Shield Hero is trash, but not fun trash — first impressions

Rising of the Shield Hero is yet another “virgin nerd gets transported to a fantasy world in order to save it while creating a harem for himself”, but with one difference: it’s much creepier than usual. Sure, other isekai series come with dodgy attitudes towards women and unfashionable opinions about slavery, but Shield Hero takes it all up a notch. It’s also insanely popular for something that is as generic as it is — see the video below for more on that — which I got to experience first hand when some fanboys took exception to my offhand criticism of it on Twitter yesterday. so I thought I’d expand this criticism in this post.

Shield Hero: lots of ressentment

The first episode of the Shield Hero anime adaption starts with a quick look at our hero Naofumi’s everyday life before he got transported to another world, just like every other isekai anime does. Noticable is a small incident in which he bumps into two school girls, who are laughing together and ignoring him. This is a subtle not so subtle harbinger of what’s to come. When he’s transported to the fantasy world he has to save, it turns out he’s one of four such heroes summoned and he has the worst power of the lot, a shield he cannot take off and with which he can only defend, not attack. Also for some reason everybody is a dick to him: the people who summoned him and his fellow heroes both. That’s because he’s the second type of isekai protagonist: the seemingly underpowered weakling who’s looked down upon by everybody else but who will have his revenge in the end. Such a hero is always treated unfairly in the start, belittled and humiliated, because that makes the inevitable come uppance to all his tormentors all the sweeter. Therefore when each of the four heroes get companions assigned to them, none of those choose him, until one woman takes pity on him.

This is of course a trap; she betrays him because the story needs her to do so, but not until after he bought her armour and weapons. This in itself is an annoying cliche, the gold digger who betrays our pure and naive hero, but the way it’s done makes it so much worse. Because she doesn’t just take his money and runs, she actually accuses him of attempting to rape her. The fake rape accusation trope is one that needs to die in a fire — along with its cousin rape as background trauma — because it reinforces the idea that women lie about this constantly when in reality it’s difficult to get any rape accusation to be taken seriously and fake accusations are extremely rare. Here it’s used to justify Naofumi’s mistrust of women as well as the solution he turns to when, rejected by everybody, he still needs companions to fight for/with him so he can level up and abe able to fight the evil Waves threatening the world.

That solution is slavery. At the end of the first episode he’s seduced by a slave trader to visit his shop, having spent his time trying to get stronger on his own and not getting anywhere. The episode ends when he lays eyes on the tanuki girl who will become his first battle slave. The idea here is that because his shield is a defensive weapon, he needs somebody to fight for him but nobody is willing to do so. Furthermore, the only way Naofumi himself can trust anybody is if they’re literally unable to betray them and that’s where the slaves come in, because the seals they have on them make them suffer excruciating pain when only thinking about being disloyal. So by buying a slave girl Naofumi has somebody he can trust and somebody who can fight for him.

Now you could’ve had the same story without using either a fake rape accusation or your hero buying slave girls, but that’s the whole point of this particular nerd resentment fantasy. The point is that you cannot trust women, that the only way to be able to is if they’re literal slaves that cannot disobey you and that slavery is in fact not at all a bad thing when you have a nice master. Time and again Naofumi extends his slave harem by buying or rescuing girls from evil owners and each and every time they fall in love with him because he’s such a good master. Of course, the woman that betrays him meets an appropriately gruesome fate, raped and murdered and then apparantly raped and murdered again, though that may only happen in the original web novel as I haven’t read that far ahead in the light novel and manga.

With Shield Hero then you get a story that’s part revenge fantasy, part slave harem fantasy where you can pretend all the girls are happy being slaves and all trash, but not the fun kind of trash. I don’t actually mind power fantasies all that much normally, but not when it’s this creepy.

Bang Dream Season 2 — First Impressions

It’s season 02 of Bang Dream and this time they really *clench fist* Bang Dreams.

Unlike the first season, this is all CGI animation, which takes a bit of getting used to and is not always succesful, but on the whole it didn’t really matter for me. Just having all the bands from the game finally in a “real” anime (as opposed to whatever this is) was good enough. This first episode was short on story and mostly was just introducing the bands with a short performance, of which the Rosalia one above and the Hello Happy World one below (including a fleeting appearance of Kaoru-senpai completely flustering Rimi-rin here) were the highlights.

Whether or not you’ll like this probably depends a lot on whether you can watch a full CGI show like this without breaking out into hives. Apart from that, I expect a nicely positive series with not too much plot happening to our characters and a lot of live performances. Also some serious girl on girl relationships. This would always have to do very badly not to become a show I watch, as I’ve been playing the Bang Dream rhythm game almost daily since April or May or something without getting bored of it. Expect no objectivity here.

The dumbest take

This is silly:

complaining about Peni Parker being too anime when that is the whole point

My only Spider Verse regret was watching the woman of color Spider (Peni Parker) become an “anime amiright?!” gag instead of a… normal person like in her comic? (Sorry y’all, I worship Spider Verse, but nothing’s perfect out here.)

First, as the Pedantic Romantic points out, she isn’t a “normal person” in her original comic either and the picture used to illustrate this tweet is actually … an Evangelion reference. Second, the idea that a character based in an anime/manga rather than a comics background is immediately a gag character. Third, the idea that the more grim and gritty image is better than the more cutesy re-imagining as shown in the movie. It’s not far removed from the similar complaints about the SJWs ruining She-Ra with its new art style. Mainly this seems a well intentioned but misguided criticism, rooted perhaps in a slight disdain for modern anime: too cutesy, too moe, too feminine perhaps.

Peni Parker

Some people also criticised having the movie Peni Parker’s first dialogue being in Japanese, but a) she is Japanese-american, b) it’s a decent enough meta joke since everybody in anime always speaks Japanese the same way everybody in comics speaks English and c) Peni Parker being a massive weeb fits in thematically very well with Peter Parker having always been a massive nerd.

Watching too much anime in 2018

This year I’ve finished roughly 120 series so far, slightly less than last year. Still a massive amount of anime, but if you watch it week by week you don’t notice it all that much. It only takes another twenty to twentyfive minutes to watch another episode after all. And it’s not as if I pay an equal amount of attention to each series. Some, usually the best, you have to pay close attention to because every moment in an episode matters. With others … not so much.

2018 is my third full year of watching seasonal anime and I’ve now gotten comfortable enough with Japanese to be able to keep an ear on whether something interesting is happening so I can do stuff while watching anime. Some people hate this way of watching, argueing that if you can watch a series while doing anything else it’s a bad series and you shouldn’t watch it. But for me that’s always been how I’ve watched or read or listened to anything; I always like to do something else as well, unless I’m really, really engrossed. Watching anime subbed I couldn’t do that at first, needing to keep reading the subtitles to understand what’s going on, but my grasp of spoken Japanese is now decent enough that I can follow along until something happens.

Was 2018 a good year for seasonal anime? I’m not actually sure but I’m also not sure I actually care all that much. For me personally it started off with a bang: winter 2018 had some of the best series of the year: Yorimoi of course, but also Yuru Camp, Devilman Crybaby, Pop Team Epic, the new Card Captor Sakura, Violet Evergarden and Koi wa Ameagari no You ni, a line up that can hold up to any other season of anime. What’s missing though and what never quite emerged this year is the one anime everybody talked about, everybody had seen, like Yuri on Ice two years ago.

Instead there were several what you might call cult favourites emerging throughout the year, like fall’s Zombieland Saga or summer’s Banana Fish, that part of fandom got really, really hyped about but which never quite became the one series everybody talked about. Not even season three of Sword Art Online managed that: the people who still liked SAO watched it, the people who hated or got fed up with SAO a long time ago …didn’t. Nobody really felt the need to hatewatch it; even Digibro gave up in the end.

It’s not that there weren’t good or interesting series this year, as a look at my blog archives should show. It’s that there wasn’t any one series that appealed to all or most anime fans in the way HeroAca e.g. did when it first came out. Too much anime is being made and worse, it’s increasingly spread out over too many streaming sites. If you want to keep up with everything, you need to watch Crunchyroll and Netflix and Hi-Dive and Amazon and Funimation/Hulu in the US, maybe Viewster in Europe, whatever local anime sites there are in your country and it gets too much, unless, like me, you both have the money and time (especially!) to keep up and all those platforms are offered in your country…

Another reason: 2018 was another bitch of a year, full of constant churn and misery and even if you’re not directly affected, keeping up with everything is a chore. Among all this chaos there was little room for in depth and lasting conversations about anime, instead you got those brief periods of intense focus on the latest series to pick the interest of enough people. On Twitter especially you’d see those discussions flare up and die down for series like Devilman Crybaby, Pop Team Epic or Aggressive Retsuko, absolutely dominating the timeline for a few weeks (more rarely, a full season), then abandoned for the next shiny thing to come along. All of which intensified by the increasing importance Netflix and its habit to just dump an entire series all at once, so you’d get about a week of that discussion as everybody went and watched it at the same times. (Also a process I’ve seen with the She-Ra Netflix report, where the same thing happened.)

No wonder I’ve been watching so many kids shows this year. With a Precure or Aikatsu Friends there will likely never be more than a cult audience discussing it, but because they’r usually such long running shows, the conversation about them remains active for a much longer time when even Darling in the FranXX the most controversial series this year is already forgotten as Goblin Slayer came along.

So than, if there never really was that one outstanding series, the really important one everybody kept talking about even after it finished airing, does that mean 2018 was a mediocre year for anime? Perhaps. Or it could be that anime is just too big now that it is no longer that easy to be the new Attack on Titan (and notice that its latest season didn’t get much buzz either). In any case, the same thing is happening in other media: there’s more of everything, everything is more splintered and everything changes faster. In an age of binge watching the old seasonal model of anime watching we’ve just gotten used to might already be becoming obsolete…

This is the twelfth and last post in this year’s twelve days of anime challenge. Originally it was supposed to come out on Christmas day, but real life drama intervened.

Watching too many kid shows

In this age of simulcasting, when seemingly every anime series is available less than an hour or so after airing in Japan, there’s still a major category of shows that isn’t picked up: kids shows, especially those aimed at girls. Even massive franchise in Japan — Pripara, Aikatsu, frigging Precure don’t get an English language release, subbed or dubbed. (Well, there is Glitter Force, but that uses Precure the same way Power Rangers used its source material, chopped up and Americanised. It’s still a good show, but it isn’t really Precure anymore.) Kid shows then are one of the few areas where, if you want to watch them, you’ll have to rely on fansubs if you can’t speak Japanese and/or can’t watch the original airings.

Luckily there still are a few dedicated groups and fansubbers left devoted to those series, but oh the disappointment when they lose interest in a series you are following. Which was what happened for me with Kiratto Pri☆Chan, the reboot of the Pripara magical idol series, which ended last year after four seasons and some 200 episodes. I was enjoying the new series, but the original translator dropped it after less than ten episodes and the new one couldn’t English very well and in any case also seemed to have stopped doing them. A pity, because I was enjoying it. Kiratto had a bit of a twist on the traditional idol show, as it now revolved around a sort of magical Youtube, rather than performing idol shows. It had still the same beats as its predecessors, but I wanted to see where the series was going with it, but then the fansubs stopped.

Aikatsu Friends is the third iteration of the Aikatsu! franchise: the original series ran for 178 episodes and four seasons and was followed by the 100 episodes Aikatsu Stars, which guydolls in the mix and wasn’t received as well as the original. The latest series is a return to the original formula, with a new idol joining the idol school, teaming up with an already established hot new star, to take on various other idols in friendly competition. The change here is that it’s all about friendship, with the two aimed to become platinum friends and ultimately winning the platinum friends cup to become the top idol team. All this while transforming before performing in a sort of magical virtual reality, as shown above. This and Pripara are series that sort of made idols into magical girls and both originated as arcade video games, where you could unlock new outfits and characters and the like and that’s why each idol has her own transformation cards and usually a favourite clothing line. It’s much less toxic than the actually existing idol industry in Japan of course, but that’s why these series have this fantasy element. If you like magical girl shows like Precure with their devotion to friendship and helping each other overcome your weaknesses, you’ll probably like this too.

Which brings me neatly to the eight hundred pound gorilla of kid shows aimed primarily at girls: Precure, which has been running since 2004 and arguably ran every other kids magical girl series out of business. This year’s series, Hugtto Precure is its fifteenth and therefore an anniversary edition, which has resulted in a couple of guest appearances by the previous Precure. It has also been the most openly queer of all the Precure series, as we saw two posts ago. Sadly the entire Precure franchise remains mostly unavailable in the west, but there is the Americanised Glitter Force edit of two of the older series, which is worth watching if you have children in the right age (eight or so) because a lot of the fun of the original is still present in them. Much of what makes the present series so good is the interplay between Lulu, an android who worked for the big evil of the series until she developed an actual heart and Emiru, a slightly younger fan of the Precures who attempted to become one herself; in the end they both became members. Emiru and Lulu went from friends to close friends to an actual couple and they weren’t the only ones: her elder brother became the boyfriend of Henri, the first ‘boy Precure’ as shown in that earlier post.

The one kids show that is easily available over here is of course Pokemon: sun and Moon, which some purists dislike because it doesn’t look like the original, but since I’ve never seen it having been too old for it at the time, I quite like this series. The character designs are cute, it’s not all Ash all the time, the monster battles are more than decent and every few episodes they pull something really weird out of the bag, which is great. I never thought I’d be watching this but here we are, a hundred plus episodes in and still looking forward to it every week.

This is the eleventh post in this year’s twelve days of anime challenge. Tomorrow: Watching too much anime in 2018.