The Infinite Zenith

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

Battlefield V: Reflections After One Year of Service

“The basic objectives and principles of war do not change.” –Fleet Admiral Chester W. Nimitz

Coming out of the shadows of a botched launch marketing campaign, and then cursed by the most unfortunate combination of bad gameplay, poor mechanical decisions and a lack of launch content, the Battlefield V of a year ago handled dramatically differently. I picked Battlefield V up a short ways after its original launch, undeterred by the marketing campaign; having been thoroughly impressed with the gunplay seen during the alpha and beta testing, I entered the game with an open mind. After putting in twelve hours over the space of two weeks, I gained a satisfactory measure of the game: the gunplay had indeed felt excellent, consistent and satisfying. However, good shooting alone does not make a game, and right from the start, I was plagued with visibility issues where cowardly players would exploit the visual aspects of the game to blend in to rubble and foliage to score easy kills. The apparent time-to-death was far too short. There were only eight maps, and not all of these were always enjoyable to play on. The progression system was limiting and limited, offering very little for players to unlock and forcing players to go out of their way to complete, which came at the expense of team play. DICE did not instil confidence in the months that followed: the TTK was modified to the detriment of gameplay, making a responsive and rewarding shooting system feel weak, and only a single map was released. DICE would subsequently release content at a snail’s pace, and bugs negatively impacting performance soon cropped up, making the game quite unplayable for some. Battlefield V was in dire straits, and desperately needed a miracle to rectify. A year later, and with the introduction of the Pacific Theatre, DICE appears to have pulled off the impossible, having put out consistently good patches to improve the game. However, it’s not been all smooth sailing: DICE has also clearly not listened to community feedback, and their latest patch renders weapons ineffectual to the point of changing the fundamental core of gameplay.

During the course of this past year, the Tides of War challenges were ultimately what compelled me to return weekly and complete each assignment despite the difficulties Battlefield V have presented. That I’ve returned in spite of bad TTK, poor visibility and a relatively weak set of maps attests to what compels me to play Battlefield; with Battlefield 1, the Road to Battlefield community missions encouraged me to experience the game more often, and having constant, weekly assignments was something that I returned to DICE as feedback. This is something that I greatly enjoy about Battlefield V; I’ve put in around 185 hours into Battlefield V over the past year, which is an incredible amount of time that reflects my enjoyment of the game despite its issues. In this time span, I’ve done far better than I have in any previous Battlefield title after a year. Hours spent on the maps means that in spite of visibility issues, I know where my opponents will be coming from or hiding, and weapon changes are things I can adjust to readily. This knowledge of the game mechanics, while perhaps not as profound and deep as that of those who have more time to direct towards Battlefield V, is nonetheless sufficient for me to not only hold my own against those who are dishonourably capitalising on the lack of a good anti-cheat, but even gain enough of an upper hand on them for me to overcome them. I’ve had matches where understanding of the game and its features have allowed me to continue finding ways to have fun even when cheaters are present, and some of my favourite moments come from smiting my foes from pure skill alone. Regarding the latest TTK updates, I have found them very unwieldy: weaker weapons decrease my confidence in a firefight, and while I might adapt over time, this change does go against the principles of Battlefield V. I expect that DICE will likely revert these changes, but until then, this puts a major dampener on what was otherwise a steady stream of improvements to a game that needed them.

Screenshots and Commentary

  • A year since my journey into Battlefield V started, the game’s undergone many changes, some of which improved the game, while others came as the consequence of inadequate testing and negatively impacted performance. For the most part, the Battlefield V of the present is a stable and functional game. The title has definitely seen its share of shakier moments that challenged the core player-base to stick around over the past year, though, and the game is by no means perfect in spite of the improvements made, even taking a few steps back after the latest update. I realise its been eight days since my last post, and I figured I’d kick off December with another Battlefield V post; after finishing a full morning of volunteering for my karate club’s kata tournament to clear my head and gather my thoughts on where Battlefield V is after a year, it’s time to get this party started.

  • The biggest gripe I have about Battlefield V is the poorly implemented assignment system, which is both unintuitive and cumbersome. Assignments must be manually selected in a dedicated menu, only track if they are selected, and more often than not, have requirements that may force players to adopt play-styles that are counterproductive towards good team play. DICE had the perfect implementation in Battlefield 3 and 4, where assignments would always be tracking once unlocked, and involved tasks that could be completed over the course of normal play.

  • The other aspect I miss from earlier Battlefield titles is the ribbon system, which were awarded for completing milestones in matches (such as scoring a certain number of kills with rifles, reviving a number of teammates, etc). In Battlefield 1, they were noticeably absent from earlier builds but were added back in later on. In Battlefield V, ribbons were ostensibly present in the game, but were bugged and never displayed properly. They’ve since become absent entirely, and my guess is that DICE removed the feature entirely. Conversely, the medal system is quite robust and handles as the medals used to, but the number of medals one can collect is limited.

  • Another problem in Battlefield V is that visibility remains a problem even after DICE made an effort to improve it in patches: while somewhat effective, a prone player with the right uniform colours can still blend in seamlessly in rubble or foliage and wait for unsuspecting players to pass by. I’m probably one of the few players longing for a return to the old 3D spotting of earlier titles, where the knowledge that one could be spotted would force one to adopt a much more mobile strategy to stay alive.

  • Finally, the cheater problem in Battlefield V is out of control: with seemingly no cheat detection measures and the options to kick suspected cheaters, players employing cheats ranging from subtle one like automatic 3D spotting and recoil elimination to outright aimbots and wallhacks have run rampant in matches, diminishing the experience in some cases. While I’m not a stellar player by any stretch, I’ve seen enough to know when a player bested me by skill alone, and when they used cheats: in matches where cheaters are absent, I tend to do modestly well.

  • Assignments, ribbons, visibility and cheats aside, Battlefield V has definitely come a long way in capturing the Only in Battlefield moments of older titles with its latest updates, and by this point in time, the Pacific has contributed to this sense of return, alongside the Operation Underground map. Here, I’ve unlocked all the specialisations for my Type 97 tank: by replacing the primary 57 mm gun with the Type 3 75 mm gun, I’ve been able to run Anteater Team’s Type 3 Chi-nu from Girls und Panzer. Together with AP rounds and extended capacity, the Type 97 becomes a highly effective and capable tank.

  • The LVT was originally designed as an amphibious vehicle for cargo deliveries, but found usage during the Pacific campaign as a troop transport. The Battlefield V variant starts its journey with a 37 mm main cannon and a coaxial M1919 .30-Calibre machine gun, but can be upgraded to use a heavier M6 75mm gun for improved performance against vehicles. Conversely, the LVT can also be outfitted with a pair of M2 Brownings for anti-air combat.

  • Having now gotten the M1919 A6 to maximum rank and reset the weapon to optimise its performance at long ranges, this medium machine gun became a beast to use, firing bullets with a faster muzzle velocity than any other gun in the game with pinpoint accuracy. While unable to mount a set of high-magnification optics for balance reasons, the M1919 A6 can still be used to great effect at range, handily suppressing and tearing through opponents downrange prior to the new patch.

  • MMG bipod campers are a breed of player that is most reviled in Battlefield V, and for good reason: staying in one spot with a high-accuracy, high-volume-of-fire weapon takes no skill, and while such players can be picked off by snipers, they still deal a massive amount of damage (and attendant frustration) to the enemy team. The proper, team-oriented use of an MMG is to lock down a choke point, then accompany teammates to the next target and help with defense.

  • A fully-upgraded M4 Sherman in Battlefield V becomes the A3E8 variant, sporting the M1A1 76 mm tank gun that makes it more lethal against vehicles. The choice of gun means that the M4 cannot be configured as a Sherman Firefly, which was Naomi’s tank of choice in Girls und Panzer; while the choice to fit a British 17-pounder to the tank was intended to give it more firepower against German armour, in practise, the cartridge of the Firefly filled the crew compartment with smoke when it fired and while effective, did not offer any substantial performance over the M1A1 76 mm gun.

  • For one of the Tides of War weekly assignments, one of the tasks was to earn score using aircraft. As previously noted, I’m not terribly effective with planes, and it was therefore a bit fo a surprise when I managed to shoot down another plane during a dogfight, which earned me enough points to finish the assignment. The upgraded planes have some interesting specialisations to equip, but for me, the difficult flight controls mean that I’m never too effective with planes.

  • Instead, I’d much rather be on the ground dealing with planes: the addition of the Fliegerfaust to Battlefield V during October completely changed the dynamic between ground and air, finally giving infantry an effective anti-air weapon. Firing three salvos of three rockets for a total of nine unguided rounds, the Fliegerfaust can destroy any plane in a single hit if aimed correctly, and while infantry players are generally happy with the addition, pilots are quite displeased that they can now be removed from the air by a single infantry. The latest patch fixes the Fliegerfaust by having it fire two salvos of three rockets, and damage properties are modified so one needs to be a lot more accurate with their shots to be effective.

  • Now that I’ve gotten my hands on it a bit more often, I can say that the M2 flamethrower is a proper battle pickup: while immensely powerful at close range, the weapon leaves players vulnerable at range. Battlefield 1‘s flametrooper class was far more effective, and even sported a Wex carrying unlimited ammunition. By comparison, the M2 carries 450 units of fuel, and fires 150 before the ignition cylinder needs to be replaced. The weapon will also overheat if fired continuously for 75 units. Becoming a situational weapon, the M2 has been balanced well, and while fun to use, is generally not too practical.

  • Besides levelling up the LVT to unlock the Twin M2 Brownings, I’ve been attempting to get more familiar with the Ka-Mi, the Japanese equivalent of the LVT. Here, I managed to destroy a vehicle and earn another medal during a match of squad conquest. This smaller conquest mode replaces domination and is fun in its own right, offering a close quarters experience that can be quite hectic. On squad conquest, I find that I’m usually near-invincible if given a vehicle unless the enemy team coordinates to take me out.

  • During one match of squad conquest, I did end up losing my tank, having chosen the Ka-Mi to try and level it up so I could unlock the twin 13mm Type 93 machine guns, which function similarly to the 50-cal guns on the LVT. I ended up returning to the capture point with the aim of getting back the guy who ruined my tank run, ended up picking up a katana and then went on a 5-streak with it. I’ve heard that the katana is capable of performing a lunge; while not as pronounced as the sword lunges of Halo, it does allow one to close the distance more quickly.

  • Thanks in part to my general pwnage on squad conquest, my team did very well this match, and here, I scored a kill with the iron sights M1 Garand: in my previous post, I had the 3x optics equipped, but the truth is that the iron sights are very usable. I typically run with the heavy load specialisation on the M1 Garand, but in iron sight range, it suddenly feels that there could be merit in running the rifle grenades, as well. I’ve heard rumours that the M1 Garand could be getting a bayonet, as well.

  • If and when I’m asked as to just how good I am at Battlefield V, my reply is that I’m good enough to have fun with the game. I’m certainly not the Halo 2 legend that I was back in the day, where I could go for entire matches without dying once and accomplished the Killimanjaro medal twice, which is the highest multi-kill Halo 2 had. Halo has now returned to PC in a big way with Halo: The Master Chief Collection, and with Halo Reach out now, I am going to be returning to the world of Halo very soon.

  • In Strike Witches, Sanya Litvyak wields a modified Fliegerfaust known as the Fliegerhammer, which has been given extensive upgrades to make it more effective against the Neuroi. For obvious balance reasons, running her loadout in Battlefield V means to dedicate one to an anti-air role: the rockets deal no damage to armour and pitiful damage to infantry. Thanks to pilots’ reception to the Fliegerfaust, DICE had reduced the performance of the Fliegerfaust slightly, so prior to the changes made to the gadget, I made extensive use of the Fliegerfaust to express my distaste for pilots.

  • The guy I blasted here definitely lived up to his name, spending all match running around with a shotgun. Shotguns are a bit of a mixed bag for me: while they’re fun to use in close quarters situations, they’re ineffectual at the ranges that most Battlefield V firefights occur at. Telemetry indicates that most firefights happen at around 22 metres, up from the 15 or so of earlier titles, and so, from a statistics perspective, it means that fewer engagements happen at ranges where shotguns are at their best. This is probably why I’ve not found the same fun from using shotguns as I did in earlier titles.

  • I’ve heard that the incendiary bombs for the Corsair F4U-1A and Zero A6M2 are devastatingly effective against infantry: this is what I primarily use aircraft for in the minutes that I spend piloting them, as I’ve never been too skillful with dogfights in Battlefield. Of course, being a poor pilot overall means that reaching rank four with aircraft is a bit beyond my ability and patience for the present: I’ve not figured out how to improve my banking angles and tighten my turn radius to be effective as a pilot.

  • There have been precious few opportunities to get behind the wheel of a T34 Calliope, so I’ve not had too much opportunity to see what the tank is capable of. The vehicle’s high profile makes it a visible target that enemy players immediately go after, and I’ve never particularly lasted too long while operating a Calliope, which has similar durability to an M4 Sherman specialised with upgraded armour parts. With this being said, when things do connect, the Calliope is a powerful force on the battlefield; its rockets can shred enemy vehicles quickly, and here, I land a triple kill while attempting to take back an island capture point towards the end of a match.

  • Conversely, the HaChi is a tank I’ve managed to get behind the wheel of and stay in for long periods because of its more unobtrusive design. In one thrilling match of Breakthrough on Iwo Jima, I went on a Running Riot (15-streak) with the HaChi, melting anyone who’d stepped too close to the capture point. Unlike the Calliope, which has a pool of sixty rockets to work with, the Hachi must reload its rockets once six are fired. In spite of this limitation, the rockets remain effective, with three salvos being sufficient to destroy any tank. For anti-infantry roles, the machine gun works wonders, and the HaChi is more than capable of being a regular tank, with a 75mm main cannon that can hold its own at range.

  • At the top of Mount Suribachi, where the enemy had no vehicles, the rockets and machine gun were more than enough for me to hold the attackers off while my team regrouped. I had been doing very poorly this match, but getting into the Hachi completely changed all this: I exited the match KD positive, and here, got a triple-kill on one of the players who had been maligning throughout the match. Of course, my Running Riot inevitably came to an end when half their team trained their Panzerfausts on me, but I managed to exit my doomed Hachi and stayed alive long enough to get a double kill with the Sten, extending my streak to seventeen.

  • The latest TTK update renders many weapons left feeling like a peashooter, which is contrary to the solid, consistent damage that all weapons had the potential to deal in earlier iterations of Battlefield V. DICE has argued that this was to enforce the idea that certain weapons would be effective only in certain ranges, and claimed that damage drop-off models would be the only thing that changed, but in practise, this completely changes the way most weapons handle, requiring one to reacquaint themselves with how things work.

  • I admit that I don’t wield the PIAT often: the PIAT deals less impact damage and has a greater drop than the Panzerfaust, and while it deals greater explosive damage, it’s not a weapon of choice for me. I’ve heard it can act as a pocket mortar of sorts, which is pretty cool, and in a pinch, the weapon can be effective. Here, I scored a completely lucky double kill with one on a tank that should not have died in two shots with a PIAT: the folks at the receiving end wondered about this in the chat and I replied that I was not expecting such an outcome, either.

  • Overall, the new TTK patch seems to hit medics and their submachine guns the hardest, with my go-to guns like the MP-40 and Sten being quite undesirable now. The Jungle Carbine seems quite unaffected, and I nailed consecutive headshots with it after getting on a particularly good flank. The Thompson feels about as effective as it did in close quarters, and the M1 Garand is thankfully still usable for the most part. In short, most of the weapons I stick to don’t feel as reliable as they once did, rendering most weapons quite strange in performance.

  • My favourite part about the new update is that it brings improved spotting into Battlefield V – I’m probably in the minority who feels spotting is the way to counter bad visibility, but the reality is that Battlefield V is a highly mobile experience. Camping in one spot does one’s team no favours, and so, alerting players to when they are spotted, as well as improved minimap mechanics and automatic 3D spotting now deters one from camping: while players are rewarded for a good flanking route, they will not be punished to the same extent as someone who has set up shop in a dark corner of a room, and knowing when one is spotted encourages one to play smarter.

  • There’s also been a subtle, but noticeable addition to Battlefield V: kills now register the same sound as they did in Battlefield 1, making each kill feel satisfying. Overall, this patch has made nontrivial changes to Battlefield V: with the TTK changes dramatically decreasing my confidence in a weapon, I can’t say I’m terribly pleased with the changes. I’ll probably adjust over time, and in the past few matches I’ve played, I have been KD positive, but if community reception causes it to be reverted or improved, this will be the preferred outcome, since it would restore my confidence in having a good time in firefights.

  • Overall, the latest patch does introduce some interesting and valuable additions to Battlefield V, although it is clear that the new patch needs much more work: conceptually, a slightly higher TTK means rewarding skilled players for maintaining accurate fire over longer durations and giving skilled players a chance to extricate themselves from a bad situation: if the weapons can remain balanced and more versatile than they are post-patch, then this is about all one could ask for. I also realise that Wake Island is coming out in a mere four days, but I wanted to time this post to match my initial impressions post a year ago.

  • Battlefield V is going to have some serious competition in the near future: between a bad TTK update and the fact that Halo: The Master Chief Collection released for PC a few days ago, I’m waiting for the Steam Winter Sale to buy it and capitalise on whatever the perks for buying stuff during a Winter Sale are, which will almost certainly take time away from Battlefield V. Halo Reach is finally on PC after nearly a decade, and I am looking forwards to finally experiencing the entire classic Halo experience from Reach onwards. I know I’ve been a bit quiet on the blogging front since last month’s Jon’s Creator Showcase cost: I’ve wanted a bit of a break from things, but as we move further into December, I am going to be writing about Kandagawa Jet Girls as we move into the show’s third and final quarter, as well as Seishun Buta Yarou‘s movie.

While Battlefield V of a year ago had yet to undergo the changes that would challenge the community’s faith in DICE and their enjoyment of the game, the biggest limitation it faced had been a lack of content. Fast forward a year, and the game’s in a completely different state: Battlefield V may still lack the sheer number of maps that its predecessors had a year into their lifecycles, but the implementation and delivery of both Operation Underground and the Pacific have revived the game. The introduction of the latest content into Battlefield V makes one point abundantly clear, that Battlefield is at its best when it creates iconic experiences for players to enjoy. Operation Underground was a return to classic Battlefield 3 gameplay with improvements, and Iwo Jima shows what Battlefield can look like at its finest, with large-scale battles between infantry and vehicles. It is no joke when I say that I’ve gotten more out of Battlefield V since Operation Underground released than I had between December of last year to when Operation Underground released. Battlefield V has passed through a long and difficult year, and although the title’s had its share of troubles, the game is in a passable state overall as we enter the winter season. There are two more maps for the Pacific theatre (Wake Island and Solomon Islands), and once the Pacific wraps up, having seen what DICE can do in large updates that introduce new factions, I remain very optimistic that the Eastern Front, Normandy Invasion and Fall of Berlin could become a part of Battlefield V, which would make the title the best World War Two shooter in recent memory and also allow me to run with the loadouts of both Girls und Panzer and Strike Witches. Of course, if DICE were to revert the TTK changes, then we’d have a very solid game, but present evidence suggests this would be being optimistic to the point of foolishness.

Jon’s Creator Showcase- A November 2019 Presentation in the Penultimate Month to a New Decade

“Find the good. It’s all around you. Find it, showcase it and you’ll start believing in it.” –Jesse Owens

Foreword

Last month’s Jon’s Creator Showcase was hosted by Ayano of Kawai Paper Pandas, featuring some twenty-three submissions that I had the pleasure to be a part of. For folks who are new to Jon’s Creator Showcase, it’s an initiative by Jon Spencer to showcase and share blog posts. This project began two years ago, and while it started out as a place for folks to swap awesome anime discussions, the programme has since expanded to encompass a wide range of topics and submissions. In this month’s Jon’s Creator Showcase, there were a grand total of thirty-one submissions, with two short stories, an AMV, three video submissions and a range of posts dealing with topics as diverse as competition, chronic fatigue, and Amazon’s review policies among them. Of course, being submission from October, I had a fair number of Halloween-themed posts, as well. I am grateful that there were no true horror submissions: I’m weak against that sort of thing. Before going on any further, I’d like to thank everyone for their submissions: it was an absolute joy to read through everything and identify what about each submission I found the most positivity in. It’s been a wild month, and in fact, the number of submissions was large enough that, when coinciding with DICE’s release of Battlefield V‘s Pacific Theatre update, meant that I slowed the output of my blog to ensure that this month’s feature was handled appropriately, and at the same time, find the time for my other activities. I believe that I’ve done a passable job of showcasing all of the entries that were submitted. Following the format I had from my previous showcase, each submission is given a brief summary, plus some extended thoughts. For the folks who followed the original post’s instructions, they also received an additional set of thoughts from me regarding what about their blogging style makes them worth following. I think this is everything, and so, I leave readers to the main event itself: submissions from the month of October.

Featured

Three Episode Rule – Rifle is Beautiful – Episode 1: What are Beam Rifles?

Jusuchin, A Journey Through Life (@RightWingOtaku)

Jusuchin opens the party with a talk on Rifle is Beautiful, a gentle and amusing anime about a group of girls who, after restarting their club, set about practising in their chosen activity. Since Jusuchin’s old high school days were marked by a surge in popularity for robotics and weight lifting, Rifle is Beautiful captured his interest, and Jusuchin finds that this anime presents rifle shooting in a highly approachable, accessible manner. However, whereas Jusuchin has had prior experience with firearms, Rifle is Beautiful makes use of the training beam rifles, which operates similarly to a light gun. Because of the different tools being used, Jusuchin’s background means that Olympic shooting becomes quite different than what he is used to: there is little room to discuss things like firearms safety and techniques, maintenance, accessories and details like ballistics. Ultimately, Jusuchin counts Rifle is Beautiful as being a series that is intended for a very narrow band of viewers, whose characters had better be working hard to capture and hold his interest as the series progresses.

Because I’m Canadian through and through, I’ve never held or fired a live firearm, and all of my knowledge comes from reading about them extensively, whether it be though introductory visual guides from Dorling Kindersley or technical manuals to ensure a good understanding of what weapons safety, performance and handling procedures are so I can write about them. Jusuchin is more versed than I am in this area, and so, upon seeing Rifle is Beautiful for myself, I am in the same boat as he is: I am in alignment with Jusuchin when I say that I find the summer Olympics to be rather dull aside from highlights and records, being much more interested in watching winter sports like ice hockey and the biathlon. The both of us thus look towards the characters in order to hold our interest in the show, and so far, the anime has managed to hold my interest for being a relaxing, laid-back series with no major suspense or conflict to keep me on the edge of my seat. However, whereas I tend to focus on the storytelling aspects of a given series, Jusuchin’s extensive knowledge of military implements and firearms means that through his thoughts on shows like Rifle is Beautiful, one can learn something that only someone with experience will know. This is one of the joys about following folks who have specialised knowledge: their posts become more engaging since one invariably will pick up something new when reading them.

Although Jusuchin’s often mentioned that his blog’s weak point is that he writes very infrequently for it, I handily counter with the remark that the quality of a blog is not judged by how frequently one writes, but rather, by the enjoyment factor readers gain from looking through one’s materials. The reason why I bring so many seemingly random topics to the plate is because I want my readers to learn something new when they read my articles; while in a given post, I may be talking about GochiUsa and various aspects of the character growth, I may also choose to share trivial tidbits like what enka is, if it is tangentially related to my talk. Jusuchin does something similar in his reviews, and through his talks, I’ve learned about things like the traditions behind salted coffee in the navy, or big names in competitive shooting sports, to name a few. Thus, because his articles are noteworthy and engaging, I’m not terribly worried about the fact that he doesn’t post often: the posts Jusuchin does publish end up being a joy to read.

Cop Craft – This Deserved Better

Jon Spencer, Jon Spencer Reviews (@JS_Reviews)

From the originator of Jon’s Creator Showcase comes a discussion on Cop Craft, which has its origins in a light novel about a portal’s appearance and the changes it wrought in the world. With this portal’s formation came the need for a special police department, and Cop Craft focuses on one Kei Matoba, who comes to learn of acceptance as he works to keep order between humans and the aliens known as Semenians. With such a strong premise, Jon expresses disappointment that despite the strong characters, the production values in Cop Craft were sub-par, and the progression was inconsistent, disjointed. However, these shortcomings do not stop Jon from finding reasons to enjoy Cop Craft, whose unique combination of a police drama with fantastical elements creates a unique experience that strikes a fine balance between an authentic grounding and being able to see things that would otherwise not occur in reality. Overall, Jon wishes that the production team behind Cop Craft would have handled the adaptation more elegantly, since the series itself is built on a solid foundation, and recommends to readers that this could be worth checking out despite some of its limitations.

Positivity and critical thinking are often perceived as being mutually exclusive: there is a misconception that one cannot be critical and positive simultaneously. However, this is something that I often strive to do, and Jon’s done an excellent job in his talk about Cop Craft, where he covers off the reasons that make the series worthwhile in spite of its flaws. Contrary to the belief that one can only like or dislike something entirely, the reality is that it is possible to enjoy a work in spite of its flaws, and that even if the flaws are numerous, some series can still be meaningful for different individuals because of their own perspective and background. Jon makes a compelling case in his submission to watch Cop Craft; despite the shakier execution, the characters and foundations are ultimately reason enough to give Cop Craft a fair chance. Jon brings in Demon Slayer as an instance of a series where the execution was solid, but the underlying narrative was weaker, citing the characters as the primary reason why. It is the case that characters can make a series even if its technical components are not as strong as one would like, and I’ve seen numerous cases where people have found ways to enjoy a series even if it had obvious faults, simply because the characters and their journeys are relatable, holding enough weight to merit that one follow the series along out of a desire to see the characters grow and mature.

As the brainchild behind Jon’s Creator Showcase, Jon’s run a tight ship at his blog for the past four years, primarily focusing on reviews. However, back in October, Jon’s also decided to take his blog in a different direction, with the goal of exploring different topics and ultimately, producing different kinds of content. Blogs shift focus and mature over time, and sometimes, their authors may decide to call it quits. It is fortunate that Jon is not leaving our number forever, and instead, is seeking to do a bit more than he’d previously done. Without his efforts, initiatives like Jon’s Creator Showcase would not exist. While he’s taking a break from blogging for the present in pursuit of his new endeavours, I still strongly encourage readers to visit his blog and check out his older reviews; one of the joys about blogging is that we tend to leave behind a considerable archive of posts that offer insight into how we’d felt about a certain work earlier, and for Jon, there’s no shortage of excellent material to read through.

YU-NO: A Girl Who Chants Love at the Bound of This World (Discussion) – Did They Eat Kunkun?!

EcchiHunter (@EcchiHunterX)

The folks of EcchiHunter run a very distinct site that hosts discussions about series that deal in the lascivious and indecent to varying extents, with content taking an interview format between the site’s hosts, Lynn Sheridan and Yomu, and occasionally, guest speakers. The end result is a very breezy, open discussion about series that typically are either dismissed for lacking “substance” or otherwise quietly watched and garner limited conversation. In their submission, EcchiHunter and guest speaker Dewbond presents a discussion on YU-NO: A Girl Who Chants Love at the Bound of this World, a series with its roots as a visual novel dating back to 1996 and received an anime adaptation in 1998. A remake was announced in 2017, and YU-NO also received a full anime adaptation earlier this year, as well. In their dialogues, Lynn and Dewbond enlighten readers how YU-NO is a precursor to the visual novel and isekai trends that are currently prevalent amongst titles of their respective genres. Besides the series’ origins, Dewbond and Lynn provide an overview of the sometimes chaotic flow the modern anime adaptation had; while YU-NO started out strong, some areas began deviating from the objectives the series had set out to cover, with the end result being that the series began weakening towards the end. Like most stories adapted from visual novels, YU-NO would have benefited from an extended adaptation to truly flesh things out. Having watched the series, Lynn expresses a wish to play the visual novel, and leaves Dewbond with a thank you for having introduced him to the series.

Conversation-style posts are always a joy to read, as they have a flow and dynamic that multiple voices provide. Multiple standing points in YU-NO are comprehensively covered, and Lynn’s conclusion is that YU-NO is worthwhile in spite of its flaws. Where anime adaptations of visual novels are concerned, I personally count it as praise for the series when one of the criticisms leveled against it is that the episode count was insufficient. Lynn’s experiences in YU-NO has parallels with my own journey through CLANNAD; after a solid anime adaptation provided a good overview of the narrative and characters, curiosity prompted me to look at the visual novel. Anime adaptations, when done well, can immerse viewers in a world completely and compel them to root for the characters as they work towards their goals. However, anime adaptations also provide much of the transitions and audio aspects to a story, leaving very little to one’s imagination. By comparison, reading a visual novel has merits of its own: prompted by the text and static images, players now must draw on their imagination to fill in the rest, creating an even more enriching experience. This is where visual novels shine, and coupled with a degree of player choice, visual novels give players a greater sense of immersion and control than the animated adaptation can. This is my experience with the first few chapters of CLANNAD, and to Lynn, I do hope that he has an opportunity to try out YU-NO‘s visual novel, as well.

I don’t mind admitting that I follow the folks of Ecchi Hunter primarily because I have a (largely unknown) enjoyment for series of this kind. The T & A aspects aside, ecchi series tend to lend themselves to much comedy that arises as a result of misunderstanding and embarrassment, and so, offers a respite from the comparatively sterile nature of reality. However, I typically gravitate towards slice-of-life series and therefore would pass on most series. By consistently providing reviews of the latest and greatest ecchi series, I can then read through Ecchi Hunter’s reviews and decide for myself as to whether or not a series could be worth watching given its premise. I don’t pick up all ecchi series, and having a succinct, instructive resource allows me to find the series that I am most likely to watch for the premise, and subsequently, get a bonus kick out of the hilarity that ensues as a result of the misadventures that can only exist in ecchi series.

Fantasy and Friction

Fred Heiser, This is my Place (@AuNaturelOne)

From Au Natural’s Fred comes a submission on the OWLS post: standing for Otaku Writers for Liberty and Self Respect, this programme not too dissimilar to The Jon’s Creator Showcase in that it allows for bloggers to freely share their thoughts with the world. For his submission, Fred submits a general overview of the fantasy genre. After surprising readers with a brief history of musical fantasy, Fred submits that fantasy is a broad category describing a non-reality, a form of escape from the challenges of life that arises when various aspects of Maslow’s Hierarchy of Needs are not satisfied, whether it be the fundamental human drive to reproduce, experience things that would otherwise place one in no small amount of harm, seeking companionship and community with others, relive an experience, being someone to save and support others, or even just entertain the idle mind. The immersion in fantasy is something that society frowns upon: fiction is supposed to be confined in the mind, but Fred counter-argues that dreams can be turned into reality with enough perseverance, and some compromise: he cites A Place Further Than The Universe as a key example of how four girls’ goals of reaching Antarctica were realised because they came together and determined a plan that would be fulfilled. While not all fantasies are pure as driven snow, they ultimately serve an important purpose for individuals: they give people freedom unparalleled, and while the mind wanders, great and terrible things may happen. It is ultimately up to the individuals to do with their thoughts as they will, and this is an encouraging thought.

Fred nails the presentation of fiction as a simultaneously means of escape and gaining perspective: rather like how sports can provide inspiration driving improvement and team spirit, the popularity of fiction endures for being able to put one in someone else’s shoes and live experiences otherwise impossible to replicate. While Fred speaks specifically of consumable media such as books, television, film and music, I also append video games to the list. Despite having a fiercely negative reaction in the public eye, the majority of video games are simply immersive experiences with the added dimensionality of interactivity: one can be a race car driver, pilot, farmer, poker player, explorer, mayor or soldier owing to the diversity of video games, and such escapes are especially welcome in life when the world becomes overwhelming. By taking a moment to focus on something else, the mind is able to operate behind-the-scenes to process new information, and this is what gaining new perspective is about. In general, this is the worth of fiction, as it is able to help individuals find a modicum of happiness and ultimately, acts as one of many tools that help one find their way and achieve whatever they set out to accomplish.

Being a more mature blogger (Fred’s profile states that he was around since the days of the Cold War), I’m always curious to read about the perspectives and thoughts of those who’ve BTDT: people with experience have, over many years, cultivated an incredible set of knowledge and skills, so when they share their thoughts, it offers considerable insights into the minds of folks who are much more learned than I am. Correspondingly, their blog posts are very enjoyable to read, and Fred’s submission for this month’s Jon’s Creator Showcase is an example of his writing: detailed, insightful and fun to read. I still remember initially hosting Jon’s Creator Showcase and working to pass the torch on to Fred for the month upcoming, and after things were smoothed out, it’s been a great experience; it was through Jon’s Creator Showcase that I’d found Au Natural to begin with. This is one example of how things like Jon’s Creator Showcase can bring new blogs and people into the anime blogging community.

Why We Don’t Have Enough Horror Anime

Aria, The Animanga Spellbook (@MagicConan14)

Horror is a genre that I personally do not have great interest in: thanks to a fertile imagination and a propensity for my thoughts to wander, any stimulation from horror movies reduces me into a wreck incapable of carrying out everyday activities. My experiences with horror are therefore limited primarily to the realm of Koji Suzuki’s works, classical horror like Mary Shelley’s Frankenstein, and basic familiarity with Stephen King’s novels, as well as ghost stories. Fortunately, just in time for Hallow’s Eve, Magic Conan of Animanga Spellbook has stepped up to the plate, whose travels to Japan left her with the realisation that there wasn’t a whole lot of proper horror in Japanese literature. While Japan might be known for their frightening J-Horror scene, the inherent limitations of the genre can make some forms of horror less effectual, and MagicConan14 explores how effective horror comes with tradeoffs: jump scares are only effective in the short term, protracted build-ups leave viewers with potential boredom, and the most effective kind of horror generally lies not with shock value like gore, but a more subtle sense of dread. With these challenges, there is a comparatively smaller number of true horror anime and manga series out there, and MagicConan14 closes off with a question for the viewers – is there a deficit of horror series?

At its core, I would imagine that the relative lack of horror in Japan comes from differences in what constitutes as horror. I roll with the idea that horror is predominantly about the innate human fear of a lack of control against forces, supernatural or otherwise. In Frankenstein, Victor Frankenstein is horrified by the fact that he’s created a monstrosity of great power and destructive potential that has a will of its own. Koji Suzuki’s Dark Water and its film adaptation has Yoshimi entangled in a difficult custody battle for her daughter, and she is powerless to better her surroundings, leaving her vulnerable to a terrifying haunting in a sparsely-populated apartment block. The Blair Witch Project sees a group of students pursued by an unknown force they cannot hope to contend with. Supernatural beings like Charlie of Firestarter, Carrie White from Carrie or It‘s Pennywise possess powers that similarly wreck destruction. Coupled with feelings of regret, hatred, fear and other negative emotions, the commonality that horror fiction share is that they are relatively short, self-contained stories. The horror accompanies brevity, and as a series wears on, creating the sense of dread and unease in the audience cannot be easy. I would therefore remark that owing to the nature of what creates fear in an audience, MagicConan14’s assessment about the challenges of creating an effective horror series makes sense and would account for why full-length anime with a similar atmosphere to something like a Stephen King novel would be rarer compared to things like The Curse, which utilise the movie format so effectively that lesser folk like myself refuse to watch it from reputation alone.

With a frequent posting schedule, MagicConan14’s blog is a lively one whose presentation stands at the opposite end of the spectrum from the style I present. I’m very envious of the folk who are able to articulate themselves in a very succinct and direct manner: MagicConan14’s posts are very easy to read and take in because of their structure, translating to readers having a much easier time walking away with full understanding of what the post was intending to convey. Having looked through more recent posts, MagicConan14 also writes about the challenges with blogging and striking a good balance between it with life. As I’ve been around the blogging scene for nearly a decade, I note that this is always a challenge, and I encourage bloggers to write simply when they feel like writing: forcing a post out for a schedule isn’t fun, and it is often the case that a brilliant idea can come out of the blue and invite a full-fledged discussion. I encourage MagicConan14 to keep on blogging; this is a superbly fun hobby, and I’ve found it remarkably cathartic, akin to keeping a diary.

Samurai School for Girls (Short Story)

Lynn Sheridan, The Otaku Author (@TheEarthLynn)

With Lynn Sheridan’s short story, I think that I’ve almost got every category for this month’s Jon’s Creator Showcase: Lynn’s Samurai School for Girls was originally written as a part of a collaborative project with other bloggers (score one for collaboration!) that involves picking an older anime, drawing elements from it and then crafting an original narrative from it. Lynn opted to go with a schoolgirl story: Riko has given her best into studying for a math exam, but when their instructor is murdered in the middle of a math exam, Riko finds herself locked in a fierce duel with another student. When she lands a killing blow, it turns out their “classmates” are actually robots. However, the fight takes a turn for the unexpected when a man appears and captures Riko’s classmate, Momoko. With her friend, Murasaki, Riko catches up to the unknown man, and with their knowledge of applied mathematics, devise a strategy to beat their opponent, which similarly turns out to be a robot. Their instructor appears shortly after and congratulates Riko for having passed the exam.

It’s always fun to read short stories from fellow bloggers: Lynn’s story is a particularly colourful one that portrays each moment vividly in the mind’s eye. Because Lynn sets his story in an academy for samurai, he is able to craft a compelling fight scene that integrates smoothly with the schoolgirl environment. The lesson of this short story is that a samurai must be prepared for the unexpected, and this unexpected surprise explosively is propelled into the forefront of the story as soon as the swords come out. Short stories are, compared to their full-length counterparts, always stymied by their length, and so, must do more with less. When done well, they are very concise portrayals of a specific idea; since I did walk away from Lynn’s story with an idea of what the message was, Samurai School for Girls has succeeded as a short story. I can imagine that writing the story could not have been easy, since crafting fiction requires a different set of skills than looking at fiction and writing about it in a more technical, analytical style. Attesting to this difficulty, I have previously written a sample story portraying the pilot of Stark Jegan’s perspective from Gundam Unicorn’s first episode, and while I retain most of my love for technical details, it took a considerable amount of effort to ensure that the fight between the Stark Jegan and the Kyshatriya was adequately captured. My story is only a third of the length of Lynn’s, and even that took three hours to shape into something readable: the effort that goes into fiction is evident, and Samurai School for Girls is ultimately a fun story with a meaningful theme that I certainly had fun showcasing.

The first and foremost remark I have about Lynn’s blog is that he should get the SSL certificate issue sorted out: while I’ve vetted the site myself and done my own tests to ensure I wasn’t picking up undesirable scripts, the warning message that one’s browser displays is usually one that shouldn’t be disregarded. In this case, it’s okay to ignore security warning; The Otaku Author may have an expired SSL certificate, but the site itself is totally safe and worth reading. With a wide range of posts, from creative short stories to anime reviews, Lynn’s writing is clear, concise and effective in conveying an idea about the series he watches. Of note is how he opens each section with a header that firmly establishes what he intends to cover, which provides a visual break on the screen and also reduces fatigue from the readers. Besides reviews and short stories, Lynn is also a published author with fifteen works under his belt. With a highly approachable writing style, significant experience as a writer, Lynn runs an excellent blog that’s definitely worth following.

October Submissions

My Perspectives Of: Fanservice and Character Agency

Scott, Mechanical Anime Reviews (@MechAnimeReview)

Scott of Mechanical Anime Reviews explores a particularly polarising and current topic within the anime community: the matter of fanservice and its place in anime. In this discussion, Scott establishes that he has nothing against the presence of indecent exposure or other questionable moments in anime, provided that the moment does not degrade or demean the character subject to it. There are cases where such moments can be used to establish a character’s personality or create humour. Conversely, when poorly done, fanservice is a distraction at best, shifting the camera away from the characters’ faces and their environment. At worst, it transmutes a character into a walking joke made to suffer unnecessarily. Such moments offer nothing to viewers. Scott covers examples of fanservice across the board, from Fire Force‘s poor treatment of Tamaki as an example of a series that hasn’t executed saucier moments well, to Quitterie of Astra Lost in Space as an example of when fanservice is properly wielded to enhance the character by giving her autonomy over her situation. Because the efficacy and worth of fanservice in a given anime varies based on what the anime does with such moments, Scott concludes that in and of itself, fanservice isn’t to be generalised as an evil or quintessential part of anime; instead, whether or not the fanservice is welcome is to be gauged based on what it does for the characters, and whether or not it is abused for no discernible reason. As a result, the recent perspectives about fanservice favouring censorship are not to be taken seriously.

Excellent bloggers do not shy away from topics outside their realm of familiarity, and Scott’s submission is a relevant post. Even though I tend not to participate in the social media aspects of anime blogging with the same frequency as those around me, I have nonetheless seen the insipid and boorish arguments supporting censorship in anime from individuals whose opinions are ill-defined and based on little more than an appeal to emotion. The presence of these individuals has been on the rise, and with social media platforms offering them an audience, it can certainly seem that rational thought and reason is being lost to madness. Scott’s post, a strong example of what reasonable discourse looks like, shows that there are those (myself included) who simply wish to enjoy their entertainment without some arbitrary and unqualified party imposing their unlearned world-views on others. For me, I tend to regard fanservice as an optional extra in anime: the true scope of fanservice is much broader than mammaries and posteriors, extending to clever references to earlier works and the return of iconic aspects of a series. However, specifically where anatomy is concerned, like Scott, I appreciate it if it adds to the story, are neutral towards it if it adds nothing, and will sympathise with characters who unduly suffer having their bodies paraded about. Extending on Scott’s point, I note that for the most part, opinions from vocal individuals on social media are generally not meritorious of consideration, and in general, while everyone might be entitled to a voice, not everyone is entitled to an audience, especially if they do not take the pains of explaining their perspectives clearly.

Senran Celebrations Day 7 – The Future of Senran Kagura (Discussion)

Average Joe Reviews (@joe_reviews)

Senran Kagura is the topic of Average Joe’s submission, the finale in a seven-part series celebrating the Senran Kagura franchise that deals with their future. While Senran Kagura‘s creator, Kenichiro Takaki, intends to continue working on Senran Kagura titles for platforms besides Sony, which has imposed increasingly draconian censorship policies that detract from the experience Takaki intended players to have for the games. The move to different platforms like PC and the Nintendo Switch is projected to allow Takaki the creative freedoms need to deliver the vision he has for the series, although censorship might continue to be a challenge: Sony’s policies degrade the experience that creators envision, breaking up the narrative and impact that a work might otherwise have. The end result is that customers will invariably seek their entertainment on other platforms, as Joe has done. While censorship does appear to be increasingly commonplace, Joe nonetheless expresses optimism for Takaki’s future works: Kandagawa Jet Girls is one such title that Takaki is working on, and with the Senran Kagura series still strong, Joe hopes that the future will be marked with old and new fans alike discovering the merits of Senran Kagura.

Sony’s shift towards censoring elements they deem “questionable” has been a long-standing issue, and at first glance, is a move that looks irrational from a business standpoint. As Joe describes, deliberately degrading an experience drives customers away to seek different products, which corresponds with a decrease in sales and revenue. However, companies inexplicably seem to be imposing American values on overseas entertainment in spite of this, practising political correctness and favouring a loosely defined implementation of wholesomeness over entertainment value. Companies like Sony doubtlessly will have justifications at the ready for their actions, and while I do have my own guesses as to what’s going on, the end result is that the customers end up paying for an inferior product. However, the same individuals whose work becomes censored also appears to have the creativity and flexibility to continuing crafting their work without it being diminished. This is the route that Takaki has taken, and try as Sony might to suppress his work, Takaki’s new avenues should allow him to deliver the best possible experience for his audience.

Top 5 Creepy Anime OP’s and ED’s

Karandi,100 Word Anime (@100wordanime)

In the spirit of Halloween, Karandi of 100 Word Anime presents a top five countdown of the best anime opening and ending sequences that fit the Halloween spirit of horror, unease and other suspenseful feelings. Starting off the countdown is Demon Slayer‘s ending, From The Edge, a seemingly upbeat and optimistic song whose composition conceals a darker tone. Coming up next is Ghost Hunt‘s main theme: the anime itself already screams horror for including the word “ghost”, and despite a less impressive visual aspect, Ghost Hunt’s theme definitely conveys a horror feel, using the minor key, staccatos and a tense female vocalisation to create a very gothic feeling. In the middle of the list is Still Doll, Vampire Knight‘s ending. With an ethereal, ecclesiastical composition, and whose title has an ominous ring to it (“a doll that stands still”), Still Doll is a song that gives off horror and Halloween vibes. Madoka Magica‘s ending theme, Kalafina’s Magia, follows: this song is known for its tense vocalisations and use of the minor scale to create a sense of abject terror, not just in the supernatural, but in things that are seemingly beyond comprehension, befitting of the abominations known as Witches that serve as the force behind the magical girls in Madoka Magica. Topping out the list is Higurashi no Naku Koro Ni Kai‘s opening, Naraku no Hana. The song’s juxtaposition of the calm with sudden breaks creates an unease that mirrors the anime’s composition, that there is hidden danger lurking behind the moments of seeming normalcy and calm.

Music related posts are always fun submissions to include, and Karandi’s post is perfectly timed for Halloween. I still vividly recall primary school music lessons, where my music instructor would note that horror music would make extensive use of the minor key, and then go on to have us sing songs in the minor key surrounding Halloween-themed topics. The very same songs, when performed in the major key, lose that sense of eeriness and fear factor. Having seen this in simpler terms, it becomes evident that music is a powerful means of shaping the emotional tenour of a work; properly chosen theme songs do much in shaping how audiences view a series. Karandi’s choices showcase some of the best there is, and I only say this because the entries for first and second place happen to be songs I’m very familiar with, having enjoyed them greatly alongside the series they are featured in. While horror music generally isn’t something I actively search out for my preferred playlist, music from the genre can be very compelling and create a sense of weight, doubt and worry: good music can evoke certain moods in people, and given the impact horror music has, I’d say that Karandi’s done a fine job of showcasing some of the highlights of anime openings and endings with particularly strong pieces.

Reflections of healing

Taryn The Dragon, Dragons Codex (@arcanedrag0n)

Healing is the core of the post that arcanedrag0n submits to Jon’s Creator Showcase, dealing with a very personal topic about dealing with a loss in her family, when her mother passed away from leukemia and the process of recovery in the aftermath. arcanedrag0n recalls the period of grief following, and ultimately went into therapy, where she discovered that she was grieving for herself; having direct a monumental effort towards saving her mother, from the fundraising to secure the finances for treatment, to ensuring her mother’s assets were appropriately handled, arcanedrag0n became exhausted. The therapy process became invaluable for her, helping arcanedrag0n to understand her thoughts, render them in a tangible form and then accept them. To help with management, arcanedrag0n took up new hobbies, taking small steps like building an exercise routine and personal art projects to regain focus. With this newfound perspective, arcanedrag0n would eventually hike up a mountain near her home. Conquering the summit of a mountain allowed arcanedrag0n to rediscover her strengths and worth to the world: in life’s journeys, we are often a far worse impediment to ourselves than any external foe, but with the right support, one can turn their efforts inwards and fix issues from within, coming to find what it means to be alright after all.

Personal stories such as these are always immeasurably touching, and as much strength as it takes to conquer internal challenges, it takes strength in equal measure to share these experiences with others so candidly. The topic of cancer is an unfortunately common one, and I’ve lost family to cancer, as well. Similarly, grief is a difficult topic to share, and while everyone handles it differently, not everyone is able to find their feet at the same rate. Stories like these are therefore inspiration, showing that there remains hope. There are many people in this world, each with their own struggles and stories – seeing recollections like arcanedrag0n’s is a constant reminder of the strength of the human spirit, and our incredible resilience in the face of adversity. However, arcanedrag0n’s path to recovery is not one taken alone: support from therapy is a major contributor, showing how people can find their strength with the right tools. It’s a very visceral reminder that life is fraught with challenges, and inspiring posts like these serve to reiterate the idea that people are meant to support one another. With the world seeming as though it is on the precipice of an irreversible descent into chaos, that the human resolve endures is an encouraging thought.

The Listless List: Top 5 Anime of Summer 2019

Lethargic Ramblings, (@AlwaysLethargic)

While AlwaysLethargic would have me believing otherwise, summer is a finite period of year defined astronomically as the period from the time of maximal insolation to the autumnal equinox. The summer might be limited to a three-month window characterised by long days, beautiful weather and opportunity to explore the outdoors, but for folks in the anime community, it is also a season of summer anime. AlwaysLethargic’s submission has him detailing five of the noteworthy shows of this summer, starting the list off with Dr. Stone, a series about a student who sets out to rebuild civilisation after a phenomenon petrifies him. The anime is known for its adherence to science and the manga’s content, which makes it worth watching despite weaker animation and a smaller episode count. Fire Force occupies fourth place, featuring strong art and animation, as well as an engaging story, and while there has been much criticisms surrounding fanservice, AlwaysLethargic argues this is a non-issue, overshadowed by the enjoyment factor in the fight scenes and character dynamics. DanMachi‘s second season follows, excelling as a sequel to the first season. Taking second place is Vinland Saga, which AlwaysLethargic has long anticipated and found to be a respectful adaptation of the manga that proved quite compelling. In first place is Arifureta, which defies all expectations contrary to community reception.

My own tastes and styles are dramatically different than most of the anime community that I participate in, but the commonality that I share with those within this community is an open mind. I’ve watched none of the shows that AlwaysLethargic mentions, but a good, concise justification is sometimes all it takes to turn my head and pique my curiosity. Top five lists are a highly precise and simple way of doing this, allowing folk like myself to quickly gain a measure of what made a series work well for someone, and I also enjoy them for the reason that the top five of anything means I’m reading through reasons someone enjoyed something. For their concise nature, lists have the advantage of being easily digestible, and leaving AlwaysLethargic’s summer 2019 top five, I could be persuaded to give Arifureta and Fire Force a shot, for instance, because of straightforward and clear reasons for what I might get out of said series. By comparison, list format or more traditional essay format, negativity and criticism, calls to skip, drop or boycott a given series are nowhere near as fun to read. I can’t imagine sitting through something one would rather not sit through for the sake of telling others not to watch something, and for what it’s worth, life is finite. Those who would rather do things that make them happy have evidently figured out their place in the sun, and going by AlwaysLethargic’s example, positivity should be something that everyone be more mindful of.

Amazon Reviews: Everything You Need To Know As An Author And A Reviewer

Ray, The Ray Journey, (@TheRayJourney)

One of the joys about Jon’s Creator Showcase is where submissions come from: this time around, we have an entry from an author who’s published an e-book to Amazon, and in their post, they discuss the importance of understanding Amazon’s policy for reviews, which are the first point of contact for potential customers. In this highly detailed article, Ray covers some of the guidelines surrounding how reviews are published – to ensure quality review, Amazon only allows verified customers with no direct association with the product’s vendor. Amazon has a highly intricate setup for checking for bias, conflicts of interest and review swapping. In addition, product page optimisation also is a factor, with URL formatting to the product impacting whether reviews are retained. Accounts found in violation of Amazon’s rules can have their reviews deleted, reviewing privileges revoked or in some cases, the product is removed from sales. However, there are ways to obtain reviews that are legitimate, and for family and friends, as well as paid reviewers, there is a special utility to add editorial reviews and customer discussions. While Amazon initially started its journey as an online book retailer, Jeff Bezos has since transformed Amazon into a juggernaut, and with its impact on selling products, it is quite unsurprising to know that there is such a sophisticated review system in place to ensure that assessments of a product are genuine.

Ray’s presentation of the Amazon review policies in approachable terms means that prospective authors are much more aware of how reviews are treated on the Amazon platform. This information becomes invaluable to ensure that reviews for a book are useful and informative for those who are on the fence about whether or not an item is for them, and for an author, it also means knowing the regulations can prevent some of the more unpleasant consequences, such as seeing one’s products removed, refuse dispersal of payments, or even legal action, from occurring. With an increasing number of people looking to self-publish their books, understanding the marketplace they are selling in goes a long way towards ensuring the continued success of a product. Of particular note in Ray’s article is the final section on editorial reviews and customer discussions, which allow for certain kinds of reviews to be published without impacting other parameters affecting a product’s reviews – this feature is useful for reviewers and vendors alike, as they permit for a transparent way to let prospective customers know the angle of a perspective.

Competition Slows, Friendship Grows; The Secret to Fast Success

S.S. Blake, Earth and Water (@Earthand_Water)

With Earth and Water’s submission on competition, this Jon’s Creator Showcase enters the realm of the blogging community I admit that I do not venture frequently into: S.S. Blake’s post on competition presents an interesting perspective on the most fundamental aspect of life itself, and suggests that social progress has rendered competition less desirable compared to collaboration. Working with others can produce mutual benefits for participants, but the results are not always immediately apparent. Instead, collaboration is something that is nurtured over time, favouring a human touch over highly mechanised approaches to yield meaningful relationships and ultimately, a synergy that is far more rewarding and meaningful towards long-term, sustained growth.

We’ve now ventured into posts that are well outside of my area of expertise: Earth and Water’s post is an example of the world of blogging outside of discourse on fiction, and admittedly, I don’t read advice blogs often. These are written with a significantly different style, and the layouts are much more colourful, relaxing than the blogs I am accustomed to: going through the post itself, I am met with a very concise and focused presentation of the value of collaboration over competition. Reading these submissions really drive home the idea that blogging is an incredibly diverse and varied hobby, with each author’s blog being stylised and written to convey a specific mindset to readers. Earth and Water presents an upbeat, optimistic “you got this!” mindset, standing in stark contrast with the utilitarian, “focus on my content” feel that I run with here.

AD: Global 1st Vie Gourmet Coconut Bowls | Eco-Friendly Kitchenware For Sustainable Foodies

Hannah Read, Pages, Places, & Plates (@PagePlacePlate)

Hannah Read’s post presents Vie Gourmet by Global 1st’s Coconut Bowls, from a company dedicated to sustainability. These coconut bowls are fashioned from coconuts and are highly versatile: Hannah has used them in a variety of functions, from soups to salads and everything in between. While they’re not microwave safe, they are suitable for holding onto hotter foods thanks to the insulation the coconut material provides. Moreover, they appear rather durable, and come in a variety of sizes. Their composition makes them a sustainable alternative to conventional bowls, and Hannah recommends these as being must-haves – aside from their functionality, the coconut bowls are also photogenic and work rather well for folks who create content for social media.

Lifestyle blogs are similarly a topic that I read very little, as I have enough on my hands with keeping my own life upright. As such, there are many things that I use each and every day that I take for granted, which is ironic when I am constantly reiterating to readers through discussions on slice-of-life anime that it is worth enjoying the small, everyday aspects of life. Hannah Read’s review of Coconut Bowls from Vie Gourmet is an example of how lifestyle bloggers go about finding joy in everyday things: something as simple as a bowl for food becomes a story worth sharing, as subtle details are brought to the forefront. While I might normally skip over the details and simply see the Coconut Bowl as a bowl, Hannah insightfully details how the bowls are durable, aesthetically pleasing and practical on top of being crafted from coconuts. It means that unlike the ceramic bowls I normally use for soup, I don’t stand to burn myself, risk breaking the bowl if I am careless, and on top of that, have a sustainable product that I could be proud of.

Review: Fire Force Episode 14: Benimaru On High And Shinra Fast On His Feet

Terrance Crow, Crow’s World of Anime (@CrowsAnimeWorld)

Terrance Crow of Crow’s World of Anime presents the highlights of Fire Force‘s fourteenth episode. This series is set in a world where certain individuals are afflicted with a condition that causes them to undergo spontaneous combustion, becoming referred to as “Infernals”. Later generations of individuals develop pryokinesis and band together to form an organisation to manage the Infernals. Fire Force follows Kusakabe Shinra, who is a part of Special Fire Force Company 8. As he investigates the Infernals and helps to put out the fires they create, he discovers the origins of his power and dives towards the source of what caused his family’s death twelve years previously. By episode fourteen, Terrance features the top moments from the episode, which sees Asakusa descending into chaos as the Infernal’s activity grows. The episode sees character growth from two of the leads: Shinra affirms his duties to protect his world. The episode effectively makes use of its music to accentuate each moment, and Terrance draws parallels between the characters’ attitudes towards power and those of Gandalf from Lord of The Rings. The honourable choices that Fire Force‘s characters make enhances Terrance’s enjoyment of the series.

Because all I’ve heard of Fire Force stems primarily from social media griping about the fanservice piece, it can be a little tricky to discern the signal from the noise. Fortunately, the anime blogging community has stepped up to show that, beyond these superficial remarks, lies a series that makes use of its premise to create a much more meaningful and engaging story than watching Kotatsu provide visual comedy each episode. Character growth and development in Fire Force is clearly one of its core features, and Terrance’s comparison between iconic fictional characters like Gandalf, or historical figures like George Washington, show that there is more to Fire Force than some espouse: this does seem to be a recurring theme of late, where certain members of the community fixate on the mundane or irrelevant details of an anime without directing any thought towards the bigger picture. It is therefore fortunate that amongst the anime blogging community, there are plenty of folks with the maturity and open-mindedness to approach series with a more thematic and character-based outlook, preferring to see where the stories and characters go, as well as working out what makes an episode enjoyable in the greater context. Terrance’s episodic review format is an effective one; besides focusing on the things that make Fire Force works, pointing out highlights of each episode to underline what its contributions are also creates a very succinct post that gives readers a solid at-a-glance of what an episode accomplishes.

YU-NO: A Girl Who Chants Love at the Bound of this World (Visual Novel): The Ayumi Route

Dewbond, Shallow Dives in Anime (@ShallowDivesAni)

Besides collaborating with Ecchi Hunter, Dewbond also presents his own submission on YU-NO, this time, focussing specifically on one of the characters and her route in the visual novel. Dewbond finds Ayumi’s story to be compelling in its visual novel form. The anime incarnation does have its own merits, by presenting a more detailed exposition for a time-travel mechanics; the visual novel simply was a game mechanic, but the anime transforms this into a tool that enhances the strength of Ayumi’s story. However, on the whole, the visual novel possesses a deeper and more meaningful as a story that creates a much stronger dynamic between Ayumi and Takuya. Even without the voice work and motion that anime adaptations possess, YU-NO‘s visual novel is able to craft a powerful story and effectively convey emotions, so when Takuya and Ayumi realise their love for one another, the emotional pay-off is immense. Both the visual novel and anime have their own strengths, and ultimately, Dewbond finds that the complete experience comes with both watching the anime and playing through the visual novel, where details complement one another.

With the number of submissions on YU-NO convincing me that the series is one that could be worth checking out, I might need to queue this one up for watching during intermediary periods where things are a bit slower for me. Dewbond has, through his submission, succinctly outlined how both YU-NO‘s anime and visual novel have their own unique standing points that make them worthwhile. While time is limited and some folks may choose to only pursue one, a more comprehensive experience is to be had by investing time into other avenues related to the work. I’ve briefly touched on this earlier in the showcase by mentioning CLANNAD, and I’ve similarly heard that CLANNAD ~After Story~‘s ending, which many count as an instance of deus ex machina, is actually well-justified and fits in with the rules and convention that CLANNAD‘s visual novel establishes. While some may choose to assess their experience from the basis of whether or not the standalone anime could deliver an effective story, folks who ended up with a positive overall experience may be inclined to give the source materials a go, and this in turn yields a much more meaningful and engaging journey far beyond experiencing any one thing. Seeing bloggers write about their visual novel experiences is a constant reminder that one of these days, I will need to make some headway into CLANNAD‘s visual novel.

Araburu Kisetsu no Otome-domo yo – O Maidens in Your Savage Season – O Maidens – AMV

Matija (@tfwanime)

Matija presents the first video submission in the form of an anime music video (AMV) from the series Araburu Kisetsu no Otome-domo yo (O Maidens in Your Savage Season), a slice-of-life manga by Mari Okada that was adapted into an anime for the summer 2019 season. Dealing with the elements of youth, Araburu Kisetsu no Otome-domo yo follows a group of students in the literature club who are unified by a desire to understand romance in its physical form, and whose time together propels them down a journey of discovery. In this music video, Matija uses the series’ opening song, Otome-domo yo, as the basis for capturing the emotional tenour that the series conveys. Using clever placement of the English translation of the lyrics, which draws the viewer’s eye to different parts of the video and therefore encouraging viewers to look at every quadrant of the video, Matija selects moments from the series that best captures the mood. The strength of HoneyWorks’s performance is brought to the foreground in Matija’s AMV: through a clear and upbeat, yet emotional delivery, HoneyWorks creates a song that captures the spectrum of emotions that youth experience as they struggle to make their way in the world and understand the storm of emotions that they must deal with as a part of learning. Choosing the perfect moment to match a segment on the opening could not have been easy, and Matija does a spectacular job of summing up their feelings for the series, highlighting Araburu Kisetsu no Otome-domo yo at its finest – for me, watching Matija’s AMV is a sign that I probably should pick this one up, having passed over it only for the singular fact that my summer was quite busy, and that I’m a bad procrastinator.

AMVs represent one form of creativity that conveys love for a series: without any words, analysis or discussion, putting an AMV together using a series’ opening song shows a great enjoyment of the anime first and foremost. As Matija writes in their video description, this song was a very enjoyable one. Coupled with going through the entire series to find moments that best fit areas of the song, timing the chosen scenes to fit and the music and presenting a translation the lyrics in a creative manner, it is clear that Matija’s AMV is a testament to Araburu Kisetsu no Otome-domo yo‘s strengths. AMVs take considerable effort to make, and are one of the strongest ways to convey love of a series. While there are some scenes that come across as a bit rougher in the AMV (I generally feel that both text and scenes should disappear or transition in a way that matches the music for videos), these are relatively minor in an AMV that is of a superb quality overall. While I’ve not made any AMVs for over a decade, memories still remain regarding the sort of commitment that goes into creating them, and Matija’s favourable impressions of Araburu Kisetsu no Otome-domo yo is evident in their AMV. Seeing this AMV has prompted me to put Araburu Kisetsu no Otome-domo yo on my watch list, and while I might not get to it for a while, I am going to start the party by listening to the series’ music – music is how I’ve found many anime I’ve come to love.

Why do I find it so hard to make friends?

My Anxious Life (@_MyAnxiousLife)

Friendship and the difficulty of finding new friends as one becomes older is the topic of MyAnxiousLife’s submission for Jon’s Creator Showcase. While MyAnxiousLife found the process more straight forwards as a child, there’s an inexplicable challenge in sharing with peers as one becomes older, and despite presenting a forward and cheerful manner, the conversations that MyAnxiousLife has with others feel exhausting. Identifying why this is the case seems a challenge, could it be from a lack of confidence and fear of rejection, or is it merely a subconscious reflex? With prospect of opening up to new people a daunting one, MyAnxiousLife suggests creating a new type of service for cultivating and nurturing friendship for more people.

As children, people tend to think in more straightforward terms and look towards commonalities like interests, appearances or background in order to connect with those around them, but as adults, a better understanding of social convention means that more seems at stake in every interaction one has. I certainly don’t have it easier making new friends, but there is one additional factor that stymies my ability to befriend new people: working means spending most of my days with my eyeballs in Swift code, and when a day ends, my only inclination is to sleep. Skills atrophy if not used, and a part of the challenge people encounter when making new friends as adults can also come from the lack of practise and opportunity to simply talk to new people the same way students might. The utility that MyAnxiousLife suggests is something I would consent to developing, potentially being a fun tool to simply reach and help others. I argue that such a platform would be best done as mobile app (and development should start out in Xcode): this could be the start of a brand-new company rooted in an app!

Jump Into Fear: 6 Common Fears & How to Overcome Them!

Cassie, Upcycled Adulting (@Upcycledadultin)

Cassie of Upcycled Adulting presents a discussion on besting fear, an emotion that brings out the best and also the worst in people. In this article, six major causes of fear are covered: fear of opinions, failure, success. rejection, the unknown and decision-making. In each category, a specific countermeasure is proposed towards handling that particular fear. Concerns about what people think of us are lessened with increased confidence in one’s own ability. Worrying about failure and success boils down to persistence and preparation. Rejection is ultimately a matter of mathematics and can be beaten with effort. The unknown only becomes problematic if one is unprepared, so informing oneself of a situation to know what factors can and cannot be controlled can help one approach it more effectively. Good decision making comes from owning a decision and making the most of it. With an encouraging tone, Cassie suggests to readers that agency to better their circumstance lies with them, empowering them to take charge of their situation – all fear ultimately stems from being powerless, and Cassie’s post reinforces that proactive attitudes are what turns fear into just another manageable, solvable problem.

Everyone has developed different mechanisms for coping with their challenges and worries, but when situations become overwhelming, we may let fear get the better of us. Cassie’s post provides a back-to-the-basics approach, reminding readers that irrespective of what they might be facing, the first step is to take control and be proactive in working out the beginnings of a solution to mitigate that fear. The smallest of actions, which we may dismiss as trivial, serve to restore this control, and also helps put perspective into a problem. Dividing and conquering is a viable tactic: seemingly insurmountable fears often become much more approachable, if not trivially easy to solve, when one returns to the basics, and armed with a post of positivity, provides a very optimistic outlook on the benefits of fear. Folks who embrace this fear and practise management tactics are able to constantly push new boundaries and find increasingly creative, effective ways of dealing with their problems. I admit that common everyday challenges like fear is a topic I don’t often share with my readers because it’s far removed from my usual topics, and I deal with my own fears with preparation and study: seeing that method being a part of what others count as effective means I’m doing something right.

What an M.E. Crash Feels Like

Sopx X, Mummying and M.E. (@mummyingandme)

Soph of Mummying and ME’s submission is on the topic of myalgic encephalomyelitis (ME), or Chronic fatigue syndrome (CFS). With a prevalence of up to three percent in the adult population, ME is characterised by fatigue, difficulty standing, headaches, sore throat and sensitivity to stimuli, amongst other symptoms. With a poorly-characterised cause and no known cure, ME is a condition that the medical community has limited agreement to regarding management and treatment mechanisms. Soph’s article discusses the onset of an ME Crash, where fatigue and other symptoms suddenly set in after exertion. The aftermath is difficult: Soph describes the world as being a blur, with every noise being overwhelming, and existence becomes painful. Soph notes that the effects are very real, and different people with ME may experience it differently, but the worst aspect is that even when being mindful of one’s lifestyle choices and working to lessen exertion, ME crashes may happen anyways. Until medical researchers begin probing ME more closely for physiological factors resulting in ME crashes, the causes remain quite unknown.

Health conditions are immensely taxing, and can often have its tolls; blogs like Soph’s Mummying and ME serve a very important purpose in that it provides a very candid, first-hand experience of conditions like ME so that for other individuals affected, they are able to see the perspective and understand that they are not alone in their experiences. The community and unity in individuals affected are strong precisely because people are able to support one another, giving one another encouragement and also share their journeys. While medical experts may not be able to identify effective treatment and management methods, through writing and sharing their experiences on a blog, people like Soph can still help other individuals with ME by telling their stories and giving them perhaps the stepping stones of forming a group that can share their own management measures while researchers and health professionals catch up.

How to Cook a Series: Violet Evergarden

Dave D’Alessio, Confessions of An Average Otaku (@dalessio_dave)

Violet Evergarden was met with universal acclaimed during and after its airing for its particularly heartfelt presentation of Violet’s journey to understand what love was through her post-war job as a ghost-writer. Dave D’Alessio of Confessions of an Overage Otaku explores what made the series work for him: the central ingredient, as it were, is Violet herself. Born of a devastating war, trained to be ruthlessly efficient in her singular duty of eliminating the enemy, Violet begins her journey as unaccustomed to civilian life, having suffered devastating losses both to her body and to her mind after losing Gilbert and her arms. Left only with Gilbert’s words, “I love you”, Violet thus sets out to understand what this means and in the process, opens herself up to other emotions that are distinctly human. Through Violet’s journey throughout Violet Evergarden, Dave feels that Violet’s own limitations serve to enhance her plausibility as a character; her solid technical skills are tempered by an initial inability to adequately convey the intent her client desires, and it really forces Violet to learn empathy to succeed in her role. In conjunction with a vividly presented world, Violet Evergarden has enough going for it to craft a very strong experience that explains its strong positive reception amongst viewers.

Having thoroughly enjoyed Violet Evergarden myself, Dave’s article touches on many of the facets that made the series one meritorious of praise. For me, it was the overall journey and what Violet became as a result of her initial drive to understand “I love you”; while she set out to find the answers, along the way, and with support from those around her, Violet ended up discovering so much more, which serves to help her begin the healing process after the war. It is always a joy to see what specifically about a series that made it work for others, and in general, one would be hard-pressed to find any negativity surrounding Violet Evergarden simply because the series does so many things correctly that flaws become inconsequential. However, I am going to have to disagree with Dave’s remarks that Violet Evergarden can be compared directly with Neon Genesis Evangelion; while sharing the commonality that both Violet and Rei Ayanami might be unexpressive, stoic, the series’ intentions, themes and aesthetics are completely different. Violet Evergarden excels in its execution for different reasons than Neon Genesis Evangelion, although from a different point of view, to see the former compared against a well-known classic might be seen as an indicator of just how powerful and well-done Violet Evergarden is.

Anohana: The Flower We Saw That Day

K At The Movies (@K_at_the_movies)

Ano Hi Mita Hana no Namae o Bokutachi wa Mada Shiranai (Anohana: The Flower We Saw That Day, or Anohana for brevity) is an 2011 anime renowned for its moving and emotional story. Even eight years later, Anohana remains a particularly noteworthy work: K of K at the Movies delves into the series and how its cast of characters give the series its strength. While K might not relate to any of the characters directly, each character is presented in such a way that it becomes possible to root for them despite their initial attitudes. Attributes of each character are explored, including their strengths, weaknesses and ultimate contributions to the story being mentioned. K then focuses on how all of the pieces come together to create a highly enjoyable and poignant series. Specific design choices in Anohana, specifically pertaining to notions of closure and melodrama are some of the leading criticisms against the story, but K finds that overall, they are present to drive a specific message. With a multitude of themes covered, K finds that Anohana‘s success comes from being able to present a genuine and heartfelt story. K’s post coincides with reaching the two hundred follower and three hundred post mark: it is things like Jon’s Creator Showcase and enthusiastic readers that inspires him to continue with his blog.

I would like to similarly thank K for his submission to this month’s Jon’s Creator Showcase and hope he will continue to run his blog. The experiences along the way are inspiring and encouraging, being fulfilling and rewarding as one connects with the positive members of the community. As for Anohana itself, I watched the series back in 2013, two years after it finished airing, and out of a curiosity to see whether the praises for the series were justified or not. When I finished, I found myself unable to adequately put into words what I’d seen and experienced: it wasn’t until watching the movie a year later, which recounts the events of the TV series as the characters, having moved on with their lives, reflecting on their experiences, that I came to understand what made Anohana an immensely enjoyable experience. Seeing the series from a new perspective helped me to appreciate what each of the characters had gone through following Meiko’s death, and with the movie taking on the perspective of a retrospective, it helps audiences appreciate how each individual has begun to heal. I share K’s thoughts in that Anohana is definitely worth watching, and note that with the sheer amount of stuff out there, K will have no shortage of things to write about for his blog that readers will find value in reading.

The Wize Wize Beasts of the Wizarding Wizdoms Review

Alyssa, Al’s Manga Blog (@AlyssaTwriter)

Al’s Manga Blog is a unique blog that focuses on manga reviews, and for the October submission Alyssa reviews Nagabe’s The Wize Wize Beasts of the Wizarding Wizdoms, a manga about anthropomorphic animals attending an academy of magic not unlike J.K. Rowling’s Harry Potter. The specially enchanted animals of The Wize Wize Beasts of the Wizarding Wizdoms exist in harmony and do their utmost to learn their magic while struggling to deal with romances that appear. Despite a potential for the story to go in directions some may find uncomfortable, The Wize Wize Beasts of the Wizarding Wizdoms is actually a pretty clever story that weaves the animals’ natural traits together with a rowdy romance that offers comedy and emotional weight in the right places. However, Alyssa feels that overall, The Wize Wize Beasts of the Wizarding Wizdoms acts as more of a warm-up act: the fact there’s only one volume means that many character interactions are not fully fleshed out, and Alyssa leaves The Wize Wize Beasts of the Wizarding Wizdoms feeling as though there could have been much more that could have been done with the manga to fully immerse readers more.

As a longtime fan of Harry Potter (believe it or not), my eye was caught when I saw that there was a proper manga that conveyed a similar feel: J.K. Rowling’s universe is a unique one, and most fan-fiction attempts at it fail to capture the same aesthetic and wonder present in the original, preferring to focus on romantic pairings that offer little in the way of novel stories and adventures. The Wize Wize Beasts of the Wizarding Wizdoms, on the other hand, possesses its own aesthetic and style. From Alyssa’s presentation of the manga’s strengths, it becomes clear that The Wize Wize Beasts of the Wizarding Wizdoms is quite distinct, counting on character interactions to drive the series’ humour. I find that manga reviews are inherently more challenging to do than anime reviews for the simple fact that I tend to count on screenshots to provide visuals for my talks; manga panels are monochrome and more text heavy, so a manga review done in my style would be quite difficult to read. Alyssa, on the other hand, uses a simpler approach, picking pages of the manga lighter in text to show the artistic choices without overwhelming the reader and keeping the review concise. Her method provides a clean means of reviewing the manga, and after reading her assessment of The Wize Wize Beasts of the Wizarding Wizdoms, I can say that this does look to be an intriguing one to check out.

Week of Reviews

Shaegeeksout (@shaegeeksout)

Shaegeeksout submits a playlist of manga reviews, one for each day of the week in October that covers a variety of titles covering different genres and styles, with varying levels of enjoyment. Shaegeeksout discusses everything from manga that failed to impress, to titles that have unique merits that make them worth reading through. The strength in her videos is authenticity and conciseness: every review is presented in a direct fashion, and Shaegeeksout wastes no time in highlighting the strengths, weaknesses and final verdict on a given title or series, giving viewers a very quick idea of whether or not something is worth their while. Going into the story, characters and artwork for each review, Shaegeeksout offers viewers with consistent assessments on each manga to help them determine if something might be worth a purchase.

From her videos, the first impression I get is that Shaegeeksout has extensive familiarity with manga, given the bookshelves behind her that are dedicated to manga and to her other interests. This aspect is something that video reviewers must be mindful of: while seemingly a trivial choice, what one picks as their background can shift the framing of a video dramatically. For a manga reviewer to set a bookshelf as their backdrop suggests to me that I am watching someone who knows their materials, having the experience to back their opinion and give viewers a fair assessment of each work. The titles that Shaegeeksout reviews are those I’m not familiar with: my own manga collection is considerably more modest, occupying about half of a shelf on my bookcase. It should come as no surprise that I’ve got the complete K-On!, and I also have the complete The Disappearance of Nagato Yuki-chan, plus Madoka Magica and a few other series that proved enjoyable to me. I’m very much an anime-first fan, and usually buy manga based on how much a series impressed me; the most recent series to have done that is Harukana Receive. It is therefore refreshing and useful to see the process behind how manga readers go about assessing manga, as Shaegeeksout has done in her mini-series.

Manga Review: The Drifting Classroom (Perfect Edition) by Kazuo Umezz

DynamicDylan (@DynamicDylan26)

DynamicDylan reviews The Drifting Classroom‘s Perfect Edition, a survival horror manga anthology dating back to 1974 about a boy by the name of Sho Takamatsu, who ends up in an alternate dimension, locked in a battle for survival against overwhelming odds. DynamicDylan enjoys the psychological aspects of The Drifting Classroom the most, contemplating what must be running through the characters’ minds as they are made to confront situations that are far beyond what one typically encounters. The journey that the characters must go through is gripping, and DynamicDylan found the series immensely captivating. Besides the story itself, the Perfect Edition of The Drifting Classroom is a strong product on the whole, featuring a very solid construction in its hardcover form. While the story is engaging, it might not be for everyone owing to the violence and gore, making it less suitable for younger readers. In spite of this, The Drifting Classroom is something that Dynamic Dylan strongly recommends to readers who are looking for something that is quite novel.

What stands out most in DynamicDylan’s review of The Drifting Classroom Perfect Edition is the physical construction of the volume itself: most official English-translated manga volumes are typically soft-cover, and while featuring a heavier-grain paper than Japanese manga, which can be bought for low prices thanks to having newspaper-like paper, nonetheless can come across as being somewhat fragile, especially when compared to hardcover books with high-quality paper. That The Drifting Classroom is presented as a hard cover is quite unique, and DynamicDylan makes a strong case for how this manga stands out, in addition to a thrilling (if disturbing) story that deals with darker aspects of human nature, such as paranoia and the unknown. Unfortunately, I fall into the category of people that DynamicDylan counts as being less suited for the manga: despite my love for shooters and acceptance of carnage in video games, gore and violence in manga and anime are things that I don’t enjoy as much. With this being said, there are folks with stronger wills than my own and, for them, The Drifting Classroom Perfect Edition could be a fine addition to their manga collections, giving owners both something that is gripping and solidly crafted.

The Dark Knight Lives (Thirteen)

Annlyel James, Annlyel Online (@annlyeljames)

Annlyel James of Annlyel Online submits a chapter of her fan-fiction, The Dark Knight Lives. Opening with Robin getting knocked out by Harley Quinn while searching for the mayor’s murderer, the story shifts over to Lynx, a leftenant in the police department. Lynx is following Robin’s signal with the aim of providing backup, and when she arrives at the bar where Robin was last seen, she finds little little help from the bar’s staff and its patrons, an unsavoury bunch. While she makes to leave, a few of the patrons follow her into the night and open fire. Lynx is hit, but speeds off into the night before any significant harm can come to her. She immediately requests support, having concluded that Robin is in a bit of a predicament.

Annlyel’s submission is the second work of fiction in this Jon’s Creator Showcase, being part of a much larger work that covers multiple chapters. The submission is a well-chosen one, dropping me off right in the middle of things and concluding with escalation. I admit that unlike the Marvel universe, I have a much more limited knowledge of the DC universe. While I am a fan of Christopher Nolan’s Dark Knight trilogy, his emphasis on the mental and psychological aspects of being Batman means that elements of the traditional Batman universe are secondary. Annlyel’s fiction is thus a reminder that the Batman universe is rather larger than the one Nolan presented, and there are numerous aspects about it that could be explored.

Is Akane The Main Character of SSSS.Gridman? We Think So!

Galvanic Media (@GalvanicTeam)

The Galvanic Team presents a video making the case that antagonist Akane Shinjō should be counted as SSSS.Gridman‘s lead character. Because this is a bold claim, the video first defines the lead character to be the individual whose progression through a narrative allows the audience to understand the rationale for their initial actions and also provides a yard stick for the growth and development they experience as the story progresses. In SSSS.Gridman, screentime is dedicated towards Akane’s moments alone and establish that her goals stem from her background, which results in her desire to control and dominate a world where she does not suffer from the deficiencies that haunt her. Moreover, Akane herself undergoes a dramatic shift in mindset and growth compared to the other characters in SSSS.Gridman: with the other protagonists remaining relatively static by comparison, it becomes clear that SSSS.Gridman is really about how Akane changes in response to friendship over time.

I typically don’t watch anime reviews on YouTube – analysis is difficult to follow if the presenter rambles on, and I can’t readily reference earlier points. The Galvanic Team’s video, on the other hand, is simple enough to follow, stepping through the things that make Akane worthy of being considered a lead character. It helps considerably that the video itself is done with solid voice-work: I am reminded of the videos that my local anime convention puts out to advertise their events, and those are of a very high standard. The video itself accompanying the discussion is relevant, giving scenes from the anime that match what the speakers mention, and so, leaving this video, I am more convinced that Akane could be seen as SSSS.Gridman‘s lead than when I first entered. Building effective video reviews and analysis for anime is an immensely difficult task: folks like DigiBro or Mother’s Basement fail in their efforts at more serious analysis because they do not follow a logical structure in their videos, nor do they take the effort to improve the quality of their spoken piece. Finally, staring at a talking head is not something I consider engaging when the discussion is focused on anime: with manga reviews, the reviewer holds the product in their hands and it becomes an integral part of the discussion, but reviewing themes in an anime is more intangible. The Galvanic Team’s submission is the opposite of this, being clear, informative and fun to watch, as well. There are plenty of excellent video reviewers out there beyond the well-known ones; the number of subscribers one has clearly is not indicative of the quality of their work, and Jon’s Creator Showcase is a fine opportunity for lesser-known but excellent video reviewers to be featured.

From depression to anxiety: water as metaphor in anime

Elisabeth, Little Anime Blog (@littleanimeblog) 

To a scientist, the polar inorganic compound known as water is a solvent of great interest, with untold importance in biology, economics, engineering and virtually all aspects of life. Earth’s distance from the sun allows water to naturally exist in liquid form, and this in turn means that a majority of the world’s surface is covered by oceans. Being an island nation, the ocean is an ubiquitous part of life in Japan and unsurprisingly, features in many anime, acting as a metaphor of sorts. With its vastness and unexplored depths, the ocean becomes representative of depression, doubts and fear: Free!, Tsuritama and Amanchu! are series that cast water as a source of unease, visually presenting the feeling of being trapped in a vast, empty space by means of water. However, the very same oceans which possess an untold amount of mystery also acts as a source of solace and great beauty. By embracing the mystery and shifting one’s perspective to that of curiosity, people come to discover an important dichotomy: there is a joy that can be found in the ocean, and in the right company, this new perspective can turn a source of depression and doubt into a source of hope and optimism.

The impact of the ocean on Japanese culture cannot be understated, and this aspect is prominently featured in anime: from Amanchu! to Azur Lane, the enigma formed by the ocean forms the bulk of the story in their respective series, and most series deal with conquering them. Until now, I regarded the oceans in anime as being a part of the scenery, rather like how the Rocky Mountains an hour west of my city are a common part of the scenery that, while beautiful, is also quite unremarkable. Reading Elisabeth’s post on water as a metaphor for depression provided me with a newfound outlook on things – while anime might use it as a part of their story to present a certain idea, it also lends credence to the idea that the sea is very important to the Japanese. Island nations like Japan and the United Kingdom have traditionally held great respect for the ocean’s might and beauty, and many aspects of their culture involve paying deference to the oceans both for the resources that may be reaped, as well as destruction wrought by the ceaseless waves and unexplored corners of one of the least characterised realms on Earth. Strong blog posts help readers to gain new perspective on things, and Elisabeth’s submission to this month’s Jon’s Creator Showcase is a strong example of what makes blogging so rewarding from the writer’s perspective – one’s own thoughts can help others approach and appreciate the world from a new light.

[OWLS October Blog Tour] Changing Seasons

Megan Peoples, Nerd Rambles (@Nerdramblesmeg)

Megan Peoples presents a talk on Dungeons and Dragons, and the importance of being able to indulge in flights of fancy and fantasy in moderation. With a group of friends, Megan is able to craft characters with detailed back-stories, and one character in particular is modelled after herself; the freedom that fantasy confers allows her to explore a variety of directions for her. This character inherits Megan’s own limitations, such as worrying about responsibilities and being able to grow into a role. However, having a character to build a journey around also helps Megan with her own confidence, and ultimately, by offering an escape, as well as a second look at things, Dungeons and Dragons contributes to Megan’s well-being. Of course, the expenditure on dice is a nontrivial one, but Megan’s post shows that the benefits of this pursuit clearly outweigh the drawbacks.

Megan’s participation in Dungeons and Dragons is the same reason I partake in a variety of video games and consume fiction: it offers a momentary escape from reality that helps me gain a new perspective on things. By sharing her story with Dungeons and Dragons, Megan provides insight into why fantasy games are so prevalent; most folks take to the golf course or local bar to unwind, but there are others who find themselves more at home in stretching their minds and enjoying a fantastical world in place of more traditional hobbies. Megan is not alone in drawing on fiction to relax: my interest and enjoyment in video games provides a similar catharsis, as well as serving as a constant reminder that persistence is key to success.

#TheAnimangaFestival: So You Wanna Play Otome Games? – Five Otome Game Recommendations for Total Newbies

BeckNaja, Blerdy Otome (@BeckNaja)

For her submission, BeckNaja of Blerdy Otome presents five otome games for first-timers. Otome (literally “Maiden”) games are a genre for female players, placing them in the shoes of a female protagonist and having them pursue romance with other characters. These can be male characters, although some games may feature female partners as candidates, as well. The list opens with Amnesia Memories, which BeckNaja counts as being accessible for beginners owing to the fact it was one of the first titles to be localised and therefore, the dialogue is translated to a high standard. With five routes and running for low prices, plus a straightforwards plot, Amnesia Memories serves as an introduction to the mechanics of an otome game. Ikémen Vampire comes next, being a mobile title and therefore, possesses the advantage of being able to be played anywhere. While Ikémen Vampire restricts players to a certain number of chapters per day, players can complete mini-games to unlock currency units to advance the story further. Hatoful Boyfriend is another recommendation that initially starts off irreverent, but quickly ups the ante as the story progresses. Hakuoki follows, being a title that has been ported to many platforms and something that BeckNaja counts as having appeal for many players. Rounding off the list is Cinderella Phenomenon, an independently published game whose strength lies in the fact that the story was written specifically for English audiences in mind. BeckNinja notes that otome games are ultimately visual novels, and the story is at the core. While each of the recommendations has something unique to offer, all of them are story-driven and will offer players something engaging.

For my part, I’ve never experienced an otome game, and my choice of visual novels tend to be more conventional, featuring a male player perspective and various heroines in its story. Of course, with my own interests, I’m more likely to be found with my nose in a first person shooter. BeckNaja’s post is therefore suited for folks like myself, with limited prior experience with such titles. Recommendation lists are a fantastic way to introduce beginners to a genre, since they serve to highlight each work’s strengths and notable features. A first-timer is then offered a highlight of what each title brings to the table and can make an informed decisions as to which recommendation is worth exploring further. Posts like BeckNaja’s are ideally suited for folks who are seeking new experiences, and in general, I’m always fond of reading top anything lists because they offer succinct explanations for why something is worth checking out. They’re rather concise and provide a quick overview of positive things in a work: the world does seem to trend towards negativity, so seeing top anything lists and their positive vibes always ends up being a fun read.

Top 5 Best Anime For Beginners You Need to Watch

YumDeku, MyAnime2Go (@YumDeku)

YumDeku’s submission was the final one I received and therefore rounds out this month’s Jon’s Creator Showcase, but fortunately, last is not synonymous with least: their submission is a start-pack of five recommendations for folks who are unfamiliar with anime and need a starting point. Kicking off this list is Kono Subarashii Sekai Ni Shukufuku Wo! (God’s Blessing on this Wonderful World!); this series is comedy driven and about fun, first and foremost. With a colourful cast of characters, its strengths lie entirely in being fun. Next up is Bokura Wa Minna Kawai-Sou, which is a romance-comedy set around the hapless, unlucky residents of the Kawai Complex as they strive to make the most of their situation. Cowboy Bebop, an old classic, follows: it’s about space bounty hunters and is renowned for its soundtrack, as well as its narrative. Sakurasou No Pet Na Kanojo is next, and this series deals with a group of misfits and their everyday lives. Like YumDeku’s submission, last place is certainly not least: Toradora! is the final recommendation. This series follows one Ryuji Takasu and his agreement to help Taiga Aisaka pursue her love interest, while at the same time, get closer with Minori Kushieda. However, despite this seemingly straightforward arrangement, the tribulations of love set the characters down a path that ends up being quite unexpected, and superbly enjoyable.

As far as starting anime go, YumDeku’s list consists of anime that possess a story and engagement factor that is quite compelling, while simultaneously lacking the tropes that make a series less suitable for general audiences: these are series that appeal to a wide range of audiences. My own story with anime starts with Ah! My Goddess The Movie, and like the entries YumDeku presents, struck that balance between comedy, drama and emotional investment with the characters that ultimately acted as my introduction into anime. There is a recurring theme here: while anime is often (and incorrectly) assumed to be something for those with a risque mind or similar, the reality is that anime is so diverse that there is invariably something for everyone. Individuals who pick up anime whose setup and themes are enjoyable, without unnecessarily shoving a bunch of unwelcome anatomy into their faces, will likely be more receptive to anime than those who end up watching series not to their liking. This is the key to introducing folks to anime: by introducing them to series where there is a substantial (but straightforward) story piece, characters whose journeys are worth following and stunning animation, it demonstrates that anime can be fun and engaging, just as other media have their own merits. Of the anime YumDeku recommends to newcomers, I’ve seen Bokura Wa Minna Kawai-Sou and Toradora!, while Kono Subarashii Sekai Ni Shukufuku Wo! is on my list of series to eventually check out.

Closing Remarks

With thirty-one submissions to review, this month’s Jon’s Creator Showcase breaks a new record for my blog, being the single wordiest post I’ve ever written: there’s a grand total of 15125 words. This record was previously held by my review on Makoto Shinkai’s Kimi no na wa. The sheer size and scale of this showcase meant most of my free time not storming the beaches of Iwo Jima or sneaking through Pacific Storm’s jungles was dedicated to writing the post, and to put things in perspective, my Master’s Thesis was about 35982 words, and that took me a year to write. The decision to do full-length showcases for every submission stemmed from a combination of November being a slower month for anime reviews, and also because I did wish to do every submission justice – everyone who submitted something put their best efforts into their content, so for the showcase, it made sense that I at least make an effort to show what went into each and every work that I had the honour to look through. Having highlighted the incredibly vast array of submissions for October, I hope that readers walk away with new experiences and ideas. For instance, thanks my to participation in this month’s Jon’s Creator Showcase, I leave now with the goal to watch SSSS.Gridman and Araburu Kisetsu no Otome-domo yo at some point in the future with the goal of enjoying these series and in the case of the former, seeing if the series lives up to the positive reception the community has given it. Anyone who’s still with me at this point should probably know that they’ve read the equivalent of two-and-a-half chapters to my Master’s Thesis – if you’ve managed to read this entire showcase in one go, I will note that is an incredible feat of endurance. I won’t protract it out any longer: the showcase for December will be hosted by Scott of Mech Anime Reviews, and I hope you, the readers, will look forwards to that. We finally enter the final month of the year, and the final month of the decade: the winter holidays are very nearly upon us, and I wish everyone the absolute best as we enter a season of togetherness before marching onwards into a new decade.

YuruYuri Ten: Tenth Anniversary OVA Review and Reflection

“Real love stories never have endings.” –Richard Bach

To commemorate YuruYuri‘s tenth anniversary for the manga’s release, Akari, Chinatsu, Yui and Kyōko of the Amusement Club decide to reminisce on events of the past ten years, but inadvertently end up including the prehistoric era. When Ayano and Chitose arrive, they decide to host a party celebrating ten years worth of manga. They decide to help set up decorations for the party, and Himawari decides to help Chinatsu bake some cookies for the party. Meanwhile, Akari and Chitose continue with the decorations after everyone’s left. The next day, the girls kick off celebrations, and play a variety of games. When Akari loses in a rock-paper-scissors variant several times in a row, she ends up passing out from exhaustion after being made to partake in the penalty. She dreams of the encouragement and support her friends have offered her, and after waking up, it turns out that they’d planned a second surprise: the tenth anniversary of YuruYuri happens to coincide with Akari’s birthday, and they’d planned this out for her, as well. In the post-credits scene, Akari wonders how Yui and Kyōko got the photos of her for the birthday slideshow, but Kyōko remarks it’s better not to know. With its combination of comedy and yuri situations, YuruYuri has remained quite consistent in providing good laughs for readers since it began running in 2008. The anime’s first season aired in 2011, and since then, there have been three seasons, plus a special OVA and a web mini-series. Following the life of Akari Akaza and the everyday antics at the Amusement Club, YuruYuri opens as a pure comedy, using its characters purely to drive moments that elicit a smile. However, as the seasons wore on, the series did begin showing a subtle shift as the characters matured. Rather than purely focusing on gags (often at Akari’s expense), YuruYuri began showing a more genuine, tender dynamic between everyone as they come to treasure the time spent together as students. Ayano slowly begins to take the initiative to spend more time with Kyōko. Sakurako demonstrates a more mature side to her personality. Akari becomes less prone to random ills. The sum of this showed that even when character dynamics in YuruYuri began shifting, the series lost none of its edge, and continued to entertain viwers while at once, adding new depth to the characters

By the time of YuruYuri Ten, the series has struck a masterful balance between the heart-warming moments and the hilarious moments. The OVA opens with an unexpected insertion into the prehistoric era, which sees the girls gather fish and wild edibles without any dialogue. This sudden shift in the environment reinforces the sense that YuruYuri is still able to create ludicrous moments for the characters to drive humour. The OVA shifts between more gentle moments where the characters spend time together in preparation for the coming party, whether it be Chinatsu learning to bake under Himawari’s watch (and somehow managing to create a monstrosity that isn’t fit for human eyes), or Akari and Chitose boosting the club room’s decorations. During the party, YuruYuri Ten appears to relapse into the series’ old ways when Akari constantly loses at rock-paper-scissors, but this segues smoothly into a dialogue about what Akari means to everyone. While the OVA could have performed a cruel joke on her in its ending, it concludes in a meaningful manner; per Kyōko’s promise, the OVA did indeed give Akari the focus that she was often denied in the series, showing that over time, people mature and learn as a result of their experiences and time spent together. This is the theme in YuruYuri, and while it is not apparent during the earlier seasons, over time, subtle differences in the characters show that viewers have been watching a very dynamic and changing cast whose adventures become worth following because they show that one’s present situation won’t necessarily always be thus, especially if it is unfavourable, and over time, it is encouraging to see everyone make the most of their time as students while improving their circumstances.

Screenshots and Commentary

  • Ten years is a lot of time, and a lot has happened in the past decade. In fact, when YuruYuri first began running as a manga, I was still a secondary student, just getting into anime. When the anime began airing, I was an undergraduate student. That YuruYuri has found a way to keep the party going after all this time is nothing short of impressive, and while the anime might have slowed, the manga is still ongoing.

  • While many things have changed, some things also never change: YuruYuri Ten opens with the same hajimaru yo~! that the first and second seasons utilised. On the other hand, season three employed a much more conventional setup, starting each episode with the opening song. Seeing this introduction come back, together with Akari being interrupted, immediately sets the tone for the rest of the OVA.

  • The Palaeolithic segment of YuruYuri Ten brings to mind the antics of B.C. SpongeBob, which placed familiar characters in a prehistoric setting and similarly reduced the characters to short vocalisations. While B.C. SpongeBob was outright hilarious (it was made before the series degraded into the unintelligible drivel of the present), the YuruYuri Ten version is short, succint and adorable, showing the Amusement Club’s members working together to start a fire and prepare a meal.

  • The prehistoric segment draws to an end once Ayano and Chitose appear. While Kyōko and Akari are quite happy to see them, Chinatsu and Yui are embarassed to have been seen doing this sort of thing. The girls sit down to discuss what to do for the tenth anniversary of YuruYuri, and ultimately decide on a party. Ayano’s tsundere mannerisms have been dialed back during the OVA, but her uncommon talent for making bad puns remains, and she is one of the few people who can consistently make Yui laugh with said puns.

  • It’s quite rare that Himawari and Chinatsu spend time together: ever-driven to impress Yui and win her affections, Chinatsu decides to try her hand at baking cookies, but ends up creating a concotion not dissimilar to Bender’s cooking from Futurama. So appalling is this creation that the contents are blurred out, and from what is seen, Chinatsu’s cookies appear to contain swarms of things. Chinatsu asks Sakurako to try one, and it’s an indicator of how terrifying it is when even Himawari is worried about what will happen to Sakurako after.

  • While Sakurako may be more mature than she was at the start of YuruYuri, she’s still envious of Himawari’s bust and will not hesitate to make her displeasure known whenever something is against her favour. This reminds me somewhat of GochiUsa‘s second season, when an irate Sharo chases Chiya around after Chiya tries on her Fleur de Lapin costume and causes a button to pop off. Himawari’s look of embarrassment is priceless.

  • Subtly has never been YuruYuri‘s strong suit, and Chitose is fond of imagining her friends in various raunchy situations with one another. The dynamic between Ayano and Kyōko has been one that dates back all the way to the series’ beginning, and while Ayano is tsundere in these situations, Kyōko is blissfully unaware of Ayano’s feelings for her: she does all sorts of things that fluster Ayano in the series. YuruYuri Ten makes a call-back to this when Kyōko, seeing Ayano struggling to inflate a balloon, takes the same balloon and inflates it. Ayano blushes because of the implied kiss, but Kyōko is completely unaware of this.

  • After a day’s of work, the Amusement Club’s main room is properly decorated. If memory serves, Ayano met Kyōko while she’d been on a mission to eliminate the Amusement Club as a part of her student council president duties, but over time, came to tolerate and accept the club’s existence. At present, the Amusement Club is no longer a thorn in her side, and she participates with the aim of getting to know Kyōko better, planning to one day make a kokuhaku.

  • The next day, the Amusement Club’s party is under way, and opens with everyone sitting down to food. Chinatsu’s cookies end up scaring Yui, but beyond this, have no long-lasting impact on her health, suggesting they look much scarier than they taste. It is fortunate that such constructs are absent in reality: on top of providing sustenance, food exists to be enjoyed, and I’m always fond of a good meal. Yesterday, I returned to a Chinese bistro that’d I’d not visited in some years for their evening special, which is both tasty and inexpensive. On Saturdays, it’s a flank steak with Russian-style sauce on spaghetti, garnished with pumpkin and carrots.

  • Having seen the club room with the basic decorations, the special decorations Akari adds to it make things even flashier than before. The party starts out fairly relaxed, with much food and conversation, but this would admittedly make for a duller OVA. Once the last of the food is enjoyed and cleared away, the fun and games come out. This is where YuruYuri Ten gets knocked into twelfth gear. The wild antics of YuruYuri match those seen in Rick and Morty at times, and in fact, despite radically different premises and characters, Rick and Morty shares a great deal in common with YuruYuri, striking a balance between storytelling to drive home a certain message and providing no-holds-barred comedy.

  • To the uninitiated, there are two Yuis in this scene: Kyōko’s brought wigs for everyone and passes them out, allowing everyone to take on different appearances. This is a visual gag that is only possible because unlike a live-action work, the fact that hair only has one texture means that palette-swapping is trivially easy to accomplish. For the remainder of the OVA, I’ll only be showing some moments off, as they are best enjoyed in their original form.

  • I don’t recall Yui being quite so touchy about Kyōko’s antics in the original series: after the girls begin playing an imitation game, Yui grows angry and spins Kyōko round (like a record). Yui’s long been presented as the most level-headed of the bunch, and is usually the one who counteracts Kyōko’s wild personality. All of the characters in YuruYuri are likeable, but for me, Yui stands out from everyone for providing insight into how ordinary folk might react to the sorts of things in the series.

  • While soft-spoken and gentle for the most part, YuruYuri Ten also shows Chitose as becoming rather displeased with Kyōko during the imitation game. There’s actually a scene here that involves her overactive imagination painting an image of Kyōko looking after Ayano as a doctor: even in its shorter run, YuruYuri Ten manages to bring back many of the things that made YuruYuri particularly memorable, and while it’s been four years since I’ve watched YuruYuri‘s third season, my recollections of what made this series so hilarious came flooding back upon seeing the OVA.

  • Having taken a look around, I can say with confidence that this is the only complete discussion for YuruYuri Ten that exists on the internet that comes with screenshots. There aren’t any more substantial talks beyond reactions, and to the best of my knowledge, reception to YuruYuri Ten has been quite positive, being a trip down memory lane for most. I have also seen YuruYuri Ten being stylised as YuruYuri、. This is a pun on the fact that the enumeration comma (頓號, jyutping deon6 hou6, literally “pause mark”) in Japanese is pronounced ten.

  • It just wouldn’t be YuruYuri if Akari wasn’t made to suffer at least once: the rock-paper-scissors game that Kyōko suggests has losers act in a much more upbeat, high-energy level with each successive loss. The setup reminds me a little of the Tension Meter seen in Angel Beats!‘ OVA, and because Akari is intrinsically kind, she gets into the spirits and attempts to amp up the tension.

  • While it’s all fun and games initially, the others eventually grow nervous when Akari sustains several losses in a row. Something like this cannot be attributed to pure chance anymore, and as Akari’s efforts eventually has even Kyōko wondering when Akari will snap from being pushed too far. Eventually, Akari seemingly outputs enough energy to create a singularity and ends up in the void. Frightened and alone, she bursts into tears, but the spirit of her friends soon join her.

  • After ten years, YuruYuri has found its feet in being able to turn Akari’s suffering into something heartwarming. In the void, her friends remind her of all of the good she’s done and precious memories they’ve created during their time together. They wish her a happy birthday before Akari wakes up back in the club room. Rather than any Akira-level explanations, it is more plausible to suppose that as a result of having to become increasingly high tension, Akari passed out from exhaustion.

  • In the time that Akari is out, the other members of the Amusement Club prepare a cake and slide show to celebrate Akari’s birthday, as well as her contributions to everyone’s experiences despite being relegated into nonexistence in some cases. It was a bit of an unexpected but welcome twist: Akari’s birthday is given as July 24, which is when YuruYuri Reset began running, and the summer weather does seem to corroborate this, but this also creates a bit of an inconsistency in things, since YuruYuri‘s manga started its journey on June 18, 2008.

  • Of course, it is not my objective to pick apart minor inconsistencies like these, and I’ll let it slide since viewers ultimately end up with a fun return to YuruYuri. The OVA does everything well, capturing the full spirit of the original TV series over the course of its runtime, and as a result, I have no problem recommending this to anyone who enjoyed YuruYuri. 

  • In the post-credits, it turns out that the slideshow was made from photographs that Akari’s older sister, Akane had. Akane’s tendencies are questionable, and Kyōko worries about Akari finding out, so she simply opts not to tell Akari how they’d come to get the photographs. The Amusement Club then decides to figure out what their next activity should be, bringing the OVA to a close. This also brings my discussion to a close: we’re now nearing the end of November, and the only post on the plate is for Jon’s Creator Showcase.

Because the YuruYuri manga began its journey in 2008, 2019 technically is not the ten-year anniversary, and the OVA (along with this post) would be more appropriately labelled as being the eleventh anniversary. However, since the OVA was announced in 2018 as a celebratory project, the ten-year designation can be said to hold true. From what I’ve seen, production on YuruYuri Ten was delayed, and this is why the tenth anniversary special came to be a year later. Eleven years after the manga’s beginnings, and eight years since the anime adaptation first began running, YuruYuri has become a bit of a forgotten title: while reception to the series was quite positive, the reality is that the last YuruYuri finished running in 2015 with season three. Thus, the fact that YuruYuri received an OVA to celebrate its tenth anniversary at all is nothing short of miraculous, showing both the creators’ commitment to the series, as well as the fan’s dedication: the OVA was funded by a crowd-funding project that met its objectives in February 2019, and it was a few weeks ago when YuruYuri Ten released. Despite being produced by a different studio (Lay-duce handled this, whereas TYO Animations had done the earlier seasons), YuruYuri Ten retains all of the pacing, character designs and stylistic choices present in the series. Overall, the OVA is a welcome addition to the series, providing a reminder of a series that has done an excellent job of striking a balance between gag humour and meaningful character growth amongst the cast. YuruYuri Ten is therefore quite worth watching, bringing back many of the elements that made the TV series so enjoyable while simultaneously celebrating a well-deserved tenth anniversary.

Kandagawa Jet Girls: Review and Reflection At the Halfway Point

“If you take out the ‘team’ in teamwork, it’s just work. Now, who wants that?” –Matthew Woodring Stover

While Emily Orange and Jennifer Peach take an early lead in the race, Rin and Misa begin catching up, taking advantage of the Orcano’s handling to put Misa in a spot where she can snipe the Cuisine 2 at a critical juncture. Depriving Emily and Jennifer of their speed, Misa and Rin manage to win, and honouring the terms of their competition, Jennifer yields the yellow dolphin keychain to Misa, thanking them for an exhilarating race. Later, Rin and Misa begin training on their simulator, but the simulator malfunctions. Ruca decides it’s time to pick up new parts, and heads into town with Misa and Rin. Misa and Rin explore around, stopping at an idol café along the way. The next day, Misa struggles to ask for Rin’s phone number, and Rin accompanies Emily and Jennifer to a concert. After making a reservation for a slot to practise, Rin and Misa learn that they are to forfeit their slot to Hell’s Kitchen, a team from CS Production School known for their involvement in idol activities. Tsui and Tina Pan, of Hell’s Kitchen, anger Rin with their casual remarks about Misa’s skills, prompting her to challenge the pair to a showdown. However, Rin and Misa are soundly beaten. Later, Misa decides to take Rin to a different part of Asukasa, since their previous outing had been disrupted, and here, they run into Shinjuku Takadanobaba Girls School’s Manatsu Shiraishi and Yuzu Midorikawa. After the two mention Rin and Misa’s spanking at Hell’s Kitchen’s hands, Misa takes up a variety of challenges where they both get defeated. Emily and Jennifer appear later in the day and, after watching the final challenge, point out that Rin and Misa’s weakness is their lack of communication. Realising this, Misa and Rin finally exchange phone numbers and spend the remainder of an evening marveling in being able to text one another effortlessly.

Kandagawa Jet Girls might prima facie be counted as frivolous, an excuse to shamelessly promote the upcoming game of the same name and offer an unparalleled opportunity to show some skin, but beyond this is an unexpectedly coherent story. After Rin and Misa’s win over Unkai establishes the implicit strength of their friendship, the story turns towards showing that an implicit understanding and trust of one another won’t get them very far. This is hinted at in Misa’s inability to summon up the courage to ask for Rin’s number. While seemingly a trivial detail for comedy’s sake, this actually serves to show that even as far as fundamentals go, Misa is still too shy to speak with Rin. The race with Hell’s Kitchen establishes that the successful team is coordinated and synchronised with one another, able to act as a cohesive unit while on the water. While Rin demonstrates an innate talent for racing, and Misa has experience in shooting, their individual skills aren’t enough to win races. The introduction of Manatsu and Yuzu then reinforces that this lack of communication is what is holding Rin and Misa back as racers; even in trivial activities involving teams, Misa and Rin struggle because of the absence of teamwork. Jennifer and Emily note that the first step to establishing teamwork is communication of intent. Misa does end up realising this, and symbolically, takes the first step towards improvement by asking Rin for her number. It’s a subtle gesture, but by resolving this issue at the halfway point shows viewers that Rin and Misa are ready to move into their next steps as a racing team.

Screenshots and Commentary

  • Six episodes into Kandagawa Jet Girls, I am finding this series far more enjoyable than initially anticipated. Its game-like setting becomes very apparent, and this is probably one of the reasons I find no shortage of things to talk about. Having dabbled in game design and development for my Master’s thesis, I am mindful of things like collision physics, mechanics, balance and interactivity: while Kandagawa Jet Girls is heavy on the T & A, my interest in games means I’m able to keep the conversation going.

  • My predictions turned out to be accurate: Emily’s preference for a shoulder-fired rocket favours destruction and area effects over precision. Emily and Jennifer are very much about style and flash, and their choice of area-of-effect munitions weapon coupled with a fast jet ski means they’re able to deal damage to unsuspecting teams very quickly. The tradeoff is that the Cuisine 2 seems less agile, and a heavy weapon means Emily has fewer shots to work with.

  • Rin’s apprehension soon turns to excitement once the race kicks in, and while she mistakenly activates her boost on a turn, costing them precious moments, Misa reassures Rin not to worry and focus. Misa’s ability to communicate with Rin during a race is rudimentary, to a much lesser extent than more experienced teams, but early on, it is enough to get Rin focused back on the race.

  • Tsui and Tina are seen watching the Kandagawa Jet Girls with interest during a break between their work as idols and sit rather closely together. I’ve heard that yuri elements are supposed to be a factor in Kandagawa Jet Girls, although insofar, I’ve felt that focusing on yuri itself in the series is secondary to understanding how that elements impacts the teams and their ability to work together. In other words, yuri is going to be solidly present, rather than being a “will they?” question – meaningful discussion thus assumes this to be a given and then focuses on the “so what?”.

  • In Kandagawa Jet Girls, the “so what?” of why yuri is present is simply how it impacts each team’s ability to perform. As the race between Unkai and the Kandagawa Jet Girls progresses, the former begin increasing their lead with skillful piloting and well-placed shots from their rocket. Jennifer and Emily had earlier requested a tunnel segment in their race to make things more fun, and while they have little trouble negotiating the turns of the tunnel, Rin is able to keep up with a combination of the Orcano’s manoeuvrability and her own talent.

  • Yuzu’s innuendo manages to embarrass Manatsu, as the two discuss the race between the Kandagawa Jet Girls and Unkai. While I’ve been focusing on character development and the relevance of game mechanics in driving the story, other writers have chosen to superciliously focus on (nonexistent) philosophical matters surrounding Kandagawa Jet Girls. Choya of Random Curiosity argues that Lacanian psychoanalysis is required to “get” Kandagawa Jet Girls, specifically, positing that the lack of males in the series, coupled with yuri relationships and various camera angles representing Lacan’s “gaze” means that the show’s values are rooted in psychology rather than story, pertaining to how the series should differ itself from other works of its genre.

  • This is quite untrue: Lacan’s style was to present his theories in a way as to make them unfalsifiable, and contemporaries regarded him as a “amusing and perfectly self-conscious charlatan” whose work amounted to nothing more than an “incoherent system of pseudo-scientific gibberish”. In the case of Kandagawa Jet Girls, Choya does readers no favours by referencing Lacan, and adds little to the discussion besides perhaps demonstrating a lack of understanding of psychology. The yuri elements are not the core focus of either the game or the anime, but instead, serve to reinforce the idea that the pilot and gunner work closely as a team to the point where they can be seen as a romantic couple.

  • In the realm of shows like Kandagawa Jet Girls, it is quite unnecessary to claim that one is watching it to see if it “[provides] some valuable enough content to fuel this conversation deeper to explore what about [this series] makes it both transformative and derivative of its contemporaries in the ecchi genre”. Shows of this sort do not invite discussions on philosophy or psychology, least of all those from methods that have been decisively demonstrated to be false. This is why I choose to focus on the characters’ growth and interactions within their setting; applying discredited philosophical theories does little to help others understand the characters’ beliefs, desires and intents.

  • Of late, the quality Random Curiosity’s articles surrounding the series that I end up writing about have declined, and I occasionally wonder if some of their writers’ hearts are really in the game to be writing about anything with a substantial slice-of-life or ecchi component in it. Back in Kandagawa Jet Girls, Rin collapses in exhaustion after the race concludes. A well-placed shot from Misa while the Cuisine 2 is airborne impacts it, dealing enough damage to cause it to power down. This leaves Rin and Misa free to win their race. This outcome was visible from a klick away; while Rin and Misa are still novices as a team, they had to win this race simply to show that victory is possible and allow Misa to win the yellow dolphin keychain that evidently signifies her commitment to Rin.

  • In the aftermath, Emily and Jennifer accept their loss and the other keychains Rin had gotten them. Despite losing, they are thrilled to have had fun racing Rin and Misa; good sportsmanship is an integral part of any anime featuring sports, and one aspect of Kandagawa Jet Girls that I will be keeping an eye on is how Rin and Misa deal with other racers in the aftermath of a given race. Such series typically emphasise sportsmanship and the development of friendships amongst rivals, which are more professional than personal in nature. This was actually what made Girls und Panzer and Harukana Receive worth watching, and this season’s Rifle is Beautiful is also doing a solid job of incorporating sportsmanship into things.

  • Kandagawa Jet Girls‘ fifth episode was actually delayed in production. On the first Tuesday of November, when my area was hit with a major snowstorm that tangled up traffic, I slogged through six inches of snow while hoofing it back home after work. Upon arriving home, I learnt that there was no Kandagawa Jet Girls episode to watch. This ended up being a blessing, as used the extra time to work on my post for Battlefield V‘s Pacific Theatre. Kandagawa Jet Girls is now a week later, and while this will push back my finale post into 2020, the impact on my schedule is otherwise minimal. I think Azur Lane suffered from a similar delay and is a week behind, as well.

  • Rin’s enjoyment of the arts is apparent, and she is quick to design a new logo for the Orcano, sharing it with the other club members during a meeting. For Fumika and Hina, as well as Yamada, the drawing is tantamount to a kokuhaku, although for me, this is a bit of a stretch: Rin’s drawing is merely of her and Misa as the logo. Try as I might, I can’t find any symbols in the drawing itself that might imply a declaration of love.

  • When the training rig breaks down, Ruca notes that the age of the hardware means that a trip to town is needed in order to secure the replacement parts. Ruca reminds me somewhat of Girls und Panzer‘s Alisa in appearance, and while seemingly cold and distant, Ruca is at her best when working on mechanical projects. Anything involving repairs puts a smile on her face, and on the whole, having Ruca in their corner means that audiences can be assured that Misa and Rin’s vehicle will always be in excellent shape, leaving the outcome of a race purely to them.

  • While Ruca searches for the appropriate components, she suggests that Misa and Rin take some time to relax. One recurring joke is that each and every one of Misa’s attempts to spend time alone with Rin is inexplicably ruined whenever others show up to the party. Jennifer and Emily appear shortly after when Rin stops to check out a café with idols, much to Misa’s annoyance. Misa is not particularly vocal about this, but expresses her irritation by playing with her hair.

  • I’ve heard that some folks express different tics when whenever faced with stress, anger, annoyance or boredom. Mine is picking at loose skin on my fingers whenever I’m nervous. It is here that Rin and Misa learn of Hell’s Kitchen, a team of two idols whose appearances belie uncommon skill at jet ski racing. With Rin clearly interested in checking out idols more closely, Jennifer and Emily invite her out to a concert the next day.

  • Misa wonders why it’s so hard for her to talk to Rin about getting her phone number, and when Rin leaves for said concert, she retreats to the balcony and sulks about here. Most viewers appear to have marked Misa’s hesitation as a relatively minor point with seemingly no significance beyond comedy, but the persistence of this particular topic and how it ties into the sixth episode shows that there’s actually a bit more depth than people give Kandagawa Jet Girls credit for.

  • I think every episode of Kandagawa Jet Girls features at least one such moment, and therefore, in the spirit of the anime, I will make it a point to feature at least a handful of these screenshots purely for the sake of consistency. I know readers don’t come here for that sort of thing, but it’s still fun to mix things up a little from time to time. Considering just how limited the discussion out there for Kandagawa Jet Girls is owing to folks dismissing the anime as being little more than fanservice with a weak narrative, this leaves the floor open for me to talk about whatever I choose with the series and perhaps even set the precedence for how one might go about talking about anime with a nontrivial fanservice component without resorting to psychoanalysis to keep their discussions engaging.

  • Prior to their first scheduled practise on the river, Rin remarks that she’s still going to push for a new logo on the Orcano, which currently is adjourned with Rin’s face as decoration. However, their discussion is interrupted when Misa’s phone rings; despite having a reservation, it turns out the two have been removed from their allocated time.

  • Having seen Tina and Tsui in the passing, having them interact with Misa and Rin for the first time does not leave viewers with a positive first impression of the pair: haughty and arrogant, they are quick to put down Misa and Rin as having won by sheer luck earlier against Unkai. The pair, known as Hell’s Kitchen, are probably Chinese in origin: the surname Pan (Poon in Cantonese) is rendered as 潘 and is the 37th most common family name in China. Tsui and Tina are mentioned to be strong racers who use their influence to gain the upper hand for training, and they manage to override Rin and Misa’s booking of the course.

  • While Rin is typically cheerful and easygoing, it seems that making fun of those around Rin is a quick way to get on her bad side, and Rin immediately challenges the two to a race with the intent of settling things. It marks the first time we’ve seen Rin angry, and this adds a more human side to her character: in fiction, individuals might be defined by their usual mannerisms, but watching them act in ways contrary to their typical personality and potentially learn from the resulting mistakes serves to make everyone more plausible.

  • Tsui and Tina’s preferred uniforms for racing have a distinctly Chinese style, further reinforcing their possible origins as being Chinese. Their craft, Les Soeurs SL, is a highly lightweight craft with superior manoeuvrability and acceleration compared to the Orcano. In exchange, it lacks the engine power for sustaining a high maximum speed. Tsui is the pilot, and Tina is the gunner: the latter wields a pair of pistols as her preferred weapon.

  • Dual pistols are impractical in a real setting, since they prevent one from aiming down sights and also slows down the reload time. In fiction, however, the approach is favoured for the cool factor, and dual weapons are typically used in martial arts: sai, tonfa and kama are weapons I’ve trained with in pairs. Typically, the choice to dual wield shows an inclination towards speed and agility over precision: dual pistols effectively double one’s rate of fire at the expense of accuracy, showing that Hell’s Kitchen is about picking up speed. I’m noticing a stylistic trend in Kandagawa Jet Girls where the pilots race with their mouths open in a smile. This has no impact on the narrative, but now that I’ve seen it, I doubt I’ll be able to un-see it.

  • While normally composed and emotionless, CS Production’s Shōko expresses warmth and admiration when describing Hell’s Kitchen: she and Aqua Manjō are the commentators who provide viewers with a running commentary of every race. Aqua is normally the bubbly and bright speaker, explaining the different techniques racers use, while Shōko is more of a quiet speaker and fills the audience in on the mechanical aspects of the race. Together, they act as a narrator to help viewers follow along during races.

  • Unlike previous races, Tsui and Tina offer no quarter – Rin and Misa are decimated during their race without much effort; the sixth episode deals almost entirely with what the Kandagawa Jet Girls lack compared to more experienced teams, with notions of synchronisation and team play being at the forefront of all discussion. Kandagawa Jet Girls thus pushes the idea that until Rin and Misa work out how to work together, they’ve got no chance of winning races whatsoever.

  • While Kandagawa Jet Girls places a great deal of emphasis on team work for its theme (hence the page quote), I wager that the game, once it’s launched, will have players controlling both the piloting and shooting aspects of the race, rather like how in almost all games, players can simultaneously drive a tank and fire its ordinance. In the game, then, teamwork goes out the window as players would be able to dominate races on sheer virtue of über-micro.

  • To take Rin’s mind off the race, Misa proposes that they visit Asakusa again. When they pass a spot where Rin had taken photos with others, she recalls the moment and decides to take a self-shot with Misa. Before they can complete the shot, the same girls who’d shown up in the first episode return, ruining Misa’s photo. It turns out they’re Manatsu and Yuzu of MKHU, Shinjuku Takadanobaba Girls School’s racing team. Misa takes offense to their presence, more irate that yet another chance to spend time with Rin was interrupted, and challenges them off to a showdown.

  • However, Manatsu and Yuzu have other ideas in mind: their idea of competition is various activities at a local water park. Their decision to not race is indicative of their personalities – despite their outward appearance, like Emily and Jennifer, Yuzu and Manatsu are friendly and quick to get along with others. From a narrative perspective, watching Rin and Misa be defeated in random trivial activities further reinforces that the two are most certainly not ready to race yet – if they cannot cooperate on even minor tasks to succeed, their odds of winning a race would be quite poor indeed.

  • Halfway into the season, Kandagawa Jet Girls has done a fine job of establishing jet ski racing, the major players and what the anime’s objectives are. However, Rin and Misa are nowhere near ready to take on Kaguya and Kuromaru yet, and with six episodes remaining, I imagine that now that Rin and Misa’s weaknesses have been defined, the series must show the two training together to master the fundamentals, and in the process, take on another team or two. Kandagawa Jet Girls‘ outcomes can come across as predictable, but overall, I’ve found this not to be a problem – the journey matters rather more than the destination.

  • Jennifer and Emily point out what has been increasingly apparent: without cooperation and communication, even something like a simple ball game sees the two falling. After the day comes to a close and the two leave the water park, Misa comforts Rin and then manages to ask for her phone number, signifying a first step towards improvement in communications. I expect that given the timing, the progress Rin and Misa make will probably be off-screen, implicit: with only six episodes left, including MKHU, there are three more teams to race against.

  • I have no qualms about saying that I am enjoying Kandagawa Jet Girls, and I’m interested in seeing where this series goes. I understand that this month, I’ve been much slower about blog posts: the next post I have lined up is Yuru Yuri Ten, a special OVA commemorating the series’ tenth anniversary, and then the remainder of my time this month will be split between making sure I do a passable job for hosting Jon’s Creator Showcase, as well as experiencing Battlefield V‘s Pacific Theatre content. Conversely, December does look like a month where I’ll have more blog posts lined up: besides doing posts for Kandagawa Jet GirlsAzur Lane and Rifle is Beautiful, I also have plans to write about Aobuta: The Movie, plus publish two special posts.

Like Harukana Receive, Kandagawa Jet Girls‘ focus on a sport driven by teams of two means that there is plenty of space to delve into teams at their most fundamental unit, and while Harukana Receive was rather more direct about the idea of pairs being synonymous with lovers, Kandagawa Jet Girls seems to be aiming for a similar setup through the other teams. In particular, Tsui and Tina are portrayed as being intimately close. Manatsu and Yuzu likewise regard one another as lovers might, with Yuzu’s innuendo-laden commentary embarassing even Manatsu at one point. Like any good relationship, communication is the first hurdle that Rin and Misa must overcome. By the series’ halfway point, issues affecting Rin and Misa are openly being addressed, and moreover, resolved at a smart pace to keep things engaging. Rin and Misa have the beginnings of a friendship, but there is still a distance that separates them despite Misa’s desire to be closer. Watching this distance close over time, and seeing the changes reflected in the pair’s racing as they encounter more teams en route to the goal of facing off against Kaguya and Kuromaru on the waters of the Kandagawa. Kandagawa Jet Girls‘ fanservice component has, surprisingly, not detracted from the overarching narrative, and this is a rather impressive feat considering that most stories of this nature appear to be held together by little more than duct tape and spirit: with incentive to root for Rin and Misa as they improve, I look forwards to seeing where the next quarter goes.

Finding Takaki’s Answers in Five Centimeters per Second: One More Side, or, Insights From a New Perspective

“Reality is brimming over with beautiful things, brilliant feelings. How many of them have I been missing?” –Takaki Tohno

Until now, the final act of Makoto Shinkai’s Five Centimeters per Second remained a bit of an enigma, leaving viewers with questions about Takaki Tohno and his ultimate fate. The animated film, which premièred in 2007, had three acts that detail a different stage of Takaki’s life, from the moment that he met Akari Shinohara and their falling in love, to when he moves back to Tokyo as an adult. The existing misconception is that since meeting Akari, Takaki had never been able to truly let go of her when they separated, and this in turn negatively impacted his ability to connect with those around him in the present, whether it be the athletic and cheerful Kanae Sumida, or Risa Mizuno, a lady he meets through work. The claim that “Takaki still longs for Akari to the detriment of his lifestyle” and that he is “unable to cope with his feelings for Akari” persist even after a decade has passed since its premièred. Five Centimeters per Second‘s third act does indeed show Takaki as being downcast and depressed, but one spring day, when he decides to take a walk under the morning sun to clear his mind from his tasks, he has a seemingly chance encounter with Akari. As he turns around to look back, a train passes through; once the train passes, Akari has gone, but Takaki merely smiles and continues with his walk. This dramatic contrast appears to contradict the gloom and misery that Takaki had experienced earlier, leaving viewers to wonder why a glimpse of Akari would be enough to undo the loneliness Takaki was suffering. While the film left many aspects ambiguous, creating a highly poignant message amongst viewers who incorrectly counted the film where “that actually resolving things was never the point”, supplementary materials, taking the form of two novels and one manga, provided an answer to these otherwise forgotten questions, where analysts and reviewers had originally been forced to conclude that the story’s outcome was “ambiguous”.

In particular, the novel One More Side is of great worth in helping to determine what Five Centimeters per Second sought to accomplish with its story. Originally published in 2011, and receiving an English language publication only in 2019, One More Side presents the Five Centimeters per Second story from different perspectives. The first act is told from Akari’s point of view, painting her as being quite shy and finding solace in Takaki’s kind and reliable company. The second act shows that Takaki was actually quite directionless during his time as a high school student and, while the film may not have shown it, he found himself wishing to be closer to Kanae. The third act shows how his past regrets only occasionally haunt him, and his inability to connect with others stems more from his personality of wanting to push forwards no matter the cost. At work, Takaki thus suffered through difficult deadlines and unyielding product managers who were unsympathetic to what his suggestions were. This placed a great deal of stress on Takaki, and ultimately led him to break up with Risa. Reading through these new perspectives, it becomes clear that Takaki is not pining for Akari per se, but rather, the melancholy he has stems from being unable to properly find his footing at work. These are subtle details that the film conveys through its use of colour: by the time Takaki becomes a freelance developer, the blues and grays dominating the palette are replaced with the brighter hues of spring, indicating his improved well-being. This comes with him finding the freedom to work at his own pacing and take control of life; Takaki hints throughout One More Side that he dislikes losing control of his situation, stemming from the fact that he’d moved numerous times as a child. His dissatisfaction with his old job thus came from lacking the control to make decisions for the better, and by becoming a freelance developer, being able to set his own hours, pacing and clients afford him with the control that he sought from life.

Additional Remarks

  • I vaguely remember one reader asking me if I had read One More Side a ways back, but at the time, I did not have access to this. So, when I’d learnt that One More Side was actually available at a local bookstore, I hastened to pick my copy up. The book, classified as a light novel, offers insight into Five Centimeters per Second that even the novel adaptation of the movie and manga do not possess: it is an essential read for anyone who wishes to get more out of their experience with Five Centimeters per Second. Spanning 240 pages, I bought One More Side a few days before midsummer’s eve along with the first two volumes of Harukana Receive‘s manga, and read through it over the past few months.

  • The biggest takeaway from One More Side‘s first act is that Akari was very much drawn to Takaki for his kindness and fondness for books. As a transfer student, Akari found herself unable to fit in with other students, and found solace with Takaki, who similarly found it tricky to relate to others. Their common interest in the sciences brought them together, and both had envisioned spending their time as middle school students together, although this was cut short, and Akari felt as badly as Takaki did about their helplessness in the situation. With the newfound information, I hope that folks looking for something like “5 Centimeters Per Second ending explained” or similar will find this post useful.

  • Besides the myths that Anime News Network perpetuates about Five Centimeters per Second that have made their way to Wikipedia and other tertiary sources, speculation at places like Tango-victor-tango can leave folks with conflicting, contradictory information. For instance, some fans at tango-victor-tango speculate that Akari’s parents were completely disapproving of Takaki. One More Side gives no indicator to suggest that this is true whatsoever, and instead, the reason for their lack of contact once Takaki moved to Tanegashima was simply because their lives were becoming busier to the point where sending mail no longer was practical.

  • In One More Side‘s second act, Takaki’s perspective is given in great detail; while the film presented him as seemingly in control of his life, which impresses Kanae, it turns out he’s about as lost as she is, but has a different way of showing it. The novel also confirms that the girl in his dreams is not Akari, but rather, an abstraction of someone he wants to be with; Takaki entertains thoughts that it would be nice if this were Kanae. With this, a long-standing question is addressed, and there’s one fewer ambiguity for folks to deal with. Takaki’s thoughts on Kanae are also provided in greater detail, and it suggests that he was actually hoping to get to know her better.

  • With everything said and done, One More Side is an indispensable read for anyone who enjoyed Five Centimeters per Second but felt shafted by the ending. The fact that there’s an official English translation now means that the story is more accessible overall. It’s taken twelve years for all of the pieces to fit into place, and One More Side provides the insights that fans deserve. This short post is now in the books, and I expect the next time I will be writing about Makoto Shinkai will be for Tenki no Ko, which released in July and for which the home release still remains unknown.

While Five Centimeters per Second is largely counted as a love story, it is more appropriate to approach it as a drama about life in general, and specifically, about control (or lack thereof) of one’s situation. The speed at which cherry blossoms fall, then, becomes not merely a metaphor about falling in love and falling out of love, but about how people’s fates are as transient and fragile as the cherry blossom, whose downward trajectories are stochastic and dependent on things like wind, which the cherry blossom petal itself is powerless to influence, much less control. Makoto Shinkai mentions this in other materials, adding credence to the idea that Five Centimeters per Second‘s theme is more broad than that of a love story. The ending scene where Takaki reaches reaches the train crossing on that spring day and encounters Akari, has a simple and profound explanation: Takaki smiles because he feels contentment at being able to fulfil his original promise to Akari. Their original promise, to see the cherry blossoms together again, is to be taken in a literal sense; viewers analysing the scene have over-scrutinised everything in Five Centimeters per Second and somehow ended up with the conclusion that seeing the cherry blossoms together was a poetic metaphor for getting married and spending their futures together. However, One More Side shows that Takaki’s memory is quite keen, and his smile comes from having satisfied their original promise, whereupon Takaki realises that he’d always had the initiative to take charge of his situation. The additional insights offered by One More Side allows audiences of Five Centimeters per Second to gain closure regarding Takaki, who unambiguously leaves the novel feeling happier, more content and ready to take on the future. In other words, after more than twelve years since Five Centimeters per Second premièred in Japanese cinema, the answer to whether or not Takaki got a happy ending is a resounding, decisive and well-deserved yes.