Anime San Jushi
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D'artagnan leaves Gascone and his grandparents to go to Paris to be a musketeer like his father was. Once there he mets Jean (a litle kid who is Paris searching for his mother), Constance Bonaciuex and of course the three musketeers, the best sword fhigters in France. The four musketeers are going to fight cardinal Rechelieu, Rochefort, the beautifull Milady and the iron mask. The three Musketeers in anime!
ShutsujinDeck Shadow Sanjushi (出陣デッキ シャドウ三獣士, ShutsujinDekki Shadou Sanjushi) is a window-boxed BakuTech Starter Deck released on March 24, 2012 to promote the BakuTech anime series. It is a compilation deck of the Shadow Sanjushi's Guardian Bakugan.
If book like Jonathan Clements and Helen McCarthy's The Anime Encyclopedia present us with all the dots. Now all we need is someone to join them up. In this respect the historical timeline on the inside cover of Mechademia: Emerging Worlds of Anime and Manga pinpointing key dates in the evolution of manga and anime (even though it only begins in 1945) is pretty useful. Unfortunately a disappointingly large proportion of the 13 essays and the various items in the 'Review and Commentary' section making up the 192 pages between these covers is rather less so. Adopting an opposite tack to Clements and McCarthy, taken as a whole Mechademia gives us a lot of words, but not a lot of information.
Most people out in the wider world, unless they've had their heads buried in the sand these past few years, should know by now roughly what is meant by the term 'anime'. But even those who have been familiar with the subject for some time might want some clarification of what anime really is. Is it just simply the Japanese term for animation, and thus can be applied to animation from other countries too Is it perhaps a broad label for the entire domestic industry's output, and if so did the label derive from within the industry or from outside Or does it refer to one or more particular trends or styles that emerged within the wider scope of Japanese animation If so, how, why and when did the familiar characteristic style emerge, and what is its relationship with the broader artistic traditions of the country Does 'anime' indeed refer to the same thing in Japan as it does overseas Is anime as homogeneous an entity as most Westerners assume When and by what process did Japanese animation mushroom from the collection of small cottage industries it once was to the monster it is today What is the discourse surrounding anime in Japan, among the critics, fans and animators themselves Do Hayao Miyazaki, Mamoru Oshii, Koji Yamamura and the makers of, say Pokemon, or, to put forward a more extreme example, the hundreds of cheap erotic animes you see on the shelves of Tsutaya, all see themselves as working in the same field doing something similar Do they sense any shared philosophies or approaches within their work, and if so what are they Are these animators consciously trying to put forward notions of 'Japanese-ness' or are foreigners reading their own ideas of 'Japanese-ness' into their work How different is Japanese animation from American anyway How different is it from Russian, Chinese or Korean animation historically Are there or have there even been any links between Japan and these other countries' animation industries And so on...
It is clear that there are still plenty of questions to be answered and points to be clarified. But about half the essays in Mechademia reveal less about the world of Japanese animation than about what goes on in American university lecture halls. For the writers and editors of Mechademia, anime seems to be not so much a visual medium endemic to Japan, but an American construct of Japanese pop culture as consumed by Americans - and I should mention now before I go much further that the compendium also includes the related fields of manga and computer games within its brief, although in volume one it is anime that predominates, with only one brief piece on computer games that reminded me of the opening lecture of the User Interface Design course I took at Liverpool University in 1993 (studying under a professor going under the unlikely name of Dan Diaper).
Anime and manga may now be global phenomena, but from the evidence presented here, their scholarship has adopted a resolutely US-centric perspective. Much of the discussion in Mechademia is weighted toward American anime fan subculture or American reactions and interpretations of the source material, and is framed within a US-Japan dichotomy that seems heavily weighted to the former and which excludes the rest of the world. In fact it seems that the discipline of 'Anime Studies', if it is indeed a discipline, represents one of the last corners in Japan-related academic research where it is unnecessary to know anything really about Japanese language or culture - check the references for most of these essays, and you won't see many non-English sources listed.
The back-cover hyperbole immediately sets off warning bells. \"After decades in which American popular culture dominated global media and markets, Japanese popular culture - primarily manga and anime but also toys, card and video games, and fashion - has exploded into a world-wide phenomenon.\" Surely this idea of 'dominant culture' is something worth exploring a little further What does it mean 'Dominate', a term with quite aggressive implications, doesn't seem to adequately describe the relationship between cultural products and their consumers in the same way we might use it in a military or economic context. 'All-pervasive' might be a better term to describe American culture, but even then, only in certain sectors of the world. In cinema, one only has to look at industries like India's Bollywood and Nigeria's Nollywood, an industry with a pan-African reach that is only now beginning to garner interest from certain critical and academic sectors. Both have a far higher output in terms of number of films produced than their American model, and their global reach is also significant, not only amongst diasporic communities. And even if the revenues of these industries don't quite reach Hollywood levels, then one should remember that much of their target audience earns less in a month than the price of a cinema ticket in London's West End. In other words, lots of people see them, they're just not young, white and middle class. Taking a broader view of culture, if we spread our net to literature and especially music, we can see that the picture is far more complicated than is being presented. America certainly doesn't dominate the music industry in countries like Japan or China. I think it is really important not to accept claims of 'cultural dominance' and 'globalisation' uncritically at a time such as now, when communications and media technologies seems to be increasingly fragmenting the world rather than bringing it together.
And has anime really 'exploded into a world-wide phenomenon' The works of Studio Ghibli are a bit of a special case in that they have permeated the mainstream, but generally my impression (confirmed by several reliable sources) is that the demand for animated OAV series in the UK is shrinking, or at the very least it is certainly not expanding out of its original niche market, mirroring a wider trend for foreign-language material in general - maybe precisely because it is being marketed as something exotic and 'different'.
Moreover, historically Japanese pop culture had as much, if not more, a presence twenty or thirty years ago in my country as it does now, even if it wasn't being explicitly pushed as something different. Allow me to elaborate. As a kid growing up in Britain in the 1970s and early-80s, I would say I was fully aware that the dubbed versions of Monkey (Saiyuki) and the animation Battle of the Planets (Gatchaman) came from a markedly different source than much of what else was being screened on TV. I didn't really have a concept at the age of seven or eight of where or what Japan was, but I knew these were not British in the same way that Doctor Who or Keith Chegwin were, and I knew they were not American (popular American TV for me at that time would have been represented by likes of The Dukes of Hazard and The Incredible Hulk and the cartoons of Hanna-Barbera). Did it bother me Not really. Did I realise at the time that the popular cartoons playing on BBC1's children's hour just before Blue Peter, like Dogtanian and the Three Muskehounds (Wan Wan Sanjushi, 1981) or The Mysterious Cities of Gold (Taiyo no Ko Esteban, 1982) were Japanese Or the bizarre sci-fi puppet show Star Fleet which kept me hooked on a Saturday morning (aka X-Bomber, 1980; I later rekindled my fond childhood memories through the Eddie van Halen/Brian May soundtrack - \"Send a message out across the sky. Alien raiders just passed Gemin-i!\") Not at all. And as Mike Arnold points out, the pattern wasn't so different in America either. And probably France, Italy and Germany too.
Back cover marketing blurb is one thing, but this rather notional view of global culture stretches into a lot of the writing in Mechademia. If discussions of Japanese cultural clout vis-à-vis American were restricted to the opening essay, Anne Allison's 'The Japan Fad in Global Youth Culture and Millennial Capitalism', then this would be all well and dandy. In it, Allison uses the US and Japanese versions of Power Rangers to introduce the influential concept of 'soft power', first coined in Douglas McGray's 2002 article 'Japan's Gross National Cool' and oft-referred to throughout the book. American reception is no doubt a facet of anime that is of interest, and it is a useful way of framing discussions about anime for an American readership. But we also get Susan Napier's 'The World of Anime Fandom in America' and Theresa Winge's 'Costuming the Imagination: Origins of Anime and Manga Cosplay', which again are about American otaku culture, not Japanese. None of this is really about anime. Nor, to my mind, is it very interesting. 59ce067264
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