The fundamental laziness of Bennett the Sage

I’ve been annoyed by Bennett the Sage’s review of Akira for at least six years now, but was today years old when I found this perfect dissection of it:

I can well understand that if you’re not particularly interested in what some anituber said about Akira a decade ago you don’t want to watch a nearly hour long video about why he’s wrong, but it points out two consistent flaws in Bennett The Sage’s reviews that drive me up the wall. With Akira he insists on using a particular not very good old dub to review and I get that reviewing crappy dubs is his schtick, but it’s fundamentally unfair when better versions are available. Worse, he has the habit of blaming the movie for the sins of the dub. Don’t complain about the voice acting as if that’s the movie’s fault when you yourself sought out this dub. Dubbing is fundamentally inferior to subbed anime anyway, but especially if you insist on using the worst possible dub in existence. Every review of his is this way, where he takes some hastily shit out dub done by bored amateurs instead of using the original Japanese version. Again, it wouldn’t bother me so much if he didn’t then judge the entire anime by the crappy dubbing. With something like Akira it’s even worse when the dub makes things that were perfectly clear in the original and muddles them up.

Which brings me to my second gripe: he wants everything explained but doesn’t bother paying attention. As the video makes clear, he complains about things that were spelled out for him literally minutes before. He also doesn’t have the patience to wait if something isn’t when plot points or situations aren’t immediately explained to him. He fundamentally refuses to do the work to understand a story on anything but a surface level and gets frustrated when things are implied or left to subtext. This is made worse by him wanting every aspect of a story, characters and setting to contribute to the plot, preferably all tied up in a neat package. He cannot handle messy settings, a world that exists outside of the plot’s constraint. When you combine that with his tendency to get fixated on irrelevant details, he’s the worst possible person to review something like Akira.

Studio Chōjin in his critique of Bennett’s review chose to focus on how he misunderstands things even though the movie explains them, but I feel that a deeper problem is that tendency to want everything explained in the first place. The idea that you have to explain why Neo Tokyo is wracked by riots and political unrest, that it all has to tie into the plot rather than just be the background against which the story happens, even though it is explained and does tie in with the plot, is just alien to me. I first saw Akira in 1989 or 1990 and political clashes like that were familiar to me from the evening news, from seeing the marches for freedom in East Germany or Poland, from the squatter fights with the cops in Amsterdam or even the fight for democracy in South Korea and Taiwan that took place at roughly the same time Akira was made. Corrupt repressive government involved in dangerous secret schemes, idealistic, naive militants used by equally corrupt opposing politician, righteous rightwing military leaders disgusted by them all, those are not new ideas. You don’t need the movie to spoonfeed you the background, you just need to accept it and move on.

Ultimately my point is that Bennett is lazy. He’s comfortable just slagging off decades old dubs of already obscure titles with not enough dept in them to trip him up with his overly literal way of looking at stories. To be honest, I do enjoy watching his videos from time to time even if the only he does is just retelling the plot and complain about crappy voice acting. But when he tries to tackle something with a little bit more worth, he’s out of his depth fast. He is getting better, but ultimately you don’t want to rely on him for judging whether any anime more complicated than Queen’s Blade is any good.

R.E.S.P.E.C.T — Martin’s increasingly petty translation rules

Who’d want to be an anime translator? No matter what you do, some monolingual schlub on Reddit or Twitter will accuse you of DoInG iT wRoNg, or worse injected politics in your subtitles, insisting that Japanese should be translated literally and that machine translation is good enough. You’re expected to work quickly enough that a new episode is translated and subtitled on the day it is released in Japan and most streaming services will not only not credit you, they’ll pay you not enough to live on:

Yes, you heard it right: Crunchyroll pays translators eighty bucks per episode, according to the Canipa Effect’s video above. That’s from two years ago and I’ve heard scuttlebutt that conditions for translators are slowly improving, but the reality of the business is still that it’s hard work for little pay and even less respect. Especially under the sort of time pressure same day streaming services put translators. You may have the script the week before the episode is released but even if there are no differences between it and the episode, you still need to do the actual subtitling. And often there are differences, or things that only become clear once they’re heard in the context of the episode. Do keep in mind that the subtitling itself isn’t that easy either; it needs to be timed properly with the audio and fit properly on the screen too, not to mention that it needs to be clear who’s speaking. All of which also can impact the translation as frex the chosen text doesn’t fit or cannot be timed correctly and needs to be adjusted.

Bye-bye, Mr. Hambirdglar!

It’s frustrating all this hard work is not rewarded properly and almost as frustrating must be that it’s usually uncredited as well. I don’t know which genius came up with this particular pun in episode 8 of Sono Bisque Doll Wa Koi Wo Suru because Funimation refuses to credit any of its staff working on their releases. So does Funimation and even Netflix. The only streaming service consistently giving credit is Hidive/Sentai Filmworks, who have a separate credit section listing both the Japanese and their own staff tacked on to each episode. It’s thanks to that I know that Jake Jung was responsible for the excellent translation on this seasons Paripi Koumei for example. Really this should be the standard at all streaming services, a little bit of credit for the people doing the work.

These then are the first two of Martin’s increasingly petty rules for translating anime: 1) pay your translators (all staff really) a living wage and 2) give them proper credit. Not too controversial yet I think, but this is only the first in a series of posts I want to do on what I think is good translation. The focus here will be mostly on subtitled animation as I don’t care about dubs, but I’ll also talk about manga and even *gasp* other forms of translation than from Japanese to English.

It would not be an offence to park on a double yellow line post nuclear attack

Being a child of the late Cold War means that occassionally you spent your sunday morning watching old nuclear holocaust documentaries. (Some disturbing images of Hiroshima victims as well as footage from a civil defence exercise; be careful.)



It was just a casual tweet mentioning this particular documentary that sent me down the rabbit hole of early eighties British nuclear war programmes. This was the stuff of literal nightmares for me as a child growing up in eighties Holland, seeing nuclear war casually referenced on the news and even on children’s television. It’s hard to imagine forty years later just how dangerous that period of 1979 to 1986 felt like, that idea that at any moment the bombs could drop. That nuclear war was inevitable not because either side wanted it but simply because there were too many weapons, too many complexities that made certain the war would happen by mistake sooner or later. Though it didn’t help that we got an American president talking about winning a nuclear war and who deliberately upped tensions to the point the Soviet leadership became convinced he was planning to strike first.

What fascinates me about this documentary, a 1980 Panoram special, is its tone. When we think about 1980s nuclear holocaust angst we tend to remember movies like Threads or The Day After or Raymond Briggs’ when the Wind Blows or the various pop songs about nuclear war that were a staple of the hit parades. All very emotional outbursts of rage and horror of what we might do to ourselves, all of which contributed to that anxiety me and so many other children felt growing with them. But here there’s none of this emotion, just calm, rational men talking in posh accents about the end of the world and how it might come about. There’s no sensationalism, but the horror of the subject is conveyed anyway; as Paxman’s heard saying at the end of it: that’ll send them to bed happy”. That remark may be as much about how unprepared the UK government was for the prospect of nuclear war as the actual horrors of the war itself, because the focus of the documentary is firmly on the former.

How to survive a nuclear attack, a 1981 Thames Television TV Eye documentary on Operation Hot Seat, a monthly exercise rwargaming the aftermath of a nuclear strike on Britain. Held for local and regional government officials including the emergency services, police and army, the intention was to prepare them for their roles after the bombs dropped. Again a very understated sort of documentary, following civil servants as they go about arranging food for the population of their fictional county and brainstorm how to deal with looters. Everybody involved takes the exercise very seriously, but you do wonder if all these people would show up if the real thing had happened and if so, how much control they would’ve really had. Even in the exercise the participants come to the conclusion that just expecting people to obey their instructins is futile when people are cold, hungry and slowly dying of radiation poisoning. The absurdity of it all is best shown in the quote taking from it I’ve used as the title for this post.

On the 8th Day, a documentary from 1984 shows that all the preparation and planning for the “post-attack era” are just so much nonsense, as it explains the concept of nuclear winter and how long the climate would be destabilised after a nuclear war. What the bombs and the radiation hadn’t killed owuld be finished off by the immense dust clouds kicked up by the war blocking out the sunlight, plunging Europe and America inot a new ice age. Featuring the always calm voice of Carl Sagan as he explains the horrors of it all.

Nuclear Nightmares is a 1979 Peter Ustinov narrated documentary about how nuclear war could start. Written by Nigel Calder, it was his book of the same name that was a primary driver of my own nuclear nightmares back then. A very pre-Reagan view of nuclear deterrence, when you could still assume that rational men where in control of the nuclear arsenal. One of the more cheery parts in this documenary is John Erickson stating that the 1980s would be the most dangerous decade for nuclear war as technological advances favoured the side that attacked first.

A British Guide to the End of the World is a much more recent BBC Arena documentary, using much of the footage created for the previous documentaries, focusing both on the idea of what was planned to happen after the nuclear attack and the realities of what the preparations for waging nuclear war meant in reality. Which this documentary does by looking at the treatment of British service men present on Christmas Island during the first tests of British nuclear weapons and how the radiation they ingested there impacted their health and that of their children. It’s not just that they got deliberately exposed to radiation, but that the UK government completely abandoned them to their fate even after its affects became clear. That disdain may be the real horror of the nuclear age.

Seireitsukai no Blade Dance Specials — Anime 2022 #014

If you bought the Seireitsukai no Blade Dance series on DVD or Bluray — but why would you — you would’ve gotten these thrown in for free: six three minute mini-OVAs showing hilarious interludes from the series.

The crossdressing protagonist is always prettier than his harem

Not much to say about them to be honest. If you’re a fan of the series you’ll enjoy those occassionally funny slice of life episodes, but otherwise there’s no reason to seek them out. It’s all literally fanservice, like in the third episode shown here, where protag-kun and his harem have to help out a cake shop and he turns out to look better in a maid uniform than most of the haremettes. All harmless fun, not going too heavy on the sexy times like certain titles.

Mermaids and sexy sea slug doctors — Tropical-Rouge! Precure — Anime 2022 #013

Tropical-Rouge! Precure is the 2021 installment of the long running Precure series. This times the villains are driven by procrastination and attempt to steal people’s motivation power. The Cures’ gimmick on the other hand is make-up, with the transformation sequence being based on applying make-up.

our Precure: Asuka, Laura, Manatsu, Minori, Sango and Kururun

It all starts with Laura the mermaid being send to the human world to find “the legendary Precure” who are the only ones who can stop the Procrastination Witch from stealing everybody’s motivation powers, something she will get up to doing tomorrow. She ends up in Aozora City, coincidently the place Manatsu also ends up in after she moves from the small tropical island she lived with her father, to go to school in the city, living with her mother the aquarium director. She meets up with Laura just as the first monster attacks the city and it turns out that of course, Manatsu is one of the legendary Precure, Cure Summer. They’re joined in short order by the cosmetics loving Sango, Cure Coral, mermaid obssesed bookworm Minori who becomes Cure Papaya and finally Asuka, Cure Flamingo, a sporty third year at Manantsu’s school. Sango and Minori are fairly typical blue and yellow Cures respectively, but the tomboyish and somewhat hot tempered Asuka is more interesting. She turns out to have a bit of a hidden past with the school student president, going from best friends to enemies over a tennis match, though it’s clear both are still upset about their falling out. Of course it all gets resolved in the end.

The villains: hermit crab Chogire, sexy sea slug Numeri, the sea horse Butler and Elda the child maid prawn.

As per usual with Precure, each week one of the Procrastionation Witch’s underlings comes to town, drains a convenient crowd of people of their motivation power, then uses it to create the monster of the week. The first is Chongire, a hermit crab who normally works as the chef in the Witch’s castle. Then there’s Numeri, the sexy sea slug doctor (Precure does like its sexy older woman villains) and Elda, a literal child (and also a prawn). None of those three is actually all that bothered about their jobs, prefering doing anything else, but their loyalty to the Witch compels them to follow through with it. There’s also the Butler, sort of the head underling who is the only one who really seems a villain. When in the best Precure tradition the series turns serious in its final part, the villains get their redemption and help the Precure fight the real evil. For Precure villains they’re very relatable in their bad attitudes to their jobs.

Close-up of Laura lookign bored

Best character in the show is Laura though, vain and egocentric gremlin that she is. She wants to become queen of Grand Ocean and if it takes becoming a Precure and defeating the Procrastination Witch to do so, she will. Though she learns to genuinely care about her friends, she’s still not above using them to get her way. She also brings out the best in the other Cures, especially Asuka, who just can’t with Laura’s general attitude to life. They also become pseudo rivals for Manatsu, though that never really leads anywhere. Laura’s so great she got her own Twitter meme account. Second best character is Kururun, the seal fairy mascot whose role in the series is to show up and go ‘kururun’ every episode. A very important role indeed.