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an actual dog posted:Western interest in anime went through a bubble period in the 00s that popped really badly, leading to a low period from 2008 to 2012 where there wasn't even Toonami on TV. Kill la Kill came out right when the new streaming era had established itself and people really started being into anime again, and it's been regularly available since. Hits a bunch of weird buttons for goons too lol Honestly, as someone who played both sides of the table back then, I think it was almost purely a commercial correction. You're right that interest was in the process of popping, but interest popping has a long lead time in an industry that works, empirically, around both a consumer's 15-year cycle from 1st grade to college graduation and a producer's 15-year cycle from college graduation to senior creative. First, interest. Interest is a loving miserable thing to track because you have hard "can't apples:apples this" lines around at a minimum: * ~1998 broadcast change to cable * 1999 package soft change from $40/50m tapes to $25/75m DVDs * 2001 enthusiast-but-cheap change from $8 pirate tapes to free pirate torrents * ~2005 beginning of the package soft overproduction meta, due to the declining rate of profit setting off a hunt for any possible hit through $5/75m or $25/550m DVDs * ~2008 beginning of the enthusiast-but-cheap change from free pirate torrents to free pirate streaming * 2008 dropping from cable for rising-costs rather than dropping-sales reasons * 2012 beginning of package soft settling in at a middle ground of $75/550m DVDs * 2013-2014 shift of enthusiast-but-cheap from free pirate streaming to pennies-a-day legit streaming Within all of these the old category was on an upswing until it evaporated; I'm most familiar with the torrent part and it was not at all unusual in 2009-2010 to see 100k-150k dls of moderate hits at a scale that produced 15-20k in 2006 or 2007, for example. The commercial process, though. The core problem of the industry is that there are two key contradictions that it's in no one's interest to fully recognize in the US market: there is a low-margin high-volume feeder market vs. a high-margin low-volume core market, and the status of a title on one side of the Pacific says nothing about its status on the other. From this angle: * Feeder broadcast market petered out in the early 00s, with the shift to cable solidifying both the US market's increased capital-intensiveness and ability to target specific content rather than essentially buying up found footage, and Japan's ability to negotiate prices up. * Most American-owned side core market companies were overleveraged to begin with--remember, companies like ADV grew out of video rental shops with an Amiga kicking around the back room--and had to leverage themselves even more due to increasing volumes and increasing competition. This led to a death spiral of printing thousands of copies of anything, achieving minimal sellthrough until the discount to $5, and then printing thousands of copies of the next garbage show because the last one eventually sold through. * Japanese-owned side core market companies could not compete with selling anime as a generic product in this context; Pioneer calls it quits while Bandai attempts to power through until their competition goes bankrupt and prices rebound. * American-owned side does indeed go bankrupt, but parachutes straight over from "flood with anything" to "flood with low-bid core products as the junior portion of a JV". It stabilizes them, but Funimation (which does eventually JV) can afford to keep prices at a low-margin midpoint through DBZ and its Christian media sideline, TRSI (which does eventually JV) can afford to keep prices at a low-margin midpoint through its distribution arm, and while those two big fish can hold pricing a bit higher and ride the long tail a bit longer... * It does blow out the "core market equilibrium is $200 a season with lots of tchotchkes" assumption that kept Bandai in. They fold even while growing profitably (somehow, ask me about entire salvage retailer warehouse lanes full of Cutey Honey live-action lunchboxes) because the expectation is growth back to that point and whoops. * With no one left around fire-saling in hopes of future growth, cable can no longer take its pick of cheap filler and hits the point where it's cheaper to just make ATHF themselves or whatever. "Legit", "discoverable" feeder market disappears completely for a while, and doesn't really come back because cable never had the viewership of broadcast and streaming doesn't have the linear showcaseness of cable. * Finally, Funi and Crunchy, both JVs at this point (TV Tokyo was in Crunchy heavy before it went to AT&T, and Funi has been gradually eaten by Sony), synthesize "there's no competition in the feeder market" and economies of scale to come up with anime flavors of the modern streaming experience. Which, since it's AYCE, drags core right back down. * We are here, in the gap which would have been the peak enthusiasm years for people who got pulled in through cable; instead there's just the limited set of ducklings who didn't get in until streaming and the greybeards who've been in since Pokemon was on Fox at 4pm. And of course KLK was an early streaming star for those ducklings; it's visually flashy, made by people with a lot of core market cred, and a straight-up action show in an era where the Japanese core market direction was split between talky esoterica and pop music vehicles. tl;dr we're probably on a limited upswing of core through 2025-2030 when aging out once again matches aging in, but longterm never going to hit 2000s again because there's never again going to be dull childhood afternoons where your only kid-to-teen choices for the TV are a Japanese video game or broadcast anime to get people in, and prestige poo poo will never again be a product in itself rather than bonus value to a streaming sub. Mandoric has issued a correction as of 04:27 on Jan 12, 2021 |
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Jan 12, 2021 04:19
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an actual dog posted:someone talking about their job is always interesting but I only understood half of it and it seems to be phrased as an argument with me while also agreeing?? also this is cspam?? sorry for  , just disagreed on why cable died and was boredso, how about that ｗｉｄｅ?
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Jan 12, 2021 08:33
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Judge Dredd Scott posted:dungeons and dragons, actually! the old pc RPGs were very popular in japan, and old D&D orcs were pigs DQ going full 'literally a pig-man, not just sometimes porcine' when it borrowed more D&D/Wizardry monsters was also big. Would've been in 2, so so early it was out there influencing the official JP releases of some of these inspirations, too. Mandoric has issued a correction as of 01:58 on Jan 13, 2021 |
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Jan 13, 2021 01:55
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Bootleg Trunks posted:Isekai but it's in EVE and goon fleet *some dumb lovely Shield Hero monologue, but it includes the phrase "laughable Xhosa girl"*
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Jan 13, 2021 04:30
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the first three string hits of 我が心 明鏡止水~されどこの掌は烈火の如く, but then instead of descending it does the ascending vocal bit at the start of the Simpsons theme Mandoric has issued a correction as of 10:49 on Jan 18, 2021 |
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Jan 18, 2021 10:46
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crepeface posted:reading the spoilered bit and yikes, it's even not a hentai? It's a Skinemax-equivalent production airing on a Cinemax-equivalent satellite channel. There is a cut broadcast version on the usual skeevy UHF suspects, which is presumably also garbage that keeps the torture porn and removes the porn torture, but it's not the version we get streaming.
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Jan 22, 2021 02:59
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Stairmaster posted:the double zeta gundam sucks rear end gently caress this combining gimmick why are you posting not anime in the anime thread?
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Mar 21, 2021 05:24
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SSSS.Gridman, when Gridman misses his flight after being denied boarding pending secondary security inspection, because an IRA dude last seen in 1964 went by Donny O'Grid.
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Mar 21, 2021 08:28
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The idea that a 1:1 is possible, never mind preferable, is also its own strong-rear end mind poison against trying to learn--after all, if you've got to have perfect recall of 500,000 or so terms with very precise implications, that's unreasonable to ask of anyone not some sort of wizard or savant. Sadly, they don't want to pay us like wizards or savants. I'll always regret not, when I had the leeway to release what I wanted when I wanted how I wanted, ever having taken a particularly loud complaint week as pretext to release the next in some sort of adaption of kanbun, the old Japanese system for annotating Chinese with Japanese grammar rather than translating it.
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Apr 26, 2021 00:01
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christmas boots posted:Followup question: Why are Light Novels titled that way? Because there's so many that just reading every back cover would probably handle your time-killing for the week, similar to how descriptive subtitles were popular in English for the extremely crowded Elizabethan theatre or Victorian novel scenes. Just like no one types out the full "A Christmas Carol. In Prose. Being a Ghost Story of Christmas", full LN titles are left for the title card while people talking about a series clip out a couple distinctive words.
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May 5, 2021 23:05
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Japanese is a bit more succinct in print, and I've participated at times in thinking about how to get a title from the Japanese conversational style to something closer to the formal English one, but yeah, the wordy titles are also a running genre joke even in Japanese to the point where some authors are attempting to stand out by going full multiple paragraphs.
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May 6, 2021 00:26
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Lostconfused posted:Look I already played SRW T Honestly, you don't need to go as far as Dunbine for a reason when you've got Masoukishin right there and integrated firmly into the core narrative due to the rights clusterfuck. You could kind of write Masaki in like Z2 off as a series mascot, but when Shu shows up alongside him like in α/gaiden, the og series, or the OG series (  ) the least isekai you're getting is one of the key protags having his climactic last volume showdown back in "the real world" as an integral part of the main plot.
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May 13, 2021 17:55
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Lostconfused posted:Ok now that's a bit not fair, alpha gaiden is explicitly an Isekai where all of the characters get sent to a different world for most of the game. I'm not even really thinking the bulk of Gaiden, because of that. Just the importance of the underlying DC/Masoukishin plot, and the weird "we can't or won't actually show the isekai because either we don't have the rights anymore or we don't want the other people claiming the rights to get free advertising, but we are sure we can use these popular characters and we're going to make them significant to the overall worldbuilding because that bolsters our own claim" situation.
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May 13, 2021 18:31
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Agnostalgia posted:What is patient zero for the isekai-by-truck trope? Yu Yu Hakusho started with the MC getting run over, is that the earliest? Minky Momo
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May 15, 2021 07:03
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As a translator--and this observation holds true for both fan translation and official translation--schedule pressure in terms of doing enough other projects to keep prestige up and mutually beneficial hanger-on bickering going/working enough to keep food on the table is a contributor, but the bigger problem is just the cadence rather than the schedule per se. Every few months you have to acquaint yourself with new groups of characters, don't necessarily have a good voice for them ready, may not have ever known or read that personality before, and your ability to work in your field of expertise is limited by not necessarily being able to put together a group for or not necessarily being in the approved contracting pool of a company that has x title. The biggest problem, though, is the other aspect of cadence. The reality is that being tapped to translate something you've already fully read in one form or another is an extremely lucky break rather than the default like in literary or film translation, and even in non-phone games you'd be in schedule hell if you put nothing down on paper until a playthrough is finished but you're not faced with "levels 1-6 are locked and shipping as soon as you're done with them, hope nothing you did to normalize a line out to fluent-sounding English conflicts with the villain's speech in level 24." So a lot of things that don't sound quite right slip through because you have to be extremely cautious where you add or remove detail (as a light example, I just submitted something with a vague and frustrating rather than inclusive singular "they" for a side character that was described only by job), along with the things that don't sound quite right which slip through because it's already weekly deadline and there's simply no time to flip through natively English novels or films with the same situation for inspiration. Sometimes there's at least a final review pass of a bigger chunk, but that's where the working-time pressure, and the assumption that anything that survived that long probably isn't too wrong, make heavy rewriting difficult. tl;dr anime (manga, digital light novels, GaaS, etc) are a lot closer to live interpretation without notes than traditional translation is. Judge Dredd Scott posted:why do Old Goons still get insanely irrationally mad at the existence of anime. what is so broken in the gen xer brain that causes this It's late 90s high school cliques all the way down, and the ur-goon population, as the comedy website of a failed FPS reviewer, is either the class clown who bought not being a freak by being extremely loudly normative or the competitive Quake/UT kid who really wants to think of himself as "the least recognized of the jocks" rather than anything like the dweeb who pretends he's Sephiroth. Mandoric has issued a correction as of 23:43 on Jun 2, 2021 |
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Jun 2, 2021 23:28
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Good soup! posted:how the gently caress are they making Fist of the North Star a musical lmao Oh mama mia, mama mia, mama mia, hidebu
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Jul 19, 2021 14:45
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For what it's worth, it's awkward to bring up Reborn to Master the Blade for a variety of reasons (don't want to advertise here, definitely an example of video game mechanics, MC is an explicitly apolitical ubermensch) but it is tackling colonialism as a plot point, with the primary enemy faction thus far explicitly being a technologically-advanced country that started with arms-for-resources trades and is now attempting to roll out direct administration by its own officials as the price of the arms while also using "independent" traders as a front for slave-trading. Definitely not specifically good politics with the MC ~apolitically~ signing up with the compradors and fighting the resistance nearly as much as she fights the colonialists, but that particular angle is getting addressed directly and with decent takes about the colonizing side.
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Jul 22, 2021 00:03
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TenementFunster posted:omg is that baby anno cosplay for the new movie anno circa anno (lol) 1985
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Sep 30, 2021 09:36
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Pitch posted:This is a side effect of the fact that being a dub voice actor in America pays like poo poo and is a less prestigious acting job than local community theater, so the industry rests on a handful of people who have been punching a timeclock doing this for 20 years and a pool of essentially enthusiastic amateurs with a high churn rate. Those are definitely true on the JP side as well. Extremely strong up-or-out pressure and limited agency in one's own fortunes due to a fixed pay scale based entirely on days worked x years of seniority, which is also one of the notable pressures (though not the primary one) producing the stereotypical "every-anime-is-about-teens" situation. An entire industry of for-profit training into minimum-wage-or-worse jobs (this also applies to most other trades that come together to make anime) offered on the logic that, while still extremely demeaning, at least it's not as demeaning for a downwardly-mobile failchild or failure-to-move-upward once-promising burnout as flipping burgers, even if it's not the good industrial or industry-adjacent professional jobs that are never coming back. Works better in Japan for three reasons: - Scale at least bridges some people to clock-punching; more and more roles will be unwilling to consider you when they could get a fresh actor for pennies, but you'll at least be able to ride the gravy train as long as you want if you're lucky enough to land a long term recurring role, and will never face the security wage trap of "sure we'll keep you and you won't have to swap careers, as long as you keep working for entry level pay". - Industry center is Tokyo, where there are a lot more enthusiastic amateurs to choose from, a lot more job options for enthusiastic amateurs who want to try but also want an escape plan, and much more significant crossflow to (for the unlucky or-outs) and from (providing a more-practiced-than-could-be-expected 'amateur' pool) adjacent industries like pop music, musical theater, or announcer/MC than there are in central Texas. - Dubbing best practices and style conventions having been developed and normalized over a solid century of regularly adapting prestige media, rather than 30 years or so of being so much as "what's mostly a non-chain video rental shop can afford to give a couple people 20 hours a week to do this for its side business". US side has gotten far, far better recently, riding heavily on being able to share a work (or worker, depending on your perspective) pool with games that are now big money and want to do their recording in a more happening area. It will still, though, for the purposes of things like Gunbuster, fall prey to the eternal problem of all drama--"sure, you saw it, but did you see so-and-so starring in so-and-so's production?"--that we have records of dating back to the ancient Greeks; even an unquestionably better dub is still a fundamentally different work in particular aspects.
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Oct 6, 2021 11:16
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please don't make me go back in the box, I wish I could say I didn't like it there but liking it makes it even worse
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Oct 6, 2021 14:52
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tokin opposition posted:Go do fansubs, but make every character gay as revenge for the 4kids treatment 
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Oct 6, 2021 16:09
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christmas boots posted:Fujiko stands in the way of the Lupin/Zenigata ship a conceptualization where Lupin wants Fujiko, Zenigata wants Lupin, and Fujiko wants Zenigata
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Dec 4, 2021 00:13
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Casey Finnigan posted:how come web novels and webcomics in Japan and China get turned into successful animated adaptations and stuff and over in the west they're just completely ignored and disregarded? On the one hand, it's decline of print in general. Syosetu etc. are the new pulps from which standouts make it to paperback and paperback publishers adapt their hits; in the US there's ff.net/ao3/etc but apart from the encouragement of specifically fan fiction American paperbacks have just stumbled from L to L since nearly WW2: it's a big country in relation to Japan in particular so you can't just distribute to Tokyo and have a hit you have to truck that processed block of wood to Boise, you have to advertise anything nationally instead of just New York, tax treatment flipped at some point from "you can write off the storage cost of unsold inventory" to "we will tax you on the cover value of unsold inventory", publishing has consolidated to support national advertising and distribution and a publisher would far rather sell a million copies of one thing than ten thousand copies of a hundred things, bookselling in particular has embraced this even moreso. And conversely it's far easier to broadcast something nationwide in the US, so TV slid right in early as a replacement for print as mass culture, while in Japan national broadcast networks are banned and even the TBS/MBS alliance has to work out deals between themselves before convincing affiliates to air a given show, while print books just have to span a Buffalo-to-Minneapolis-sized arc for full coverage. Anime adaptions are, by and large, also pretty Netflixy: An extremely decentralized media and production landscape means there's always someone available to do one at cost no strings attached and someone else available to air it at under cost no strings attached, because there are a plethora of small firms and independent broadcasters who have already paid for the physical plant and would rather break even churning filler projects than sit entirely idle and only take losses. On the other hand, Fifty Shades or Chuck Tingle. It happens, just adjusted for our material conditions (so fewer, bigger, live-action because animation is thoroughly professionalized here, hits) and broke out in genres that goons aren't interested in. Mandoric has issued a correction as of 02:25 on Dec 23, 2021 |
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Dec 23, 2021 02:14
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Jan 24, 2022 22:20
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Good soup! posted:Was there ever a reason Studio 4c didn't continue adapting berserk for film or tv, were they just not making enough money to continue?? At the end of the day, pretty much every studio that isn't chained to a franchise (and most that are) is a glorified temp agency, and pay's terrible enough that it's up-or-out until you hit director and then "sign now or be replaced by a previous direct report who desperately wants to move up" once you do. If you want a previously unplanned project to go now rather than waiting, you're stuck as a producer going with the best option that's open and trying to bring key staff along--and they probably won't be available, willing to take a demotion, or in the industry at all for a late revival, or may just not be as competent on the other side of the digital or especially 3dcg shifts. Or maybe they were also key staff on something else and went somewhere else for a promotion to handle its sequel or spiritual successor. Doesn't really excuse the Berserk clusterfuck, when the studio itself goes "uh we can't really do this" that's when you decide you have to wait, but. Casey Finnigan posted:list some names of them plz. I'd like to practice translating Welcome, as they say, to the pain. If you need any general pointers, I'm sure there are several of us here.
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Feb 4, 2022 23:01
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Kitfox88 posted:Psychoframe Cockring , later developed into the 'D-field', was a...
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Apr 26, 2022 08:47
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Japanese dubs are the best. Homer the professor from Gatchaman, Marge Kouji's mom from Shin Mazinger. Or if you don't like that casting, the movie has Buzz Lightyear as Homer and the lady who sang Japanese Snake Eater as Marge.
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Jun 22, 2022 00:25
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My impression of MiA is that the author's probably cranking it constantly while drawing, and his tastes are so vile that the rest of us read it as masterful loss-of-innocence horror unless we stop to think or focus on single panels mixed in that only serve the horny. I really wish it had been prose rather than a comic, to avoid the obviously loving renderings of things that are great terrifying concepts in the mind's eye but he just couldn't help himself. I dropped it, but I get why people can just not notice that they're supposed to be enjoying seeing it rather than enjoying the catharsis of it going away, especially filtered through an adaption cutting down on the just-plain-skeevy poo poo that signposts that.Pener Kropoopkin posted:The market has a big pressure for pedo content because its consumer base is either actually adolescent or in suspended adolescence. Teens and lonely guys who don't have a family to spend their money on are some of the few people in Japanese society with a disposable income and the interest to spend it on anime merchandise. Teens are extremely horny and will go for any kind of sexualized content (within reason), so there's a massive pull towards catering to that demand. This, absolutely this, explicitly noted in number of internal planning docs I've seen. The logic for the standard raunch is "what if we make something like American Pie unrated, the horniest possible thing we can legally sell to high schoolers? It's not like they can go buy actual porn, they're a captive market." Mandoric has issued a correction as of 21:18 on Jul 10, 2022 |
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Jul 10, 2022 21:13
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I think it's part a function of the ennui that makes serialized mass media possible, to be honest. You buy the omnibus or turn on the TV at night because you're bored and don't know quite why, and the offerings which cater to "horny", "lonely", and "my life is rote bullshit there's gotta be something better" all at the same time are there for you no matter which you are, while a more focused story only hits if you had a particular kind of bad day. Then, for the other half of the revenue stream of getting people, especially teens, to go "I want a book only of this story"/"I want to (re)watch this rather than rely on broadcast schedules", it's very much parasocial/buying as a statement about who you are. Which is especially where sex selling comes in, you have something you can have on the shelf that your mom will just notice as "oh he likes sci-fi" or whatever, that your friends you have over will notice as "oh he has popular/deep tastes" and you can argue about at lunch, and that you yourself will go back to with a flashlight after bedtime. But maybe that's just my own hosed-up high school years talking.
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Jul 10, 2022 22:07
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Pener Kropoopkin posted:from what i understand its intent is to get girls interested in playing musical instruments, which is perfectly fine. it's a bit much to complain about its insipidity when you're not even the target audience. for teen girls who maybe have anxiety about performing there's a lot to chew on. There's also the side audience of "hey remember when YOU were anxious about whether you could hang in band", and the side-side audience of "hey remember when you were so anxious about hanging in band you did varsity ping pong instead", but... Yeah. Whatever the hell EOPs are doing with liking K-On, or most nonthreatening girl comedies in general, is like not even the third place intended target.
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Aug 1, 2022 03:22
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PerniciousKnid posted:For budget reasons you unfortunately only ever see Gundam up to its knees. You could film a really interesting Zeong fight like this. Or also a really boring one.
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Sep 7, 2022 22:33
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WrightOfWay posted:The key and only consistent identifier of what is a Gundam is if it is called a Gundam on the model kit box. Best, but not perfect. 
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Oct 18, 2022 21:22
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bitmap posted:luv 2 keep a lock of my handsome best friends hair in a locket around my neck at all times at least it isn't a Gundam 'amulet'
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Oct 20, 2022 03:05
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There are a bunch of factors, IMO. One is that the Japanese is done early enough in the process that tweaks for adlibs or particular deliveries can be done. Related, it's done early enough in the process that for deliveries, the fetish for veracity doesn't have anything else to latch onto; the Japanese actor may differ from what the scriptwriter imagined and only a few staff will know, while the English actor taking an approach differing from the Japanese actor will be immediately obvious. One is that anime voice acting developed earlier as a mass medium in Japan while melodramatic theatre died later, so the tics from lowbrow acting could just be carried forward without falling out of fashion and falling out of place. One is that there's a far bigger pool of cast to draw from. Japan's been stuck in nothing-matters you're never gonna own a house just get a job so mom and dad who did live through the good years and are sitting on huge amounts of baked-in economic advantage can't go "get a job or we're kicking you out" for 30-plus years, and voice acting there is one of the fields that will hire anyone while not quite being as soul-crushing as fast food--though, of course, that's because it's ruthless up-or-out where it's unionized but the union contract is focused almost entirely on higher and higher per-diem based off years of seniority. (Which also means an even bigger impetus to churn; when Pikachu earns a month of a seasonal heroine's wages for going "pikaaaa?" into the mic once, that also means that Ikue Otani isn't getting hired unless it's a big role where her name value can be PR like Morgana or a side role where she only has to be in the studio one day.) In the US it's historically been actors willing to work in Houston, and while that doesn't mean less talented people directly it means that you have to be dedicated to the form to be talented and stay in it rather than voicing auto insurance commercials in LA for more dosh. One is experience in direction. There's less of this as a default makework job of least resistance, but it's still subject to the regional pressure, and historically there just wasn't as much work being done to learn or experiment on. But the biggest one, IMO, is that Japanese "cringey" anime voice--and yes, it's a thing, to the point where some very talented actors and especially actresses have made it their style deliberately, with occasional issues like Youtube autoidentifying it as a child's voice and disabling comments and monetization--is a set of modifications to the Tokyo/standard accent, gain an octave here and add a nasal there, while English anime voice is also a set of modifications to the Tokyo accent of Japanese. Which also tends to be higher and more nasal than the Chicago/LA broadcast English to begin with, and makes it come off as absurdly overblown and unintentional rather than intentional self-parody.
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Feb 4, 2023 20:34
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Ahh, Nisioisin. 
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Feb 22, 2023 03:05
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I don't quite know how to feel here, was South Park guy waiting around for the toned-down official release or was he downloading the fansubs that didn't translate any of the jokes?
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Apr 29, 2023 03:36
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Whirling posted:what's the obsession with Demon Kings always being the antagonists for everything in Japan now? its the dullest antagonist you could possibly have since they're just going to be an always evil guy that can be killed with no remorse, and it seems like its not being contained to isekai slop like it should be. "demon king" is japanese for "antagonist" in some contexts, originally deriving from a buddhist phrase that acts much the same way as satan getting the epithet 'archenemy'. the association with western-style kings and western-style demons came later, with a big boost from it being the literal tl of tolkein's 'witch-king of angmar'.
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May 24, 2023 22:20
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Darth Walrus posted:While some of that's true, it's mainly just that the Japanese take on medieval European fantasy was heavily shaped by the Dragon Quest video game series, with most 'classic' isekai placing you in the role of the Hero (yes, with a capital H) of an off-brand Dragon Quest game. OTOH, DQ's 魔王 (casual usage) is a 竜王 (proper noun); if you want to find a canonically-titled 魔王 in 1985 Famicom hits you're instead looking straight at King Koopa, and if you want to find one in DQ you have to jump forward to 1988. Like, I'm not saying DQ isn't The Standard High Fantasy for Japanese readers, or that its various things aren't very influential (though at work I empirically see more D&D and FF?). Just pointing out that there's around 1200 years of cultural baggage pushing that toward being a placeholder name for "antagonist", and even DQ took a while to slip into taking it literally: Dragon Lord and High Priest before the Demon King->King of Demons->Demon King combo, of which only the King of Demons one is really what the implication in English is.
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May 24, 2023 23:04
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Kitfox88 posted:apparently the virtual insanity video has been a resilient meme source in japan for a long time, so maybe that's why? would certainly explain it being a p-bandai limited instead of a proper full release It was HEAVILY advertised on tweens-teens TV when it came out, I think? Like, it even ended up a minor US-side meme, kind of Morning Rescue 0.1, because you couldn't even watch a lovely 40 megabyte .rm episode of Kenshin where you could kind of make out the subs if there wasn't much motion onscreen without seeing that dude moonwalk in the cube hallway three times.
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Jun 16, 2023 07:55
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| # ¿ May 21, 2024 06:15 |
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Pener Kropoopkin posted:They ain't GoHands for nuthin But where are the other four?
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Jul 6, 2023 01:33
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