So far, the Persona 5 anime has been about what you’d expect from an anime adaptation of a video game, which is to say that it’s not very good. This is kind of a shame since the series director, Masashi Ishihama, has quite a reputation for directing stylistically interesting anime (From the New World, Garakowa: Restore the World). At first glance, he seemed like the perfect guy for a Persona 5 adaptation, given that the game oozes with style despite its PS3-era graphics.
It’s not that Ishihama’s involvement hasn’t done good for the P5 anime. The OP and the first episode, which Ishihama storyboarded and directed himself, are easily the most stylish parts of the anime so far. But the rest of the anime hasn’t lived up to those standards at all. The all-out attack animations look like they’re missing key frames and overall the show just looks flat.
But I don’t want to dwell on the bad stuff. Episode 5 is the best episode since the first one; it gives a glimpse of what other people besides Ishihama envision for the anime. That doesn’t mean that I like or agree with all the directorial choices, but it’s definitely the most interesting the anime has been in a while. So let’s take a closer look at Tatsuma Minamikawa’s storyboards for episode 5.
It’s finally out!
I spent over 100 hours last month playing Persona 5 and I regret nothing.
Isekai Izakaya is less of an anime and more of animated infomercial – and a good part of it isn’t even animated. For better or worse, though, that live-action cooking show segment at the end of the episode was probably the most entertaining thing about it, if only because the chef’s enthusiasm looked more authentic than any of the reactions shown in the anime itself.
I’m thrilled to announce that Mari Okada’s biography From Truant to Anime Screenwriter: My Path to “Anohana” and “The Anthem of the Heart” will be getting an English e-book release on May 4, published by J-Novel Club. You can read a free preview of the book’s prologue at J-Novel Club’s website, and you can pre-order the book from Amazon here.
If you’re a subscriber to J-Novel Club and you pre-order the premium ebook, you’ll enter the draw to win a shikishi signed by Mari Okada herself.
I’m biased – I’m keen on promoting this book because I translated it myself. Hopefully if this sort of book sells well, it could pave the way for more English translations of books about anime creators. So if this sort of thing interests you, please do buy the book!
Moving house is a pain in the butt. This is true no matter which country you’re in. This month, I moved house to west Tokyo. I really like where I’m living now because I’m within cycling distance of most of the anime studios in Tokyo. But moving to a new house was actually way more stressful for me than moving to Japan in the first place, mainly because it was my first time going through a Japanese real estate agent, buying my own furniture and setting up gas and electricity and whatnot. So in a way, this past month has felt like I’m finally moving into Japan for real.
I also happened to meet my fellow ANN Tokyo Correspondent for the first time last January, and this was the first month where we ate out together after going to an assignment. Since ANN is an international organisation where most of its members work remotely, I don’t often experience that feeling of socialising with my colleagues. My life has been all over the place in these past few months, but now I’m starting to feel like I’m settling into my job. It’s a nice feeling.
At the same time, I think it’s time for a change.
People like to complain about journalists a lot. Readers routinely vent their frustration at Anime News Network for whatever reason. For example, the latest This Week in Anime column had a vocal minority of people accusing the website for being “insulting and derogatory” because the writers used the word “heteronormative” in an opinion piece.
Of course, there is more to ethics in journalism than picking the “right” side in the culture wars. So I would like to dedicate today’s blog post to some of the ethical concerns I deal with as an anime journalist on a day to day basis.
Any opinions expressed here are my own and don’t reflect the stance of Anime News Network or Crunchyroll.
I mentioned in my The Ryuo’s Work is Never Done! blog post that I liked Bookwalker Global’s other exclusive light novel release: The Combat Baker and Automaton Waitress. Now that I’ve finally gotten around to reading volume 2, I figure I should write a post explaining why I like it.
Put simply, I’m a fan of the setting of The Combat Baker. It is a postwar story about a former soldier who takes on a mundane-sounding job in a fantasy European setting. I guess in that broad sense it is like Violet Evergarden, although the tone of the story is very, very different. The Combat Baker also puts a heavy focus on the political backdrop of its postwar setting, as well as how that affects people in a rural town. I quickly found myself sucked into this world that SOW had created.
As cute and fluffy as the cover images make it look, there are some disquieting elements to the setting of The Combat Baker beneath the surface. Thanks to the presence of fantasy technology, it is difficult to pinpoint the exact time period it’s based off, but the general “mood” of the story makes me think it’s around World War I. The victor of this fictional war is a country named Wiltia, whose citizens have Germanic names and whose physical appearances are defined by their blonde hair and blue eyes.
So, obviously, fantasy Germany won the war and annexed an entire continent.
Haoliners is the name of a Chinese animation company that partners with Japanese studios to create shows that air in both China and Japan. I’ve written about them before, where I noted that a lot of their shows aren’t actually made at the same studio. This is not a surprise when you consider that they’ve produced over 10 shows for Japanese TV since opening their Tokyo studio in late 2015. No fledgling studio can lead that many productions straight off the bat.
So where are Haoliners shows actually being animated? Haoliners has studios in China, South Korea and Japan. If you look carefully at the credits, however, each show has involved a great deal of outsourcing. I’ll briefly note down the lead production studio in each case. (I’ll just be focusing on the shows that had an English release here.)