tower and Tokyo Metropolitan Government Building, clever use of a clinometer and the screenshots can also allow one to approximate the distance to the buildings and determine where the screenshots are roughly located.

  • Figure X: Highlighting Taki’s apartment and the route he’s seen taking to school and on his date with Miki. Taki’s apartment is highlighted in blue, while the route we see him take is given in red. From exploring the area given in Figure IX, Taki’s apartment was located in the space of around two minutes.

  • Figure XI: Corridor outside of Taki’s aparment. Close inspection of the unit numbers find that Taki lives on the sixth floor, although his apartment has a covered corridor compared to the unit located in the real-world location. However, as the structure needs to be suited for plot-related elements, the discrepancies are readily accepted without much concern.

  • Figure XII: Street-level view looking south from the road leading from Taki’s apartment. Quite ordinary and unremarkable by any definition, it is possible to use Google Street View to approximate a small section of Taki’s route, and I imagine that folks in Tokyo familiar with the region can trace his path to school and the route he takes when meeting Miki for a date with total accuracy.

  • Figure XIII: The equivalent spot from Figure XII in Your Name. The extent to which details are reproduced are incredible: whether it be the placement of mirrors, the potted plants beside the apartment on the right, the vending machine or the skyline, we have a near-perfect reproduction within Your Name of the location.

  • Figure XIV: The road going down the hillside leading from Taki’s apartment. The real-world location is filled with shrubbery, with the skyline barely visible, whereas in Your Name, there is less vegetation that allows the skyline to be more clearly seen.

  • Figure XV: The equivalent spot from Figure XIV in Your Name. While I never visited this spot during my time in Tokyo back in May, the closest I got from Taki’s apartment and the Suga Shrine would have been around 2.6 klicks, when I visited the Meiji Jingu Garden. This was the first destination that was on my itinerary in Tokyo.

The Giant Flythough Kimi no Na Wa

During the opening credits to Your Name, there’s also a brief moment where the camera flies from Taki’s apartment in Tokyo, through the Tokyo Metropolitan Government Building, out to rural Japan and eventually, Itomori (Fig XVI). This is undoubtedly an impressive feat of animation and a visual treat to behold on its own, but there is a pleasant surprise to this, as well – if one were to project a line from Taki’s apartment in the heading as depicted in the film, they would end up in Hida, Gifu, passing over Lake Suwa along the way (Fig XVII, XVIII). In total, roughly 237 kilometers of distance separates the location of Taki’s apartment in Tokyo from Hida in the Gifu prefecture. While some might consider this a mere coincidence, the level of detail Makoto Shinkai and his team put into their art is nothing short of exceptional, so I imagine that this was a deliberate design in keeping with the thematic elements within the movie. Whereas Shinkai’s earlier themes were more about distance, Your Name deals predominantly with connections and how distances can be closed: the Chinese term “緣份” (pinyin: yuán fèn, “fate”) describes the movie neatly, as it appears that supernatural forces compel Taki and Mitsuha to meet. That their homes lie along the same line is a clever element added to the film, and while subtle, serves to reinforce notions that Taki and Mitsuha must meet in order to convey the thematic elements in the movie. With this in mind, it is likely that Shinkai and his team worked backwards, choosing the rural location and then corresponding it with a location in Tokyo; it is considerably more difficult to pick a rural location suitable for Mitsuha, whereas in Tokyo, the dense urban build-up means that Taki could have been placed anywhere in central Tokyo without any substantial impact to the narrative.

  • Figure XVI: Stills from the opening scene in Your Name depicting a fly-over from Taki’s apartment in Tokyo to Mitsuha’s house in Itomori. Starting from the roof of Taki’s apartment (1) and flying east over the Tokyo cityscape (2) towards the Tokyo Metropolitian Government Building (3), the camera moves through the gap between the two towers (4) out into rural Japan after a transition (5), eventually landing in Itomori (6).

  • Figure XVII: Approximation of the route covered by the route seen in the opening in the real world. The red path highlighted shows this: in the upper left, the route covered between Figure XVI’s (1), (2) and (3) are shown. The opening shortens things after (4) is reached. Curiously enough, the line intersects Suwa Lake before landing in the small town of Hida in Gifu. During my visit to Japan, we passed by Suwa Lake after leaving the Ikenotaira Hotel beside the shores of Shirakaba Lake en route to Nagoya and Gifu.

  • Figure XVIII: Overhead view of the entire route from Tokyo to Hida, Gifu, intersecting with Lake Suwa. The total distance separating Taki’s apartment from Suwa Lake is 154 kilometers, while the full distance from Hida to Tokyo as the mole digs is 243 kilometers. To put things in perspective, Red Deer to Calgary is a little less than 154 kilometers, while Edmonton and Calgary are separated by a distance of 270 kilometers.

Closing Remarks

An interesting point to note is that only 480 metres separates Taki’s old apartment from the Suga Shrine. This entire exercise only took around five minutes to complete, although the post itself took a ways longer to draft out: from exploring the areas by means of Google Maps’ Street View and 3D utilities, it becomes clear that, as with Suga Shrine, Your Name takes some creative liberties in recreating locales for the film but nonetheless retains considerable accuracy. That it is possible to apply a bit of triangulation and make use of a commonplace tool to precisely determine where the events of an anime film occur, is itself a testament to how far technology has come in recent years. Sophisticated techniques for obtaining stereographic data to create 3D maps has made photogrammetry, the process of using imagery for locating structures and objects, increasingly accessible to all users: Google has optimised their 3D maps so even computers with an Intel Iris GPU can view maps in 3D. Such tools make it effortless to figure out where one’s destinations are, what road layout and traffic controls lie along a hitherto unexplored route and gain a preview of what things look like on the ground at a location halfway across the world. With tools of this calibre, quickly ascertaining locations within anime becomes a much more straightforwards task, especially if one is familiar with a handful of landmarks in the area of interest. All of these sophisticated tools means that hopefully, I’ve adequately answered the question posed: when asked “where is Taki’s apartment located?”, I can suitably respond “〒160-0011 Tōkyō-to, Shinjuku-ku, Wakaba, 1 Chome-22-15“. Back in The Raccoons, for Bert and Cedric, being lost on an island now simply means sending out a phone call and tagging their location to simplify the search and rescue process. Having said this, some lessons, such as informing others of their intended activities and destinations, continue to endure even if the technology we’ve presently got far outstrips anything that was available in 1989.

Clash at Loum: Mobile Suit Gundam- The Origin Episode Five Reflection

“Your task will not be an easy one. Your enemy is well-trained, well-equipped and battle-hardened. He will fight savagely.” —General Dwight D. Eisenhower

The opening stages of the One Year War begin when Zeon launches a surprise attack on Side 2, eliminating Hatte altogether, while Kycila leads task force in capturing the lunar cities of Granada and Von Braun. Amuro and his friends are caught attempting to sneak into a restricted area in Side 7, but Amuro is spared a beating when guards recognise him as the son of Tem Ray. After witnessing the massacre at Side 2, Ramba Ral refuses to participate in Operation British and becomes wanted for treason against Zeon. The Zeons continue with Operation British, dropping the coloney Island Iffish on Earth with the aim of destroying the Federations Jaburo Base, but the coloney break into three sections upon re-entry. The largest pieces impacts with Australia and the sum of the impact halves Earth’s population. Meanwhile, Sayla Mass has become a doctor, and while treating the injured from the political strife breaking out, she learns from a Zeon operative that Casaval is alive, piloting a red mobile suit and later sees him attacking a coloney, after she herself had helped fend off ruffians. While she manages to protect Eduardo Mass, he dies. With Operation British unsuccessful, Zeon launches another attack at Loum. Although their ships are routed by Federation Forces, their mobile suits allow them to even the odds in terms of fighting strength. Char himself steps out into battle, locating the main Federation fleet on short order after pushing his Zaku to its limits. The Origin‘s fifth instalment comes nearly a year after the fourth, and in it, the more horrific stages of the One Year War are illustrated, including the gassing of Island Iffish for the purpose of dropping it as a kinetic impactor. The Origin presents a different take on things than did Gundam Unicorn, but with its high animation quality, is able to capture the sort of devastation that characterises the One Year War, and also illustrate the processes, as well as individuals, behind Zeon’s atrocities.

In contrast with the earlier instalments, the fifth The Origin entry is more fragmented in design, portraying different aspects of the One Year War’s opening stages. From the early Zeon victories to their failed execution of Operation British, from Char’s verbal sparring with the Black Tri-Stars to watching Sayla Mass defend her adopted family and home, The Origin presents a series of war stories that show where everyone’s at since the events of the previous episode. The episode does not follow any one character in particular; in doing so, it is able to capture the scope of the One Year War. In this episode’s presentation, one also gains the impression that Zeon’s worst atrocities and actions were the consequence of Gihren’s decisions. Gihren has been counted as the Universal Century’s incarnation of Adolf Hitler, sharing Hitler’s Social Darwinism beliefs, as well as placing an undue amount of emphasis on Wunderwaffen. Gihren’s beliefs are extreme enough that his father, Degwin, denounces him: Degwin’s original ambitions had been to gain independence for and rule over Zeon, whereas Girhen sought to dominate and destroy the Federation entirely. The Origin evidently presents Gihren as having architected the suffering and deaths of billions; the lingering animosities and injustices indirectly lead to the formation of the Titans and precipitate the rise of three Neo Zeon factions following the downfall of Zeon.

Screenshots and Commentary

  • I can’t believe it’s been ten months since I last wrote about The Origin, and for this post, we begin with the Zeon fleet engaging Federation forces. As the instigators, Zeon has the initiative in the One Year War’s early stages, rapidly gaining an edge over the Federation. Early space battles were characterised by long-range engagement between naval vessels. Originally, the Federation were lagging behind on their armaments and fired conventional rounds from their cannons, only upgrading to mega-particle cannons later in the war.

  • Along with the Magellan-class cruisers, The Salamis-class cruisers were the earliest space-faring vessels the Federation fielded, but by the time of the One Year War, they proved outdated: their weaker weapons and lighter armour made them ill-equipped to deal with Zeon battleships, and they were lost in great numbers. Magellan-class cruisers were better armed than the Salamis-class, but both vessels proved inadequate against mobile suits, leading the Federation to design spacecraft capable of housing their own mobile suits.

  • While audiences familiar with things like Cosmic Era and even Anno Domini would be more accustomed to seeing mobile suits equipped with directed energy weapons, Universal Century does not introduce beam weaponry until the RX-78 II. Prior to the Federation’s deployment of the first Gundam, mobile suits were essentially humanoid tanks, armed with scaled-up firearms that still proved exceptionally effective: the basic machine guns Zakus carry fire MBT-sized rounds at several hundred RPM and despite becoming ineffective later on in Gundam as technology advances, they certainly would have been sufficient to overwhelm whatever was available to the Federation when first deployed.

  • During the battles on the moon, Char himself is present, but while engaging Federation forces mid-combat, his thrusters fail to provide the propulsion that he needs. He nonetheless destroys Federation fighters engaging him before continuing with his mission. Char’s choice of red colouration is strictly a personal preference, making him immediately recognisable on the battlefield and earning him the ire of other Zeon soldiers, especially the Black Tri-Stars.

  • Zeon forces destroy the Hatte Colony Cylinder here during an operation. Colonies are fairly commonplace in the Universal Century and are separated into two categories – open colonies have windows and mirrors that allow sunlight in to mimic natural weather patterns, while close colonies were more inexpensive and could house double the number of residents. Industrial 7 in Gundam Unicorn is a closed colony. Despite their seeming fragility, the large size of colonies allow them to withstand a considerable amount of damage – colonies have a diameter of 6.4 kilometres and are typically 36 kilometres in length.

  • Ramba Ral watches as his forces assault the colony Hatte, encountering next to no resistance. He considers it a meaningless slaughter rather than war, and his experiences here shape his actions later on. While Zakus and early space-capable battleships are often presented as primitive and obsolete, enhanced by the limited animation of the late 1970s and early 1980s, the revisitation of the Universal Century with modern animation and artwork illustrate that for its time, the early weapons of both the Federation and Zeon are cutting edge.

  • Gihren Zabi is probably my least favourite of the characters for his facial features: he’s got all of the characteristics of an unlikeable 80s villain. With his exceptional brilliance and ability to sway a crowd, his resemblance to Adolf Hitler is probably deliberate, and here, he gives a speech about the need to eradicate enemies to Zeon. Having seen The Origin and read the history of the Universal Century, it is safe to attribute many of the worst events to him in some manner.

  • Amuro’s only appearance in the fifth episode of The Origin is when he and Kai Shinden, plus a couple of classmates, are caught trying to sneak into an area of Side 7 under construction. Some of the guards recognise Amuro as Tem’s son and jovially remark that if he wished to tour the area, he merely needed to ask for permission. They then proceed to beat the living daylights out of the others while Amuro looks on in disapproval.

  • When Dozle explains the plan behind Operation British, Ramba Ral has reached his limit and storms out of the meeting, feeling that war is not about maximising the enemy’s casualties. His refusal to carry out an order eventually lead the Zeons to count him a traitor, but in the fifth The Origin episode, his fate remains unknown. Dozle and the others continue the operation in his absence, mounting engines onto Island Iffish and prepare to guide it along a trajectory towards earth.

  • Inside the colony, a young man named Yūki promises to protect the inhabitants from Zeon invaders and spends his final moments with his girlfriend before she takes shelter. When Zeon introduces the nerve agent inside the colony, total casualties ensue, and Yūki himself dies slowly in the cold after expending the last of his energy trying to enter the shelter, after seeing the bodies of others caught outside. The nerve agent penetrates the interior of the shelter, killing all within, as well: officials were likely anticipating an invasion force rather than outright extermination.

  • When it becomes clear of what Zeon’s intentions with the depopulated colony are, Admiral Tianem leads the already depleted Federation fleet in a desperate bid to stop the colony from impacting with Earth. The full firepower of the remaining Federation ships are insufficient to destroy or even slow the colony, and the Federation fleet sustains further damage while trying to stop Island Iffish, engaging defending Zeon elements. It is not until the Zeons construct the first Colony Laser that there is a viable weapon of destroying objects the size of a colony all at once. The Titans would construct their own Colony Laser during the Gryps conflict, and in Gundam Unicorn, the Federation secretly commissioned the Gryps II laser.

  • One wonders if the UNSC Infinity’s CR-03 Series-8 MACs could deal enough damage to stop a colony, given an estimated yield of around 50 gigatons. The Zeon’s plan do not account for the forces of re-entry causing Island Iffish to break up in the atmosphere. While considerably less dense compared with a natural asteroid of similar dimensions, the sheer size of a colony could deal considerably damage nonetheless: the three fragments hit Australia, the Pacific Ocean and North America near Toronto, and the resulting damage from the impact, resultant cooling of the climate and seismic activity lead to immeasurable casualties.

  • Sora no Woto fans typically do not agree with my conclusion that the world’s state in the anime was caused by a human war, instead, insisting that global devastation was caused by an extraterrestrial avian species. Their theory is ill-justified and disintegrates when one asks about the species’ role on ecology and why their presence is not noticed in Sora no Woto. An event rivalling a colony drop in scale, following a protracted war, on the other hand, provides a much more plausible explanation, and the events of The Origin reinforce the idea that colony drop events can cause the sort of devastation that the folks in Sora no Woto must contend with.

  • The results of Operation British are vast Federation civilian casualties, with no damage done to Jaburo base whatsoever. Despite his insistence to continue the war, and his proclaimation that those who carried out Operation British are to be punished, Gihren offers no rebuttal when Degwin counters that responsibility of Operation British actually falls on him. I imagine that Gihren is referring to the subordinates who executed the plan, but ultimately, it would appear that for his sharp-mindedness, Gihren did not expect the colony to disintegrate during re-entry.

  • Dozle is easily the least disagreeable member of the Zabi family. Despite his bombastic nature, Dozle is surprisingly gentle. His loud rants quickly cause Mineva to wake up. He promises to make a world where children do not needlessly die in war and resolves to fight for Zeon in the hopes that a Zeon victory will allow such a dream to be realised. Mineva will later play an instrumental role in the Laplace Conflict during the events of Gundam Unicorn, and while I thoroughly enjoyed the OVAs, one of the elements that remained unaddressed is what eventually happens to Banagher, Mineva and Riddhe.

  • A doctor by this point in time, Sayla Mass is very dedicated towards her work, but when a Zeon operative reveals information to her about Casval, who’s taken the name Char Aznable by now, Sayla cannot help but be distracted from her duties. Her longing to meet Casval again does not appear to have wavered after all this time, although the rumours surrounding him lead her to wonder what he’s become since they went their separate ways following their mother’s passing.

  • Char informs his mechanic of performance limitations in his Zaku and requests that the limiter be disabled here. He later spars verbally with the Black Tri-Stars, whose animosity for him are out in the open. While they are quite hostile towards Char, perceiving him as being present to steal their glory and receiving special treatment, the events at Loum will lead them to confer upon him begrudging respect. The Zeon forces begin amassing to take Loum, realising that the Federation will certainly respond, and despite the disparity in their numerical strength, the Zeons place their wagers on mobile suits as playing an instrumental role.

  • Freshly-outfitted Federation cruisers launch from underground sites. Special booster units are seen attached to them, allowing them to overcome escape velocity, speaking to the relatively primitive state of the Federation space fleet: in later Gundam instalments such as Gundam Unicorn, warships are able to exit the Earth’s atmosphere and return to space at will. The composition of this scene brings to mind a moment in Call of Duty: Infinite Warfare where Captain Reyes takes control of the SDF Olympus Mons and sets course for Mars to exact revenge against the SDF fleet.

  • Zeon’s march to war drives their supporters to rally and clash with anti-Zeon parties, resulting in civil disturbances within the colonies as citizens become divided with respect to which side they should support. Because Loum is set to receive Federation support, Zeon’s leadership decide to eliminate Loum before the Federation can reinforce them and as such, is anticipating attack from Admiral Tianem’s forces at Loum.

  • The fifth instalment of The Origin reveals that Crowley Hamon is also an accomplished singer. After evicting agents working on Kycilia’s behalf, she performs a ballad that mirrors the increasingly grim and sorrowful mood that has gripped the Universal Century as Federation and Zeon forces continue their war. For a few moments in The Origin, the futility of war can be felt in Miyuki Sawashiro’s performance: she’s a capable singer and played Perrine H. Clostermann of Strike Witches, Masami Iwasawa in Angel Beats! and Sword Art Online‘s Shino Asada (aka. Sinon).

  • When ruffians begin attacking the nearby village in the Texas Colony and make their way to the Aznable Estate, Sayla picks up a lever-action rifle and begins firing, killing several ruffians in the process. Despite her objection to the fighting and violence between the Federation and Zeons, seeing all of the injured and wounded as being people, Sayla does not hesitate to fire on people who threaten those around her. Despite their older weapons, the residents of the Aznable Estate put up a fight and eventually manage to drive off the ruffians.

  • During the course of the night, Eduardo Mass dies from cardiac failure, likely brought on by the intensity of the combat. There’s little time to mourn his passing, as outside, the Zeon forces have engaged and destroyed the docks to a nearby colony. The surviving ruffians are consumed with fear when they realise they cannot return, only to find themselves at the hands of understandably angry residents.

  • As of late, one of my friends picked up the 1/144 System Weapons 007 revision package for the beam spear for Federation mobile suits, as well as the Sinanju’s Rocket Bazooka options. As I have an HGUC Sinanju, he gave me the parts to upgrade the Sinanju: I’ve found the Sinanju to be an excellent model all around for its detail and options, and I’ve also seen several different choices for the Rocket Bazooka. The 007 revision provides the original under-barrel attachment, as well as the means to convert the bazooka into a standalone weapon system, and even can be mounted onto the shield, allowing me to configure the Sinanju into the loadout it’s seen with in the fifth and sixth episodes of Gundam Unicorn.

  • Despite her furious resolve to survive and do what she can, Sayla’s desire to contact her brother’s fate drives much of her actions in Mobile Suit Gundam, where she later takes on a position on board White Base and becomes the backup pilot for the RX-78. She encounters him on several occasions, and later learns of his motivations to exact revenge on the Zabi family. This revelation shows that Char actually had very little interest in the Zeon cause, desiring advancement to better position himself for revenge. However, upon meeting Amuro Ray and losing Lalah Sune, Char’s quest for revenge against Amuro takes on a more personal tone.

  • The Zeon forces prepare for their attack on Tianem’s fleet, marking the opening of the Battle of Loum. One of the elements I’ve noticed in The Origin is that combat sequences are comparatively fewer relative to those of other Gundam series; The Origin places a much greater emphasis on the human elements of warfare and so, it is appropriate to be illustrating the sorts of things people experience in war. With this in mind, I’m hoping that the finale will have a bit more combat scenes, rather similar to how Gundam Unicorn was predominantly driven by stories of the people involved and presented a fantastic finale.

  • Degwin and Garma watch on as the Zeon forces begin engaging the Federation Fleet. The Origin’s animated incarnation appears to have dispensed with the Zeon’s attempts to drop a second colony onto Earth, and instead, opens with the Zeon forces engaging Tianem’s fleet as a distraction. Nuclear weapons are also absent, with all of the engagements being traditional ship-to-ship battles. When the Battle of Loum is mentioned, my mind immediately returns to the fuzzy, low-resolution image that belies the true scale and intensity of the ship-to-ship battles as seen in the high-resolution, crisp presentation in The Origin.

  • The Origin depicts the Federation as having an overwhelming edge over Zeon forces, and here, Tianem remarks on the necessity of stamping out Zeon as his forces decimate Dozle’s fleet. Both Zeon and the Federation have access to mega-particle cannons, which are explained to result from the fusion of Minovsky Particles in a high energy-environment. When properly contained by an I-field and propelled in a certain direction; compared to other directed-energy weapons, the mega-particles are much more powerful for their size, but the generators to compress and fuse Minovsky particles are themselves massive, being only appropriate for deployment on capital ship-sized platforms.

  • The RX-78 II was thus revolutionary for making effective use of an innovation called the E-cap. An energy capacitor, the E-cap holds Minovsky particles and fuse them to generate a mega-particle beam capable of destroying a mobile suit in a single shot, as Amuro discovers when sortieing in the RX-78 II for the first time. Because the high energy resulting from a beam rifle cannot be deflected by anti-beam coatings, mobile suits would come to rely on speed and I-fields to avoid destruction. Federation Mobile Suits adopted beam technology more quickly than their Zeon counterparts, although Zeon eventually catches up.

  • Char prepares for sortie in his distinct red Zaku. To reach the Federation fleet, he pushes the engines to their absolute limits, ignoring the system’s warning and gaining a lock before Federation vessels can detect and engage him with their CIWS. Subtle details in the thruster outputs, the keystrokes Char uses to disengage the limiters and warning indicators even as his targeting computer marks out Federation vessels made this scene particularly enjoyable to watch. With the hitherto unmatched power of a mobile suit, Char feels as though even God himself ought to bow down to him: for his exceptional skill as a pilot, Char is also unabashedly confident in his own ability.

  • It is here at Loum that Char becomes known as the Red Comet, and with this final screenshot, my talk on The Origin‘s fifth episode draws to a close. Superbly enjoyable to watch, I’ve found The Origin to be an excellent interpretation of the Universal Century, perfect for folks who enjoyed Gundam Unicorn and general fans of the Universal Century in providing a modernised, detailed view of Char’s story and the rise of Zeon. I note that this movie’s been around since September 2, but things have been busy, and I’ve only recently had the chance to really sit down and write about it. The conclusion of this post means that we’re very nearly done The Origin, which will close with the sixth episode, “The Rise of the Red Comet” in the upcoming May.

With the next and final chapter of The Origin releasing in May 2018, there remains a ways to go yet before we see the conclusion of The Origin, which deals with Char and his ascendancy in Zeon as the ace pilot. I’ve longed to see the Battle of Loum with modern animation, and the fifth instalment of The Origin does just this, showcasing the One Year War’s most infamous battles in fantastic detail. From the technical aspects of Zeon’s Musai-class compared against the Federation’s Salamis and Magellan-class vessels, to Char’s requests for removing the limiters on his Zaku and participation in some of the battles, The Origin continues in following the development of the hardware involved in fighting the wars, as well as the people fighting them. Of note was Ramba Ral’s refusal to participate in Operation British, reflecting that while the Zeons were undoubtedly an antagonistic entity, there remained at least a handful of reasonable individuals in Zeon. Ramba Ral’s role in The Origin differs greatly from what it was in the original Mobile Suit Gundam, where he was intended to represent an ordinary but devoted soldier whose death came about from the tragedy of conflict. The Origin takes numerous liberties with the narrative, but so far, things have remained consistent: ultimately, I am quite excited to see what the last chapter of The Origin will entail, and it would be most pleasant if Amuro Ray and the RX-78 II makes a combat appearance in the finale to fight Char and his Zaku II Custom.