The Watersnoodramp — seventy years later

Seventy years ago this day the worst disaster modern Holland would endure was on its way to the Dutch coast, to arrive that night in the form of storm swept waves overwhelming the coastal defences that for centuries had kept us safe. The results are seen in this video compiled of contemporary news broadcasts:

1835 people died, 750,000 people lost their homes, tens of thousands of cattle drowned alongside their owners. Whole villages, even whole islands swallowed by the water. The flood hit the south-west of the Netherlands, coming through the Channel into the North Sea, its narrow width pushing the water higher and higher until it hit the coast. On the map below you can see how the northern islands in the delta were hit the hardest, the water pushing its way into the mouths of the rivers Rhine, Meuse and the Schelde flowing into the sea there. This is land that has always lived with the threat of the sea, has been conquered from it, that thought itself safe behind the dykes created to protect us from the sea. What happened in 1953, the failure of the dykes to protect us is something that even now, seventy years later, still resonates in the Dutch psyche.

a map of the area hit by the flood

The reponse to the disaster is well known. Drastic measures were made to ensure that this disaster would never repeat itself. Instead of strengthening the existing dykes, something much more radical was done. If the delta was this vulnerable because of its long coast line, let’s just shorten this coast line by damming in the various channels. The idea was to close up all of them except for the routes towards Rotterdam and (grudgingly) Antwerpen. That this would be an ecological disaster was ignored; that it would destroy the livelyhood of centuries old fishing communities likewise. The country must be made safe and even if strengthening the existing dykes was good enough, it would also be far too expensive, so instead the cheaper option of damming up almost the entire estuary was chosen.

As the lesser inlets were dammed up one by one, the fishers and ecologists saw how much of a disaster it was for the wildlife and the fish in them as they became dead, brackish pools with little to no life left in them. I remember liking to swim in one of these blocked up inlets, the Veerse Meer, because there was never any chance of encountering anything icky like jelly fish, let alone any real fish. But for the fishers in Yerseke it was a sign. They were dependent for their jobs on an open Oosterschelde, which also was one of the richest wetlands in Europe, a natural treasure trove, full of wildlife including seals. That would all be lost if the Oosterschelde was to be closed, but the state, province and Waterstaat, the agency responsible for the dykes and water management were all firmly in favour of the closure.

Yet that one small village resisted. A group of fishers, enironmentalists and sympathisers started a resistance campaign. Their reasoning was simple. If the Westerschelde could be made safe by strengthening the existing dykes and be kept open, why not the Oosterschelde? With the former being the entry towards Antwerpen it made sense that it was kept open, while the latter was just not judged important enough for the expense. Thanks to their dogged resistance, their years long campaign to convince politicians, the public and scientists, the Oosterschelde was kept open and the Netherlands got one of the seven wonders of the modern world: the Oosterschelde Storm Barrier, the stormsvloedkering:

I was there when the Stormvloedkering was officially opened, in 1986, as two students from each primary school in Zeeland were invited to it. Back then the political struggle, the role the activists had played in forcing the government and Rijkswaterstaat to this compromise, was kept largely unmentioned. I remember it was all presented as just a normal change of policy, that it was a result of changing insights naturally arrived at by the state itself, not pressure from lowly fishermen and beardy weirdo environmentalists. The Storm Barrier as the ultimate symbol of progress and Dutch innovation, but had it be left to its own devices, an environmental holocaust would’ve happened. Thank god for those Yerseke oyster fishers!

I will Never Be as Excited for a Comic Again

I came across these again browsing through my comics collection and thought, I’d never be as excited for any comic anymore, no matter how good, as much as I was when I first got these as a thirteen or fourteen year old kid just getting into superhero comics.

Marvel Superhelden Omnibus issue one, two and four

That was 1988 or ’89, not long after this Dutch Avengers reprint had made me a Marvel fanboy. Of course I’d read comics before, since before I could actually read even according to my mum. But most of those were the usual European comics everybody grew up with: Asterix, Tintin, Lucky Luke etc. Mostly bought for us by our parents, or given as birthday presents and such. American comics were rarer; I remember reading some Star Wars and the occassional Spider-Man comic, but until I saw that issue of Avengers, they had been low on my radar. Once I was interested in them, I caught up to them with a vengeance (sic) and bought everything I could get my hands on from my meagre pocket money. And these particular books were a godsend: cheap reprint collections with more superheroes than you could shake a stick at. And at that time, more was always better.

Some context: Juniorpress was the licensee for Marvel comics in the Netherlands during the eighties and nineties. They didn’t publish every Marvel title of course, rather sticking mostly to the Spider-Man titles as well as the big four superhero teams: Avengers, Fantastic Four, X-Men and Defenders, as well as Conan, both as floppy and in proper album form. Other series were also tried with greater or lesser succes: a series like Wolverine was a predictable success, but New Mutants only lasted 21 issues and heroes like She-Hulk, Spider-Woman or Cloak & Dagger never made either, sometimes because the original American series had been cancelled as well.

For Dutch superhero fans of my age Juniorpress holds a special place in our hearts. Not just because it was through their reprints we learned about all these bizarre heroes and their adventures, but also because they seemed to care about what they published. There had been earlier companies publishing superhero comics, but these never felt like much love had been put into them. For example, Juniorpress was the first to credit their own staff as well as the original creators and also the first to identify where the stories they reprinted actually came from. They were also the first to introduce an actual editorial page and letter column, on the inside front and back cover of their publications. Because Dutch comics were sold in the same format as the American originals, but without advertising, each 32 page issue needed about eight to ten pages of extra material. That had previously been filled by just adding the next issue’s first couple of pages, but Juniorpress instead introduced their Limited Series as backup. That took something like The Punisher‘s first limited series and published as a backup in one of the Spider-Man series, before reprinted it as a collected edition. That was one way in which the company also tried out new titles and characters.

The other way was through this very series, Marvel Super-Helden, the Juniorpress equivalent of Marvel Team-Up or Two in One and indeed reprinting a lot from those series. Never a one for one reprint, rather they picked and choose the best stories from these titles, or even stories from entirely different series. That first omnibus e.g. starts with two Moon Knight issues, followed by two Iron Man stories, one guest starring Moon Knight before moving to a Marvel Team-Up annual with Power Man, Iron Fist and Machine Man, ending finally with two regular Marvel Team-Up issues starring Spidey and Captain America. All of which is gold if you’re thirteen, barely know any of these heroes except Spider-Man and you think two superheroes are better than one.

What made these omnibuses possible is interesting. Like the originals, these comics were distributed mostly through what you might call the newsstand: chain bookstores, cigar shops, news kiosks etc. As in the US that made these returnable; unlike in America, unsold copies had to be returned whole rather than just the front cover. Which meant Juniorpress had (large) stocks of back issues and one of the ways they got rid of this stock was to take several issues, strip them of their covers and repackage them with a new cover as an omnibus. They also did something similar to the sealed bags of comics you could get in toy stores in America, by bundling random back issues into a “summer holiday fun bag” and selling these through the same bookstores. In this way Juniorpress earned some extra money from unsold stock and discerning consumers like me got their superhero fix, cheap. Considering that each of these contained three normal issues and the price was slightly more than a normal issue cost, these were a bargain.

Coming in mostly ignorant, every time I bought or got one of these collections as a present was exciting. Just seeing that list of (unfamiliar) heroes on the cover made my pulse race. Three decades later, much more jaded than I was then, it’s a rare comic that gets me even half as excited.

Battletruck — Sci-Fi Sundaze

In a post-apocalyptic world where oil is more valuable than gold, a lone renegade saves a peaceful community from a gang driving exotic, armoured vehicles. But this is not Mad Max, this is Mad Max‘s New Zealand, worse budget, worse actors cousin: Battletruck.

A head-on shot of the battletruck with armoured shutters over its windows all in black with menacing lights.

You have to love a movie with a title as straightforward as this. The main attraction is the Battletruck, so let’s name our movie Battletruck. Then the yanks came and renamed it Warlords of the 21st Century which sounds like it should’ve been one of those Italian redubbed in English sci-fi schlockers. If you’ve seen Mad Max II you know the plot of Battletruck. It all starts when the titular truck runs down a horse drawn wagon and discover diesel onboard. Killing one of the drivers, the other one tells the gang where to find a hidden storage depot full of the stuff. The gang’s leader, colonel Stracker decides this would make for a nifty new base. When he orders his daughter to kill the survivor, she refuses and sneaks out that night. Pursued by the gang, she’s saved when the motorcycle riding Hunter comes to her rescue. He brings her to Clearwater where she lives a peaceful life until Stracker and his battletruck attack. It’s up to Hunter to save them all…

Battletruck is supposed to be set in America, but with every supporting role done by New Zealand actors and with it being shot on location there, it makes much more sense to have the story take place there as well. Especially with a cast that looks as if they’d been cast for a socialist realist kitchen sink drama and got tricked into doing a post-apocalyptic actin thriller. It makes for a far more down to earth drama even if it’s the same plot as Mad Max II, when even the weapons are bolt action rifles rather than M-16s or Uzis. There’s a strange vibe to this movie because of those incongruities, which actually made it a bit more interesting than if this had been a schlick fully American production. A minus point is that the acting is often dreadful, though this is more the fault of the American mainliners than the New Zealand supporting cast. Hunter e.g. is played by Michael Beck, better know for his starring role in another futuristic motorcycle extravaganza, Megaforce. The actors playing Stracker and his wayward daugher are not much better. Not that you’re watching this for the action and the movie itself did kept my attention throughout.

Caption: After the Oil Wars...

The setting is interesting. A simple “After the Oil Wars…” followed by an expository news radio message talking about how the oil fields in the Middle East are now either radioactive or ‘still burning’, food riots have broken out, martial law declared in ‘greater Detroit’ and how the exodus from the cities is flooding the countryside where bandits roam but law enforcement is powerless as they’re dealing with the crisis in the cities. Unlike what you’d expect from the phrase “post-apocalyptic” this isn’t set after a full blown nuclear war, but society has still collapsed. It’s a setting Battletruck shares not only with Mad Max but also something like Escape from New York and other eighties sci-fi. A full nuclear apocalypse is too scary, too big for an action movie, but there’s also the feeling that it wouldn’t take that much to collapse (American) society anyway. That whole late seventies to mid eighties period there’s an underlying current of pessimism, the feeling that America is doomed even if the world itself isn’t. Gang violence, recession, losing the Vietnam war, inflation, it all seems as if America is crumbling from the inside and nobody cares. You see that feeling in a lot of near future American science fiction of the period. Not just movies, but also in comics like American Flagg! and Scout and novels like Neuromancer. It doesn’t really fit here because the feel of the movie itself is so very New Zealand, a country with its own problems but nothing quite like this.

A nice little entry into the post-apocalyptic action thriller genre. Not very original, not the best of acting but still worth watching nonetheless.

Anime Peaked in 2006

At least if you look at the number of anime minutes aired on tv per year, as Matteo Watzky explains over at Full Frontal:

This new set of data helps us put the previous one in perspective: while it may seem that 2008 represented a peak because of the amount of new works, it would actually have been 2006, which saw around 20,000 minutes more of animation air on TV. Actually, 2006’s record has not been beaten, even in 2018, which witnessed almost 50 more TV shows on air. The general shift from 2-cour to 1-cour shows may have inflated the overall numbers, but not the actual amount of content being aired. 

It feels counterintuitive at first because we seem to be flooded with more and more series each season, but even when looking at the number of anime produced the totals for 2006 (329) and 2022 (346) are not that different. And with series lengths themselves having become shorter, with the 12-13 episode series being the norm now, it is certainly possible that 2006 was anime’s peak.

But I’m still curious about the methology behind these numbers though. The sources used by Watzky are Japanese, the number of anime coming from the Japanese anime database, with the graph of minutes of anime broadcast coming from a study on animator’s experiences, not linked to. Watzky doesn’t discuss how these two sources got their numbers, which is a pity as the original sources will not be accessible for many people, including myself. Methology is important, especially when comparing multiple sources like here. For example, the second source talks about minutes of anime broadcast on television, while the number of anime is for all anime, including shows or movies never broadcast there. Another being what is counted as broadcast on television in the first place: over the air, cable, internet based streaming services and which are counted as such. What counts as a separate anime is up for debate as well of course. Anidb e.g. usually puts specials and bluray extras under their parent series, while MyAnimeList splits everything up.

In other words, there is some room for dobut here that it really is the case anime peaked in number of minutes broadcast back in 2006, or in number of individual anime produced in 2018. I do believe these numbers are roughly correct, even if it doesn’t feel that way. It may just be that we’re just that much more aware of all anime created as almost everything these days gets a release for an English language audience now, being able to watch at the same time as the original audience, which wasn’t the case in 2006. It’ll be interesting to see what the rest of the decade will do.

Makoto Best Girl — Rewatching IdolM@ster

The eight episode of The IdolM@ster (2011) is what you get when you take an old fashioned Hollywood comedy caper and condense it into a 22 minute anime:

Everybody is chasing Azusa in her bridal wear

IdolM@ster started out as an arcade video game which developed into an entire franchise of arcade and console games in which the player usually takes the role of an idol producer who has to make a range of idols famous by guiding them through lessons and live shows and such. It’s been popular enough that the series has gotten multiple anime adaptations. The first was an utterly bizarre mecha show, but the 2011 series, based on the IdolM@ster 2 is one of the best idol anime shows ever released. 765Pro is a small idol agency with twelve idols under its wings and with the protagonist being their new producer, though the focus really is on the girls. It’s a really fun series with the agency at first struggling for success, then struggling with success. I first watched it in 2015 and have rewatched it a couple times since, but this time I just wanted to this particular episode. Why? Well, for scenes like this:

It all starts when three of the idols have a wedding themed photo shoot in a church. Azusa, the one playing the bride takes a selfie to tease a friend of hers with and when the friend calls back, she wanders out of the church only to collide with an actual, runaway bride, on the run from the henchman of an oil baron who wants to marry her. Of course Azusa is promptly mistaken for her and kidnapped by said henchmen, but who led her go once she convinces them she’s not. All’s well that ends well, if not for two problems: a) she has no sense of direction whatsoever and b) she’s still carrying the wedding ring the actual bride dropped. Meanwhile Makoto, the idol playing the groom saw the kidnapping and dragged the producer along to free Azusa. So we now have the runaway bride, the henchmen and Makoto and the Producer all running around town looking for Azusa, who herself is aimlessly wandering around and getting asked for help from various people. It all culminates in the chase scene above, as every party comes together and a happy ending is reached for all…

Makoto reading a shojo manga with big sparkling eyes and flowers popping up around her

It all works because Azusa is such a natural airhead as well as kind enough to help lost children find their mum or an old lady look for her son. This sort of thing can be immensely irritating as a plot but here it works because of her charm. Still, the reason I watched this in the first place was for Makoto and the scenes of her fighting those goons. A proper tomboy, raised by a father who’d rather had a son, forbidden anything girly, she’s 765Pro’s Prince, putting maidenly hearts aflutter everywhere. Knight on a white horse for all her female fans, she’d sometimes rather be a princess herself, as she complains to the producer in episode seventeen. It’s a familiar character type, the cool girl who wants to be more girly. The grass is always greener on the other side after all. It can be a bit problematic, reinforcing outdated gender stereotypes, but that’s not the case here. Even when Makoto decides to dress more girly for her ‘date’ with the Producer e.g., the skirt she chooses matches what she’d normally wear. In the end and with the encouragement of the Producer she also comes to terms with how her fans she her, as the only idol who can play their prince, makes them feel princesses like she herself also would like to be. It’s this what makes me like her so much and why she’s perhaps my favourite IdolM@ster character.