Battle of the MMOs! Bofuri v Dendogram!

The third episode of Infinite Dendogram opens with the protagonist being told about how much stronger players than he had solved the problem of the player killers he himself fell victim them to last episode.

The third episode of Bofuri opens with the protagonist complaining to her best friend about the new rules introduced by the game that nerf her powers after she came third in the first big event it had launched.

Nothing shows the contrast between what should be very similar series better than this. In Infinite Dendogram the protagonist has things happen to him. He starts playing the game his brother has already been playing for years and lets him guide him through his first adventure. He get things just for being there, most notably his “Embryo”, the unique gimmick of the game, which predictably turns out to be a young girl. He gets attacked by player killers and by coincidence meets a super high level player shortly after who promises to do something about it. He hears about what other people are doing but does nothing of note himself in this episode. In Bofuri the protagonist is active. After she let herself be convinced to start playing the game her best friend wanted to play with her, she spent the first episode on her own, deciding how she wanted to play the game. Once she had decided, she then set out to create exactly the type of character she wanted to play: somebody so strong in defence and vitality she could never be hurt. Through this she came third in the game’s first tournament, at the cost of having her powers debuffed because they turned out horribly game destabilising. And in this episode she sets out to find new ways of using her skills to compensate for this nerfing.

What also becomes very clear in these third episodes is the difference in how each series treats their setup. In the first, the world it takes place in is very much a fantasy world with some gaming elements laid on top of it, with little thought on how it would work as a game. In the second, it feels much more of a game. Events happen, rules get modified when abilities turn out to be game breaking and we see the protagonist and her friend talking in real life about the game. Infinite Dendogram wants us to forget it’s a game; Bofuri revels in it.

Both series are about having relaxing adventures in a MMORPG virtual reality game. Both games are set in the sort of medievaloid fantasy world we already know from dozens of similar anime and manga series, only this time nobody is trapped inside them. Their protagonists are sort of similar too. Both are gaming newbies who have just started playing this VR MMO, who have more experienced friends to give them advice. But Infinite Dendogram puts me to sleep while Bofuri, (full title: Itai no wa Iya nano de Bougyoryoku ni Kyokufuri Shitai to Omoimasu or I Don’t Want to Get Hurt, so I’ll Max Out My Defense keeps on charming me with each episode.

Just casual slavery — Infinite Dendogram & Nekopara First Impressions

This raises so many questions.

Infinite Dendogram: for admin reasons, tians have human-grade cognitive capabilities and personalities

“Tians” are Infinite Dendogram‘s “generic” (sic) term for NPCs, which for some reason are given human intelligence and personalities, which is, erm. If you kill a tian in the game, isn’t that murder? Do the tians know they are in a game? What happens once the game’s no longer profitable and the servers are turned off, wouldn’t that be genocide? It all seems ethically dodgy on a level that even your average amoral tech company would balk at.

All of this is ignored by the show of course in favour of a very low stakes not actually trapped in a videogame story, with yet another clueless newbie player gets to hang around in a fantasy world having adventures. The first two episodes have been alright, but I’ve read dozens of these sort of isekai or videogame stories and there’s nothing interesting going on. Only if you really like this sort of thing.

Meanwhile, in porny visual novel turned cutesy anime Nekopara it turns out cat girls are literal second class citizens:

Nekopara: Cats are not allowed to leave their houses unless their masters are with them.

So in the world of Nekopara cat girls (so far only girls) are real and look just like actual human women, just with tails and cute cat ears, but sometimes they act like real cats? And that’s enough to treat them as second class citizens? It’s all a bit squicky and unnecessary for a show that’s purely a pseudo-harem series about cute cat girls working in a bakery and having issues with bladder control. Japan eh?

Nekopara: Cat fight

As said, this is based on a porny visual novel, where you can buy the actual game on Steam but have to buy a separate plugin to get all the sexy bits. Which explains shots like this, slighty too on the nose, crotch shot of the most fan servicey cat girl. Though for the most part there isn’t all that much fan service and what there is is more implied than shown, no censor beams or other BD sales enhancing techniques used here. This is almost a cute cat girls doing cute things show, if not for the presence of their master. Not a very good show, but a fun one and one that’s much less creepy than its origins would suspect.

Comic book artists on Lone Wolf and Cub

From Criterion, Paul Pope, Larry Hama, and Ron Wimberly talk about the influence Lone Wolf and Cub has on US comics.

Long before the current mainstream popularity of manga, in the early to mid eighties, Lone Wolf and Cub was one of the first manga to widely influence American cartoonists, most noticably Frank Miller who went on a real Japanese kick at the time (in e.g. Wolverine, Ronin et all). He would also provide the covers of the first edition of the manga for First Comics. It was also one of the first series to not be released as floppies, but as what we called prestige editions back then.

As for why Criterion is interested, the manga was adapted into a series of six movies back in Japan in the early seventies.

Not furry enough — Murenase Seton Gakuen First Impressions

No, I’m sorry, it’s only properly furry if your female characters are just as monstrous and animal looking as your male characters:

Murenase Seton Gakuen: a crowd of animal people with the boys all proper animals and the girls just have animal ears and a tail

Forget about being the only boy at magical school, protagonist-kun is the only boy at animal school — and he hates animals! The only light in his darkness is that there’s also one human girl in the school, who he’d very much wants to befriend but too bad! He’s already adopted by a wolf girl, who has taken him into her pack!

Murenase Seton Gakuen: the cooking club at table together

Having read the original manga of this a while ago, it was an enjoyable pseudo harem series, nothing special and the anime seems the same way. The nastiness of this first episode was also part of the original’s first chapter(s) but calmed down considerably once the initial setup had been established. It remains hilarious how bestial most of the male animals are when all the girls are conventionally pretty, just with added cute ears or tail.

On anime translation

When a certain Crunchyroll employee showed off the company’s new offices on Twitter (since deleted) a small controversy popped up about the company’s translation rates:

just a reminder that the contractors who actually translate shows for crunchyroll get paid $80 per episode without benefits, while a lot of other people at the company make close to six-figure salaries

In a way it’s fitting that translators/subtitlers get paid just as crappily by the US streaming companies as animators are by the Japanese studios. In both cases it’s the people doing the actual work who get the least rewarded for it. You can’t make anime without animators and you can’t stream anime abroad without translators and when you underpay both you get crappy anime paired with equally crappy subtitles. Especially when both are created under extreme time pressure. The relentless death march of seasonal anime has been well documented (and even fictionalised in Shirobako), but no less so are the demands of an international market wanting subbed anime to be available within an hour of the Japanese broadcast. Granted, scripts, rough anime cuts and the finalised version will be available earlier than that to the translator and subtitler, but an at best weekly turnaround still puts a lot of pressure on the people doing this, especially if they’re working on multiple shows.

The subtitled dialogue says Miyako Kono, while the translated caption says Kono Miyako

Which they have to, if they’re paid that badly. If you’re only making eighty bucks per episode, better line up more episodes. No wonder you get things like this from 22/7, where the dialogue reverse the Japanese name order but the translated caption keeps it. Or slightly later in the episode, where the manager introduces himself and the dialogue has his name as Goda but the translated business card says Gouda. No time for proper quality control and the people doing it are paid too little to care for consistency. And those are just the things I noticed with my limited knowledge of Japanese; Shitty Simulcasts noticed a hell of a lot more, including just not translating text messages at all.

Understandable. If you pay peanuts, you get monkeys. If you don’t even credit the monkeys that work for you, like both Funimation and Crunchyroll (but not Sentai, which has full credits for both Japanese and their own staff after each episode), there’s even less incentive of doing anything above a passable job. Professional pride can only take you so far.

Translating nee-nee as Big Sister also loses something

Personally I can’t blame the translators and subtitlers for this. It’s the unwillingness of the streaming companies to pay for proper translations and the time pressures of the simulcast markets that are to blame, a structural problem that goes beyond individual translators. The first problem is easily solved if a company like Crunchyroll took its responsibilty and paid translators a living wage. The second is less so. As long as we have this relentless pressure of seasonal anime, time for a proper translation will remain limited.

I do wonder how much we anime fans actually want or need these simulcasts. Personally, more often than not I end up watching an episode only a day or even several days after its first release, or some series only once they’re completed. But as long as the anime streaming companies are competing with each other (and Netflix, Amazon) on both how many series they simulcast as how quickly they simulcast, we can’t solve this problem. Still, paying your staff properly should not be complicated. Nor should it be difficult to actually credit them for the work they’re doing.