アニ・ノート

The Manabi Straight Special is a pure filler episode, wedged into the continuity somewhere between ep.6 and ep.7. I had a tiny hope that it would be some kind of a follow-up episode or a reunion, but alas, it did not happen. In the same time, over-sexualization a-la Kamichu ep.6 did not happen either. We just get a bunch of pretty pictures (there’s a ton of pan-over-still, too).

Since there’s no any great story such as in the main show, the Special underscores animation issues. The biggest one for me is that character designs in Manabi are not made to scale up. They are vectored in a computer, and the same model is used for all zoom levels. Therefore, close-ups tend to suffer. To illustrate, small and medium zoom shots vary from pretty decent to outright gorgeous:

Chest-up shots are so-so. Below, Mei is probably one of the better ones, because she has eyebrows. The gradient hair, pioneered by Manabi is in full force. Also, there’s a little overpaint on her right jaw (I think a dilligent animator tried to compensate):

However, this Momo really received a bad treatment. She came out completely flat-faced:

Notably, the main show is generally better with working around the design. Here’s an example of Mikan from ep.5. The incomplete confining line on her jaw was a very nice touch, although some kind of two-tone shade would be welcome too. The cheek color serves to break the large flat area.

And of course it gets pretty good above the nose level… Which is where real close-ups tend to concentrate.

I don’t regret getting the DVD, but on the other hand it could be much more if only the creators wanted. I do not recommend getting it unless you’re already a die-hard fan. The main show is highly recommended instead.

The raw of Manabi OVA hit Tokyo Toshokan yesterday, and it occured to me that, thanks to Amazon.co.jp, I saw it before raw watchers did. Money well spent (I include the tuition for Japanese classes here too, so it was more than just $50).

Seen at Subculture:

This OVA takes place some time before the major school festival in the anime series. Oh, how I missed all of the Manabi girls. Being the slice of life fan I am, Manabi Straight has been one of my favorite anime since its airing earlier this year.

It probably could stand reminding that Manabi Straight is not a “slice of life”: it is driven by a strong plot. However, the OVA is. It’s the only filler episode in the series, basically.

The border is somewhat fuzzy. For example, Kamichu has a story too, only it hides most of the time and lets slice-of-life to come to the forefront (e.g. ep.12 in DVD count). Therefore, Kamichu is slice-of-life or primarily slice-of-life. But Manabi isn’t.

BigN finally posted a report on Hidamari Sketch, which he completed, unlike myself. It’s pretty interesting, although I think he sort of bent Manabi for the purposes of compare-and-contrast.

If I can say that Manabi Straight was about the beginnings and growth of friendships and what happens before, during and after the process of moving of, then Hidamari Sketch is about the fun times being had when those friendships are already in the growing stage and the future is nothing more than a passing glance.

I think it might be said with equal validity that Manabi is about politics, about leadership, or teamwork too. But this will do. Also, RTWT.

Busy as I am, I cannot pass it when someone talks Manabi Straight. Today, it’s Suguru of Dame-dame.

(Exhibit A: Yoakena’s Cabbage of Doom)

My God, people, give it a rest already. The cabbage/cantelope wasn’t that bad. Sure, there was a lot of crap in Crescent Love’s animation (especially the appalling density of defects), but for the life of me I cannot see why everyone is hung upon the goddamn vegefruit.

I’d say even for my top ten anime series of all time, Manabi would still make the cut.

Indeed. Actually makes top 3 in my list.

The gradient hair was actually pretty cool-looking once I got used to it, and the characters’ expressions were done particularly well, which makes a huge difference both in the funny and dramatic parts. If you don’t believe me, watch episode 3 of the TV broadcast of Yoakena–when the character’s expressions are drawn so badly you can’t tell if someone’s embarrassed, angry, surprised, or constipated it really takes a lot of enjoyment out of watching the show.

I ROFLed. But I think I’m detecting Suguru’s favourite punching bag. Frankly, I was disappointed too, but you know… Anyway, back to Manabi.

But my biggest complaint is–it’s 4:3. Seriously, what other anime is in a 4:3 aspect ratio and not 16:9 widescreen these days?

This surprised me too. And the DVDs are 4:3 as well.

Overall, [...] to sum it up, it’s a story of a group of girls who become best friends, work together for a common goal, and get a first taste of the politics and challenges of adulthood. It’s the anime series you’d have students at Otaku business schools watch to learn about leadership.

Tru dat. Although, personally, I hate all things political and I wish there was an anime with Manabi level of storytelling, only about something… else. To make it worse for me, the way “leadership” is promoted in American schools is truly disgusting. Not to detract anything from Manabi, of course, it’s just my personal hangups.

It’s got a winning combination of heart, comedy, and drama. I’m sure there are some that will find Manabi a little overly dramatic, like the scene where Manabi signs the school song surrounded by imaginary sakura, or Mei floats into the student council room in spirit as the team works on the presentation. Maybe it is over-the-top, but for me somehow it really just works.

Some of it was a bit overdone, I agree, but the wind and Manami’s visions just knocked my socks off.

Takako’s, too. It was worth the price of admission.

Kabitzin (and Ender) interviewed me yesterday. I am flattered. The Sea Slugs were on my reading list for a long time. Also they spared no effort to gather all those links (I sent several, but not all).

UPDATE: Regarding BigN’s puzzlement, I’m pretty certain that I found his blog while looking for posts about Manabi. I am a big fan of that show, so I would read just about any bloggage about it.

By the way, for a long while I evaluated all anime blogs by reading what they had to say about Azumanga. If they didn’t have anything, I would move on to next blog. These days it’s Azumanga, Haibane, and Manabi for a good balance. But if you cracked the Azumanga code, it’s a good sign that you understand anime.

HH Hashi rolls out her year-end summary, and opens it with:

Another great year. Maybe not as great as 2006, which produced three classics: Simoun, NANA, and Suzumiya Haruhi no Yuuutsu. But 2007 was full of interesting shows.

What can I say. “Thanks for the warning” would be most appropriate, I guess, and then of course tastes differ.

That said, here are a few highlights:

ef ~a tale of memories~ was a complete surprise. The preview made me fear that the voice actors — who came over from the game — might not be up to the task. How wrong I was. This show is true art, made by Shinbou Akiyuki’s protege Oonuma Shin from an ero-game by minori.

Once again, many animephiles were put off by the show’s style. Its visual complexity seemed pointless and confusing. In fact, every one of those odd angles and strange palettes has an emotional purpose. This show is great romantic melodrama, underpinned by powerful music from Tenmon, who does background music for Shinkai Makoto’s work (e.g., Byousoku 5cm). The interwoven romances are fascinating, and the characters really have individual character.

How true. I was fortunate to come into ef cold, and so I am here to tell everyone that Natsumi Yanase’s work is top notch. She adds more meaning beyond reading the script and I appreciate that.

It’s a little early for final judgments, and Blue Drop and ef could yet end badly, but I have come to trust the people making them, and I don’t think that will happen.

Same here. I saw enough shows screwed by their endings, too. But the above sounds encouraging indeed.

Manabi Straight — Here’s another show that I loved at first, but that seemed to dry up as it went along. The emotional bonding of Nonaka Ai and Hirano Aya’s charcters in episode 4 made that one of the year’s outstanding episodes for me. The animation was sharp, bright, and attractive.

We can see that the first paragraph warning was not pro forma only. I thought that Manabi suffered from a poor start (relatively speaking, of course; it is one of only three series ranked “Masterpiece” on my ANN list, and it what is poor for Manabi may be outstanding for Stellvia level show).

Dennou Coil — Outstanding animation from Madhouse, and every so often an episode stands out, but in general I don’t find the show very interesting. The seiyuu cast is stunning, particularly with Kuwashima Houko and Paku Romi (as in Claymore).

Fair enough and tastes differ again.

Sketchbook ~full Color’S~ — I love some episodes of this gentle slice-of-life comedy, but sometimes a pall of sameness seems to descend. Being fairly calm already, perhaps I don’t need further calming. However, Hanazawa Kana’s moeness is off the scale at all times.

Ouch, pall of sameness. My word, she is brutal.

Minami-ke — I didn’t really get the first episode. I thought it was too imitative of Ichigo Mashimaro, especially with Inoue Marina’s wholesale theft of Orikasa Fumiko’s Miu voice. But since then, the show has grown and grown.

Was I too quick to drop?

But since then, the show has grown and grown. Inoue-san, Chihara Minori, and Satou Rina are doing very well. There are a couple of LOL moments in every episode. And now we have warm, humane, rather loony versions of both the trap and the reverse trap.

I guess not, maybe even not soon enough. Interesting choice of words though.

The review ends with a panegiric to 5cm, but not very quotable. I haven’t seen the movie anyway, and do not plan on it.

Old news, but still: Kinokuniya in San Francisco expanded into the 1st floor. There is a stairway between levels inside the store. They moved all manga down. Manga sales may be declining in Japan, but we are behind the curve.

When I went there, they had figurines of Mucchi and Mikan. I have to say, I heard their call, but I’m too strong even for them. There is only one who could sway me.

I’m on the road without anime (not counting YouTube). Meanwhile, Sixten presented me a little Manabi:

It’s such a good call. I would not say no to Chihiro Shinbo, but for me personally anime of the year 2007 is Manabi Straight, not ef. Thanks, Sixten!

Daniel continues to reflect upon politics in Manabi. Many Western viewers latch on analogies with the 1923 Beer Putsch and Hitler’s famous speech, even though they know that the swastika is reversed. Daniel uses the Great Leap forward instead:

Regardless of whether or not that reference was intended, the scene as a whole isn’t a bad comment on the Great Leap Forward: like Manabi’s plan to rearrange the furniture, it was an unhelpful misdirection of effort (to put it very mildly). Thankfully, Manabi’s plan isn’t put into action, though it plays a part in making Mikan cry; if we adopt the slogan of another story closely related to Manabi Straight in genre, ‘Cute Is Justice’, as a moral statement (and when in Manabi Straight is anyone cute ever really in the wrong?), then making Mikan cry is obviously some kind of ultimate injustice.

You’ll note that once Mikan starts crying the others, convicted of their guilt, return to work.

The sharp and overt politics of Manabi Straight set the series apart from other moeblob shows. The intense conflict allows to highlight the characters the way pastel colors of Azumanga were incapable of doing.