Questioned By Fandom For The Week Of March 21st, 2015
This week has been an insane week as life is turned upside down as my youngest daughter was in the midst of tech week for her school play, which meant all sorts of odd hours for everyone involved. It’s also been a week that started to show us that spring is not coming as our temperatures went from the beautiful 40’s back down to the teens, making it chilly as hell all around. We’ve gotten a lot of new questions in and have been whittling away at them so that we can answer (some) of the burning questions fans have. Just not questions about dubstep or what kind of toothpaste I use. Ya weirdos.
We’ve had a good run of questions this week and have our new compilation of them below, but we’re always looking for more too.
Check out some of the things we were asked about this week, and hit us up with new questions here because we definitely enjoy it! Remember, it doesn’t have to be just about anime.
A live action Gunsmith Cats: Megan Fox as Rally, either Fanning sisters as May, and Nic Cage as Bean. Yes, no, who would you cast?
First, I want this to happen. Preferably as a movie, even if it’d be largely forgettable against all the other action movies out there these days. It could work as a decent TV series too if they riffed it as a kind of Fast/Furious show.
As for casting, keeping in mind actors can change hair color easily enough, I’d go with Ariel Winter as May, Liam McIntyre as Bean and Katrina Law as Rally.
And I would just sit there and drool over it. Because of the cars. Not because of the casting.
Rumors have been spreading that Funimation has been dubbing Hunter X Hunter for the last year and that Greg Ayres is Hisoka due to hints that he has been giving at cons in last few months. Is this possible? Someone has the show because its been on netflix for some time. When will it be announced?
Not soon enough!
I love this show. It really needs a solid release with some love and attention. Especially since it needs to keep the fans buying it across its entire run, which is hard to do for a series of length.
This is one of those titles that’s really stuck in that mystery zone that we get every few years where there’s so many rumors and it’s such a popular title that it’s hard to comprehend why it hasn’t come out. Hell, we’ve had Japanese companies before talk about how show X is licensed and then nothing happens for years – and still hasn’t, and nobody cops to having the rights to it.
Can you think of anime where the character’s personality is completely different from it’s original medium?
That’s a hard one for me to truly answer because I’m not reading light novels at the moment and I haven’t had time to read manga in ages; and even then I end up seeing the anime first and that colors perceptions.
Putting aside Miyazaki’s disgust at otaku, do you feel that he and Hideako Anno have a good point in terms of where they think JP animation industry is probably heading?
They have a pretty good point in terms of their own background and experiences, and length of time in the industry, that cannot be discounted.
But there’s also generational aspects at play that color their views.
I liken it similar to the comic book industry in the US where we have a lot of creators of an older age that can’t abide by what it’s all like now. Some of it is very legitimate, others really comes across as the whole old man yells at clouds kind of thing.
Does OniAi getting a S.A.V.E edition point to a failure of Funimation’s subtitle-only release experiment or does the series getting a reissue point to a success?
Neither really. It points to the fact that OniAi is a niche title that didn’t have much of an audience. I’m still shocked that they licensed it in general as while they do play to that area from time to time with the brother/sister stuff, that one was a bit stronger than others.
That said, I admit that I enjoyed the show, its designs and its love of fanservice that was beautifully done. But it’s not a show that I think was going to go big or warranted a huge investment. I’m still hopeful that they’ll do other releases like that, but at this point I think they’re being smarter in investing in their Broadcast Dubs over attempting to do more subtitle shows.
any 80’s toons you find still hold up today and enjoy revisiting?
I’m all about the Galaxy Rangers, my friend. That show just delights me every time I end up catching a glimpse of it or just thinking about it.
A lot of the toons from back then don’t hold up. I have very fond memories of the early GI Joe specials/movies and I watched a ton of stuff because that’s what Saturday Mornings used to be about. But most of it has fallen away from memory, particularly since they were just so strong in being extended toy commercials.
And yeah, I had a ton of toys. I was an 80’s kid in playing with all that stuff. and loved it. It all fueled my imagination in a huge way.
Not really. There’s plenty of competition out there, they’re getting properties out in a lot of markets and drawing in a lot of fans, new and old, and they’re expanding in ways that I don’t think even more anime fans would have believed possible before with the Broadcast Dubs initiative.
In the grand scheme of things, FUNimation is a small player in a big world of entertainment. They’re a big player in the domestic anime scene and they’re a driver of how things happen because of it. But it’s not an area where I think “too big” really comes into play, at least at the moment. I can’t see anything that they’re doing that makes the “too big” = “bad” angle that a lot like to play either. Not saying you’re saying that, but it’s often the comparison of the “big bad company.”
What are your top 5 Sentai Filmworks shows for Toonami?
I don’t have any big lists overall, though I think Highschool of the Dead is the top ranked one. I’d love to see Book of Bantorra get some attention (and the title might even draw some Airbender fans in). They could probably do a pretty fun movie event with Mardock Scramble that would fit in with the midnight hour as well.
Do you think Sentai picking up Guardian Ninja Mamoru is a test to see if Higurashi is a viable license rescue for them?
I’ve not seen Guardian Ninja Mamoru, so I don’t know what the connection is there between the two.
While I would be thrilled beyond words to get Higurashi and all its works licensed, I really feel like those are a lost cause for quite some time unless something truly radical happens to make it feasible. The original series just did not do well, coming out amid the bust, the economy and the single disc format. I’d love to see someone take a chance with it, but business is a mix of risk and maximizing returns. Higurashi feels like a giant warning label is on it.
Between doing CE releases and dubbing more anime titles (including re-releases), which direction do you like see going for Discotek?
I definitely like both, and I really can’t say I prefer one over the other. I don’t see Discotek Media titles to begin with (they don’t send us review materials), and I’m not a dub watcher/listener myself for the most part. But I’m thrilled to see both of those aspects getting a lot more attention, as it likely helps the company a lot and it makes the fans even stronger supporters when their favorite titles get the love.
if a new Masters of the Universe film gets greenlit, what should be the tone they take for the new movie?
There is no right tone. Though I watched the show as a kid and had the toys, I can’t imagine this property working in live action form and having anything necessary to have the right tone for what it’s based on. I haven’t looked at the newer and more serious comics out there about it so I don’t know if those offer a way, but for me the entire potential idea of a live action film strikes me just as awful as the mario brothers live action film years ago.
What is your opinion of FUNimation S.A.V.E. and Anime Classics line, and also what did you think of the Viridian Collection line?
I’m glad they exist. I get that some fans dislike them because of the packaging or that in some cases it cuts off other routes (though I think this is easing a bit), but for the bulk of casual fans, they’re a huge boon in making a lot of shows affordably accessible and building up a good collection without breaking the bank.
Some may go too quickly to that route for some fans tastes, mostly because it means they didn’t sell well and are trying to recoup some of the costs, but most are titles that have been around an age and are getting another lease on life for the next tier of purchasing consumers.
Do you prefer cel-animation or digital animation for anime? Do you wish some anime were still done on cels?
I grew up with cel animation and have a real love for it. With a lot of it, and especially TV anime, there’s a certain warmth to it that just speaks to me that I can’t get from what’s done today. What’s done to day has a greater vibrancy to it and fluidity that is hard to match, and I adore the color palette that’s now available. But the cel animation side just has something about it that clicks with me more.
I do wish we’d get more, but that’s simply a lost art for the most part in this very commercial enterprise.
What’d be cooler? Finding out you’re a Kryptonian or a Saiyan?
As long as I’m not on Krypton when it blows, I’ll take Kryptonian. There’s a fair share more abilities in general and a longer lifespan as well. Plus I’m just wary of the way the DBZ universe is so weirdly dangerous.
How come the French get the cool stuff like CE of Haikyuu!! and Black Bullet with their own French language dubs while we’re stuck with a barebones sub-only release of Haikyuu!! and Black Bullet for the North American market?
We’re starting to see it a bit more here, but when companies do things like this, they have to charge more for it. Especially with printing books and the like as it’s pretty damn expensive per unit. The problem is that once companies do more of it, people complain more and sales start to drop on titles. It’s a double edged sword that tends to stab said releasing company more than anyone else.
Haikyuu’s just worse off because sports simply doesn’t sell here. I’m just thrilled we’re getting it in HD.
Black Bullet has not been announced for release yet, so we don’t know what it’s getting. I’m guessing that will be a bilingual dual format release though.
Why is Ponycan releasing Yuki Yuna and Denki-Gai on Friday instead of Tuesday?
Yuki Yuna is set for a Tuesday release in April and a Wednesday release in June.
Denki Gai has its first release on a Tuesday and its second on a Sunday.
What we traditionally see out of Japan is that a company sets its release on DAY X each month and releases it consistently from there. So if a series starts on January 25th, it’s released on the 25th each month for however many volumes it runs.
Which is to say, well, that’s Japan.
And Pony Canyon seems to be applying their methods here in general, so it’s not a surprise. Whether it holds is another story. But since they’re working with a limited number of retailers, it probably doesn’t have a huge impact, though it can muck up shipments for customers if they’re waiting for it since orders may be tied to other releases.
If, by any chance that both Sentai Filmworks and Toonami are interested in working together to air one of Sentai Filmworks catalog in Toonami, who do you think should initiate the dialogue for the deal?
It’d have to be Sentai to initiate it for the most part.
Chris has been writing about anime, manga, movies and comics for well on twenty years now. He began AnimeOnDVD.com back in 1998 and has covered nearly every anime release that’s come out in the US ever since.