A Grand Old (Super Hero) Time This Weekend!

Image

This past weekend, for me, has been a shining example of why I love Japanese tokusatsu super hero shows. If you’re new to reading me, “tokusatsu” is Japanese for “special effects.” This generally applies to  the genre of live-action monster movies (example: the Godzilla franchise) and super hero shows (example: the Super Sentai franchise, where Power Rangers comes from). This weekend in particular, I finished two series I’ve been following for a while and have thoroughly enjoyed: Kaizoku Sentai Gokaiger and Kamen Rider Black.

Image

This weekend saw the end of the then-current 35th Super Sentai series - Kaizoku Sentai Gokaiger (Pirate Task Force Gokaiger). The theme of the show is two-fold. One, it’s pirates, and who can’t get behind a team of pirate super heroes. Two, and more importantly, it’s an anniversary series. The Gokaiger team has the ability to transform into past rangers, and most episodes focus on a specific past team. The series even opens with every ranger of the previous 34 series fighting an army of bad guys. Point of reference, Power Rangers didn’t come about until the 16th Super Sentai series, so imagine basically doubling every power ranger ever.

The series isn’t terribly deep or complex. This pirate team brought together by their captain/red ranger Captain Marvelous (love the names) fight against the galactic, evil Zangyack Empire in the unconquered backwaters of the universe (meaning Earth). A year earlier, all 34 previous Sentai teams spent all their powers to drive back the Zangyack Empire from Earth, and now they’ve returned just as the Gokaiger team is on Earth looking for the Universe’s Greatest Treasures. Their journeys have lead them to the powers of their predecessors, and through actually meeting them on Earth, they gain more powerful abilities and a greater understanding of what it is to be a Super Sentai.

The series doesn’t necessarily require prior knowledge of any of the past shows. It’s made mostly for young kids who couldn’t have seen shows from the ’80s or ’90s, but their parents and a certain nostalgia market would. A superficial familiarity will suffice (see: Wikipedia).

The characters are all fun and generally light-hearted, which surprisingly hides a fairly dark past for most of them. Gai/GokaiSilver seems to be a fan favorite because he is the audience. He’s the Super Sentai fanboy who always wanted to be one of his heroes, and suddenly he is. Along side a team that originally doesn’t care about being heroes.

The reason to like this isn’t a hard one to grasp. It’s a tribute to the past, one that any fan of a previous series can enjoy. The characters are cool. The action is incredibly well done. It’s just an overall fun show to watch as it ramps up all the way throughout it’s explosive and exciting ending.

Image

I also finished the series Kamen Rider Black this weekend. It is the 8th Kamen Rider series, running between 1987-1988, and I’ve been following it on and off for about three years. The story is of a young man named Kotaro Minami who is abducted with his surrogate brother on their 19th birthday by an evil cult called Golgom. Golgom plan on using these two to fulfill a prophesy by becoming mystic cyborgs and fight for the right to be their new leader and control their armies of animal mutants to wipe out humanity and rule the world. Something goes wrong in the brainwashing phase, and Kotaro breaks free and spends 51 episodes using the abilities Golgom gives him to fight against them and protect humanity as Kamen Rider Black.

It’s pretty episodic and formulaic (it is a kid’s show, after all), with most episodes featuring some kid stumbling upon a Golgom plot and Kotaro/Kamen Rider Black then stumbling upon the kid and having to take down Golgom’s latest anime mutant and teach the kid a life lesson at the same time. It also shows its age, with 80s style everywhere and heavily reused stock effects and footage. Once you’ve seen Kamen Rider Black do a Rider Punch and Rider Kick once, you’ve seen how it’s done throughout the entire show.

Where the show excels is in the acting of Tetsuo Kurata, who portrays Kotaro/Kamen Rider Black. Kurata does an amazing job conveying his emotions to the audience. Sure, those emotions are usually limited to worried desperation and serious responsibility, but he does it so well. Most of Golgom’s plots are either silly or absurd, but how Kotaro takes them seriously makes the audience take them seriously. The camaraderie and respect Kotaro feels for his few allies, especially his semi-sentient motorcycle Battle Hopper, are so genuine that the audience shares them. While his villains are often comical, his struggle feels so real that the audience believes it.

This is a guy who loses most of this family and is later forced to fight the one person he is closest with in the whole world, and the conflicting senses of sorrow and duty add a character depth that gives this children’s action drama some meat. The last ten episodes alone are just a great roller coaster ride leading up to the final climatic battle and emotional finish.

Plus aside from the aforementioned stock effects, the actual action and combat are often captivating. If you’re a fan of super hero action and tons of emotional melodrama, and you can sit through repetitive plot lines, then Kamen Rider Black is a great series to pick up. One of my favorite Rider series, if not THE favorite.


That’s my tokusatsu fandom for the weekend. What have you been into lately?

Back from JapanFest 2011

Sometimes I get so used to regular geeky/anime conventions that I forget that “normal people” actually go to cultural festivals. That happened this time with JapanFest, Atlanta’s Japanese cultural festival, where I helped with some of the anime viewing content. Turns out, Akira and New Cutie Honey aren’t the most family friendly titles (retrospect d’uh). Thanks to my good friend Jess Merriman of MomoCon with helping in the selection.

I even had to quickly end my Cutey Honey: The LIVE clips in my “Tokusatsu Heroes” (Japanese super heroes) panel because it has partial nudity (sparkles cover the NSFW bits, but still…).

JapanFest is a rather large Japanese cultural event held every September in Atlanta, GA. It’s often on the same weekend as Anime Weekend Atlanta (which I also attend). This year, it wasn’t, so I got to stay the whole time. Again the con promo thing, as well as running panels and video.

I’m often surprised by how large JapanFest actually is. Anecdotal conversations said over 10,000 people, and I believe it. We ran through most of our promotional stickers and all of our fliers at the MTAC booth, and most of that was within the first day. I’m sure not being on AWA weekend helped, but it gets fairly large numbers anyway.

As a cultural festival, the big draws are the events and the exhibitions, of which I hardly got to see. The exhibition hall was littered with vendors and sponsors selling and promoting. Including a bunch of Yamaha vehicles. More importantly and probably just as big of a draw, the exhibition holds a popular food court of various Japanese restaurants. I was able to get some delicious okonomiyaki for just $3.

It’s nice to see so many different people from what I typically see at anime and geeky conventions. As a promoter, I get to reach a slightly different audience. As a people watcher, I get to see a new variety of people who aren’t all used to the foreign and “strange” costumes and content that I more or less see all the time at anime shows.

As a panelist, it’s a different experience as the audience for this rendition of my Tokusatsu Heroes panel seemed less interactive but just as interested versus the other cons I’ve presented this at.

JapanFest falls in September every year, also known as the month I might as well live in Atlanta. As mentioned, it’s around or during AWA as well as near to Dragon*Con. All three are worth it for  the trips. JapanFest is a more peaceful show, partially because of it only being two days and no night content, but also because the crowd is calmer. I’m glad Nashville has been getting a similar event in the spring, with the three-year-old, one-day Nashville Cherry Blossom Festival, but I don’t see that supplanting the interest in going to JapanFest.

***

Off topic: how do you prefer seeing titles of works protrayed on the web?

  1. Bold?
  2. Italics?
  3. Underlined?
  4. “Quotation marks?”

Back from Dragon*Con 2011

IMG_20110902_094840

It’s been a while since I’ve done an actual convention retrospective. The reason is that I’m always working cons, usually promoting MTAC and GMX. As such, for the most part, the convention experience is the same aside from the friend experiences that are uninteresting to read or insider knowledge or critiques that I don’t feel comfortable discussing in my public forum.

Dragon*Con 2011 is my fourth, and it’s the first vacation con I’ve had since probably the first one, except I still volunteered at that one. Honestly, I expected to be somewhat bored, but that didn’t happen. That’s the great thing about Dragon*Con. There’s so much to do and see at the con that boredom rarely happened. What downtime there is was spent resting and recuperating (and chowing down on sandwiches we made in the hotel room).

(It’s also the 25th Dragon*Con, which means it’s as old as I am. Slightly intimidating, but not near as much as its tens and tens of thousands of attendance.)

That’s not to say I don’t have fun at the cons I go to working. Just ask the folks at Seishun Con. The freedom of responsibility is liberating though. If I had to put a name on a specific thing, it’s getting to sleep in.

The con was not without any work though. As I mentioned two posts ago, I performed two panels: DC Animated Universe and Tokusatsu (Japanese Super Heroes, kind of thinking THAT should be the name for now on). Both went very well and had decent attendance. I constantly find my weaknesses in public speaking and preparedness, but the feedback was positive, so I know I’m on the right track.

IMG_20110903_135952

(In the middle of my toku panel, my friends made a drinking game out of every time I said “Power Rangers” or “Kamen Rider.” They ran out of their drinks in a matter of minutes.)

Along with not working with a con, I got to experience the dreaded walk-in registration, which wasn’t all that bad (except for my wallet *ouch*). I got through it in under an hour. Dragon*Con’s walk-in process is interesting in that there are three unique stations (each with multiple staff and terminals) to process the walk-ins: the payment station, the registration station and the badge pick-up station. You pay at the first station, divided into cash and credit. Then you take your registration form you fill out in line for the registration station to enter that data in its systems. Finally, you are sent to badge pick-up where the relevant data is printed onto a sticker and put on your badge. Now you’re good to go.

Everything I’ve heard about pre-registration is that it breezed by compared to years past, as long as you had your postcard. Dragon*Con switching to a barcode scanning system so they just scan your card, hand you your badge and send you on your merry way.

Recreationally, I spent the con hanging out with many good friends. I didn’t even go to as many panels and events I expected myself to do now that I could. I did make time for two TWiT panels: Tech News Today and NSFW (both of which are available online, being free podcasts and all). Both were pretty interesting, and the NSFW one was really funny with a dancing Red Skull and a xenomorphic alien trying to make out with Veronica Belmont.

IMG_20110903_142609

Speaking of guests, my roommate passed by probably the best Felicia Day costumer at the con… who turned out to be Felicia Day. Seeing guests randomly walk by is one of the biggest attractions at Dragon*Con. It’s such a party con, a social con, and that possibility of socializing with your favorite TV stars is very alluring. I always feel off around people I watch on TV or follow online, never wanting to say anything for fear of seeming fanboyish.

Not that there is any shortage of people to mingle with anyway at a 50,000-person convention. It’s in fact the best part of the con. I spent all of Saturday night running into person after person I knew and catching up with several of my friends I rarely get to see anymore. People have their conventions made by meeting a beloved guest or snagging some awesome swag, but I love just goofing around and being geeky with all my friends.

But I also snagged some awesome swag. See you next year, Dragon*Con.

IMG_20110909_175059

Check out the rest of my Dragon*Con pics at flickr.com/nikoscream

Godzilla Cell-Photo Story from Dragon*Con 2011

Note: This year, I tried using only my Nexus S phone as my only camera. Many of the pictures are too grainy and blurry for my taste, so I’ll probably try not to rely on it for my sole photography device at trips like this (which requires me to finally get a halfway decent camera). You can find my full Dragon*Con 2011 gallery at flickr.com/nikoscream.

IMG_20110902_195311

Godzilla rampages through the Marriott Marquis during Dragon*Con 2011.

IMG_20110902_195512

Suddenly, something catches the eye of the King of Monsters…

IMG_20110902_195516

FREE HUGS!

IMG_20110902_195538

If there’s anything Godzilla loves more than stomping on Godzooky’s face, it’s free hugs from cute girls.

IMG_20110902_195545

Thus Godzilla is pleased with this year’s Dragon*Con and leaves Atlanta (mostly) intact.

This year, at least.

NikoScream @ Dragon*Con 2011

It’s Labor Day weekend again, which means thousands and thousands of geeks and nerds will descend upon downtown Atlanta for the 25th annual Dragon*Con, a large multi-genre fandom convention.

It’s also the first con since 2007 that I’m going to and not promoting. Thanks to the very capable staff that MTAC and GMX has been amassing, it’ll be in good hands. While this will be my “vacation” con, I’ll still be doing some work in panels. Check below to see my panels and those I’m helping on.

My panels:

  • DC Animated Universe
    Friday at 2:30pm in the Dunwoody Room at the Hyatt (Animation Track)
  • Tokusatsu Heroes
    Saturday at 7pm in the Dunwoody Room at the Hyatt (Animation Track)

Panels I’ll sit on:

  • How to Run a Convention
    Monday at 1pm in the Courtland Room at the Hyatt (Anime/Manga Track)

Panels I helped on:

  • OTAKU JEOPARDY: Live-Action Edition
    Sunday at 5:30pm in the Courtland Room at the Hyatt (Anime/Manga Track)

If you’ll be in the area, hit me up on Twitter @nikoscream.

Life-Size Gundam Stands Tall (and Lies in Pieces) for Fandom

I am an unapologetic Gundam fan.

The video above (via Anime News Network) is of a dismantled full-scale replica of the main Gundam mech (RX-78-2 Gundam) from the original 1979 series Mobile Suit Gundam. In both the show and in real life, the Gundam stands almost 60 ft. high. In this display, however, the Gundam is in parts to allow people to get an up-close look at the famous mech that they couldn’t when it was originally unveiled as part of Gundam’s 30th anniversary.

Honestly, the part that keeps getting me is 1.15 minutes into the video, where people are actually sitting in the Gundam’s hand. That’s just awesome.

See the video below for the RX-78-2 Gundam standing tall, as well as a replica core fighter that serves as both jet and cockpit for the mech.

The show features mankind split between the Earth and giant, man-made space colonies, with war breaking out and a group of rookies and civilians getting caught in the middle with the Earth Federation’s newest weapon – the titular Gundam.

It was a ground-breaking show, ushering in the real-robot genre in anime as giant robot shows that focused on more methodical and realistic machines, character intricacies and the harsh realities of war. This is opposed to the hot-blooded and exaggerated nature of the super-robot genre, but even that’s not to say the two don’t mix (looking at you, G Gundam).

It’s awesome to see such a societal dedication to a fandom as to actually build this giant robot (albeit not functioning… supposedly). Sure, we have had mainstream societal dedication to fandoms before. Heck, Spider-Man and Mary Jane got married at Shea Stadium (thanks for screwing that up, Joe “Mephisto” Quesada).

Thankfully, locally, we’re trying our hand at real-life embodiment of the mechs of our youth. Nashville local special effects whiz Rick Prince is working on a life-size transformed Bumblebee (the Beetle, not the Camero). Rick is taking donations through KickStarter and hopes to unveil the project at this October’s Geek Media Expo in Nashville (disclaimer: I work with GMX). Hopefully Bumblebee 2.0 will transform.

What would you like to see from your childhood made into a tribute of your fandom?

Tip: Don’t Hyperlink Print

This is a problem I see in some amateur works, taking web copy (“copy” as in text or written content) and converting it into print without reformatting the text. The most obvious sign of this is randomly underlined text, which was previously hyperlinked when on the web. It’s a silly mistake, bringing undue focus to specific text that makes no sense given the print medium.

Basically, you can’t click hyperlinked text on paper to open a new page (not yet, anyway).

First off, if you’re going to copy something straight from a browser (and you have permission to do so), paste it in Notepad or a similar program to clean it up and remove the formatting. You can reformat the text however you wish once it’s a clean slate again.

If you want to include a link, that’s fine. Instead, somewhere within the copy, simply list the desired URL (example.com). Bold it or italicize it or do something to bring added attention, although I still recommend against underlining unless it’s a title, as it will still look like you just copied off a website.

If you don’t want that link to appear at all in your copy, simply don’t use it. If it’s essential to citing a source though, you may want it somewhere though (think about footnotes).

Alternatively, give your audience tablets. Problem solved.

DC’s New 52 Trailers Fail to Sell?

Here we have the extended promotional trailer for DC Comic’s New 52 initiative, where they reboot or create 52 titles in September. I’ve blogged about this before, but I find myself becoming less optimistic that this cheap gimmick will continue the stories I’ve been caring about lately or create anything that actually means something and lasts through the next eventual Crisis.

Does any of this sell you on DC Comics though? Do these trailers or any of the news you’ve heard made you care in the slightest? Is DC seeming to be achieving their goal in attracting a new audience, or do you seeing this falling on its face?

Maybe I’m just bringing my own biases into this, but I don’t see anything in this trailer selling the New 52 initiative. It’s familiar superheroes (mostly familiar with Superman in a tee shirt) beating up people and things. The shorter TV commercial is even less enticing. What’s new? What is the selling point of getting new and fallen-out readers to these books?

New books at #1 isn’t an irregular thing. Marvel essentially did the same thing with The Mighty Thor #1 and Captain America #1, yet these are not restarts or even soft reboots. These are new volumes, picking up at a fresh story for new readers while still embracing everything that has happened even within the previous issue of the last volume.

So why should I care, DC? Especially since you’ve screwed around with the Batman bits I was really digging, such as Dick and Bruce co-existing as Batman and Bruce Batman’s nifty new suit with the Bat signal chest. Why should I care? Why should the new and the old care? And why isn’t THAT in your trailers and commercials?

The real sticking point though is that DC pulls a quote from the New York Times to promote their initiative as being “audacious.” Let’s look at that for a moment.

Audacious:

1) Showing a willingness to take surprisingly bold risks
2) Showing an impudent lack of respect

Yeah, that fits.

Struggle to Understand Grant Morrison’s Accent on HULU

The 2010 documentary covering comic writer/auteur Grant Morrison, complete with interviews with other noted comic industry names as well as the thickly-accented Scotsman himself, is now completely available on HULU. Click the image or this link to watch.

If you want to see if it’s worth your time, give a quick read through to my November 2010 review at CineGeek.com.

Continue reading

Social Media – Rioter’s Dream and Government’s Nightmare?

Don't know who made this, but some "Hot Fuzz" is probably needed right now.

A local news broadcast* covering the recent London riots concentrated on the destruction of a Sony warehouse storing CDs for a European release of a local band. Sensible angle for Music City, USA (a.k.a. Nashville).

The reporter made the point though that the rioters were using “social media” to organize and galvanize the riots. Just as this band and many others use social media like Facebook, Twitter and MySpace (well, at least Facebook and Twitter) to organize and galvanize their fan base. It’s as if the

Whatever. It’s just a silly news grab to make international headline events relevant to us local folk. Right?

Turns out, British Prime Minister David Cameron also finds it suspicious that rioters are using social media tools to coordinate themselves. The New York Times reports he and the British Government trying to work out a meeting with Facebook, Twitter and RIM (did Google say no?) to figure out how to best hamper this activity.

Newsflash: the rioters probably also use “telephones” to organize themselves, just like your local  bands or governments or grandparents do. We better clamp down on phone usage, especially since I hear they’re going cordless. Might want to watch who we sell pens and paper to as well. Don’t want these crazy rioters abusing the mail service either.

This seems overboard, if not bordering on authoritarian. In the article, Cameron mentions that these social media tools help fuel the riots, as if they wouldn’t happen without them, or at least not at this intensity. That’s not how things work. Tensions spread regardless of communication tools at hand.

Despite that, these individuals do have the right to communicate. Facebook is quoted in the article as removing “credible threats of violence” from its site. Which is as it should. The businesses can be left to filter their users (typically not a side I’d expect myself to be on with Facebook). Governments punish after the fact.

While this is technically a US thing, unless there’s really a threat of imminent lawless action, government shouldn’t step in. While “imminent lawless action” is arguably the textbook definition of a riot, such speech shouldn’t be prevented but instead discouraged and then punished afterward. Not stopping people from speaking but delivering the consequences when they are shown to incite such harmful activities.

It seems the Manchester Police are using their own tools against them, tweeting out arrests of rioters in an online perp walk of sorts. Listing name, age and where they’re from, in my opinion, is a bit too much, but if it works, it works.

A more altruistic and peaceful example is @riotcleanup, a Twitter account dedicated to spreading info throughout the riot-stricken communities about how to help clean the damage.

The take-away from all this is that communication tools, from Twitter to writing a letter, are neither good nor bad. They are simply tools. If Twitter or Facebook decide to delete accounts for such content, that’s fine. It’s not a government’s place to tell them to do so.

People’s stupidity and tensions were massively contagious before social networks, after all. Now they’re just limited to 140 characters.

*Fox 17, either make your site more easily searched, or actually put up all your news clips.