Around the summer, I usually start to think about my year-end blogging and after last year’s low-effort post, I thought about posting for real again, since there were quite a few good anime this year that I wanted to talk about. That list remains unfinished.


It’s said that when a big event occurs, you’ll remember where you were when you heard about it with crystal clarity. As chance would have it, being halfway around the world in Eastern Slovakia adds a particular sharpness to my memories of when I woke up and read about the fire at Kyoto Animation.

That day was particularly abnormal. It started off as normal as it could being in Slovakia, by spending the morning in a lecture hall. But we were scheduled to go elsewhere in the afternoon. So I spent the day refreshing twitter on the bus until we were deep in the mountains with no 4G access. I spent some time inside a rare cave.


In a lot of ways, I’m thankful that my circumstances meant that I couldn’t dwell on the news for as much as I would have if I were back home and at work, alone in my office. Since I was at a conference, I had work to do, colleagues to interact with, and caves to explore. And I wouldn’t have to go home to my apartment and deal with being surrounded with haruchan goods. I wouldn’t say it was fun, but I appreciated the greater need to focus.

Once I got back home, since I was in the middle of a teaching term and organizing a move, I was able to keep myself occupied.


I was taking a Hibiya Line train recently and I noticed that they were doing a year-end big news reel on the screens. When I glanced, I noticed the guy holding up the 令和 sign. They were on April. I refreshed twitter a few times and glanced up again. They were on July now. It was a picture of Studio 1 on fire.


Death is a natural occurrence in our world. Unexpected death, whether it’s an accident or through illness, is something that we all learn to accept to some degree. We can deal with the cycle of celebrities or public figures or people we like who pass away suddenly. It is completely different to learn that people we care about are victims of an atrocity.


My office was in a building that is eccentric and annoying in its design. One of these features is multiple unnecessarily long, straight staircases. Going up two of these is really annoying. A lesser known feature is the fire escape stairwells, where the stairs are more reasonably sized and compact, curving around as stairwells normally do. I made use of these stairwells a lot because they were far more efficient.

I didn’t stop using them after the fire, but opening the door to those staircases would always lead my mind back to the early hours of the incident, when news was slowly coming out.


I avoid googling KyoAni staff members nowadays. Sometimes, the @highspeedbot will continue its dutiful tweeting and mention the artist of a particular illustration. More often than not, it’s actually an Animation Do staff member. A lot of the times it’s Futoshi Nishiya.

In the weeks after the tragedy, I was flipping through my High Speed books. Going through the Creator’s Message book, I ran across some names I recognized, some who had passed, some still alive, and some I didn’t recognize.

I remember the first time I googled a staff member to pull up their Wikipedia or ANN or atwiki page to see what they worked on, but I don’t remember for what reason. I clicked on their ANN page. It had a date of death. This person was not one of the names that KyoAni had given permission to be released.

I still don’t know the names of everyone who passed away. I am afraid of finding out. Some people out there know who they are. I may find out later that another of my favourite animators has passed away. I have no idea when that will be.


When I was at an anime bar in Sapporo a few years ago, I got asked what my favourite anime was. I said imas because I didn’t want (or had the language capability) to explain why I liked High Speed or Hyouka specifically.

When I was at a bar in Tokyo last week, I got asked what my favourite anime was. I said imas because I didn’t want to have to think about how to talk about the fire.


It is maddening to me that High Speed is never given the same respect as the other works, no matter how they’re grouped: films, Takemoto’s work, the Free series. I think it’s extremely important because it’s the only work that shows how Takemoto thinks about and portrays boys. It’s because of High Speed (and Hyouka to some extent) that I view a lot of the things I like through the Takemoto lens.


Umibe no Étranger was a manga that I did not ever expect would receive an anime adaptation. I was thrilled when I saw the first rumours emerging online a few hours before the actual announcement. The feeling quickly subsided. I had always joked with @pen_dag that we should send Umibe no Étranger and Harukaze no Étranger to Takemoto to get him to pitch it to KyoAni because it was perfect for him.


After Hoshiai no Sora ended abruptly, the director, Kazuki Akane, made a twitter thread explaining that the production committee had halved the number of allotted episodes just months before airing. To me, it’s another obvious case of the iron rule of never respecting shows about boys. This could never have happened at KyoAni.


It’s difficult for me to think about the future of KyoAni and say wholeheartedly that I’ll always support them because if I were to be honest, I don’t know if I can. We all have a hole blown open in our hearts and we’re all wishing the best for KyoAni. But it feels impossible for me to ever fall in love with another one of their works at this point without Takemoto.

In recent years, Takemoto’s stuff has felt like a different track from what we now tend to think of as the modern KyoAni: Eupho, Violet Evergarden, Free, Naoko Yamada. This was fine, because Takemoto was always around to do his own thing. Until now, he suddenly isn’t. And now there’s this disconnect between what I’ll refer to as my KyoAni and everyone else’s KyoAni.

KyoAni will move forward and the vision and values and legacy of KyoAni will continue and more great KyoAni works will get made. I’m sure of this. But the specific voice that Takemoto spoke with, the one that moved me the most, won’t be a part of that. I don’t know if many people will notice it, but that conspicuous silence will always be present to me.

12 Days of Low Effort Posting

For the first time, I’ve been too busy to hammer out even twelve posts this year. I’d been thinking about how I should start writing some posts and it was already mid-December. Since I usually have a good chunk of them done by like July, this wasn’t going to work and I’d wanted to get some stuff out for 2017 too since I copped out and wrote all about THE IDOLM@STER SideM. So what you’ll get is two quick and dirty lists before the year ends. Productivity!

12 Days of the Year 2017

  1. THE IDOLM@STER SideM. I wrote a lot about SideM last year already. An entire twelve posts!
  2. High Speed! the movie. I got mad at everyone.
  3. Free! Timeless Medley ~Kizuna~. The best part of the movie was the five minute makoharu montage opening the movie. Otherwise, it was a decent edit of the second season with questionable attempts to tie in the events of High Speed. This turned out to be the last part of the Free series that I’d watch, as later on my desire to reconcile my feelings on High Speed with whatever they’d torque out of a new TV series eventually dropped to zero.
  4. KING OF PRISM -PRIDE the HERO-. I saw this on opening day when I was in Sapporo for the SideM Greeting Tour. Possibly the wildest ride I’ve experienced in a Japanese theatre.
  5. Starmyu. I liked the first season well enough, but it was the second season that really got me into this series. The haruchan helped, but in a lot of ways, the second season really took the story to where it was hinting at in the first season and finished things off.
  6. Granblue Fantasy. When I first played Granblue, it was before the English translation was made available, so I had no idea what happened in the first part of the story. Luckily, the anime was here to help. Shoutout to those who appreciate Grankyun and a big fuck you to the Gran disrespecters.
  7. Your Name. I travelled back to Toronto for this one. My impression at the time was that it was just the right amount of Makoto Shinkai-ism for mainstream success. The old Shinkai would’ve ended the movie two to five minutes earlier than it actually does. For all the ribbing that the movie gets, it did give me a sense of nostalgia during the travel to Hida-Takayama section, particularly the Nagoya station transfer. I want to go to Takayama again.
  8. Tsukigakirei. There’s something about setting a light love story anime in middle school that makes it more interesting than high school. The dynamics are just different enough from the usual plethora of high school stuff that it makes it nice and refreshing. Or maybe it has more to do with the admitted influences of Tamako Love Story? Chibasho was very good in this too.
  9. ACCA. A very stylish anime that combines good-looking bread with meditations on federalism. Being a bureaucrat who flies around the country eating and inspecting things sounds like a good life.
  10. Tsukipro. Just like with the Tsukiuta anime, I was really excited to finally learn what is up with Tsukipro via the convenience of anime. Unfortunately, the production is lacking, to be nice about it. I was destined to be a Growth fan, but the QUELL twins played by Shugon and Nogamin made a strong showing (also it helped that they were twins).
  11. Marginal#4. In the aftermath of all varieties of male idol properties flowing out of a carelessly opened portal, Marginal#4 had the unfortunate combination of being around too early to ride the wave but too late to really get established and dig its feet in. It’s too bad, because I felt the anime hit all the right notes and also had good twins.
  12. Splash!7. I had the chance to go to the Free and High Speed-only event, which turned out to be co-hosted with a bunch of other events at the Big Sight as is typical. I think I like the atmosphere and logistics of smaller events more than Comiket, although I can’t deny the appeal of The Big Event. It was nice and more than at Comiket, I really enjoyed the small interactions with artists that are possible, like the artist who noticed my haruchan coin pouch as I tried to pay for a bunch of haruchan shit.

12 Days of the Year 2018

  1. Today’s Menu for EMIYA Family. I think I’ve grown into the phase of Type-Moon where my favourite parts of it are the soft, non-serious parts of it, which is a revelation I’ve settled into after seeing Heaven’s Feel I at the beginning of the year. Today’s Menu for EMIYA Family delivers this by the truckload as well as very delicious meals, just some very goddamned good looking food and cooking. If only Kogil were in it too.
  2. IDOLiSH7. A common theme with these male idol things is waiting for the anime to tell me about them because I can’t be assed to work through the Japanese in 90% of these mobage. Of all the non-SideM variants of these, it was i7 that I was most excited for. The thing that set i7 apart from its contemporaries (at that point in time) was the focus on a core group of characters and not structuring the entire thing like an otome game. The result is a tight cast that you can easily get a good feel for and a single narrative (this is not a given with how many mobage work). Stan Kujo Tenn.
  3. POP TEAM EPIC. This is one of those things that should be unadaptable to anime, but the madmen did it and it worked.
  4. Sanrio Danshi. After a long life as a twitter account, the show itself was surprising for going places where you wouldn’t expect a glorified brand commercial to go, much less seeing a Sanrio show lead us on an examination of masculinity. The buzz surrounding the show was almost predictably shallow, with people falling over themselves to praise the first episode for said examination of masculinity and then promptly never picking up another episode.
  5. Gakuen Babysitters. This is another great show for tackling questions of masculinity, though not as directly. It’s more a heartwarming show about family and dealing with loss. Of course, the fact that the principal characters are boys meant that the show got slept the fuck on.
  6. Kiss Him, Not Me. The premise for this one is extremely questionable but in spite of this, this manages to have one of the most satisfying shoujo reverse-harem resolutions I’ve ever seen. Since I don’t give a shit about spoilers: it’s not the cool first boy or his cool second boy rival that wins, but the real best boy, and he wins precisely by not being the terrible typical shoujo manga love interest shit.
  7. Inazuma Eleven: Ares no Tenbin. I was quite skeptical about the whole “rebooting” thing and I’m still not entirely sure what to make of it, but it may have been worth it for Nosakakyun.
  8. Aikatsu Series 5th Festival. I went to an Aikatsu live on a whim and it invoked emotions in me about Aikatsu that I did not know I had. The highlight of this was definitely being woken the fuck up by M4 followed by Tosshi.
  9. Shinkansen Henkei Robo Shinkalion. Shinkalion is a children’s anime about boys and Hatsune Miku driving Shinkansen trains which are actually mecha, partially funded by JR East. As we all know, I love Japanese trains and so does the main character of this show. This show worked on me and I ended up going to the railway museum in Omiya and travelling around Tohoku and South Hokkaido on a bunch of different trains (I rode the E5, E6, and E3).
  10. Sword Art Online: Alicization. What a difference six years makes. It’s not SAO that changed, it’s me. Okay, maybe SAO changed a little because how else can you explain Eugeokyun?
  11. Tsurune. I wish Takemoto was on this or at least that I could guarantee that he’d be working on something similar, but I can’t argue with the show that we got out of Yamamura. Just let Takemoto call a boy cute, this is all I ask.
  12. Mirai no Mirai. I had some warning that Mirai was not going to be what you would typically expect, which was an adventure of the grown up little sister dealing with her kid older brother who time travelled or something like that. I definitely like its current format of multiple vignettes more than the thing we assumed it was going to be. I do understand that this isn’t the popular take on this movie, but I totally can see why most people would not like it. Me, on the other hand, I’m just glad we didn’t have to deal with the sister dealing with a kid for the entire movie.

12 D@ys XII: さぁ、行こう!選んだ道の先へ

Look, SideM isn’t going to get an anime. It hasn’t even been three years yet. Let’s just chill. Look at Million Live, it’s been four years and they haven’t had an anime yet, but it’s successful and continues to grow and they’re even at Budokan this year. Getting an anime isn’t the only marker of success. I’m sure SideM will get there eventually, but there’s a lot of other stuff to look forward to in the meantime.

Holy shit SideM got an anime.

I’ve always been resistant to putting all of my hopes for SideM into getting an anime. Part of it is because the timeline didn’t necessarily work out in my mind based on CG and ML. But a bigger reason is that while it’s obviously a huge deal for a series to get an anime, it wasn’t clear to me what was supposed to come next. Like, the series gets an explosion of growth and popularity after one or two years and then… what? Not that it matters anymore because it happened.

I remember that day, when I was unfortunately not at Makuhari, but in bed, just having woken up and catching up on tweets just in time to see the news and @imas_anime putting up the reaction video.

There are a lot of angles to explore when it comes to the SideM anime we got. In particular, one can ask a lot of questions about the production circumstances and the timeline it’s been on. External factors concerning Aniplex and the game app may have had adverse effects. Is it really only one cours? The obvious big disappointment is the retreat to 3D CG performances, with cuts ranging in quality from quite good to noticeably jarring. But those are the same types of questions that Cinderella Girls faced when it became clear that production was not going so great.

The big challenge for the SideM anime is really the same question that’s followed SideM since it was announced: is this imas? Despite its production challenges, Cinderella Girls was able to convincingly and conclusively be imas.

It turns out this wasn’t going to be much of an issue at all. Everyone was ready already crying because of the return of imas anime with Episode 0, but that’s a bit unfair, considering some familiar faces show up. But after the first episode about Teru and Dramatic Stars? Yes, it really happened: we have another imas anime to look forward to and this time it’s about boys. The SideM anime makes its case so convincingly that you’d have to perform some elaborate mental acrobatics to think about SideM as not imas or consider imas without SideM.

People would raise an eyebrow if you tried to suggest that Dearly Stars or Cinderella Girls or Million Live wasn’t imas, and so we should too if someone tries to do the same for SideM. So what is it about the SideM anime that makes it a part of imas? It’s danketsu. SideM follows in the footsteps of its elder siblings and focuses on the unity of all the idols at 315 Production. In a way, SideM approaches this much more directly, both as the culmination of Jupiter’s story and also explicitly by noting the diversity of all the idols’ origins.

This is also where I think the SideM anime displays its biggest strength over the various other media that’s carried the bulk of SideM’s story up to now. It’s been much more effective at mixing up character interactions between everyone and setting up smaller spontaneous moments. The problem with, say, text in mobage is that everything has to be explicitly presented to the reader. In an anime, you can have things go on in the background or small cuts or breaks that show something very quickly, giving us situations where everyone gets to mingle, which contributes to building a real sense of community for these guys.

At the time of writing, only the last episode remains to be seen. The producers have said that SideM 1st was the main inspiration for the anime even existing and that it’s about 315 Production’s path to their first live. They’ve definitely stuck to that: the stage that Touma and Teru were standing on in episode 9 is Maihama Amphitheatre and will be recognizable to anyone who’s seen SideM 1st.

Like SideM 1st, I think this anime has been a great catalyst for getting more people into SideM, particularly if they’re more casual imas fans. But SideM 1st’s full title was THE IDOLM@STER SideM 1st STAGE ~ST@RTING!~ and the phrase “The Story of 315 Production ST@RTS!!!” can be found on the boxes of the BDs. In a lot of ways, this is still just the starting for SideM and after this year of wild things happening for SideM, I hope it’s a promise that they’ll deliver on next year and on.

12 D@ys XI: 心のオアシス、みんなのYellow

The path as a kantoku has been a tough one at the beginning, but we have been richly rewarded. I have been truly blessed that my idols managed to make it in under the wire to be the fifth out of the six units featured so prominently nowadays. It’s never seemed to me that W were particularly popular back in the early mobage days. If you looked at the event ranking border whenever they had a ranking SR, it was significantly lower than, say, and equivalent Hijo SR. Of course, I was fine with that because it meant that I didn’t have to bust my ass to get an SR.

But knowing that, I understand that we’re extremely fortunate that W ended up in the 01-06 wave of units. Not only did it mean that our boys got their voices and songs first, but it turned out to be far more consequential. They made it in to appear at 1st live. They got 2nd Anniversary songs. And they secured their place in the anime.

I’ve already mentioned that I got to see W in Sapporo, where they did the two songs I wanted to see live the most. LEADING YOUR DREAM basically became my favourite W song back when it first came out because I felt like it filled in a gap that was missing from their repertoire. VICTORY BELIEVER and Pleasure forever… were nice, but I felt like they could’ve used a cool song rather than two happy pop-py songs.

Pleasure forever… has a more significant reason. During 1st, at the afternoon performance, they basically fell over at the climax of the song, which was very unfortunate. Since I’d only seen the evening performance, I didn’t even realize that had happened until seeing it on the BD. A similar thing happened at 2nd, where Yamayan stumbled on and eventually forgot the lyrics to the chorus. This was very noticeably bad but luckily they were able to recover both times (of course, they’re professionals).

Not having been at 2nd at the time, the most noticeable fallout from the performance was when Yamaya put up a bunch of tweets where he talked about how frustrated he was with himself for screwing up and how that feeling lingered with him for the rest of the live. It’d always bothered me whenever people bring up the screwup from 1st as a joke, even if they really weren’t being mean about it, but I’d always wondered if I was thinking too much about it. Seeing this cemented my feelings on things like this.

This is also why I was so happy to see Yamaya filling the center role at Hokkaido. Sometimes, I get the sense that some people look down on Yamaya because of the kinds of roles he plays, though it’s more of a vibe I get rather than any actual concrete things I’ve seen people say. But this is despite the fact that he’s one of the more experienced and well-known seiyuu in the cast. Anyhow, it was gratifying to see them pull off a Pleasure forever… performance without a hitch.

As for the anime, I remember very early on, everyone was wondering when each unit was going to get introduced and then they all showed up at the end of episode 1… except W. And so each week, kantoku of all different sorts would get to the title preview and get disappointed that W wasn’t coming. Luckily, thanks to my uncle who works at Aniplex, I had been informed that Episode 6 was titled 二人が選ぶVictory, so I waited warmly for a month and a half.

If given the choice between stuffing W in with everyone else earlier or giving them a proper introduction halfway through the show, I think I would’ve made the same choice. I think that W’s origin story works best as an episode on its own and I think they need a dedicated introduction in order for most people to understand their appeal.

Compared to, say, Beit or SEM, they’re not the type of unit most people immediately gravitate to. This has been the case since the very beginning; as I mentioned before, they’re not the most popular unit. My worry for the anime was always that they’d be overshadowed by the others, or worse, people start wondering why the heck they made it into the main cast. But luckily, their introduction episode was able to convey their particular charm and I got to see everyone talk about how much they loved these new twins and cried and stuff.

Their later introduction and integration into the group was also great. A few notes here. I was hoping that we’d get a Touma meeting W scene in their introduction episode and I was a bit bummed to only get a reaction still in the ED. Better than nothing, I suppose. Except they apparently decided to save it for the training camp episode! Fantastic. The other thing I wanted to point out, beyond the episode just being excellent in general, was Kyosuke’s noticeable hesitance at the beginning, particularly compared to Yusuke, and his later warming up. There’s a lot of good twin stuff like this in the mobage that’s rooted in the accident that probably won’t be touched on in the anime.

When I was waiting in the goods line in Sapporo, I chatted with some other Ps. I’d told them I was a W P and so they obviously asked me why I liked W. I thought about it for a bit, but realizing that we were crossing some major language barriers, I decided to keep it simple.

They’re cute and cool.

I’ve been really happy to see how far Kyosuke and Yusuke and Yamati and Kikuti have come this past year and I’m looking forward to another year of producing activities as their kantoku.

12 D@ys X: Start!スポットライト、Dance!キメていこう

Despite what would have been the questionable wisdom of taking another trip to Japan so quickly, I was disappointed that fate would have it that I wouldn’t be able to go because of job responsibilities. Although things would work out in the end, this still meant that I waited until September before getting the first glimpse of the rest of my sons at 315 Production.

One of the surprising things about SideM 1st even happening was that, no matter how you sliced it, SideM was pretty thin on content at the time. Sure, the cast was relatively big, but each unit had two songs and DRIVE A LIVE. This made for a short and sweet live without much room for some MCs and other similar features you’d find in a typical imas live. Despite that, it worked: SideM Ps were rewarded for their faithfulness and other Ps were won over. SideM is imas. And 2nd resembles a typical imas live much more than 1st did, simply by having enough stuff to it this time around.

As my Million Live colleagues are aware, there are huge obstacles to getting people into something when it primarily exists as a kusoge. It just isn’t really possible to recommend that people get into a game where you tap your phone screen and see a sprite and text go by, especially if you can’t read it. It doesn’t matter how great the characters are because they’re impossible to get to, trapped as jpegs of cards.

Lives are helpful in bridging this gap. Just sit people down and there you go. You’ve got the seiyuu, the characters, and the music all together in a package that makes it immediately clear why these guys are good. It’s the difference between seeing a jpeg of Kirio wearing cat clothes and smirking and having it explained why he’s the good cat to seeing Yamashita Daiki konchikichin and immediately understanding, yes, Nekoyanagi Kirio, the good cat denynasu.

This is what was most exciting about 2nd: seeing the other nine units cross that space for the first time. One of the great joys of watching SideM 1st with others is seeing the following progression every time:

  1. DRIVE A LIVE: This is good.
  2. HIGH JUMP NO LIMIT: Wow, SideM is really energetic!
  3. ∞ Possibilities: holy shit

In 2nd, there were so many more of those moments, where the unsuspecting non-SideMP has much to discover. That isn’t to say that SideMPs knew what they were getting into either, but one of the fun things about watching SideM with non-SideM friends is seeing which units and performances will hit that ‘holy shit’ centre of their brains.

But for the SideM Ps who know the characters and songs inside out already, there were some pretty wild performances. Personally, I was looking forward to how Mofumofuen would perform, just because of the incongruity of having grown men playing them, and F-LAGS for Sanpei Yuko’s new Ryo. And there were surprises in store for me too, particularly the wild Legenders clock men and the completely unexpected solo corner, featuring some songs which, at the time, weren’t even released yet.

Even with all of that, there was still biggest surprise of them all waiting at the end……