Seasons Greetings from Shimoneta

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It didn’t take more than one second for me to realize who had voiced the mysterious girl with the bob haircuit and flat bangs. I’ve made it a loose effort to not look into series’ seiyuu lists because around 40% of the time it leads to less than stellar anime. Which is weird because I would actually be one to say that sometimes exceptional voice performance can raise an average show to slightly higher heights. This also means that the second I started recognizing voices, I pretty much lost the fight and went to go looking up stuff right away.

Shimoneta‘s long title (Shimoneta to Iu Gainen ga Sonzai Shinai Taikutsu na Sekai) is long, therefore it must’ve been a light novel. For a while, I used to be one of those people that thought these long names were cumbersome. Now I just see that longer names allow for either more precision, artsy and poetic, or vagueness. It was the same with music, too. A lot of post-rock bands took up longer names when it simply either wasn’t viable to find nice and short names, or that they just stumbled upon a long name they wanted to use.

So who’s our darling in the above screencap? Arai Satomi of Index series fame as Shirai Kuroko. I’ve heard her a few times in roles where she strays away from her signature sound. However, this one was not even a high-school girl’s voice. It is sort of fate to begin with; Satomi-san is often employed by J.C. Staff, the ones producing this show. I haven’t noticed any glaring cameos, but then again I only just realized while writing this I could have been. Go look out for any character designs with altered or adapted outfits and color palettes. J.C. Staff tends to do that.

Let’s talk seiyuu again. To say that only Arai-san caught my attention is false. This show was already entertaining when Kajou Ayame, the show’s lead female, showed off her best “Oh ho ho ho!” in a very Slayers Naga-esque fashion. I should keep an eye on Ishigami Shizuka. She’s definitely a voice I’ve previously enjoyed. And Ayame’s companion is a capable straight man, so to me, not being any amount of annoying. Even Hyouka, the crazy scientist character, has a rather silky element to her raspy yet cute voice delivery, thanks to Gotou Saori. I definitely have to proclaim by now, this show is clearly seiyuu porn for my ears.

I would have followed this show because of Matsuki Miyu alone. She has voiced two very favorite characters of mine: Cthuko and Yoshinoya.

.. I’ll just go ahead and throw out all of my usual priorities for discerning quality shows.

I also fucking chortled quite strongly when I saw that pool get blown up. Goddamit J.C. Staff, you got me.

Seasons Greetings from Shimoneta

Witch Craft Works with Opinions! (EP5)

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What is it with and J.C. Staff and Kugimiya Rie? I’m not complaining, but holy cow, these two collaborate so much that I’m guaranteed Kugyuu nearly any season of the year. Some sort of Perennial Kugyuu Effect thanks to them. I adore her character in Witch Craft Works. There’s something about a woman in a military overcoat, blouse and tie that tickles my jollies. The lab coat.. seems excessive. You can’t be a military lab research office lady. Or can you? send pics pls

I’m still intrigued about Chronoire. They’ve given her a moderate amount of mystique that I can’t help but want more. Aside from my obvious fawning over her, this latest episode suggests that her goals and plans are long-term rather than satisfying some immediate goal. I like characters who take their time, patiently and cautiously advancing their agenda. My initial impressions of Medusa was that she was supposed to be some sort of sealed monster of power. But a single episode resolving and revealing her conflict versus Honoka was a let down.

For all the silly debacles we create in the anime community over translation and editing, there’s a huge group that prefer literal translations. And then there’s the ones that provide a more liberal localization. There a big difference in tone between, “You’re up. ‘Sup, Takamiya-kun?” and “Oh, you’re awake, Takamiya-kun?” Which one do you prefer? Which one is right? At the very least, neither of these lines are incorrect. I prefer the regular (latter) response, because Medusa isn’t using any specific mannerisms, nor is it portrayed to sound as informal as the “‘sup” might intend. However, if Medusa had said it in a fruity manner, or any other manner, I would have taken a different translation, because a flat text translation response (e.g. “Oh, you’re awake, Takamiya-kun?”) wouldn’t carry the tone of the voice. Properly doing translations this way means that you don’t have to include translation notes. Well, I guess even saying “properly” is still a subjective thing. If you’re a spoony translator that doesn’t fear the beer, I suppose anything would work if the spirit of the language tastes the same. (Yay, puns.) It’s hard to say which translation I prefer. I’ve been watching both FFF and HorribleSubs without any gripes, so pick what you like. Besides, it’s been forever since we’ve gotten entire plot rewrites. I seem to always forget which anime had nearly all of its dialogue mangled to the point of no return. Must’ve been bad enough to keep locked away in my brain.

CrunchyRoll’s translations are at best, average. There’s nothing wrong with that. Sometimes you’re at the mercy of them to watch any shows that are left untranslated by the community. I don’t think it’s such a bad thing when a show like Saki gets eyeballs thanks to CR. All that mahjong terminology would have been a giant slow down if some fresh-pint with only a year of Japanese language study attempted to translate the series. Good thing we still have options.

And yes, I still have a grudge against Mazui’s translation note during one of the most important scenes in the Disappearance of Suzumiya Haruhi movie.

I’m going to start organizing shows by categories in WordPress. For the longest time I’ve been using the tag system, but it seems like it’s going to be hell when I want to specify which show I’m writing about. Talk about learning by doing. Silly when you consider almost everyone else does it that way.

Witch Craft Works with Opinions! (EP5)

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“Unresolved conflict. Zero tension. Maximum pretty star effect. J.C. Staff’s watercolour palette.”

It’s really what I’d call this show. It’s a traditional id software code throw back to a type of anime I’ve never seen. And because I’m writing this while I’m sick, my ability to create comprehensive thoughts are shoved through a window made out of air. This implies that this window doesn’t exist, and more of a hint that a rectangular hole revealing the outside is in place. So what is Kill Me Baby, and why should anyone care? Truth is, you still won’t know what it is after watching, nor will you care afterwards after claiming you do. It’s so narrow in its idea of appeal, that only those who have a reckless taste in brain-foaming, sedative induced laughter would entertain the idea of watching this show for recreation.

And by golly, this show is perfect for me.

Yasuna’s stupidity and Sonya’s twintails of murderous intent is where it’s often focused, but there’s a lot surrounding it in a strange plastic wrapping. You know that feeling of peace and warmth you get when you climb into your bed after slogging through a cold wintery outside? None of that is here. It’s all awkward and full of Kyon-kun’s eye glazing humor, while lacking in the actual Kyon department. And every time I mention Kyon, I realize how much of a mancrush Ariolander has on Crispin Freeman. I’m lucky enough to have a female seiyuu I semi-obsess over, and it’s Satomi Arai — her voice, even in small vocal quips, always make me post on my blog. I’d have no idea how to react if Tomokazu Sugita actually had a character in Kill Me Baby. It didn’t help that Kugyuu (Rie Kugimiya) is also in this show, as the new character in episode 3. Get a Mr. Sakaguchi Daisuke in there and Patsuwan it up.

I might be a lost case to the seiyuu faggotry that invades a Japanese’s otaku’s mind. But I attempt to allay these fears by playing FPS games loaded with explosions, and punching for victory in Vindictus with Karok’s new weapon.

The music is rather apt for the show, nailing it’s non-Kyonitivity. Anyone who doesn’t like the opening and closing songs are actually allowed to. Because when haters realize they’ve fallen into the pit of “Yeah, you’re supposed to react like that.” they’ll feel stupid. I have a brain optimized for both musician and non-musician inklings, so I tend to enjoy liking music when others hate it just to spite them. And in this bad habit of mine, I discovered that I whatever I enjoy, I enjoy. I’ll be damned if I couldn’t properly explain why such music is still enjoyable even without a hint of academic music theory in my bones.

Is BONES doing anything this season? I need another middle-of-the-road, generic, robot drama with an OP that has copious amounts of interpretive dance.

Honestly, I’m writing this while sick. Why I could write more than usual is probably explained by my lack of judgement.

idkillmebaby