Retrospective: Sonic Adventure 2

Were the Sonic Adventure games good? Throw that question out to the crowds of Twitter users and watch people fight over it, because it’s a contentious one. But that wasn’t always the case. This series had a famously rough transition from 2D to 3D, but I think a lot of the poor reputation of modern Sonic stems from the total disaster that was Sonic ’06 and from some of Sega’s less bad but still pretty bad blunders such as the endless slog of the nighttime sections of Sonic Unleashed and the entirety of Shadow the Hedgehog.

The Adventure games, on the other hand, went over pretty well at the time. The first two real Sonic games in 3D were far from perfect, with plenty of camera problems and glitches, but I remember liking them when I first played them on the Dreamcast, and I don’t think anyone really outright hated them or declared the series dead after playing them. A lot of fans agreed, and I do too, that they weren’t nearly as good as the original 2D games on the Genesis, but they weren’t considered a disgrace to the series or anything like that. Even when the Dreamcast died, these two games were at least well-regarded enough to live on as Gamecube ports with new features added. Yet now they do get quite a lot of hate, especially the first one, which I’ve even heard called one of the worst games ever made.

I’m not going to address here whether Sonic Adventure deserves that harsh assessment, though I’m pretty sure it doesn’t. But I only own the Steam port of Sonic Adventure 2, so that’s the one I can write about without having to dig through hazy twenty year-old memories. I finally got around to playing this version of SA2, and I don’t feel that differently about it now than I did back when I played the Dreamcast original upon release in 2001: generally pretty all right but with some boneheaded gameplay decisions and clunky elements that make it a chore to get through sometimes.

But amazing dialogue

But you’re reading this to get specifics, so let’s get to them. SA2 opens with a nice cinematic-looking shot of Sonic being transported as a prisoner on a military helicopter for a crime he obviously didn’t commit, because he’s a good guy. So he jumps out of the helicopter and onto the streets of San Francisco using a broken-off piece of it as a skateboard (Sonic doesn’t take fall damage, so he’s fine.) It turns out that he’s a victim of mistaken identity, because the grandfather of Dr. Robotnik, now officially known in the West as Eggman, developed another anthropomorphic hedgehog as an experiment on an orbital base to be the ultimate lifeform.

When Eggman discovers this being called Shadow, he unleashes him to cause some chaos. And of course, since Shadow and Sonic are shaped in a vaguely similar way, everyone thinks it’s Sonic wreaking havoc instead. While Sonic runs from the military police, his friends Tails and Knuckles join up to help out, pairing off against Eggman, Shadow, and another new character named Rouge, an anthropomorphic bat lady and a government spy. But she’s also a treasure hunter who’s after the Master Emerald, which for some fucking reason isn’t on the Floating Island anymore.

Remember when Knuckles was the guardian of the Floating Island and sworn to keep this shiny rock on it, otherwise said island would fall into the ocean like in Sonic 3 & Knuckles and Sonic Adventure 1? Well Knuckles doesn’t, because he never even brings that up. And this is the third time he’s lost the damn thing anyway. What are you doing, Knuckles?

And since Knuckles shatters the emerald on purpose to get it out of Eggman’s hands, he has to search for the missing pieces again while also helping out Sonic. Amy Rose is also around, though she sadly doesn’t get much to do this game other than pine after Sonic and get captured by the bad guys as usual. Other things that happen in the course of the game: Sonic and Tails meet the President of the United States, and Eggman blows up half of the Moon with a giant space laser.

More stuff happens in Sonic Adventure 2, but this is enough to see that the plot is pretty damn stupid. In places, it doesn’t even make sense. The mistaken identity part is already silly enough since Sonic and Shadow clearly look different even from far away, so why does everyone mistake Shadow for Sonic? I guess it’s because the game needs someone for you to fight/run away from in these stages. And it can’t just be Eggman now, because he’s also a playable character along with Shadow and Rouge in the second “Dark” storyline that runs parallel to the “Hero” one up until the final part of the game, when both teams have to work together to defeat a greater, more insane evil than even Eggman himself.

But does anyone care that much about the plot of a Sonic game? Some people do, and five years later the series tried a sort of serious RPGish plot with Sonic ’06, but that didn’t work at all and went over horribly. So maybe it’s better if the games don’t worry so much about plot. You can easily ignore the dumb plot, because the gameplay is the main thing.

Sonic Adventure 2 also trips up a bit there, however. The first Sonic Adventure, released in 1998/99, tried out a lot of different gameplay modes, a couple of which were famously clunky (namely Big the Cat’s fishing game that’s widely hated; people also complained about Amy’s sluggish platforming style, though I didn’t mind it as much.) Sonic was still the center of attention, however; his game was by far the longest out of the six, with many more stages to play through. SA2 cut down on the number of gameplay modes to just three: traditional fast platforming action with Sonic and Shadow, an exploration-based hunting mode with Knuckles and Rouge, and a third-person mech shooter with Tails and Eggman, each mode sharing equal game time. So when you’re playing SA2, you’re only running around classic Sonic-style for one third of the time.

This is obviously a problem if you don’t like the other two-thirds of the game. You can’t even just play through Sonic and Shadow’s stages and ignore the others like you could in SA1, because instead of individual character routes, the story is told through two separate Hero and Dark routes that alternate stages between Sonic/Tails/Knuckles and Shadow/Eggman/Rouge. So you just have to suffer through those parts if you’re not interested in them.

Do you know the Pumpkin Hill song by heart? I fucking do

I don’t hate all the non-Sonic/Shadow parts of this game. The Knuckles and Rouge hunting levels get a lot of shit, but I don’t find them that bad. The scavenger hunt element of those stages work pretty well, and the three emerald shards or whatever other three objects you’re hunting for are placed in randomized locations that you need to find by using a sort of hot/cold radar system, so each run through of a stage plays a bit differently. The horrible camera controls can make it hard to dig around in tight areas as you’ll often have to do, but the camera in this game is always a pain in the ass anyway.

No, the sections of SA2 I really don’t care for are the mech stages. It was a fun novelty to play as the villain Eggman, and it makes sense that he’d be using a mech to get around, but Tails is now also stuck in a mech throughout the game, which means the player misses out on his unique flying ability that made playing as him in Sonic 3 & Knuckles so fun. I know Tails is supposed to be an engineer, so it’s not crazy that he’d be driving a mech around, but that still seemed pretty dumb to me. You can fly, so why not use that skill?

The greater problem here, though, is that these stages are just too slow and dull. I don’t see anything special about them. Though I do know people who really like them, so this seems like one of those “your mileage may vary” issues.

excitement

But the Sonic and Shadow stages are pretty fun. They’re still not as fun as the stages in the original Genesis games, partly because they’re far more linear. But I think the main appeal of these stages in the early 3D Sonic games is seeing how quickly you can make it to the goal. This game even implements a time/score-based ranking system from E to A (no F, I guess because if you reach the goal, you haven’t technically failed no matter how long it took you to get there) along with four extra challenges in each stage and bonuses for completing them successfully. If you’re a completionist, you can get a lot of replay value out of Sonic Adventure 2.

Some of that replay value is also provided by the Chao Garden, where you can raise some weird onion-headed blue creatures with any of the six playable characters, feed them animals to make them strong, run them in races, etc. I’m not into this kind of virtual pet stuff, but if you are, it’s worth checking out.

This is pretty much how you raise Chao as far as I know

The team that ported SA2 to Steam seems to have done a pretty decent job, because it mostly plays fine.* I do get some slowdown in a few parts of stages (mainly Sonic and Shadow’s visually busy jungle stages) but I’m not sure how much of that is me having a piece of shit PC that I can only run visual novels on. For the most part, this game plays how I remember it playing in 2001. All the good and bad elements of the game are still there: the camera is still garbage and the mech stages are still boring, but the Sonic/Shadow stages and some of the Knuckles/Rouge ones are still fun to play.

The soundtrack hasn’t been touched either, which is again both a good and a bad thing. I really like some of the music in SA2, especially Rouge’s smooth jazz lounge stuff and Shadow’s extra over the top angsty-sounding themes like “Supporting Me”. The Knuckles raps are still really bad, but then again they’re so bad that they’ve become jokes, especially the Pumpkin Hill theme — and in any case, it’s hard to imagine those Knuckles levels with any other BGM. If you’re a fan of Crush 40 and Jun Senoue’s guitar-playing then you’ll also really like Sonic’s character and stage themes. I’m not a big fan of the style, but “City Escape” is still catchy. Just try to get it out of your head when you’ve heard it once.

Hey Knuckles, when you’re done flailing around like a dumbass, let’s have a proper fight.

In the end, I still have mixed feelings about Sonic Adventure 2. It’s mostly fun to play, and even the mech sections aren’t horrible to get through aside from a couple of extremely overly long stages late in the game. On the other hand, I think it also represents a shift away from the old Sonic style that I grew up with as a kid and that I liked so much. The first Adventure also added new characters and a dumb plot, but it felt more in line with those older games somehow. With SA2, we’ve now got much more “adult” characters with the extra-edgy Shadow, who looks like he was designed to appeal to depressive loner kids (i.e. me) and Rouge, who looks like she was designed to appeal to furries on DeviantArt (i.e. not me, but I guess I get what they were going for if in fact they were going for that.) And the President is a character in the Sonic universe now for some reason. Sonic Heroes is where the series really lost me, and Sonic ’06 is where it gave me a giant middle finger, but in some ways SA2 feels like the beginning of that shift into unfamiliar territory.

But does it really matter that much? Sonic the Hedgehog as a whole has had plenty of ups and downs, and even though I’ve been mostly out of the loop with the Sonic series for the last two decades, I’ll probably always have a soft spot for it. I certainly will for Sonic Adventure 2, which in my view counts as one of those ups. At the very least, this game is certainly not the disaster some critics paint it as. I guess that’s not the most enthusiastic endorsement I could give the game, but I’d say it’s still worth trying out, even with its problems. 𒀭

 

* This isn’t the case for the ports of Sonic Adventure, however. The Gamecube port Sonic Adventure DX: Director’s Cut was supposed to be an upgrade, but it actually downgraded some of the graphics and added new glitches that weren’t present in the Dreamcast original. The PC version is even worse in this regard, taking the Gamecube version and compounding these problems, and unfortunately the SA offered on Steam is based on that one, making it a port of a shitty port of another shitty port. Thankfully, fans have created patches to fix many of these issues, doing far more for the game than Sega ever bothered to. For a comprehensive rundown of the port issue, see a video overview here (made by Cybershell, an excellent YouTube video maker who recently reappeared for the second time after years of hibernation) or go straight to the source to get all the details.

As far as SA2 goes, I also played it on both the Dreamcast and the Gamecube, and I don’t remember so many differences between the two versions aside from a few bits of added content like multiplayer battle mode, but I could be wrong about that. It’s been a long time, after all. I should also mention that the extra Gamecube content is offered on Steam as DLC. I didn’t buy it, but it’s only a few dollars as of this writing.

Blogger Recognition Award pt. 2

No, I can’t think of a clever title this time. But I did get recognized again, which is always nice. This time the recognition comes from Yomu of Umai Yomu Anime Blog, which if you have any interest in anime you should be following without question. Yomu also posts some great insights about living and working in Japan as a teacher.

As before, here are…

The Rules:

Thank the blogger that nominated you and give a link to their site.
Do a post to show your award.
Give a summary of how your blog started.
Give two pieces of advice for any new bloggers.
Select at least 15 other bloggers for this award.
Let each nominee know you’ve nominated them and give a link to your post.

I’ve gotten through the first requirement and am currently working on the second, so now it’s time to take on the rest. I already gave a summary of my blog’s history in the first Blogger Recognition Award post I wrote a while back, so you can read that if you like. Here’s a summarized summary: I started this site seven years ago when I was looking for an escape from my routine after returning to get my last degree. Video games, anime, and music are my escape, so those are what I write about. For years I had almost no involvement with the community here just because I wasn’t really making the effort, but I’m happy that I am now. You’re all great people, and that’s not flattery so you’ll keep reading my site, I promise.

Twitter leaves me in despair, but the community here cures it. Thanks!

Since none of this information is new, here’s another fact about the site: for a few weeks it had a different name, which is why the URL is what it is. I use that name on Twitter as well, but other than that I should probably do something about the difference between the current name and address.

And now for two more pieces of advice for new bloggers.

1) Maintain a sustainable posting schedule

Another piece of advice that sounds obvious but that I’ve ignored at times. Burnout for writers is a real problem, especially if you’re taking on long hours at your job or at school on top of the work you’re putting into your site. There are people who make a daily posting schedule work, turning out great posts every morning or evening, but if you can’t manage that, it’s nothing to be down about. I can’t do it myself, which is why I usually post between once and twice a week. And I have to admit I can only keep up this schedule now because of the free time I have thanks to working from home and cutting out 10-15 hours of commuting time every week. I know this won’t last, not when I’m called back to the office.

I’m not actually Joker, I’m one of these depressed fuckers in suits in the foreground.

Do the best you can while keeping your limits in mind. When you’re starting out, you probably won’t know those limits yet, so don’t worry if you do end up feeling burnt out for a while: just take that time to readjust. And if you end up having to take a break, don’t worry about that either. It can be hard to do, but it’s just necessary sometimes.

2) Write about what you want, but try to target an audience

This advice only applies if you care about getting views and finding and keeping dedicated readers. If you don’t, then go nuts — write about the movie you saw last week, what you had for lunch yesterday, some relationship advice based on past experience, and maybe throw a few political rants in for good measure. I don’t think there’s anything inherently wrong with writing a blog like that, but the fact is that you’re going to be attracting such different audiences with all those sorts of posts, none of which are probably going to have much overlap, that you won’t retain many long-term readers.

My site isn’t the most focused in the world, but I do try to maintain my focus on anime, manga, and games that are in that general sphere — visual novels, JRPGs, platformers about shrine maidens fighting demon girls, that kind of stuff. That doesn’t mean I won’t write about a totally western-made and -styled game; I do that sometimes too (not lately so much, but it does happen, I swear!) I’ve also reviewed other forms of media outside the usual areas I cover like artbooks. But I also feel that maintaining a strong site identity is important, because otherwise people won’t know quite what to expect from the site.

Again, it’s not bad in itself to write a blog with a broad focus or no focus at all. Especially if you’re getting what you want out of it — if so, then forget about what I or anyone else thinks of your work. With regard to your site, do what makes you happy: that’s a more important rule to follow. But don’t expect to do very well with your stats if you don’t strategize a bit. I’m not even talking about SEO or using Google Analytics or any of that stuff here, just the basics.

If serious revenue is what you’re looking for, I can’t help you at all.

And now for even more nominations. Fifteen is a whole lot for someone as lazy as me, but I’ll give it my best try. I hereby recognize:

K at the Movies

Lost to the Aether

Frostilyte

I drink and watch anime

MoeGamer

Nepiki Gaming

Otaku Alcove

Mechanical Anime Reviews

Extra Life

Nintendobound

Mid-Life Gamer Geek

Crow’s World of Anime

Raistlin0903

The Traditional Catholic Weeb

A Geeky Gal

All of the above are great blogs to follow as well, which is part of why I’m recognizing them. Be sure to check them out! I’ll be back soon with a game review/retrospective idea I’ve had sitting around for a while now, one that I’ve wanted to complete for some time. Until then!

A review of Nisemonogatari

Yes, it’s even more Monogatari. I know, I said I’d mix things up, but I’ve been continuing this series and I keep finding there’s plenty to write about every time I finish each of its parts. So it was with Nisemonogatari, an 11-episode run from 2012 that picks up from where Bakemonogatari left off. At first I thought of it as the second season of the Monogatari series, but there’s a long run of episodes later on called Monogatari Second Season that also contains a bunch of other named series within it each with the -monogatari suffix. And it’s not even entirely agreed upon when you’re supposed to watch this: some say you have to watch the Kizumonogatari prequel movies before Nisemonogatari, and some say you can put them off to later. I already watched and reviewed those movies here, and I’m happy I did, because they provide context for an important character relationship that develops in this series.

I’ll get to that one later on, though. The more obvious focus of Nisemonogatari is the relationship protagonist Koyomi Araragi has with his little sisters Karen and Tsukihi. These two only very briefly show up in Bakemonogatari when they’re violently waking up their big brother by pummeling him while he’s in bed, but here they play central roles. The “Fire Sisters” as they’re known at their middle school dedicate themselves to fighting for justice, beating up bullies and the like. However, in the world of Monogatari even this kind of stuff can get you in serious trouble, which is exactly what Karen and Tsukihi both find themselves in. The entire season is taken up by just two parts, in fact: Karen Bee and Tsukihi Phoenix, each focusing mostly on the title character as before.

I really like this stained glass depiction of them we get at the beginning of the series

These two character arcs are quite different from the five that came before in Bakemonogatari, however. The title of this series is another play on words: nisemono, 偽物, means a fake or counterfeit. While it does focus partly on demonic or spiritual possessions, at its core Nisemonogatari is about fakes: distinguishing between the fake and the real and asking how or whether that difference matters.

Also, just a note to avoid confusion: I’ll be referring to almost all the characters by their first names from here on because we now have multiple Araragis active in the story. I’ve just gotten used to referring to most of these characters by their last names because that’s how they read in Koyomi’s narration, but it feels wrong to mix up the use of first and last names unless it’s necessary, or if it feels off to refer to them by their first name (like for Meme Oshino or another character who’s going to show up soon.)

Also, a general spoiler warning, because I feel it’s hard to say much about this series without getting into them to some extent. If you haven’t seen Bakemonogatari at the very least, none of this will make sense anyway. We’re in neck-deep at this point.

You might imagine that the start of a new Monogatari series should be a bit weird, or at least I did after just watching the first series and the prequel movies. So the opening scene with Koyomi chained to a chair in the old cram school, falsely imprisoned by his  girlfriend Hitagi Senjougahara, isn’t such a big surprise. She hasn’t turned on him, though: she tells Koyomi that she’s chained him up to protect him, specifically from a man he briefly met named Deishuu Kaiki. This Kaiki is a conman, but from Hitagi’s description of him he seems to be more dangerous than the average grifter.

Hitagi chaining her boyfriend up makes some sense. As we know, Koyomi is the kind of guy to rush headlong into danger to save others. And since Hitagi knows this Kaiki character — he was one of several cheats who conned her family out of money when they were seeking a solution to her weightlessness problem — she knows how dangerous he is. (She also seems to enjoy having Koyomi at her mercy a bit in these scenes, but that’s to be expected from her at this point.)

A rare look of contrition from Hitagi

Nevertheless, Hitagi allows Koyomi to go free pretty soon after tying him up thanks to a threatening call she gets from their classmate, one we know very well by now: Tsubasa Hanekawa. We only hear Hitagi’s side of the conversation, but knowing Tsubasa, this threat was made in her characteristically sweet way and with serious intent behind it. Hitagi even apologizes to Koyomi, but says she’ll be taking care of Kaiki either way.

And it’s a good thing Koyomi is now free to act, because Karen has already had a dangerous run-in with the conman after she sought him out specifically to “beat him up” for his crimes. She failed in her goal and was left ill with a fever that Kaiki induced through some kind of — magic? Power of suggestion? It’s not clear at this point, but when Koyomi consults with his sisters and Tsubasa back at their house, he starts to put the pieces together.

Kaiki, who couldn’t possibly look shadier.

As in Bakemonogatari, Koyomi is surrounded by aberrations and supernatural dangers that aren’t quite what they seem at first. The story in Nisemonogatari is complicated by the fact that the aberrations this time fall into that theme of “fakes.” Kaiki himself is merely a conman; he denies the existence and power of magic, but he also knows that he can use those beliefs to his advantage by selling supernatural curses and cures to gullible middle school students.

Strangely enough, though, when he’s finally confronted by Koyomi and Hitagi, Kaiki quickly and easily caves in to all their demands, agreeing to close up shop and leave town. He also tells them that the illness he inflicted Karen with was really a sort of mind trick and will disappear soon, leaving her perfectly well. In the end, it seems Kaiki was only doing what he did for one reason: to make money. It makes more sense to him to cut his losses and leave town that to get into a fight.

Mayoi knows it too: money is the most important thing in life.

The Tsukihi Phoenix arc uses this theme of fakes in a very different way. This time, the “fake” isn’t an antagonist, but rather someone very close to Koyomi — his own younger sister Tsukihi. After another run-in with an extremely dangerous person, the aberration specialist Yozuru Kagenui, Koyomi learns that Tsukihi is actually the manifestation of an immortal phoenix that’s reborn when a human infant is stolen and replaced. This phoenix is “evil” according to Yozuru and should be destroyed, despite the fact that it’s also harmless and doesn’t even realize it isn’t a real human. But hell if Koyomi is having that — phoenix or not, Tsukihi is still his sister. Enlisting the help of his vampire companion/mistress Shinobu, he fights Yozuru and her undead familiar Yotsugi until Yozuru either decides she’s bored and gives up or sees Koyomi’s way of thinking, walking away and letting the Araragi family live in peace again.

At the end of Nisemonogatari, as a consequence, all the counterfeits that came into the story are still around. Kaiki is still out there conducting his shady business, and the “fake” Tsukihi who doesn’t realize her true nature is still living her normal life. Yet it’s all okay. At least for the time being. This seems to be a running theme so far to these series. Each one has a dramatically satisfying ending, but a lot of things are still left to be resolved — they simply can’t be resolved because of weird or difficult circumstances. But that’s life, isn’t it?*

Nisemonogatari may just be the second series of Monogatari, but it does feel very different from Bakemonogatari in some ways. I didn’t measure it or anything, but it feels like there’s even more comedic banter between Koyomi and co. than there was in the first series. He spends most of the first two episodes making the rounds, visiting and talking with each of his lady friends before the plot starts in earnest with Hitagi chaining him up, and even deep into the seven-part Karen Bee arc there’s plenty of messing around. This is combined with some of the usual fanservice stuff I now expect from this series: again, even more of it than before. And then there’s the infamous toothbrush scene in episode 8, which I can’t even do justice with words. If you haven’t seen it, you just have to watch it for yourself. It’s weird as hell to say the least.

Proper dental care is is a serious matter.

Because of all this, I can’t say I blame people for thinking this series is self-indulgent. Nisemonogatari especially indulges in a whole lot of the above stuff. However, again I think most of this messing around isn’t here just for the sake of fanservice or to show off the writer’s clever wit (though I think those are probably reasons as well.) A lot of the banter establishes characters and relationships between them, sometimes in ways that are easy to miss the first time — one of those cases of “you might not have noticed, but your brain did.”

One of my favorite scenes in the series is part of a conversation between Koyomi and Tsubasa where they’re discussing Karen’s fever, and during which Koyomi refers to his sisters as “Karen-chan and Tsukihi-chan”. Apparently it’s a bit weird to refer to a younger sister using the -chan honorific, or maybe it’s weird if you’re a guy or something. Because Tsubasa instantly seizes on it and makes a bit of fun of Koyomi for it. When he self-consciously tries switching over to simply calling them “my younger sisters”, Tsubasa even stops him and reminds him that they’re “Karen-chan and Tsukihi-chan” with a sweet smile.

Tsubasa looks really different without those braids and glasses, but she’s still her usual self, too happy to find a chance to make fun of Koyomi in a good-natured way.

I get the impression that Koyomi referring to his sisters in this way shows how close he feels to them and how much he cares about them in a way that some older siblings might not, but also that he feels a bit embarrassed about that. While Tsubasa makes fun of him for it, she also seems to recognize this in Koyomi, and maybe she envies those relationships being an only child herself, and one who’s living with a lousy family situation on top of that. I feel like this is no accident: these and other exchanges show how subtle the writing in Monogatari can be; through one short exchange it can convey important information about the characters and their feelings.

Speaking of feelings, there are a lot of those to be resolved between Koyomi and Shinobu, and Nisemonogatari shows us some real progress in that relationship. Shinobu, that blonde vampire girl who all the way through Bakemonogatari was silent and sullen-looking, decides early in the series to start talking to Koyomi again. And I like the way the story handles their relationship from here on: Shinobu declares that they won’t and shouldn’t forgive the other for how they’ve hurt each other, but that doesn’t mean they can’t work together. Koyomi accepts this arrangement gladly, and from here on he has a vampire living in his shadow who he has a telepathic connection with, except when she decides to manifest in the real world to complain that she wants him to buy doughnuts for her.

After watching Kizumonogatari, it was really nice to see Shinobu being her old self again — as arrogant as you’d expect from a centuries-old vampire, but also talkative and even friendly sometimes.

This relationship progress is part of why I completely agree with those who say you should watch the Kizumonogatari prequel movies between Bake and Nise — they provide all the context for the complicated connection and history between Koyomi and Shinobu. Without that, Shinobu might just seem like some vampire girl Koyomi happens to know because he’s a weirdo who keeps attracting and getting attached to mythical beings and demigods. Which she is, but she’s also much more than that to him, as he is to her.

I look forward to their unusual relationship developing through the entire Monogatari series, but just watching their banter here is fun too. Though Shinobu refers to Koyomi as “my master” and omaesama (an archaic respectful form of “you” and a reminder that she learned Japanese back in the 17th century) she still acts pretty superior to him, albeit in a friendly way. At the very least, Koyomi has come to expect that attitude from Shinobu, and they have a nice working relationship at this point.

The technical aspects of Nisemonogatari are still excellent. It all looks just as Shaft-ish as you’d expect if you’re familiar with the studio; there are still all the weird scenery, head tilts and poses, cutaways to screens full of text, and the other usual weirdness that seems to be connected to director Akiyuki Shinbou. The music is once again great, suiting and enhancing the moods the show creates (and adding another earworm OP with Tsukihi’s theme Platinum Disco.) And the character models still look nice and very distinctive. I brought up original designer VOFAN who created the cover art for the novels, but the anime characters were designed by Akio Watanabe, and they’re both now favorites of mine after seeing so much of their work in Monogatari.

Nadeko Sengoku in her one scene in this series, acting a little scary.

I wasn’t planning to address this aspect at first, because I already did somewhat in my Bakemonogatari and Kizumonotagari posts, but Nisemonogatari turns up the sexual innuendo scenes between Koyomi and the girls around him to such an extent that I feel I need to bring it up once again. I read on another blogger’s site some time back (I can’t find the link anymore, otherwise I’d post it) that he was happy about Koyomi getting knocked down a few pegs later in the series because the character was too flawlessly noble and might give some viewers the impression that as long as they’re nice and helpful, they can be just as pervy as Koyomi gets sometimes and still have the favor of the women in their lives.

However, while I agree that getting knocked down is great and even a necessity to keep things interesting and help the protagonist of a story learn more and grow as a character, I don’t see Koyomi or his antics in the same light as this blogger did. Partly because Koyomi does come off as quite a flawed character. It’s important to remember that the novels up to this point are written from Koyomi’s perspective, and though I don’t ever get the impression that he’s trying to mislead the reader/viewer, he is a pretty unreliable narrator sometimes. He has noble intentions and wants to save people, yes. And if he seems “too flawlessly noble” sometimes, this is probably a function of his being in his own head a lot.

But he also doubts himself and his own intentions pretty often. Even in Nisemonogatari, where his relationships with Hitagi and his various friends are pretty solid and well-established, Koyomi’s views are challenged by the new antagonists Kaiki and Yozuru, who aren’t even painted as necessarily evil, but rather as people with very different approaches and philosophies that clash with his. In other words, he’s not a Mary Sue. He doesn’t do what he does to pump up his ego but rather because he just feels he must. Even then, he doesn’t get a pass when he screws up, least of all from himself. And while Koyomi does have a sort of “harem” around him, with a couple of other characters having pretty obvious feelings for him, I haven’t yet gotten the impression that Monogatari is meant to be the kind of power fantasy that some actual harem series might be.

Also, remember: he’s already in a committed relationship.

Aside from that, I don’t think anyone (in their right mind, anyway) would watch Koyomi doing his thing and think “oh, I can do that in real life and it won’t be a problem!” Maybe I’m wrong, but I feel these antics of his are so over-the-top that they come off as complete jokes. These scenes are unrealistic, just like the unrealistic dialogue in the series, and that feels very intentional. I think viewers can pretty easily see the difference between actions and consequences in the narrative of Monogatari and in real life for that reason. (And anyway, if off-color material is how we’re judging that, Suruga has him beat.)

You might think that those two would clash with each other. If this story were in the hands of a less clever writer, they probably would. But Nisio Isin manages to combine unrealistic situations and character actions with very real-feeling sentiment in a way that works. Even that Nadeko section of episode 2 that’s seemingly disconnected from the rest of the story, where she’s doing her best to seduce Koyomi, feels like it’s setting up a future plotline. Although it’s played off like a joke, it’s been obvious for a while that she’s in love with him, and I get the feeling this is going to cause serious problems later on for both of them. And just what the hell is Nadeko hiding in her closet, anyway? Maybe we’ll find out in the second season, because that few seconds of dialogue about it feels extremely ominous.

Tsukihi is her friend, but she’s not the only one who realizes Nadeko’s feelings for her brother. Koyomi still doesn’t seem to get it, though.

And that’s it for this part of Monogatari. I see why people have some issues with this run of episodes considering, again, how much messing around there is even compared to the first one. I wrote in my review of Kizumonogatari that I thought that set of movies was divisive, but I think now I was wrong — this is the divisive series, at least as far as those I’ve watched, and judging from what else I’ve read about it. But I like the mix of banter and comedy with drama and action that Monogatari has been using up to this point. Nisemonogatari carries the “screwing around” aspect further than the others I’ve watched so far, but I think it still manages to keep plenty of substance mixed in with all the style.

Now it’s on to the next series and the last of this first season of Monogatari: the four-episode Nekomonogatari Black, which despite the short length will get a post all to itself. It’s another prequel, taking place before Bakemonogatari and telling the story of Tsubasa’s initial possession by a wild cat spirit, an event that until now has been referenced a lot but not actually shown. I’m betting that, as usual, the story won’t be a straightforward one.

* Edit: Looking back at it, that seems to be part of the point of Tsukihi’s story anyway: the fact that the fake tries to be genuine makes it more valuable than the real thing, so there’s really nothing to “resolve” about Tsukihi anyway. Though ask a coin dealer the same question about counterfeits and you’ll get a very different answer.

The Super Happy Love Award

Did you ever think you’d see such a title to a post on this site? It’s all thanks to Frostilyte, who nominated me for the Super Happy Love Award originally created by fellow anime/game blogger Pinkie to make the internet a happier place. That’s ambitious, but definitely a commendable goal, so I’m happy to do my part. Here are the rules, quoted in full:

  1. Thank the one who tagged you and if at all please tag the original post as well. This is my first blog tag and a bit of a passion project so I would like to see where it spreads! Oh and use Super-Happy-Love as a tag!
  2. Display the Super Happy Love Logo in your post Share the rules!
  3. Choose a minimum of 2 out of these 6 prompts to answer in this blog! More is always allowed! These six prompts are as follows:
    • Tell about a person you love, this can be a friend, partner but also a celebrity or even youtuber who means a lot to you. As long as they once took breath on this earthly realm you are allowed to pick them… Tell us why you love them.
    • Write something about a fandom or franchise you love. It can be your favorite game series or about just about anything that is bigger than just a single product! Tell us why you love this so much!
    • Tell us something about a character that you love. Do you have a Waifu, a Husbando, maybe a mentor or someone who taught you a valuable lesson. Tell us why you love them.
    • Tell us something about a piece of music that you love. Does a anime intro mean a lot to you? Did you have a special memory to a pop song, like your first dance at your wedding? Maybe a piece of video game music? If you love it, you should tell us why!
    • Show us why you love a piece of media so much! A Book, A Game, A Anime, A Movie maybe even a random piece of fan art, you are free to pick as long as you can show us why you love it.
    • Write something about yourself that you love! For those who like a challenge, there is a hard mode in this blog prompt as well. Tell us why you love a certain aspect of yourself
  4. Put on your rose tinted glasses. For once you are allowed to gush about the things that you love without having to balance it out with negatives so that you seem objective. In fact your are actively encouraged not to bring negativity into this tag. So no, “Nowadays is poopoo but back in my days…it was great”. Just say it was great! Love is blind after all!
  5. Tag 6 bloggers you love so they can take on this challenge as well.
  6. Everyone who comments something lovely about your post ALSO gets nominated (should they so choose).

Quite a challenge for me, but I’ll take it. Firstly, thanks to Frostilyte for the nomination. He runs a great blog over at Frostilyte Writes (now with a fancy new .ca domain, I’m jealous) featuring posts about video games and his original art. If you follow my site, you should follow his as well.

Now for the main event. I can definitely be positive about some of the stuff I like — I mainly write about stuff I like here, after all. So here we go:

1) My favorite franchise: Megami Tensei

In news that will be surprising to absolutely no one at all, I’m declaring that Megami Tensei is my favorite game series. I think I’ve declared that a lot, actually. But why do I like it? I’m thinking about writing a few more in-depth posts on the series in general and a lot of the themes in particular later on, but I can address that generally here.

It’s not what it looks like, really

One of the things that struck me first about the series when I first got into it with Persona 3 was its use of mythological, historical, and religious figures from around the world as demons (“demon” here being a neutral term for any supernatural being, not just the typically evil ones — even angels are included in that definition.) In Persona 3 and 4, these beings are the Personas, who are representations of the characters of you and your friends (and of a few of your enemies as well.) I loved Kazuma Kaneko’s unique designs, and when I discovered the mainline Shin Megami Tensei series through Nocturne I found some of the same and many more of these figures were fought as enemies and could be recruited into your party. There was a lot of novelty to that, but even after the novelty wore off I kept finding Easter egg-style bits of dialogue between related demons during combat that suggested the writers had really done their homework with regard to their stories and myths. So I was very happy to see Persona 5 include the same beings as enemies in its shadow worlds.

In that sense, Megami Tensei is a bit like the Fate series, which also makes use of both historical and mythological characters to tell its stories. Only Megami Tensei doesn’t take quite so many liberties, like making King Arthur a girl who the main character can get romantically involved with (Saber in the first route of the original Fate/stay night visual novel. If you know a better way to transfer mana, I’d like to hear it.) It also puts these figures into a very different context — instead of being purposely summoned like the Servants of Fate, the Personas are usually summoned entirely by accident or spontaneously (I know Saber was also summoned by accident in F/SN, but that’s an exception.) And in mainline SMT and some of its other spinoffs, the demons/angels/spirits/monsters/etc. typically decide to invade some place, usually Tokyo, without asking anyone’s permission, and then massive destruction usually follows that we humans have to deal with.

I just find that supernatural/human mix to be exciting. I like it enough that I wrote a whole daily Christmas series on some of my favorite demons in the series, and maybe I’ll even do it again this year.

Just because it’s the post-apocalypse and you got turned into a demon-human hybrid, it doesn’t mean you can’t get along and make friends

I could go on for many pages about Megami Tensei, and I probably will at some point not too far in the future, so I’ll save the rest.

2) A soundtrack I love: Sonic the Hedgehog 2

I guess this post is going to be all about games, but that’s fine, isn’t it? Video games have had a massive impact on my life, and probably on yours too if you’re reading my site. And a big part of that impact has been the music featured in those games.

Most games have pretty basic soundtracks. If you just need passable background music to fill the silence, it’s not too hard to create. There’s also some impressively and even entertainingly bad music to be found in games. But the soundtracks I remember are the ones featuring tracks that are both complex and catchy. The 90s childhood series that come to mind when I think of game music from back then are the ones you’d probably expect: Mario, Mega Man, Final Fantasy, but to me Sonic was the most memorable.

Almost all the classic Genesis/Megadrive-era Sonic games have great music, but Sonic 2 sticks in my head specifically for some reason. Maybe because that’s the game I remember playing most as a kid, but the soundtrack is absolutely top-tier as well, written by musician/producer Masato Nakamura. Some people prefer the Sonic 3 soundtrack with the rumored Michael Jackson contribution, and that’s an amazing one as well, but if I had to pick one to own in physical form, it would be 2 for me.

3) Bonus thing I love: this video of a virtual rabbit girl playing games and killing enemies while talking like a gangster

Look, I found out about Vtubers and now I’ve fallen down the Hololive rabbit hole. That’s an especially apt term to use in this case. If you want to know the deal with this stuff, check out Lumi’s post on the subject here. Or just ignore this and move on. That’s probably your best option. All my recommended YouTube videos are now Hololive clips and it’s an endless cycle of me watching one after another. Don’t do that to yourself.

Now for the nominations. I’ll nominate Lumi, since I’ve already taken the liberty to use his post above, and also:

Ace Asunder

A Richard Wood Text Adventure

Winst0lf Portal

Peak Weebing

KS Blogs

And as stated in the rules, whoever else is reading this and feels like it gets nominated too. And as usual, apologies if you don’t do these, feel free to ignore, etc. I still have one more of these tag posts to make, but in the meantime I’ll be watching more Pekora videos.

On the use of public office to suppress the display and sale of artistic works

Weeks ago, I heard about a controversy in Australia having to do with the sale of certain manga in the Sydney branch of Kinokuniya, a Japanese bookstore chain with locations around the world. Last July, South Australian state legislator Connie Bonaros made a complaint regarding volumes sold there, including such titles as Eromanga-sensei, No Game No Life, Sword Art Online, and Inside Mari, on the grounds that they violated Australian law regulating certain types of sexual artistic depictions. The exchange of letters between Bonaros and Kinokuniya officer Keijiro Mori can be found in the link above, but the gist seems to be that Bonaros thought some of the anime-styled girls in works that include sexual content looked like minors and came to the conclusion that their sale in Australia constituted a violation of the law.

If we talk about how horrible this is and have it banned from stores, people will definitely stop reading it! That has always, always worked.

I feel bad for Australian manga and light novel readers who were into those series, and especially for fans of No Game No Life, a few volumes of which received an outright sale/importation ban. It’s worth mentioning that we’re not even talking about some hentai doujins and manga you might find in the seedier shops in Akihabara; most of the affected series are massively popular and none are pornographic as far as I understand. It also seems weird that a South Australian state legislator can have any say at all over what books can be sold in Sydney, which is located not in South Australia but in New South Wales. That sounds to me something like a Virginia state senator getting books removed from a New York bookstore, which would be unthinkable here in the US.

But I’m not an expert in Australian law. In fact, I don’t really know anything about it except that the Australian constitution doesn’t contain an explicit protection for freedom of speech or expression. Since Bonaros is an Australian lawyer and I’m an American one, I’ll defer to her understanding of her own country’s law. I just hope fans and other artists in Australia can find a way to gain a stronger voice in politics.

All that said, I think the victory won by Bonaros has to be examined more closely. It raises a question that’s relevant to every fan of anime, manga, video games, literature, and art in general living in any country on Earth. That is: how far should a public official be able to use the power and influence afforded by their office to suppress the display and sale of an artistic work? Because that is apparently what Bonaros did. No legislation seems to have been proposed; no evidence was brought forward to show that the contents of the listed works actually violated Australian law (or if it was raised, it wasn’t mentioned in the reports I found.) And there’s certainly been no solid evidence brought forward that said works have a harmful effect on their readers or on society in general. It seems that Bonaros simply saw some manga that rubbed her the wrong way, used her platform as a legislator to complain about it, and successfully pressured Kinokuniya into removing it.

I can’t pretend that this incident in Australia doesn’t affect fans of manga, anime, or related works here in the States either. Because Bonaros also requested a list of other countries in which Kinokuniya still sells No Game No Life and the other titles she objects to, presumably including its American branches, and pressured the company to ban their sale globally.1 As a result, it’s now undoubtedly an issue for us Americans as well. And since she’s made it an issue for us, let’s have a look at US law to see whether or how such an incident might play out here.

Unlike my last couple of posts on this general subject, this time around we’re specifically concerned with the First Amendment. Here’s the original text in full:

Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.

Pretty short considering how much has been said about it since it was ratified in 1791. And we’re only concerned here with the middle clause, and specifically with this statement: Congress shall make no lawabridging the freedom of speech.

It’s understood that artistic expression counts as “speech”, and this naturally includes manga (and visual novels, and drawings, etc.) However, that doesn’t mean these are all entirely safe from regulation. Congress has made laws abridging the freedom of speech since, but these were passed when the courts carved exceptions out of that guaranteed protection. An example of such an exception is found in the Supreme Court case Brandenburg v. Ohio2 (note: citations provided in the footnotes in case you want to look them up) in which the Court determined that the government could not regulate speech on the basis of violent or incendiary content unless it was 1) “directed to inciting or producing imminent lawless action,” and 2) “likely to incite or produce such action.”

So it’s unconstitutional to arrest someone for throwing out extremist political views, for example, unless they’re actually stirring up a group to do some immediate violence or lawbreaking. It’s a very limited restriction but an important one — essentially, the Court has said that the government shouldn’t have the power to restrict this kind of speech unless it’s about to cause actual harm.

Artistic expression has also been restricted in limited ways and on similar grounds. Certain kinds of expressions that involve causing harm to others, for example, are rightly recognized as falling outside of the First Amendment’s protection. When the artistic expression in question doesn’t involve such harm, however — for example, when actors are depicted being harmed through the use of effects and studio tricks, or the expression consists of drawing or sculpture or some similar form — the standard for regulating the expression is far higher. Even if an artistic expression seems revolting, as long as it’s not found to be obscene or otherwise outside the protection of the First Amendment, it can’t be banned or suppressed through government action.

And the obscenity standard set by the Supreme Court in Miller v. California is extremely difficult to meet. Attempts at getting around this test through other sorts of official action have usually failed, as in the case of Bery v. New York,3 in which the Second Circuit Court of Appeals struck down a government regulation requiring artists to be officially licensed to sell their work on public streets. Even if a regulation isn’t obviously intended to restrict freedom of expression, if it has that effect, it’s subject to the First Amendment and likely to be struck down in the same way.

However, let’s say that “official” government action isn’t being taken. What if, as in South Australia, some legislator stands up and simply talks about how bad some work of fiction is, how it’s degrading the morals of the people by its very existence, and how for those reasons Amazon should stop selling it? What if people petition Amazon on that basis and the company gives into public pressure and removes said work? In other words: can a public official legally use the power and influence of their office to skirt the First Amendment and have an artistic work suppressed without “making a law”?

Again, this is no hypothetical, because we’ve already seen it happen. I brought up several examples of such attempts at content-based regulation in another previous post. The most relevant here is the string of attacks on video games made by Congress in the early 90s, most famously against the Sega CD game Night Trap. Looking back, it seems strange that this FMV game was ever at the center of a controversy. Its contents are pretty tame, but some legislators spoke against it anyway, most notably former Senator Joe Lieberman, for containing gratuitous violence and lewdness. Following a congressional hearing in 1993 on the subject of video game violence (during which Lieberman admitted to never having actually played Night Trap) the game was pulled from distribution by major distributors and later pulled from the market altogether.

If it hadn’t been for that controversy, though, this game wouldn’t have gotten a rerelease/remaster on Steam, no way in hell.

The facts that the Sega CD was a marketing failure, and that by most accounts Night Trap was a lousy game, might have something to do with its pulling from distribution, but the influence of interest groups driven at least in part by public condemnation has to be considered. In my view, the use of a congressional hearing in this way taints the market and is an example of government overreach into the regulation of art. Lieberman’s view of Night Trap doesn’t seem very different from Bonaros’ view of No Game No Life and the rest of the manga on her list: both came to conclusions about the meanings and effects of the works seemingly without supporting evidence, and both ended up having an effect on the distribution of the work (in Bonaros’ case a much more direct and obvious effect, though.)

It seems this kind of government interference in art is hard to prevent even in the US, however; it’s happened so many times already (see also the Hays Code and the Parents Music Resource Center.) And there’s no reason to think it won’t happen again. At the moment, the US is going through a shitstorm for lack of a better term, or at least I can’t think of a better one to use, so people aren’t thinking too much about how music or video games are going to turn fans into degenerates or criminals. But that won’t last forever. One day when things are less chaotic, we’ll have another moral panic in which art is attacked as a way to avoid actually addressing societal problems. And since it doesn’t seem to be considered a violation of the First Amendment for politicians to use their influence to try to have works regulated or removed from sale, maybe the better question to ask at that point is: “Should they be allowed to do so?”

Let’s just do this again, why not.

Of course, my answer is “no.” The First Amendment’s guarantee of free expression loses some of its teeth when politicians are able to use the resources and influence of office to essentially get around it. Yet I don’t see a solution to that other than maintaining a culture of open and free expression. That’s a culture that has been under attack recently, especially with regard to anime, manga, and anime/manga-influenced games. We just have to remain vigilant as usual, calling out hypocrisy and scapegoating when we see it, and always in a civil but forceful manner.

I’ve lived in a country where the government had near-complete control over art and the press and where the dominant culture supported that control, and I can tell you it’s not fun. Many of the people who think they want that kind of power to be exerted against expression they don’t like here in the US might be in for an unpleasant surprise when they find works they like on the chopping block. But by then, if we ever get to the point where the First Amendment is so eroded, it will be too late to do anything about it.

So there’s my dire warning as usual. And as usual, I’m interested in other opinions. Do you have a different angle on these issues? Do you think Bonaros was right and justified in what she did? If you do, I don’t think we’ll find much common ground, but it’s still worth talking about. Maybe there were some important facts in that case that were glossed over or that I missed. Or maybe my own views on the issue as an American are considered weird in other countries. I know for a fact that’s the case, but that’s also part of why I came back here after all. 𒀭

1 Thankfully, Kinokuniya’s response to this request was: “In terms of our action globally, wherever our stores are situated we respect local law and culture, and make ordering decisions respectively and accordingly.” Which sounds like a diplomatic way of saying “mind your own damn business.”

2 395 US 444 (1969).

3 97 F.3d 689 (2d Cir. 1996), cert. denied, 117 S.Ct. 2408 (1997). There’s an interesting note about the case here (a note being an article written by a law student in an academic journal — I wrote a note myself, but it was a piece of shit and rightly didn’t get published.) A good read if you’re interested in the subject.

Listening/reading log #11 (August 2020)

As America gets closer and closer to becoming a mainline Shin Megami Tensei game and I start to consider how to maintain a Neutral alignment (still the best alignment, no Law or Chaos for me) I’m finding comfort in music. Today I’ll be presenting two works: another old classic and one of my favorite albums ever, and something new I discovered recently. And as usual, I’ll also be featuring excellent articles from around the community in the past month.

Red (King Crimson, 1974)

Highlights: Red, Fallen Angel, One More Red Nightmare, Starless (basically the whole album except for one track that’s just okay)

I’ve written these short album reviews for nearly a year, yet until now I haven’t talked about one of my all-time favorites: Red. This album was put together by the second (or third, or fourth, depending on how you’re counting) iteration of the prog band King Crimson, which has changed lineups about twenty million times since it started in 1969. Through the years, the only constant in the band has been guitarist Robert Fripp. The other two guys on the cover are bassist/singer John Wetton (formerly of Family and later of Asia) and drummer Bill Bruford (formerly of Yes, and who’s been featured the most out of anyone in these reviews so far, also on The Yes Album, Close to the Edge, and Larks’ Tongues in Aspic.)

Red is extremely heavy, precise rock, full of memorable songs. The atmosphere this album creates is something to experience — it’s dark but not trying to be “evil” in the way some of the 70s heavy rock and metal was going for. This is one to play late at night during a coffee binge. I love every track except for the improv-sounding piece Providence, and even that’s not exactly bad, just kind of messy-sounding and out of place. But then I know people who love 70s Crimson improv works found on albums like Starless and Bible Black as well, so you might love this too if that’s your thing.

Somehow these guys just broke up right after recording Red and wouldn’t return for seven years, reforming into a totally different-sounding (but still good!) early-80s New Wave band sort of like Talking Heads. Weird stuff, but then Robert Fripp is a weird guy. He’s also responsible for the startup sound in Windows Vista if you remember that thing. Anyway, this is an amazing album that you should check out.

Bon Bon Appétit!! EP (Sugar & Co., 2020)

Highlights: it’s only three songs long and they’re all good, but I love SWEETSWEETSWEET

If Red is too dark and stormy to suit your mood, here’s something completely different in tone and style, and something so sweet that it might be dangerous to listen to. Bon Bon Appétit!! is a short EP that I might never have found if not for Muse Dash, the rhythm game I reviewed last month. Ever since learning about future funk a couple of years ago I’ve really liked what I’ve heard of it, and this is in that style, made by Shanghai-based composer ANK and a few other people operating under this Sugar & Co. name. And the name, album title, and pink as hell anime girl cover fit the contents exactly: Bon Bon Appétit!! is all cute vocals over electronic disco/funk tracks.

There was a time long ago I’d have never listened to this kind of stuff, but not anymore: it’s catchy and addictive like actual sugar is, and I like it about as much. Really nice, and I’m looking forward to seeing what else comes out from ANK and the rest of them. There are a few other tracks in Muse Dash by the same group that I also like, so it seems like they’ve got more material around. I’ll also probably be listening to more future funk in general because of how relaxing I find it — I’ve already gotten a few great recommendations that I’m looking into further.

And now for the featured articles (more than usual to make up for my being too lazy to review more than two albums again, one of which is less than ten minutes long. Sorry!)

Mega Man 6 (Extra Life) — Red Metal completes his analysis of the original NES Mega Man series with his review of Mega Man 6, a game that gets maligned a whole lot but that maybe doesn’t deserve all of that hate. See Red Metal’s in-depth review for more.

Visual Novel Theater – fault (Lost to the Aether) — Another VN review from Aether, this time of fault, an episodic kinetic novel that I haven’t played. Sounds like an interesting premise, though I don’t think I’d be able to deal with the lack of an ending (at least there isn’t one yet, and it sounds like there might never be one from what Aether says.)

Exploring Miyazaki & Aoshima Island at Sunset (Resurface to Reality) — One day I’d like to visit Japan, but for now all I can do is keep reading travel posts like this one, a look at the Kyushu coast from browsercrasher.

Happy Birthday GoldenEye 007! (Mid-Life Gamer Geek) — A birthday tribute to GoldenEye 007. I remember the movie being all right, but the game was legendary, and Mid-Life Gamer Geek does it justice in this post.

Appreciating My Manga Collections More in a COVID-19 World (Objection Network) — Michaela reflects on the dire state of the US and the world as a whole and how it’s made her appreciate manga as a hobby. I’m all about buying physical copies too.

Fate/Grand Order Tierlist: Ranking all Caster servants! (Nep’s Gaming Paradise) — I don’t play Fate/Grand Order, but I do like what I’ve played/watched in the Type-Moon universe, so reading Neppy’s character rankings for the game is still a good time. He’s got a whole series of posts on the subject going, so be sure to check it out.

The Top 5 Animes That Made Me Want to Order Take Out (I drink and watch anime) — Anime often features food that’s incredibly detailed-looking and makes you hungry just seeing it. Irina here recommends five anime series featuring great-looking food. None of these are series you should watch if you’re fasting (also don’t watch Today’s Menu for the Emiya Family, speaking of great-looking food and the Fate series.)

The Uzuki-Chan Drama – Twitter imposing their morals on a foreign culture (A Richard Wood Text Adventure) — Having just gotten current on the anime Uzaki-chan Wants to Hang Out! I can say it’s fucking weird that this is the show of the season people decided to start fights about. Wooderon addresses the drama surrounding Uzaki-chan and the part moral and cultural superiority is playing in creating said drama, especially on Twitter.

Waifu Wednesday: Rorolina Frixell (MoeGamer) — Anyone with an interest in JRPGs that are a little out of the ordinary should be following Pete Davison’s massive series of Atelier posts covering what looks like the entire series. In this post, Pete highlights some of what’s great about Rorona, the protagonist of Atelier Rorona, one of the few in the series I’ve played so far. And I agree with his assessment — Rorona is easily one of my favorite game protagonists.

I Really Dig Disco Elysium’s Character Building (Frostilyte Writes) — Disco Elysium looks like it has a unique character creation system. I think I can easily get into the mindset of a sad drunken detective already, but Frostilyte’s post about the game got me even more interested in it.

The Plague of WordPress: AI Generated Posts (Umai Yomu Anime Blog) — Yomu delivers a warning about the rise of AI-generated nonsense posts on WordPress that are currently misusing the anime tag. We’ll have to stay one or more steps ahead of the jerks behind this garbage.

Surgeon General’s Warning: DO NOT WATCH ANIME (Mechanical Anime Reviews) — And finally, Scott delivers a warning about the effects of watching too much anime. Sadly, it came too late for me.

That’s all for this month. I have more anime reviews and a couple of game retrospectives coming up soon, but before that I’ll be taking on a couple of tag posts. Until then, stay safe as always.

Summer cleaning game review special #5 and final: Princess Remedy in a Heap of Trouble

Now here’s a throwback, one that feels right for the last post in this series. It’s not a throwback to my childhood or anything, but just to 2016 when I looked at the free short RPG-looking shmup Princess Remedy in a World of Hurt. I liked that game enough that I bought the very cheap sequel, Princess Remedy in a Heap of Trouble, and then not unusually for me forgot about it for four years. But it’s been sitting in my Steam library all that time, and I’ve finally returned to play it. And hey, it’s a good game too, especially if you’re looking for a simple shoot-em-up to take up an hour or so.

The story is that Remedy, the nurse/princess* character from the last game, has been called back from her vacation to deal with another health crisis. Once again, her cures involve talking to sick people and fighting monsters that represent whatever’s wrong with them. These illnesses can be either physical or mental/emotional, so Remedy also works as a sort of therapist.

Your first patient

Also as before, during battle Remedy keeps firing her medicine shot automatically until all her enemies are dead, but she also has to dodge the enemies and their shots in order to survive. However, this time around she can get help from the people she cures by going on a “date” with them. It’s not a traditional date, though: her partner simply follows her around and gives her an extra active or passive ability in battle. Characters can also be freely dumped for new dates, which you might do just to see what they say when you ask them out. Princess Remedy is a heartbreaker.

But her dating around is justified, because she needs to defeat some serious bosses to proceed through the land. Several of them wait for the princess blocking off new areas until she gets the number of powerups in battle sufficient to face it.

Some of the bosses also look like fever dream JRPG monsters

Despite how they look, these Princess Remedy games are only a few years old as of this writing. I think they’re meant to resemble old Atari or Commodore 64 games, or maybe a game from one of those British systems like the ZX Spectrum that I’d never heard of until recently. These were well before my time, so I can’t say I have any nostalgia for the look of these games. But I like them anyway, which hopefully says something for their quality. They’re quite simple but fun, especially if you’re into free-movement shmup action.

They also have a bizarre sense of humor that I like. All the way back in part one of this series when I reviewed Qora, I mentioned I didn’t care for the “so random” humor being dumped on me in the game’s last ten minutes. Part of that was probably because I felt the game was boring to play, but part of it was also that it all seemed like an inside joke that I was never meant to understand in the first place. By contrast, the conversations you have with other characters in Princess Remedy are just kind of absurd. I don’t know if they really count as humor, but I find it a lot funnier than the self-conscious “look at how wacky we are” stuff in Qora. I don’t know, maybe there’s really no difference between the two and there’s something wrong with my brain.

Maybe the problem is that you should be in the ocean instead of on the dock

This is probably more than I needed to write about this game. I liked it. That’s simple enough. And like most of the other short games I’ve reviewed in this series, it’s only a few dollars to buy, so not too much of an ask.

Anyway, I hope this break from the usual was interesting. I still have a couple of other games that I’m currently playing through from that 1000+ game itch.io bundle. Not all completely good stuff either, but you’ll see when we get there — if it’s interesting enough, I’ll write about it whether I like it or not. Until then.

* And maybe a doctor too, but it’s not clear whether she has her medical degree. She’s not called Dr. Remedy after all. Then again, Mario isn’t a doctor but he calls himself one in Dr. Mario. I don’t think standard medical ethics rules apply in these games.

Do your protagonist or leads have to be relatable?

Relatability is thrown around a lot in discussions about what makes good and bad fiction. If you’re creating any kind of fiction, it helps you get and keep an audience if they have some prominent character at least to connect with in the story — someone who’s sympathetic or is going through a relatable experience.

I thought about this recently when I read through the first few volumes of the manga Ijiranaide Nagatoro-san, officially published as Don’t Toy With Me, Miss Nagatoro. This manga caught my attention because 1) it’s been getting a lot of talk ahead of an anime adaptation planned for sometime in the near future, and 2) it’s apparently extremely divisive, with some readers loving it and others dropping it almost immediately. To me, something so divisive has to be interesting, so it’s probably worth checking out even if I end up not liking it.

And I can see why someone might drop this manga after reading a couple of chapters. Nagatoro-san is another one of those high school romantic comedies that are so common, but its sadistic element sets it apart from the others. Title character Nagatoro is a popular first-year student who fixates on a nerdy loner art-loving second-year, known only as “senpai” throughout, because of how strongly he reacts when she makes fun of him. People have compared it to series with similar setups like Teasing Master Takagi-san, but Nagatoro cranks the mockery level way up. Of course, as in that series, there are strong hints that she’s only messing with him because she likes him; we see later on that poor Senpai is the only guy she treats this way, usually only in private, and when her friends try to get in on the action and mock him a bit too much she gets pissed off and stops them.

After getting past the initially harsh, hard-going couple of chapters, I ended up enjoying the rest of what I read, I think partly because of how well I could relate to the Senpai character. All this guy ever really wanted was to be left alone to paint still lifes of fruit and draw his wish-fulfillment fantasy comics with his self-insert character. Shortly after Nagatoro wedges herself into that peaceful loner life he’s living, she asks him why he doesn’t fight back when she messes around with him, and his answer is telling: he says that when he’s bullied, he just closes up his heart and ignores it until it goes away.

Of course, again, the reason Senpai doesn’t just ignore Nagatoro in the same way is that he likes her too, and this is obviously one of those slow-burn romances where the two main characters will end up together, but will take a hell of a long time to do it because of their clashing character quirks (see also the now-infamous Uzaki-chan Wants to Hang Out!) But the way he handles all the other bullying he deals with, that really hit me in the gut. I shouldn’t project any of my feelings onto the author, but it reads just like it was written by someone who’s gone through the same sort of thing, or at least by someone who was a close-up witness to a lot of that treatment at school.

I’m in this manga and I don’t like it

The fact that the protagonist of Nagatoro-san is so relatable to me helped me connect with him and get into the story, which does get quite a bit lighter and nicer when it starts to become clear that Nagatoro is trying to help out and get closer to Senpai, albeit in her own weird, aggressive way. However, it also raised that question of relatability. Does relatability always have to be there to connect with your protagonist and leads?

I’d say it depends on what sort of story you’re trying to tell. A romantic comedy of this kind definitely needs some relatability, since it’s presumably trying to build an emotional connection between the main characters that it wants the readers to get invested in. To use an example from a very different sphere of fans/viewers, the US version of The Office did the same thing with Jim and Pam, two relatively normal, nice characters who many fans wanted to get together. These two were probably more relatable to most than a lot of the other weirdos working in that mid-sized Pennsylvania paper company branch, so it was easier to get invested in the story through their perspectives.*

However, there are works I’ve liked, and even loved, in which the protagonist was totally unrelatable, or in which he was even a complete asshole. For an example of the former, check out Mahjong Legend Akagi. The title character isn’t a bad guy at all, but not because he’s exactly “good” either. In some sense, he rises above basic ideas of “good” and “bad” in the course of his story. As a genius gambler, he knows how to utterly crush his opponents without remorse, and he does so, but what he’s really looking for is a challenge in which both he and his opponent put everything on the line, up to and including their lives. Other characters in the series, almost all crooked cops, shady fellow gamblers, and yakuza members, come to fear him and refer to him as a “demon”, not because he’s evil but because of his sheer talent and just how different and how much more terrifying his ways are when compared with those of the money-driven underworld.

This is a teaser for a future deep reads post, by the way. There’s a lot to say about Akagi, both the character and the series.

Even having an asshole or a plain old criminal for a protagonist can help make for great fiction, however. Up until it started to get stale around the fourth season or so, the US Netflix production of the political crime drama House of Cards did a great job with this, casting excellent actor and now-accused real-life criminal Kevin Spacey as the ruthless, coldblooded House Majority Whip Frank Underwood. Underwood is so ambitious that he’ll do anything for power, and he does a whole lot of evil things to achieve that power up to and including committing multiple murders. There are a few sympathetic characters who take part in the story, and most of them end up crushed and sometimes even killed by one or another of Underwood’s schemes.

While I watched the show, though, I was all in for Underwood. I wanted to see how he would make it to the Presidency, and then how he’d fall from that high office and end up ruining himself. Underwood’s occasional asides, addressed directly to the viewer, helped create this connection. But that’s not quite enough; you also need a compelling story to make this kind of evil protagonist work, and House of Cards managed that for a while at least. Underwood wasn’t relatable, at least not to me, but I was riding along and wanted to see how his ruthlessness and cruelty would play out.

The fact that the character Underwood ended up ruined because of illicit acts his actor was accused of having carried out is quite a weird thing in itself (and the subject for an entirely different post, and really a different sort of blog than mine) but it’s easy to imagine an alternate reality where that story could have played out much more effectively. I have heard that the original UK version of House of Cards told its story in a more effective and compact way, and it had a proper ending too. I might check that out one day myself.

All the Spacey stuff was obviously a problem, but I think the writers had stretched the show out way too long and kind of fucked it up by that point anyway. (Image source)

So when does a protagonist or a central character fall flat or annoy me to the point that I have to drop a series? If the work is trying to portray a shitty, or even a simply unremarkable, character as someone amazing but we the audience don’t see it, that’s when I get genuinely pissed off at it. To me, this is one of the hallmarks of lazy writing: “I want a cool protagonist but I don’t know how to effectively depict one, so all the other characters will say how amazing they are and the reader/viewer/etc. will see it too!”

But it doesn’t work that way. On the contrary, the harder a character like that is pushed without properly establishing why we should like them by showing and not telling, the more I’ll hate them. It’s part of that “Poochie Effect” I wrote about a while ago. Though she has her fans, Marie from Persona 4 Golden was an example of such a character for me. She didn’t really hurt the game, since she was more or less a side character, but the way the game tried to push her was a bit annoying — the temperamental teenager act came off as simply grating, even if there was a lot more behind the character than was evident at first. At the very least, I didn’t feel too compelled to learn about what was behind Marie until I was forced to by the game, and a big part of that had to do with her irritating character traits that I was apparently supposed to find endearing. Or maybe I wasn’t and Atlus are a bunch of sadists too.

So as you can see, I’m no expert. I’m a shitty hack writer myself, so I have to try not to make the kinds of mistakes I’m talking about here when I’m working on fiction. So please tell me if you feel like it: what kinds of characters can you relate to, and what do you think makes for an effective or ineffective protagonist? Do you need to be able to relate to the protagonist or at least to someone in the story to enjoy a work? Do you think this was just an excuse for me to post a review of Don’t Toy With Me, Miss Nagatoro while pretending I wasn’t doing that? I’m interested to know your opinions. 𒀭

* Kevin is still my favorite character, though. At least before they changed him from secretly smart to just plain stupid. It wasn’t quite as bad as what The Simpsons did to Homer, but still noticeable.

A review of Kizumonogatari

Last month I took a look at Bakemonogatari, the first part of the long-running Monogatari anime adaptation of novels by author Nisio Isin. I liked pretty much everything about what I saw and decided on that basis to keep going with it. But before I could proceed to the next part in the series chronologically, I was advised by top experts to turn back and watch the three Kizumonogatari prequel movies, titled Tekketsu-hen, Nekketsu-hen, and Reiketsu-hen. So that’s what I did. And so here’s my review of all three. I could break this post into three parts as well, but to me these three films really feel like one three-and-a-half hour film broken into three parts — they tell one complete story, and they’re all made in the same style.

But maybe that would have been too exhausting for the audience. Taken all together, there is a lot of shocking, sometimes inhuman-looking violence and gore in these three movies, much more than there was in Bakemonogatari. The same is true of the sexually suggestive content in Kizumonogatari. If you thought that first series was a bit much for you, this set of movies also cranks that element up. Once again, though, I don’t think any of it’s gratuitous, as extreme as these movies get in some of their contents. The story they tell is an extreme one anyway, one that was already set up in the first series, and one that needed to be told to explain some of the characters’ situations in that series.

Aside from the general content warning, here’s another one: there are going to be some specific spoilers in this post, the kind I tried to avoid in that last review. I couldn’t really avoid them this time, partly because of these films’ links to that series. So please take the usual precautions if you care to. In some sense the ending to these films is already kind of spoiled since they’re meant to be watched after Bakemonogatari, but I like to be safe anyway.

Here’s our protagonist again. At the beginning of Bakemonogatari, the student Koyomi Araragi has already survived a serious ordeal, a run-in with the supernatural that nearly killed him and put one of his friends in great danger. At the start of Tekketsu-hen, he’s just a regular guy, though one without friends at the moment. Araragi prefers to keep to himself. However, that changes over his two-week spring break. When school gets out and he’s aimlessly hanging around the front gate, he comes across one of his classmates, the legendarily smart and proper student council president Tsubasa Hanekawa. The first look he gets of her is quite improper, though. When the wind blew down the street and flipped her skirt up, I understood where that very first scene in Bakemonogatari came from.

That’s one of the powers of the author, to create a convenient gust of wind at just the right time

Despite this embarrassing start to their first meeting, Hanekawa laughs it off and insists on talking with and getting to know Araragi better. It turns out they both know about each other, but until now they haven’t interacted despite being in the same class. Araragi tries desperately to get away, putting up a show of acting cold towards her, but Hanekawa follows him anyway and goes on about school, their future plans, and some rumor she heard about a beautiful blonde vampire woman stalking around town. She also puts her number into his phone and tells him that he’s made a friend whether he likes it or not.

After she cheerfully waves goodbye to him and leaves, Araragi skips home, secretly happy that he met and got to know Hanekawa. However, he can’t get that first accidental and improper look at her out of his head, and it starts to seriously bother him in just the way you might expect. So late that night, he leaves his weirdly empty house (he lives with his parents and two little sisters, but they’re nowhere to be seen in these movies) and runs to a bookstore to buy a girly magazine to relieve some of that stress. On the way back home, however, he gets sidetracked by a trail of blood leading down to a subway station, and what he finds there puts every other thought out of his mind. There lies a blonde woman with all her limbs cut off, gushing blood all over the platform.

Despite her state, she speaks to Araragi calmly, even with an arrogant tone, commanding him to give her his blood. This seems to be that vampire Hanekawa was talking about: the strangely named Kiss-Shot Acerola-Orion Heart-Under-Blade. Kiss-Shot tells Araragi he should be grateful to have such an opportunity, but Araragi turns to flee in terror after she tells him she’ll need all his blood to survive.

Despite initially running for his life, Araragi decides to throw it away to save this vampire woman after she loses her haughty demeanor and starts crying and pleading with him. Kiss-Shot thankfully accepts his offer and bites him, and the scene fades out. However, we know he’s obviously not going to die, so what does happen to him? Naturally, he wakes up a vampire himself — a follower of Kiss-Shot, who’s been restored to health with all her limbs intact.

Well, sort of. Kiss-Shot explains that she indeed sucked Araragi dry, and by doing do she turned him, making him her servant. She also explains that in order to regenerate her body, she needed to take the form of a child. In this weak form, though, she can’t fight against the vampire hunters who cut off and took her limbs. To recover that strength, Araragi will have to use his new vampiric regeneration ability and strength to defeat them one by one and acquire her arms and legs, all video game boss style. Only then will she have the power to turn him back into a human. In the meantime, the pair take refuge from the sun in an abandoned cram school building.

Also, headpats are how you show your vampire master that you submit to her. At least that’s what Kiss-Shot claims. Maybe she’s just making that up — it would be totally in character for her.

When Araragi ventures out of the cram school at night to face these powerful vampire hunters who are after Kiss-Shot, they all gang up on him at once. Araragi freaks out and tries to run away, but one moment before they close in and kill him, the final character in the story shows up to save him: Meme Oshino, the ghost/youkai/apparition expert from Bakemonogatari. This Oshino guy apparently has a scary enough reputation that the three vampire hunters run away, and he and Araragi return to the cram school to sort things out with Kiss-Shot. A solid team is formed, although the mysterious Oshino refuses to do any fighting himself, only “lending a hand” as he puts it, and for a steep price at that. But he seems to know his stuff, so they accept his help.

Oshino is legitimately a cool guy, and not just because vampire hunters are afraid of him.

And that’s the basic premise of Kizumonogatari. In fact, I just set out all the events of the first movie, which is only about an hour long. The rest of the story sees these plot setups play out, with emphases on the relationships Araragi builds with Oshino, Kiss-Shot, and Hanekawa. Because even though she doesn’t seem connected with the rest of the story, Hanekawa ends up involving herself in it with obviously serious risks. These are risks that she seems to fully understand, but she takes them anyway.

Before getting into more details, I should say that I completely get now why Kizumonogatari is meant to be watched after Bakemonogatari, even though it comes first chronologically. It seems to have been written specifically as a prequel. If I’d watched these movies before that first series, I don’t know if I’d understand why certain characters take some of the seemingly strange actions they do here. For example, the reason that Araragi would give his life up for this vampire woman probably won’t be clear unless you’ve watched Bakemonogatari and know what kind of person he is. As we’ve already seen in that series, it’s not out of character for him to help someone else even at the risk of his own life, and even if that someone else is an apparition, monster, or spirit. It really would have been more out of character for him to let her die.

The same is true for Hanekawa. Araragi himself is confused about why this perfect young lady, this model student and class president, would even bother talking to a loser like him. From what I could tell, for as much screentime as Hanekawa gets in these movies, the narrative doesn’t make this clear either. She tells Araragi at their first meeting that she has a fascination with vampires and supernatural things in general, but the reasons she’s found wandering around town at night, or why she gravitates towards Araragi as if he’s a magnet, even when she knows he’s been turned into a vampire — these only make some sense if you’ve seen Bakemonogatari and understand what a miserable home life she has. Again, Kizumonogatari doesn’t go into any details; it relies on the viewer having seen the first series or read the first set of novels already.

It’s not a baseball movie, this is just part of one of the fights

If you were starting with these movies, you might also think based on the events of Tekketsu-hen that their focus is going to be on how Araragi learns to use his new vampiric powers to fight the three vampire hunters and retrieve Kiss-Shot’s limbs. That does happen, complete with elaborate fight scenes — these scenes fill out a lot of the action of the second Nekketsu-hen film — but it turns out that these three enemies aren’t even close to the greatest threat Araragi has to face. No, that would be Kiss-Shot herself.

Oshino, who Araragi comes to half-trust as a mentor and half-suspect as a weirdo with unclear intentions, drops a few hints that help him discover this fact. Though Araragi absolutely wants to become a human again, he also seems to be drawn somewhat to Kiss-Shot. This isn’t such a surprise — in her weakest form, she takes the form of a kid who looks like she needs protection, albeit one who talks in a very haughty and superior way and uses old-fashioned language (I don’t know how it comes out in Japanese, but in the translation she refers to him as “ye” a lot.) As Araragi collects her limbs, Kiss-Shot consumes them and ages up, getting closer to the looks she has when we first meet her. But he seems more and more taken by her, up to the point when she’s fully restored and at full power again.

I mean, not that I can really blame him.

By this point, he seems to have forgotten an important fact, one that he curses himself later for not realizing: Kiss-Shot is a vampire, and that means she kills and consumes humans. He gets a stomach-turning reminder of this fact when he tells her he’ll go get a meal to celebrate their last night together before she turns him into a human again. Kiss-Shot cheerfully agrees, but when Araragi returns with some takeout, he finds she has started without him, feeding upon the corpse of one of the vampire hunters he’d earlier defeated. Kiss-Shot seems genuinely surprised when she sees he’s brought normal human-style food and not the “portable food” she expected: that “bespectacled, braided girl” she’d briefly met before, that class president who had been sticking around Araragi and bringing him supplies while they hid out in the cram school — Tsubasa Hanekawa.

In a later episode of Bakemonogatari, Araragi tells Hanekawa that he owes her his life. It’s not clear what he’s referring to then, but in Reiketsu-hen Hanekawa snaps him back into reality when he’s despairing about having revived a murderous vampire. By this point in the films, the two have built a strange sort of relationship — Hanekawa pushed a friendship on him that he didn’t plan to accept, then he tried pushing her away out of fear that he’d put her in danger. When she was put in danger anyway by trying to help him during a fight with one of the vampire hunters, the hunter mortally wounds her, and Araragi is only able to save her with the timely help of Oshino. By the middle of the third film, Araragi and Hanekawa understand each other and their connection has been made real, letting the viewer make a direct link to the unusual friendship between the top student and burnout slacker in Bakemonogatari.

Kiss-Shot showing off her stupidly long sword: one that she purposely doesn’t use in the final fight.

This is the link that gives Araragi the strength to fight and defeat his vampiric master Kiss-Shot. Having resolved that he can’t let her continue to kill humans, he faces her in battle. Though they’re both immortal at this point and can almost instantly regenerate limbs and even their own heads, Kiss-Shot is clearly on a far higher level having been around for 500 years. So it’s a bit of a surprise when Araragi manages to get an opening and latch onto her neck, literally sucking the life out of her as she withers back to a small, weakened form. And here’s the other big connection to Bakemonogatari and the rest of the story: it’s revealed that Kiss-Shot wanted to die after living for such a long time — specifically that she wanted to die for a human after seeing her first human-turned-vampire follower die centuries before — and this was just how she intended to restore Araragi to human form.

Araragi refuses to grant her wish, however. After Oshino (who’s been hiding in a corner and watching this whole time) comes out and gives Araragi a few options none of which are that great, our protagonist goes for the ending that will make everyone unhappy: he drains Kiss-Shot of blood until she’s almost dead and has lost almost all her power, making him almost human but not quite. By doing this he creates Shinobu, the silent vampire girl from Bakemonogatari who has to drink his blood to survive. It’s now clear why Araragi feels guilty towards Shinobu, having taken away almost all of her power and even the right she has to her title and name while not granting her wish to die, and this guilt makes it even more clear why he might have been reluctant to ask for her help at the end of Bakemonogatari even when he knew he needed it.

And here’s the end of Kizumonogatari, or Wound Tale. I wrote in that first Monogatari review that I’d heard these movies were somewhat divisive, and I have seen a few criticisms of them since. One is of their visual style, which is very different from that of Bakemonogatari and the other TV series in some ways. Kizumonogatari is a lot more violent with a focus on body horror — during his fights, Araragi loses and regrows body parts, which regenerate in almost infant-looking form back into their original shapes. All this is accompanied by a lot of viscera and spraying blood. The worst scene by far for me isn’t one of these but rather a more realistic-looking one, when Hanekawa gets very graphically disemboweled by one of the vampire hunters. Probably because it is more realistic-looking, even if she does get magically restored by Araragi’s vampire power with the advice of Oshino.

There are more mundane differences too, like the character models themselves: Oshino is pretty much unchanged, but Araragi looks a lot bulkier in Kizumonogatari, even before he gets buff and largely shirtless during his time as a vampire. And Hanekawa looks extra-cute, to a way more exaggerated extent than in the other series. I did notice these differences, but they didn’t bother me. I can even take the extreme violence — as I wrote at the top, this is an extreme sort of story anyway, so the extreme visuals fit in that sense. I should note generally how good the animation in all three films is; Kizumonogatari looks like it had a pretty high budget. Even so, people who can’t take extremely violent scenes might want to avoid these movies.

More of those facial closeups that I’ve come to expect from this series now. Maybe Hanekawa’s weirdly exaggerated cuteness is meant to contrast with the extreme violence later on? Just a guess, because I have no idea.

There’s also the sexual content. There’s no outright sex in Kizumonogatari, but there is a ton of tension between Araragi and Hanekawa from their very start of their first encounter. Araragi is obviously attracted to Hanekawa from the beginning, and Hanekawa seems to start feeling that way about Araragi. After their interactions in the second and third movies, it’s honestly pretty surprising that nothing ends up happening between them, with Araragi eventually getting grabbed up by his other classmate Hitagi Senjougahara. It definitely comes as no surprise when we later learn in Bakemonogatari that Hanekawa’s secretly interested in him and that this interest started right here during Araragi’s vampiric spring break.

Even so, there’s a bit of criticism that Hanekawa is unnecessarily or overly sexualized in these movies, especially during the gym storage room scene between her and Araragi in Reiketsu-hen. While I can understand some people being uncomfortable with that scene, it doesn’t really clash with the characters that were developed either here or in Bakemonogatari in my opinion. This and a couple of other scenes also provide some background for the relationship between Araragi and Hanekawa. So far I’ve seen a recurring theme in Monogatari of the contrast between lust and serious romantic love. It’s one that’s very relevant to this relationship, and one that will come back with serious consequences for both characters later in the series.

Also, both the anime series and films are based on novels written from the perspective of Koyomi Araragi, a high school student with raging hormones, so it’s only natural if he’s fixating on more sexual details. He doesn’t seem to be a totally reliable narrator anyway. Not sure how much that perspective affected the angle taken in Kizumonogatari, but it’s worth noting.

As usual there’s context to explain this strange-looking scene

There’s a lot of emotion in Kizumonogatari, and it’s not the cheap kind. Sure, it is a vampire romance, and those aren’t anything new. But the characters here show that they’re willing to make great sacrifices for each other in ways that both explain and connect with events in Bakemonogatari, and for that reason alone these films are quite something to watch. They have a style fitting the dark, depressing tone of the story, though there are some comedic breaks as well — this is also written by Nisio Isin, so there’s still some quipping here, though there aren’t any 20-minute stretches where two characters sit on a park bench and play out comedy wordplay bits like there are in Bakemonogatari.

The pacing in Kizumonogatari is still a bit strange at times in the way you’d expect if you’re familiar with this series, with a few very weird scenes in the middle (my favorite: Araragi playfully spraying Hanekawa with a bottle of Coke while they run around in a field of wheat???) But again, that didn’t bother me at all. It seems like anything weird that comes up in these adaptations is taken straight out of the original novels. The pacing also suits the story these movies tell, and that’s part of why I can imagine Shaft having made this one extra-long film with an intermission in the middle, the sort American studios produced back in the 50s and 60s. I think that could have worked well, not just because of the relatively short lengths of each but also because they have some of the feel of those old-fashioned epics. Though presumably there would be a lot fewer ticket sales for one movie than for three. They did air all three in theaters from what I understand, which makes sense — Kizumonogatari really feels to me like it was made for a big screen.

That’s quite a skyline. Later on Araragi talks about how he lives in a “small town”, but this doesn’t look that small to me. Maybe it’s meant to be a boring suburb.

The ending theme to the second and third movies also suits the tone of these movies beautifully. When I first heard “Étoile et toi” I thought it was an old French song they had adapted, but it turns out it was written specifically for these movies. Even if you have no interest in watching this or Monogatari at all, you should at least check out that song and its variations.

Obvious content warnings aside though, again, I think there’s a lot to miss out on here if it’s passed up. I really liked Kizumonogatari, even if it was exhausting to watch all at once, or maybe partly because of it. And the very last lines of the movie sealed the deal up for me. Araragi sparing Kiss-Shot’s life, though it cost her everything else, fits perfectly with the other parts of the series I’ve seen up until now: even though she’s a vampire, as Oshino says, aberrations like her can’t really be blamed for doing what they do. To him, and later to Araragi, this work of containing demons and spirits doesn’t seem to be a matter of good and evil so much, even though both are doing so largely to protect human life. The result of their efforts in this case was an unhappy ending, but it was also a satisfying one and a great setup to what comes afterward.

I don’t have anything big and profound to close with, so here’s Hanekawa’s :3 face.

And shit, that’s a lot more than I thought I’d have to say about Kizumonogatari. I did say in my first Monogatari post that my next anime review would be something different, but I guess I lied. Sorry. But I’ve been sucked into the series now. I really will try to find something different for my next anime review, though. This one took it out of me.

Until next time… I don’t know. Try to avoid vampires, maybe? Seems like a good idea. 𒀭

Seven years on

It’s been seven years since I started this blog. When I first created it in 2013, I didn’t have any plans beyond writing about games I liked and a few places I’d been to and complaining about everything else I hated. As I’ve written before, it was a way for me to manage things while returning to school and a rigorous and stressful program of study.

Sometimes I think, if I had millions of dollars and didn’t have to work or stress over other issues, I’d play games, watch anime, listen to music, and write all day. But I wonder if I’d even bother writing under those circumstances. I probably would, just because that’s something I like doing. But it wouldn’t be the same, because beyond just being a hobbyist sort of thing, this site is also a way for me to cope with bitter reality. It’s part of the escape I need from life — that’s the reason for the site’s tagline.

For its first five years, though, I didn’t make much of an effort to connect with fellow writers here on WordPress. I didn’t even really know about the loose-knit communities of video game and anime fans here. It was only after leaving a lousy job and improving my situation that I had a little more time to sit around and explore the platform relatively free of worries. I’m grateful for that opportunity, because finding and connecting with other writers and fans has given this project new life. To everyone who follows my site, leaves comments, or even just reads what I write on occasion, I want to say thanks. It may not seem like much, but all that continues to make a big difference in my life, and all for the better.

And always remember Flonne’s words: friendship power beats anything. Even shark dragon monsters.

So what’s next for the site? I haven’t made an update post in a while, but nothing much is changing here. I plan to continue writing reviews, commentaries, opinion pieces, the usual stuff. I will probably be putting more of an emphasis on anime and visual novels for the rest of the year, since those are more of what I’ve been taking in lately, but I won’t be abandoning traditional video and PC games.

In fact, I was planning to make another “here’s my backlog” post, but it seems like every time I make such a post I curse myself never to actually finish the games I list. If you’re really curious, following me on Twitter is a good way of finding out some of what I might be playing and watching, because I’ll post about it sometimes (without spoilers, of course, so don’t worry — I’m not that kind of jerk.)

In the meantime, best of luck and health to everyone, and I’ll write again very soon.