While I'm in a mood for pimping stuff I'm watching, I'd just like to discuss Magical Girl Pretty Sammy for a few paragraphs. Wait, wait, don't run yet! I promise that there's actual merit to this endorsement.
Thanks to some helpful prodding from Hito I recently began going through the Tenchi Muyo franchise because it's essentially the bridge between Urusei Yatsura and the harem genre that Tenchi Muyo spawned through its adaptation of the Ataru-Shinobu-Lum love triangle that defined early UY. At the very least, the first and second Tenchi Muyo: Ryo-Ohki OVA series are pretty solid works that skillfully blend and balance science-fiction, comedy, drama, and romance to create a product that, for its time, was actually pretty novel. It's clear why TM: Ryo-Ohki was so instrumental in shaping the tastes of both Japanese and early American anime fans.
Anyway, probably to ride the wave of Sailor Moon's enormous popularity among otaku, Pioneer released a magical girl parody spinoff OVA Magical Girl Pretty Sammy in 1995. It was apparently popular enough that an entire 26-episode series based on the concept was greenlit and debuted the next year. It essentially repurposed a few characters from the Ryo-Ohki OVAs as mildly-different versions of themselves in an alternate reality where Sasami, who in the OVAs is the little sister of core triangle member Aeka and largely relegated to the outer fringes of both the serious narrative and the harem stuff, becomes protagonist and is dropped into a typical magical girl scenario. Sounds like a sleazy, cynical cash-in, but let me try to explain why it's actually really good.
Most importantly, it's not the "bad" kind of magical girl parody. It's not lascivious in its presentation--several magical girl parodies are just lolicon garbage clothed in a scattering of genre tropes or otherwise think that the only way to subvert magical girl tropes is to defile what is normally innocent. I hesitate even to call Pretty Sammy a parody because there's an association of mockery there, and while it is certainly a satirical take on the genre, it also manages to be genuine at the same time. It plays with the expectations of those who are familiar with the genre while still operating in the typical genre framework, and in terms of comedy, it's very much an antics show in the legacy of Sailor Moon. I don't make the comparison lightly--Sammy is genuinely fun in the same "stick to the formula but mess around as much as you possibly can within the formula" way that SM is.
The big difference from Usagi is that Sasami is perpetually exasperated, fully aware of just how ridiculous her circumstances are and yet powerless to resist fulfilling her duty. This is only half of the dynamic that shapes the comedy, though--the other part of the equation is the incredibly entertaining rivalry between Sasami and her perfect foil, the evil magical girl Pixy Misa, who appears every episode to usher in the Monster of the Week fight. Pixy Misa is undoubtedly the single best thing about the show--brash, egotistical, loud, uninhibited, and gleefully antagonistic, she absolutely overflows with charisma, thanks in part to a singularly unique and spirited performance from tragically-underused Kasahara Rumi (who recently resurfaced out of nowhere as Ain in One Piece: Film Z of all things.) Pixy Misa's banter with Sasami is always hugely entertaining and full of subversive commentary on magical girl tropes, all amplified by the central conceit that
Sasami and Misao (Pixy Misa's civilian identity) are best friends in real life, yet unknown to each other are enemies in battle.
Pixy Misa also receives the lion's share of the quality characterization, given that
Misao and Misa are polar opposites in personality. In each episode, Misao is hypnotized and forced to transform by the real antagonists. The transformation has the effect of embodying Misao's true self when uninhibited by her painful shyness and rigid, isolated upper-class upbringing, both of which are explored over the course of the series and contribute to how her relationship with the much more extroverted Sasami evolves. Probability of Misao having to come to grips with her "true self" at some point in the series? Take a guess.
Pretty Sammy actually does devote a decent amount of time to more serious dramatic fare, which is well-integrated, personal, and always feels earned (another Sailor Moon commonality!)
It's also worth mentioning that there's a decent-sized supporting cast that's also really well-utilized, so as great as Misa is, it's not totally her show. There are Sasami's parents (but especially her father, who is an unhinged super-badass Gary Stu performed amazingly by Kazuki Yao), Sasami's classmates including the Helga Pataki-esque Konoha and discipline-obsessed Eimi, bumbling, covetous, short-fused antagonist Rumia and her beleaguered, skeptical, reluctantly-complicit little brother Rumiya, Tsunami (who thrusts Sasami's mission upon her and skewers the "benevolent other-dimensional monarch" character a decade before Precure had a chance to run it into the ground), and idiot-savant Mihoshi, the dissatisfied and serious Kiyone, and eccentric mad scientist Washu, who all basically reprise their roles from Tenchi Muyo.
I hate that I really can't go more into the specifics of the humor with examples of what the "good" stuff is, but dissecting jokes is a tedious exercise that only serves to permanently ruin what it's explaining in the process. Basically, I highly recommend the series to anyone who likes the genre, but especially anyone out there like me who has had difficulty filling the Sailor Moon-shaped hole in their heart after finishing it. It's easily the most SM-like magical girl series I've seen, in all the best ways. You do lose something if you're not familiar with the Tenchiverse given that the part of what makes the premise fun is seeing how Tenchi lore surrounding the Juraihelm succession is twisted into a magical girl premise, and, furthermore, several characters make minor appearances as totally unrelated characters in the Pretty Sammy alternate universe, but it's still fine as a standalone work. Watch it!
oh I guess it was also called Magical Project S in America or something.
When I first started watching Ojamajo Doremi, it was immediately apparent that it wasn't just Satou and Igarashi making a new show, but they were also carrying all the right lessons from Sailor Moon. Despite having a significantly different premise, it had a very similar feel and the same sense of humor. Going into Pretty Sammy, you can tell that somebody else was paying attention to these lessons as well. I'd have to agree that it's hard to simply classify it as a parody, because Sailor Moon was self-aware to begin with. Sammy just amps it up, while also providing its own contribution. For example, it's hard not to see Sammy and Misa in Nanoha and Fate now, although it's entirely possible that both are pulling from a yet another show. Having said that, comparing Sammy to Nanoha is like comparing Maison Ikkoku to Love Hina. The connection is there but the latter definitely feels like the cheap knockoff version.
Anyway, like I said in my own post about the show, I can only ask myself why I didn't watch this sooner. My only consolation is that it wasn't until more recently did I truly get Sailor Moon, as strange as that sounds. Once you understand the comic underpinnings behind the Sailor Moon anime, then going to Pretty Sammy is the most natural thing to do.
I assume you're referencing this part from the commentary.
FLCL Commentary about the final line in Episode 3 said:
Director Kazuya Tsurumaki: "Until now, [Ninamori]'d been lying to herself, trying to be a leader and grown-up. Even though she's still a kid, she would play an adult. And she lived in a lie, deceiving herself... Naota does too. But Ninamori has changed from this experience. Rather, setting aside the idea of whether it's a good thing or a bad thing... Rather than fooling yourself, it's better to fool others. It's a little more adult... Well, "better" is a strange way to put it, but by doing that, she can have a better life. Fooling others instead of herself feels like it would make for a better life. Until now, though she's a child, she was fooling herself into thinking she's an adult. But now, she fools others. Women who fool men are good women. And so..."
Interviewer: "Do you really think so?"
Tsurumaki: "Well, it sucks to be fooled. But it's good for the woman who can fool men. It's better for her. So she's become a good woman. It has that nuance.
Interviewer: Women who occasionally trick strangers are good women...
Well that failed... things are alright. AND OOOH SHIT! YEEEEEEAH
Fucking Cool Red! fucking sentais up in here! Gotta have something because Sasami really fucked up with one of her tricks. I guess the show can still have its wacky side.
More importantly, I was wondering when
Ryoko would appear. It would only make sense that she'd come here, not because of the fact that we have to make every possible tie in as possible, but because Ayeka appeared, and is essentially the final boss from the look of things. You know, wanting to kill earth.... which is what she was going to do if Pretty Sammy didn't get in the way anyway.
Mihoshi certainly was a teacher during this. We should be proud of her. There's also one glimmer of hope which might actually happen, and I think it's a bit obvious on what that is. It'll make me really happy.
Ramia wanted to stop Tsunami from being queen so she could be queen herself. Aeka/Romio wanted to stop Tsunami from being queen because they were going to put Juraihelm and Earth together when she was coronated. Since it happened anyway, Aeka then "fixed" the problem by slapping Earth out of orbit.
like Touma in the futon with Haruki playing the guitar and asking if he'll go out with Setsuna; Setsuna biting her lip because of what the lyrics seem to imply and then smiling
that keep the balance between friendship and drama filled love triangle still fairly... balanced and enjoyable to follow.
Holy shit that's amazing. I like how even the interviewer is thinking, "What the fuck is this guy talking about?". I can literally imagine him squinting his eyes in incredulity.
Huh. This plot is a fucking mess isn't it? I mean I really love the artstyle and the animation quality but none of this shit makes any sense. So I tried googling it to see if there was a better summary of most of the plot threads and if the fans had a better idea of the first three episodes. They don't. I know Imagawa went up and bailed after the first three episodes but did he take the script with him as well? The first three episodes seem like a prologue that is promptly forgotten about and mostly used for staging purposes.
This is really well directed as a whole but the problem is that the script seems like a jumbled mess of plotlines that were abandoned. I love the tone of the show but I just wish I could make better sense of it.
Yes he did. They essentially end up filling in the blanks later on and it kind of works by the end. I really wish Imagawa had stayed and completed the whole thing but they do their best to make a strong series after his departure.
Ramia wanted to stop Tsunami from being queen so she could be queen herself. Aeka/Romio wanted to stop Tsunami from being queen because they were going to put Juraihelm and Earth together when she was coronated. Since it happened anyway, Aeka then "fixed" the problem by slapping Earth out of orbit.
True, and while the mischief caused by Love Me Eimi (Haha, more puns, because Eimi Date. Man, I love how they came up with the names), it was still going to saw the earth in half, effectively doing what she was planning to do if she failed, so it's like, doing something threatening, and then going overboard if that plan fails. Speaking of the last sentence.
Magical Girl Pretty Sammy 24
Through most of this episode, I had the biggest fucking smile on my face. It gave me what I wanted, on top of one last overdose of wacky humor, and Mihoshi never realizing that there was a talking cat and bird here (the latter being understandable).
Pixy MISA IS BACK! YEEEEEEEEEEES! At the result of her school mates knowing who she is.
I can't get over Ginji. I mean, jesus christ. I really do think he's one of the most over the top dads ever. It's like everything he does makes me smile. I think he has to be one of my most favorite male assist characters in a Magical Girl show. Although there's not much competition there sadly. I mean we have Mamoru/Tuxedo Mask (who frankly is really iffy overall), whatever male characters in Precure (I think the only one I really give a shit about is Sebastian.). Doremi... a bit difficult to qualify. Maybe it's just because Ginji just flat out isn't realistic, and yet it makes total sense here.
Anyway, back to the spoiler
It's like after that realization, there was a brief moment of seriousness. A realization on Konoha's behalf on just how much she can't compare to Misao after seeing her transform. Just pure silence between her and her crush. Why can't I remember his name. But he was considering something dumb like using his money to go into space in order to protect Misao/Misa, but it's clear Konoha talked him out.
And then you get the last minute or so. Blowing up their ship/rocket, and seeing how Juraihelm really is after Romio drained it of its magic. I think we'll retain the tone for the next episode at least.
Man... in a way, I feel pumped to finish the last two episodes, yet at the same time, doing so will probably leave me tired... tired to the point I can't really gather my thoughts here. But man. Nice to know Magical Girl Hell isn't complete hell.... but I'm almost done here... and then there's one show left before things really go to hell. For the time being, it's just heavenly.
Yes he did. They essentially end up filling in the blanks later on and it kind of works by the end. I really wish Imagawa had stayed and completed the whole thing but they do their best to make a strong series after his departure.
Like how is that possible or legal? I mean they must have written most of the story out by episode 3 and there should have been notes or just general stuff to continue forward. If he took his notes and said "Fuck you" to the production staff, then there must have been some really bad blood between them and he burned his bridges as he was leaving. Also wasn't he just the director?
Every single person onboard the Macross and now living on Macross Island has the worst luck of any person ever. Like how do parts of your ship keep flying off? How does your warp mode carry the whole dang island? How do you wind up SO DANG FAR FROM EARTH? This will all end in bloodshed and tears because these people have awful, awful luck.
I really like that aspect of the series. In far too many sci-fi stories people end up activating their fancy new technology and it just works perfectly, or only has minor glitches. In Macross it's a total train wreck.
I think Log Horizon is really close on the line of explaining too much about its universe though; especially with all its flawed and poorly balanced skills and the fact there isn't even a game behind it that they're using as a reference.
There is a bit of that certainly. But part of that is hard to judge when the protagonists are all super high level. Well except for Serara. Maybe starting with a base system and tweaking it for fiction would work better. Maybe going in to detail about each new spell in the show isnt the greatest idea for a piece of fiction.
What does the maid subclass even get you? or is that just a shitty translation?
Like how is that possible or legal? I mean they must have written most of the story out by episode 3 and there should have been notes or just general stuff to continue forward. If he took his notes and said "Fuck you" to the production staff, then there must have been some really bad blood between them and he burned his bridges as he was leaving. Also wasn't he just the director?
I don't really know how Imagawa works but I do know that he writes his own screenplays/scripts. Things must have been really bad to have him storm off production like that.
I don't really know how Imagawa works but I do know that he writes his own screenplays/scripts. Things must have been really bad to have him storm off production like that.
I'm just thinking if this had happened in America, this would have ended in a lawsuit easily. It's one thing to quit mid production, it's another to take your notes and leave the production staff high and dry.
I think I'm possibly capable of it, but I feel like my opinions are completely inconsequential, so I don't have any motivation to do it. It's either that or I'm just telling myself that to make myself feel like I'm not stupid.
What's the point of working hard on something like that when at least three or four people can say exactly what you want to say, but with far more insight and clarity than you're pretty sure you're actually capable of? That's essentially what keeps me from making long posts. I don't believe I have anything to say that would contribute to this thread positively.
Like, I finished Zan Sayonara Zetsubou-Sensei earlier, and I was considering doing a writeup of it, but I realized there wasn't much I could say. I don't even really remember the first two-thirds of it. I guess I could say something about how I think Kumeta's politics (based on what I assume are his political views as expressed in Zetsubou-Sensei and Joshiraku) are kind of scary, but it would probably suck and not really argue its point particularly well at all, if it had a point at all.
I'm just thinking if this had happened in America, this would have ended in a lawsuit easily. It's one thing to quit mid production, it's another to take your notes and leave the production staff high and dry.
While I'm in a mood for pimping stuff I'm watching, I'd just like to discuss Magical Girl Pretty Sammy for a few paragraphs. Wait, wait, don't run yet! I promise that there's actual merit to this endorsement.
[Stuff]
oh I guess it was also called Magical Project S in America or something.
I feel really bad for shitting on Ryochimo earlier as this is some really great stuff when it isn't flashing panties everywhere. This in the span of a few minutes managed to explain the concepts behind tuning and the multi-dimensions far more effectively than the manga has in its entire run thus far. The purists can suck it as this really is elevating the source material.
The other thing I didn't mention last time that I really like about this series is the attention to detail of the sound in this. From the vibrations of blades being flung through the air, to the really heavy sound of the large dinosaurs(?) falling down and the distortion effect of the "strikes" & daemon stuff really gives a sense of weight to things which really complements the fantastic animation.
The game mechanics are a pretty big part of the story when you really get down to it (pk-ing, party & guild system, revival etc) and it's not gonna hold if the inconsistencies keep on piling up over time.
While I'm in a mood for pimping stuff I'm watching, I'd just like to discuss Magical Girl Pretty Sammy for a few paragraphs. Wait, wait, don't run yet! I promise that there's actual merit to this endorsement.
I have no real basis, context, or affection for magical girl stuff, but seeing someone extolling the virtues of something like this is always a surefire way to pique my curiosity. Yes, yes!
The game mechanics are a pretty big part of the story when you really get down to it (pk-ing, party & guild system, revival etc) and it's not gonna hold if the inconsistencies keep on piling up over time.
Well, nothing jumps out at me just yet as being wildly ludicrous, or even slightly ludicrous really, but as someone else said I was never a high-end MMO guy.
I think Log Horizon is really close on the line of explaining too much about its universe though; especially with all its flawed and poorly balanced skills and the fact there isn't even a game behind it that they're using as a reference.
1) What you say makes no sense, as the plot does not come from Ryochimo, but from Yasuda's manga.
2) I disagree that the mayor plotline is stupid. A 9 year old running for mayor is a weird concept, and unfathomable in our world, but it makes sense within the world of Yozakura Quartet, and being internally consistent is what I ask from fictional worlds. It also makes sense that, given the prestigious nature of the position of mayor, that ruthless people will go to great lengths to achieve it.
There are a few shows based on actual MMORPGs like Ragnarok the animation and the Tales Of OVAS that manage to be somewhat decent because they take place in the MMORPG as a fantasy story and not a "people stuck in a game" type of thing.
Yeah well the best girl still survived in the end so even the show didn't fulfil it's one job of trolling me completely. Actually I wouldn't call it trolling because I believe the producers thought the show was good. I watched it knowing it was going to be bad because I had seen the purply googly eyed monster in the school scene already and read all the protection jokes so really removing that "surprise" all I was left with was a bad show that I only watched so I could fulfil an inkling of curiosity.
No, School Days was proper trolling because it lead me to believe in certain things and then successful shattered those expectations in the next episode (while many of you snickered behind my back) It was finely crafted and planned. Blood-C is comparison was throwing shit at the wall and hoping it would stick.
Anyone saying Blood-C was trolling is just giving a bad show way too much credit.
There are a few shows based on actual MMORPGs like Ragnarok the animation and the Tales Of OVAS that manage to be somewhat decent because they take place in the MMORPG as a fantasy story and not a "people stuck in a game" type of thing.
i was more on the "explaining too much " part than the rest .
The two example you provided are more like regular fantasy anime.
On the people stuck in MMORPGS, you have hack,Sao & log horizon ?
And each take a different approch to the subject .
Log horizon needs to explain so much because the approch the anime takes is closely tied to the game mecanics that's the point i was making...
That was pretty good. I hope they keep it up. Mellowlink is an odd fellow to say the least. He's kinda of like a soft Chirico with some of the badass toned down.
Not overman confirmed.
The intelligence officer/gambling girl seem like quite interesting characters as well. The later especially succeeds in being adequately alluring without being overtly sexualised while appearing strong, which is a technique modern anime seems to have forgotten how to do. Also hnnnnnnnnnnnnngh at this shot.
That was pretty good. I hope they keep it up. Mellowlink is an odd fellow to say the least. He's kinda of like a soft Chirico with some of the badass toned down.
Not overman confirmed.
The intelligence officer/gambling girl seem like quite interesting characters as well. The later especially succeeds in being adequately alluring without being overtly sexualised while appearing strong, which is a technique modern anime seems to have forgotten how to do. Also hnnnnnnnnnnnnngh at this shot.
Toriko battles a tiny old lady chef to the death in an epic battle of wits and forks. The insanity of this world is certainly part of it's appeal, but as usual the shounen pacing means that the show as a whole is something I will not be checking out. I've only survived these arcs be skipping through the boring appetisers until I could get to the main dish.
I don't really know how Imagawa works but I do know that he writes his own screenplays/scripts. Things must have been really bad to have him storm off production like that.
I'm just thinking if this had happened in America, this would have ended in a lawsuit easily. It's one thing to quit mid production, it's another to take your notes and leave the production staff high and dry.
It depends entirely on what that entails, as I get the feeling that some automatically equate length to quality. I find analysis and impressions interesting, but it shouldn't really be forced. There's also something to be said for conciseness, as I doubt anyone is really interested in reading a multiple paragraph plot summary.
It stands to reason that if you really like something, you'll be compelled to articulate as to why. That's the kind of stuff I'm generally drawn to.
Yeah Irisu is quite amazing and seeing her 'fight' with Oreki is quite amazing. No wonder they call her The Empress.
Some pretty nifty characterisation for Sewing too. Also Oreki just can't catch a break can he.
Just when he actually starts to become interested too! But yeah. Some amazing shots this episode too. Also :risette[/URL
[URL="http://i.minus.com/ico024C4NBZJZ.png"]Also all that :Branduil (I agree with her)
Ryūko's escapism abilities keeps leasing this show the opportunity to show off great moments from resolute and fair antagonists, I still appreciate that.
Now I get Mr. Imaishi talking about the 'Four Devas' being thightly intertwined on the plot and appearing for well long into the series, this was a very clear realization of that. At first I thought there wasn't sufficient time on this episode, due to the usual rapid pace, to convey satisfyingly enough Sanageyama's
whole way from desperation up to his pledge for trust and the newfound pride
, now I understand this will probably take more time to show its definitive fruits further down the road.
In comparison with the case of Ryūko's arc at the very beginning of this fast paced series I didn't mind it as much, being the protagonist and all, because I was sure these quick steps in succession would make up for much varied tests of will, and the following episodes would sure be there to flesh out everything else necessary that revolves around her (and the first three were in fact great to reach a preliminary climax, as a taste). So, in the case of a side character like Sanageyama and the spotlight on him for a sole episode like this, I was sceptical on the importance but by the end of it saw that such development feels like something it has to be taken advantage of decisively later on,
because of new aspirations for Sanageyama and a regained spirit enough to question his position as underling... has he seen a different path with that new eye of his, good enough to reject the complacence of his leader? Did he see with it the world outside the little Kiryūin safe bubble? Its suffering? I certainly think he has surpassed the 'Deva' status, and could play a very different kind of role in the game from now on.
Remember also that from this point in the series all scripts will be handled by Mr. Nakashima, and that means this is when he will commence to go overboard and all fired-up on that "intense character drama":
Q: How did you undertake the script writing?
Imaishi: Just a few people. Actually, Nakashima wrote most of the 2-cour script. The Nakashima concentration in this script is very high!
Nakashima: Actually, we wanted to have the "battles with special powers" thing for the whole story so we considered having a lot of writers to provide some quality variety. But then, the character drama started getting intense, so … "then I'll write the next script, .. and the one after that, and after that too". Before we knew it, I'd done most of the writing. It was like TWENTY-FOUR.
Pft. Even when you have evidence and support your opinions, if you go against the popular grain, you'll take shit. Let's not pretend it is ever about supporting your ideas in a well-thought-out way.
I really like that aspect of the series. In far too many sci-fi stories people end up activating their fancy new technology and it just works perfectly, or only has minor glitches. In Macross it's a total train wreck.
I think it can work, and I have faith that Macross will be able to make it work, but I worry because it annoyed me to know end how often technology didn't work in Attack on Titan. Possibly because it was the same plot point again and again, whereas here it feels more thematic. Like I said, I have faith Macross will turn out fine, but I'm not entirely without my cautious approach here.
Perhaps lizard men is the wrong term. One of them looks like a lizard man, but the others could be called vaguely reptilian/botanical/hentai-tentacle-rape demons. From space!
I've always been a big fan of faces in old school anime. There's something completely nonuniform about them as compared to modern anime that I'm just infatuated with. People have ridiculous, hideous shaped heads and even the pretty people have features that set their faces completely apart from the pack, so to speak. There's an individuality to the character's faces in MSG that I feel you would not find in anything post-SEED in this franchise.
Again, though, I'm really hard-pressed to find a good way to put what I'm thinking into quantifiable terms here, and as I've spent most of today doing homework, I just don't feel up to the challenge.
Well in fairly conservative modern anime studios (read: Sunrise) most of your characters are designed to be attractive to garner fan attention and you're limited to a fairly samey number of shapes because of that. In older shows, or to be fair certain shounen works, there's room for slightly more variety in that people can be of any body shape, height, colour, design etc. Still, there are modern shows with great character design as well and even in the past certain designers dominated certain decades.
Pft. Even when you have evidence and support your opinions, if you go against the popular grain, you'll take shit. Let's not pretend it is ever about supporting your ideas in a well-thought-out way.
