A good chunk of the ReLIFE EDs have been covered by Goose House

relife / goose house
is a fascinating series for a number of reasons. For the uninitiated, it started off as a webcomic by author Yayoiso telling the story of an unemployed 27-year-old given a second chance at a more fulfilling life by entering the ReLIFE program where he’s turned back into a teen to re-live his final year at high school. And if that wasn’t enough of a pull for you, crunchyroll has mirrored its Japanese streaming counterparts and has released the entirety of the anime adaptation Netflix-style for any and all people prone to binge-watching over weekly-viewing.

I’m a bit behind on the anime version myself, but I did notice that episode 2’s Ending Theme had been previously covered by Japanese group Goose House, known for the second Ending Theme in the Silver Spoon anime, and the first Opening Theme in the Your Lie in April anime. Curious, I figured I’d check ReLIFE‘s full list of endings and found that 1) holycrap, there’s a different ED for all 13 episodes, and 2) a whopping 8 of those 13 songs have been covered by Goose House at one point or another, some of which date from back when the group went by “playyouhouse.”

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Correlation Between Modern Manga Writing and Short-Episode-Count Anime

Anime adaptations of manga are nothing new. Checking upcoming anime every season, there’s always an interest in discussing what manga is deserving of an adaptation. That said, while interests in different subgenres continue to crop up among modern anime, episode counts are continuing to drop. Long gone are the days when 50-100+ episode anime was the norm. Now more than ever, anime episode count is dwindling, and it’s been affecting manga-ka in an unexpected way, having them take different approaches when it comes to writing their stories in hopes of nabbing that sought-after anime adaptation.

Comparing modern anime with their manga counterparts, it’s clear that the source material is adjusting to comfortably fit the 13-26 episode count. Take “Your Lie in April”—an 11-volume manga adapted into a 22-episode anime. Even in “Onepunch-Man,” the first 7 manga volumes were adapted into a mere 12 episodes. And while the latter example was due to the removal of side-stories, the fact remains that both anime series still feel complete on their own; instead of cramming in the story for the sake of a shorter episode count, the source material seems to slip right in when making the jump from print to TV.

But why is this? What defines modern manga-ka writing and how does it present itself in a way that makes adaptation so seamless? In the case of “Onepunch-Man,” the manga has become well-known for its drawn-out, atmospheric scenes. Scenes depicting space only to slowly zoom in on a busy cityscape on Earth are expressed in such a manner that while long, never feel unsatisfactory because authors One and Murata relish in the fact.

not breaking bad
A similar approach is taken with Hiroya Oku’s “Inuyashiki,” with its extended moments drawn over the course of multiple pages. Fight scenes last for chapters at a time, when in-world only a few seconds passed. It is as if the authors themselves are making a conscious decision to create scenes that are both visually appealing and can only translate to a few minutes (if that) of screen time to better fit into a short-episode run.

Taking a less literal approach, plenty modern manga are also focusing more on characters’ internal strife—having the majority of character development via internal monologues and lengthy dialogue exchanges. This makes the source material that much more malleable, allowing wiggle-room for the anime adaptation to take liberties without sacrificing anything imperative to the plot. This isn’t to say that all dialogue translates to extraneous dribble. Rather, why say when you can show? Yes, anime is still infamous for lengthy internal monologues for melodrama, but animated adaptations also allow for more visuals and color to aid and even replace bouts of expositional dialogue.

angst is angsty
With “Your Lie in April,” Arima Kousei is a pianist struggling to find joy in music. And while his sulky narration says as much, it is better embellished upon through the anime’s capabilities. Muted colors accompanying his dreariness, and filtered piano keys playing during his performances build upon what the manga can only hint at in its limited medium of static pictures and words. It is in this difference between the two mediums that anime is able to take from its source material the essence behind character-centric stories, and portray their strife at an efficient, faithful pacing. No longer are filler arcs used as crutches because the flow of the story and dialogue allows for the pacing to be squashed and stretched as the anime sees fit while still maintaining overall quality.

A final aspect to consider is the consumers themselves. We’ve left the era where VHS releases stagnate our media consumption. With streaming services, manga-ka have to consider binge-watchers’ mindsets. Yes, anime are still limited to airing one episode per week, but there do exist fans that will wait for all episodes to come out for better marathoning—short series that do more than tread water between episodes being the most worthwhile for these viewers. The dawn of the internet has also made the turnover rate for seeing the success of a show much more immediate. Rather than focusing on building a long-term franchise, series that burn brightly during the short time they have aired are considered just as successful. It’s in this sense of immediacy that the creative teams behind manga and in turn their anime adaptations are affected, approaching their creative ventures with these factors in mind.

even moar wanpawnnnnch
The world is constantly changing, and the media you consume are no exception. With more means of entertainment vying for our attention than ever, it makes sense for authors to respond accordingly, taking new approaches in writing their manga in hopes of receiving that coveted anime adaptation. Or perhaps the two act in a more symbiotic relationship, with one influencing the other in this giant cycle of cause and effect.

Gabe Finally Watches: Nana

Nana tells the story of two 20-year-olds named Nana that have a chance encounter on a train to Tokyo—probably the most American-style setup for a josei I’ve ever seen. And the Western influence doesn’t stop there. From the apartment the two end up sharing, to the burger/bar the girlier Nana frequents, nearly everything about the series makes a point of distancing itself as far from your typical Japanese dramas as possible.
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Tiffany’s “I Just Wanna Dance” Mini Album Review

You know when you check out an artist’s album because their single was good, only to realize the rest of the album sounds nothing like the single? That’s what Tiffany’s debut album I Just Wanna Dance is, except in this case the bulk of the songs are far better than the titular song.

tiffany I just wanna dance album Read more of this post

#Pick #A #Side–Captain America: Civil War Review

Captain America: Civil War is a thematically confused mess of a movie.

Ok, maybe that was coming off a bit harsh. As many gripes as I had with the movie, the things it did well were enjoyable. Newcomers Spider-Man and Black Panther felt comfortably familiar to the series and were able to be of oddly large amount of use to the movie’s plot. The big superhero fight the title alludes to was stupid yet gratifying to watch (seeing Spider-Man piggyback off War Machine was just one of its many highlights). And on the whole it made me excited for the future of Marvel’s movies rather than anxious over the burnout that you’d expect come thirteen of these movies over the course of 8 years.

That said, there was plenty wrong with Civil War, too.

civil war title
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Digimon Tri Episodes 1-4: Twittered

Digimon 00
I think we all know the lyric should be “ON MY LOVE.”

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3 Things I Liked in the Live-Action Attack on Titan Movie

Was the live-action Attack on Titan movie bad? No. Would I watch the live-action Attack on Titan movie again? No.

(insert "they wasted all their budget on trailer-specific scenes" joke here
Now that that’s out of the way, here’s three movie-only details that were pretty enjoyable: Read more of this post

Gabe finally Watches: Michiko and Hatchin

So Toonami recently started airing Michiko and Hatchin, which I’ve used as an excuse to finally watch the series in its entirety myself.

michikoehatchin title card Read more of this post

A Response to People that Don’t Like Cards Against Humanity

I woke up this morning surprised to find my twitter feed slowly but surely spreading this article speaking in-depth about how people actually go as far as despise the game of Cards Against Humanity.

To reply by simply saying “it’s just a game” would be irresponsible and avoiding the problems brought up by the people that well… have a problem with the game.

Cards Against Humanity isn’t an ice-breaker to play with people you don’t know. At least that’s not how I’ve ever played it. You play it amongst friends you know well and play your cards keeping in mind who the judge for the current round is. Yes, you are pandering to what that particular person finds funny (in an ironic way or not), but in that regard it’s more than a “shut your brain off and go” game. It does in fact require some sense of strategy by not just thinking “what’s the best LOL TEH RANDUMB” thing or most racially/sexually/tumblr-enraging thing. You play your cards based on the person currently judging.

And for people that have created their actual grown-up livelihood around comedy, I can see why that would upset them. The entire idea of pandering is never seen in a positive light. People love to hate shows like Big Bang Theory because it tries too hard to pander for an audience without the TLC required for said audience to actually *like* what’s being attempted to be shoved down their throats. But that’s pandering to a broad audience. Let me reiterate: Cards Against Humanity is something to be played amongst a small circle of friends that are fully aware of just how ridiculous the concept is. It’s the difference between telling a silly one-liner to a friend and taking that said one-liner and attempting to get a publishing deal based solely around it.

But wait, what about all the offensive choices you’re given and clearly encouraged to play? Choices mocking certain races or religions or sexual-orientations or disabilities, etc. etc.

Again, this has to do with the certain group of people you’re playing with. As a Filipino twenty-something, my small circle of friends are of similar backgrounds and during the handful of times we get together to play Cards Against Humanity, the inappropriateness of the game is all in good fun. None of us are actually involved in things like casual racism or the like–it’s simply the nature of the game. The “jokes” played during each round are laughed at not due to how genuine they are, but because of how downright ridiculous they’ve become within the small timespan of each round.

That is not to say that there doesn’t exist a breed of people that partake in said game, partake in a round and laugh at the cards played in a serious “I’m laughing at the subjects being mocked rather than the ludicrousness of the situation” manner. These people are idiots with too few brain cells to look past the face value of something and realize a different level of humor is at play. Said people will always exist regardless of whether or not Cards Against Humanity was ever made. The existence of Cards Against Humanity does not “breed” insufferable-ness. Rather, it better categorizes what kind of person you are based on just what exactly it is you’re laughing at.

So is Cards Against Humanity hurtful? It can be. So can kitchen knives. But for the most part, people just use those to cut fruit. Only the true whackadoos actually use it in an intentionally hurtful manner and yet for some reason those are the people that we like to focus on and create this entirely different image on the product at hand because of such.

Spoiler-Free Review: The Amazing Spider-Man 2

As ultimately forgettable as the first Amazing Spider-Man movie was, I do appreciate the fact that it stuck closely to certain aspects of the main Spidey universe. Peter Parker tinkering away in his basement working on things besides flashy spider-themed spandex, mechanical web-shooters, Gwen Stacy in all her thigh-high-wardrobey-goodness (I actually don’t know how canon that is, but it does fit her character at least aesthetically)… Sure it had its problems, but as a whole, it was inoffensive and certainly wasn’t a disaster.

My opinion remains with its sequel.

ASM2 poster Read more of this post


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