Even thought we’re barely past the halfway point, I can already see Puella Magi Madoka Magica (PM3) easily winning best anime of the season and almost assuredly winning best anime of 2011 – though, Brain’s Base recently brought out their big guns by announcing the third season of Natsume’s Book of Friends – mainly because I have faith Shaft/Shinbou won’t pooch the ending in light of past series like Soredemo Machi wa Mawatteiru, Bakemonogatari and even Hidamari Sketch S.3. That hasn’t stopped me wondering how PM3 will end nor has it stopped many in the anime blogosphere either.

I’m seeing certain assumptions being made by some people about the ending that I think are premature at this point and could lead to disappointment when the ending doesn’t go the way it appears to be going. It certainly could go that way but I still see room for PM3 to end happily (or moderately happily).

(Note: I tried to get this done before episode 8 but it looks like I came up a bit short. Since I took so much time writing this I didn’t want to not post it in light of whatever happens in episode 8 but there’s probably more than one idea that no longer is possible. Either way, I’m pretty sure I want Kyubey Barbeque.)

In school, and even now, my talents lay more in the science/math direction so I never really studied the concepts behind creative writing creation and formal critic techniques but the Internet means I can learn just enough to be dangerous. One such item I’ve learned is something known as Chekhov’s Gun which is a concept in writing that basically says that if you mention a gun in the beginning of a story, it must go off before the end of the story. This maxim makes sense to me, especially if you flip it around and think of a story where a character uses a gun at the end of a story when no mention of that gun’s existence occurred before that point – that’s where your deus ex machina endings come from and everyone hates those endings. The ending of the Avatar animated series is a very egregious example of this.

The gun – or more accurately, a BFG – that’s introduced in PM3 during episode 1 was the concept of someone gaining a wish in return for becoming a Puella Magi (magic girl). This BFG will get fired before the end of the series. We know it, Kyubey knows it, Madoka knows it and Homura knows it as well. And that’s okay because Sayaka’s wish shows that Kyubey, for all his creepiness, will legitimately grant a person’s wish without twisting it around. If Madoka picks the correct thing to wish for, as I think she will eventually figure out, than we can get the happy ending that seems nearly impossible at this point. As far as we know, she already has more knowledge of what she’s getting into then any of the other Puella Magi we’ve met so far and not needing anything for herself will allow her a greater degree of freedom in making that wish. (What Homura knew before making her wish and what her wish is unknown at this point.)

I’d love to see what Kyubey would do if Madoka wished for him to kill himself and turn himself into a tasty, slow-roasted barbecue meal. I bet Madoka would learn loads of interesting information about what’s really going on. Like if there’s other Kyubey’s to complete the contract when this Kyubey is dead and what Kyubey actually does with those full grief seeds (i.e. why he needs to live).

Going back to Homura, initially I thought she was just a jaded Puella Magi that made a wish that she regretted later and merely wanted to stop Madoka from making the same mistake. That idea no longer fits and the more I think about, the more I think Homura is the key to everything. What if Homura knew another Puella Magi that was killed before becoming one herself and so she wished that when she was about to get killed as a Puella Magi that a message would get sent back in time for Kyubey to find the person that could/would save her and for her past self to know who this person is and for Kyubey to forget about her since everyone finds this guy creepy.

That’s probably not it but I keep going back to the dream Madoka has in the first episode. It felt like a prophetic dream, even down to the color of ribbons, but it was also instrumental in getting Madoka to accept Homura; Sayaka never had that dream and continues to be suspicious of Homura. Also, watching Homura fight leads me to think that Kyubey wouldn’t stand a chance against her. She could have made road kill Kyubey delight before Madoka/Sayaka had the chance to intervene if she wanted to but didn’t. Then there’s the strategy of Homura’s to keep Madoka from becoming a Puella Magi, it’s really a lousy one because by befriending Madoka it gives Madoka twice the reasons to decide she needs to become a Puella Magi. It’s more like Homura is managing the point when Madoka makes the contract with Kyubey.

The introduction of grief seeds and how they worked is probably the most unsettling idea that PM3 introduced (I’ll get to why shortly). It also reminded me of another anime – Umi Monogatari (Sea Story).  In this anime an island is threatened to be swallowed into darkness by an evil entity known as Sedna that was reawakened when a magic seal was broken by accident. Towards the end of the show it was revealed that the islander’s tradition of “infusing” a pebble with one’s pain, suffering and despair and then tossing it into the ocean at a seaside shrine caused that spot of the ocean to eventually physically manifest the amalgamation of all those sorrows and troubles into the being Sedna. Once our heroes figure this out they realize that if the islanders accept their small pieces of darkness back then Sedna would dissipate and the crisis would be averted.

I’m reminded of Umi Monogatari because of the similarities between it and how grief seeds work which also leads to why I find grief seeds so unsettling; namely, that being a Puella Magi is implied to be evil.

When Kyubey takes the full grief seed from Sayaka he mentions that adding anymore darkness to it might make a witch appear yet when a witch is defeated there’s a certain level of clearness left to it’s grief seed for the use of the Puella Magi. It’s like, as the witch uses it’s powers to spread despair, it’s own soul is being cleansed. I wonder then, if a witches’ grief was split up into small enough pieces and parceled out to many people, would this end the problem of familiars and witches causing people to kill themselves and other such large-scale acts of despair. This by itself doesn’t make Puella Magi evil but when we add in that using one’s powers as a Puella Magi to defeat familiars and witches causes one’s Soul Gem to darken, we’re getting somewhere. This shouldn’t cause a Soul Gem to darken if what the Puella Magi is doing is good. Unless one wants to argue that the ends justify the means.

Speaking of Kyubey, it would be very easy to dismiss him as an evil being at this point but I think it’s a little more complicated than that. If/When we finally meet sentient aliens the chances that we both look at the world the same way is extremely slim. This will make communication and understanding each other quite difficult and the probability of accidentally creating an interstellar incident is frightfully high. Kyubey is an alien in the truest sense of the word and so it’s difficult to use human standards to judge him without some consideration. I’m willing to let some things slide with Kyubey; however, I fault Kyubey for his apparent lack of effort to understand humans and his choice of prying upon young girls who generally lack the cynicism of adults, the ability to understand consequences like adults and having an emotional delicacy that makes it easy for someone to manipulate them. I can just imagine Madoka’s mom bringing a 200 page legal document to Kyubey outlining her terms and conditions upon becoming a Puella Magi.

I also fault him for not mentioning at least something about the importance of a Soul Gem to the Puella Magi. He wouldn’t necessarily have to say they are now essentially the Soul Gem but just that it’s very important nothing happens to their Soul Gem. Mami might not have put her Soul Gem in such a conspicuous location if she had known.

I wonder if Kyubey has a Soul Gem and if he does, where is it?

Before Madoka makes her wish she needs to find out Kyubey’s motivation for finding Puella Magi to hunt witches. I’d be willing to bet that his reasons aren’t that high on Maslow’s Hierarchy of Needs. Maybe he’s a pedophile that likes to grope young girls or maybe it’s because Kyubey eats the full grief seeds that the Puella Magi have topped off with their own darkness. In either case, Kyubey would prefer a continuation of the current situation with no interest in finding a final solution about the witches and familiars. He might even be instrumental in insuring the next generation of familiars and witches are set in motion after feeding on a grief seed.

Or maybe it’s the wish granting that creates witches and familiars. Kyouko mentions that an equivalent amount of despair is created when a person wishes for hope but looking at what happened with her, it seems like the hope was repaid with a steep percentage of despair as interest. This would explain why there only appears to be a single Kyubey; as evidenced by Kyouko assuming Homura makes her contract with Kyubey and Kyubey seems unconcerned about finding Puella Magi for the rest of the world. If this idea is correct and Madoka remembers Kyubey’s statement that one’s wish influences the power of the Puella Magi – maybe Madoka has to flip the wish around. If she’d wish for a great amount despair to shoulder herself then she could become the ultimate Puella Magi and an even greater amount of hope is created from her despair.

In closing, if we step back and consider the show I’m curious what people think are the chances of Puella Magi Madoka Magica will outsell Bakemonogatari on a per volume basis and K-On! on an overall sales amount in Japan and will PM3 (or Bakemonogatari) ever get licensed for North America.

It started with what I initially thought was a Dilbert comic come tragically to life before quickly shifting into a case of manufactured dorama for publicity before turning into a case of “Anime is Serious Business”. I’m speaking, of course, about the events involving Funimation over the last week-and-a-half; if you’ve missed the story so far, check out here, here, and here from ANN – the most trusted name in anime news (except when they themselves screw something up) – before reading further.

I’m typically too busy actually enjoying anime to bother writing about anime “piracy” by Americans when it’s always the same old arguments anyways. I’d’ve passed this story over without commenting until I read this entry on Funimation’s blog and realized I did have something I can add to this debate.

Mr. Heiskell made the case for the importance of territorial rights in ensuring the efficient delivery of anime around the world. The big problem in this argument is that it relies on an assumption that is so prevalent in America that I can’t really blame Mr. Heiskell in making it. The truth is that North America is not the center of the English-speaking anime fandom population; it’s not even the majority. This truth would have greatly shocked me several years ago when I was just a very casual anime fan. Even when I started visiting anime blogs and forums, I would have still been surprised that what I thought was a sizable minority of fans living outside of North America was actually the majority. I didn’t realize this truth until I started anime blogging myself and decided I was curious about which far-off countries people came from to visit The Null Set.

North America didn’t make up 75% of my audience like I thought it would; that number was consistently in the 35 – 40% range. If I extend it out to all English as the first language countries, I’m still short of a majority. I embedded a second tracker to see if the results I got were in error and the second tracker yielded almost exactly the same results. I found this to be a much cooler result because that meant I got to interact with tons of people living from a diverse set of backgrounds from around the globe without trying to learn a myriad of foreign languages (3 years of Spanish in high school taught me that I suck at learning a foreign language).

Up until now I’ve only used this knowledge when I’m thinking about the audience I’m writing to; for example, it’s easier for me to not write about politics when I know roughly 2 out 3 readers will not care because they live in a different country than me. However, this fact greatly influences the environment surrounding Mr. Heiskell’s argument and the recent events connected to Funimation.

I realize it was possible that my blog was atypical so for this post I decided to examine other anime blogs to see if this pattern would hold up. I found three other blogs that linked to the information I needed – one was a much more popular blog then mine, the second one is about the same size as mine and the third one is a blog that’s gone dormant but still gets a fair amount of traffic. All three blogs displayed a very similar pattern to mine; which I’ve averaged and will summarize now.

The Top 10 Readerships of English Language Anime Blogs by Country:

The North American share (US and Canada) is only 38.1%, the UK and Australia add another 6.9% for a total of 45.0%. That means 55.0% of the market for English language anime comes from countries that don’t speak English as a first language and it’s not just a few countries that make up that 55% as the next table shows.

Readerships of English Language Anime Blogs

If you apply this knowledge to Mr. Heiskell’s argument, it quickly becomes apparent why licensing anime titles by country/territory is never going to work. There are just too many countries to cover and there’s also the question of offering English dubbed/subbed anime in countries like France, Germany, Brazil and Malaysia where there might already be a native language anime publisher that might not take kindly to an outside company poaching fans.

Then again, the nature of the internet makes thinking about problems using physical geography seem very antiquated and doomed to failure. A much better approach would be by language since that’s closer to how the internet is actually split-up. It would be a titanic shift from how it’s done now which means as long as the old ways make money, new methods will not be tested. Which makes it sound like it’s up to the anime “pirates” – once again – to get these obsolete business practices eliminated and get better ones put into place. After all, it was anime “pirates” that have historically driven the advancement and innovation of offering anime/manga from creating the market to pushing publishers into releasing anime by the box set and to offer anime online. (I’ve yet to come across a piracy-hating anime fan that wishes companies would go back offering anime a couple of episodes at time for ~$25 or wanting them to stop streaming anime online.)

Looking at the breakdown of where the fans actually live that would be interested in English language anime also shows why streaming anime (by territory) will only have a limited impact on anime “piracy”. That’s not to say streaming anime hasn’t cut down on anime “piracy” but there is just so much Funimation can do when they only control 38.1% of the market. Proof of this, I believe, appears in the documents that Funimation filed to sue 1337 downloaders of episode 481 of One Piece subbed by yibis.

The number 1337 is not just a random number to internet users which lead me, and just about everyone else, to believe Funimation picked that number of people to sue on purpose. I initially assumed that Funimation could have sued many, many more but stopped at that number but a funny thing happened when I looked over the people Funimation was suing. I saw a great number of obvious duplicates. For example, the very first person, “Doe 1”, was identified as using Verizon Internet Services to download the episode in question at 1/9/11 3:27 AM with the IP of 71.172.24.89. The second person on the list, “Doe 2”, was identified using Verizon Internet Services to download the episode in question at 1/9/11 3:33 AM with the IP of 71.172.24.89. This is obviously the same person which got me curious, how many duplicates where there?

To answer that question took much more work then I initially thought. I attempted to copy the information in the 32 page PDF into a text document so I could import that into MS Excel but that proved impossible; even though the text was selectable and copyable in the PDF, I just got gibberish when I pasted it in WordPad, MS Word and Excel. I ended up having to turn each page of the PDF into a picture file and then use Acrobat’s ability to convert the picture file back into a document with selectable text, copying that into Excel and checking that no errors were made in this circuitous method.

Now that I had an Excel spreadsheet, the answer was very quick to find; I found 255 “Does” that appear to be duplicates. A quick check of the torrent in question, since Funimation doesn’t seem to want to take down the actual torrent file, shows that it’s been downloaded nearly 23,000 times. Why have 255 duplicates if there were plenty of people to sue?

The only answer that makes sense to me is that there aren’t 1337 people living in North America that illegally downloaded this episode of One Piece for Funimation to sue. This thought allows for a few interesting calculations. If the 255 duplicates are subtracted from the initial 1337 people, that leaves only 1082 people who had access to the Funimation stream that choose to download a fansub instead (which was a 720p fansub btw). Next, I don’t know the exact number of people out of the 23,000 that downloaded the episode in the first four days (which is the length of time covered by the 1337 names) but I’m going to assume the number was probably around 20,000 – based on how frontloaded torrents are. This means that just 5.4% of the people downloading this episode of One Piece lived in an area where they had access to Funimation’s free stream.

If we use the North American share of the English anime market that I calculated above, 38.1%, then seeing the share of North American downloaders at only 5.4% says to me that free streaming anime has significantly decreased the amount of “piracy” by North American anime fans. If Funimation would include some sort of download-to-own option for those that don’t like streaming or have computers that don’t do streaming well and throw 720p into the mix then they could shrink that number down even more. (Off the cuff, maybe offer streaming 720p for a small price and downloads at 360p for $1 per episode or 12 episodes for $10 dollars and 720p at $2 – $3 per episode or 12 episodes for $20 – $30 dollars.)

Looking at this list of “Does” was interesting in other ways. The top ISP’s of the offenders looked like this:

College students didn’t appear to be a problem at all; out of the 1082 actual “Does”, only 2 each came from The Pennsylvania State University and the Rose-Hulman Institute of Technology with 1 each coming from Ohio State University, Northeastern University and the California Institute of Technology. For a total of 7 “Does” or 0.6% of the total.

At this point, it’s pretty obvious where my sympathies lie but I can’t find myself mustering much anger towards Funimation like I have in the past for the MPAA and RIAA. I think it’s because Funimation is getting ground up between the incompatible wishes of the Japanese licensers and those of the anime fans from around the world and yet Funimation is still trying their absolute best. (Hence the picture at the top.) As such, I think this lawsuit that Funimation brought forth was the price they had to pay to get the stream of Fractale back – saying sorry and promising to do better next time wasn’t going to cut it a second time.

I say “price to pay” because I think Funimation knows this lawsuit is a bad idea all around. The RIAA gave up on their large-scale suing of normal consumers a couple of years ago because the lawsuits cost the record industry millions of dollars, were very bad publicity and galvanized people into continuing to download music illegally (no one likes a bully). No matter the thinking behind it, every dollar spent by Funimation on this lawsuit is a dollar that will now go to a lawyer and his/her quest for another new sports car/yacht/mansion instead of helping “support the industry” as the consumers buying a Funimation item most likely wanted.

I’m tempted at this point to launch into a discussion about how to fix anime but I’m already 2000 words into this post and I don’t want to muddle the central point – North America is not the center of English language anime fandom and thus any decision about anime distribution that doesn’t take this into account is practically doomed to failure from the very beginning.

Sengoku Basara - Adept at using 2 minutes of awesome to make us forget the 10 episodes of talking and posturing.

Steven called this week the lull week and that so fits; the old season has just about totally ebbed away and the new season is still rushing towards shore. I never look forward to this week in the season but I can’t deny that it presents a good opportunity for a little change of pace. So with this abundance of time I have, I wanted to share what anime-related things I’ve been doing this week instead of trying to watch 17 different anime.

I finally had the time to marathon an anime series and I had a couple in mind. The first was the first season of K-On!.  I’ve mentioned in the past about how I fell into the very small group of people who neither rabidly loved or rabidly hated the first season of K-On!. I wanted to see if I still felt like that or did my feelings change after watching the second season and falling completely head-over-heels for it. If I was a betting man, I’d’ve guessed that I would like it more; much like how the start of Lucky Star was so much more enjoyable the second time around because I could draw from the empathy and love of the characters that developed later in the series.

Imagine my surprise, then, when I still liked the first season of K-On! about the same as I did the first time. I originally found it very difficult to really get into the show because it felt like it couldn’t decide which type of show it was. The pacing was too fast for K-On! to be a relaxing, slice-of-healing anime but a lack of focus on really trying to make it as a rock band made it near impossible to take it seriously. This inability to decide what type of show it was still intruded on the enjoyment of the series during the rewatch, even with all the love the second season added to the franchise. The pacing also muted the best part of the series – the characters and their friendship. For example, I remember not really liking Mugi in the first season and being shocked how much I got to like her in the second season. Rewatching the first season I realized the sole purpose of having first-season-Mugi in the show was to have a walking ATM machine that could advance the story along rapidly with the use of her magic money and connections. It was only in the second season that Mugi becomes  real,  she’s a sheltered girl looking for friendship and to stuff as much fun into her high school life as possible. She quickly becomes one of the best characters of the show int the second season.

If I was scoring the first season, which I’m about to do, I’d give K-On! season 1 a Final Series Score of 8/12 B+ with Rewatchablity: 1/5 – Low, Ending: 2.5/5 – Average, Animation: 4/5 – Excellent.

With that mildly disappointing experience under my belt, I went to the next show on my rewatch list – Sora no Otoshimono. I wanted to see how well it would hold up the second time and to make sure I remembered the important parts for the second season that is about ready to start. Last time, I gave Sora no Otoshimono an 11.5/12 (Near Perfect) for expertly cultivating an absurdist, over-the-top feel that repeatedly surprised, delighted and entertained. For the rewatch, it no longer had the element of surprise so it was going to have to work harder to earn the same level of success and I anticipated that it just couldn’t meet the much higher expectations. So, no surprise, when Sora no Otoshimono didn’t live up to being a 11.5/12. I still really enjoyed it though; the comedy was killer, I liked the characters even more, I could still appreciate how intelligently put together it was, I still got sucked into the plot and Icarus’s crowning moment of awesome was still just as awesome. Upon finishing, I still felt like the show really needed a sequel and this time I only need to wait about a week to see it.

Since I’m in the scoring mood, Sora no Otoshimono Season 1’s amended Final Series Score is 11/12 A+ with Rewatchablity: 4/5 – Medium to High, Ending: 4.5/5 – Sublime, Animation: 4/5 – Excellent.

The final anime that I marathoned was completely by accident. I wanted to check one little thing out in Asobi ni Iku Yo! but I found myself popping the next episode in as soon as the previous one finished. This one was definitely better the second time through much like Lucky Star was. If I had to summarize the difference in viewing experiences I’d say Asobi ni Iku Yo! was just easier to enjoy the second time. I liked the characters from the moment they were first introduced and the early plot twists made much more sense this time around. I was also able to better catch and enjoy the references to science fiction that infused the series this time as well as see how the fluffy exterior hid a rather well thought-out story of first contact between two cultures. I’ll forgo the grading Asobi ni Iku Yo! here since I plan on rating it in my seasonal anime top pick award posts that I’m already starting to work on. I hope AIC Plus+ decides on doing a sequel since I think there’s plenty of interesting ways the story for this can go but it’s, probably, really up to DVD/Blu-Ray sales as to if we see Asobi ni Iku Yo! Season 2 or not.

The other thing I did this week was spend time excited over the new anime announced.

I know there’s always been anime movies but doesn’t it feel like lately they’ve become even more popular? Don’t get me wrong, word of a Sengoku Basara movie and a K-On! movie leaves me feeling very excited, especially if the K-On! one will feature all new material like the Sengoku Basara one will have. The two seasons of Sengoku Basara have been fun but they could have been really fun if they had been paced better and more fighting was involved. Which is why I think a movie might just be the perfect form for Sengoku Basara – they won’t have the time to draw the talking and angsting out.

I’m really curious about the K-On! movie. The second series ended absolutely perfectly but since this is a slice-of-life series there’s no reason the story needs to end with them graduating high school. I’d like to see what happens to Yui, Mugi, Mio, and Ritsu when they go to college and I want to see what happens to Azu-nyan, Ui and the light music club. Can one fashion a good, super laid-back, slice-of-life movie or will the movie be more plot focused – maybe on the college version of Afternoon Tea Time making it big or Azu-nyan’s efforts to save the light music club. I hope more details are forthcoming soon!

The third newly announced anime project that got me excited is Berserk. I’m not a fan of Berserk, per say, but I’m curious about the franchise after learning my one sister (the D&D playing one) loves the manga and the original series. When I first heard of a new “animation project” for Berserk, I started thinking about who I’d want to work on the project from my limited understanding of the source material. The name I kept going back to was Madhouse. They have the animation quality and the experience with darker series like Mouryou no Hako, Rainbow, Death Note, Paranoia Agent, Blue Literature, Kurozuka and they have many of the best anime production people in the business working for them. It appears, after a couple of days, that Studio 4˚C will be doing the animation and my guess was completely wrong  . This is a very interesting choice; on one hand I’ve been very impressed with all the works of Studio 4˚C  that I’ve seen but on the other hand they don’t seem very prolific and I wonder if they have the expertise to plan out and execute a long running series (which I’m hoping the announcement is for). I guess we’ll just have to wait a few more days for more information.

That’s how I spent this lull week, what did you do?

When my most favorite science fiction writer, Kage Baker, died earlier this year from cancer it felt like someone took a sledgehammer to my heart; I never had the chance to meet her or talk to her and only knew about her from her books and reading what other people who knew her said of her but I felt like a close family member had died. Being a blogger, I wanted to write a piece about my love of her books and the sorrow I felt and so I tried for several weeks to write something I felt worthy. I failed every time and as time slipped by I started thinking that it would be better not bringing the passing of Kage Baker back up so I let it slide. Which I regret doing, in hindsight.

I mention this because I found myself doing the same thing since the passing of my most favorite director (not just anime), Satoshi Kon, and I didn’t want to lose this opportunity to say how much I’ll miss Satoshi Kon. Even if what I write feels inadequate to me.

If one was to look at what I’ve written on The Null Set, the fact that Satoshi Kon is my favorite director and anime director almost assuredly comes as a surprise since I’ve mention him so infrequently (7 times out of 369 posts). I’ve mentioned how Paranoia Agent was my #8 top anime of all-time and how it was one of my top 10 most influential anime but that just barely scratches the surface and I’ve never mentioned the movies of his that I’ve loved to death – Paprika, Tokyo Godfathers, Millennium Actress. (And at this point I feel embarrassed to admit that I’ve yet to see Perfect Blue.)

Admittedly, if he had done more series, I’d’ve had more opportunities to talk about him. Though, I was planning on mentioning Satoshi Kon and Madhouse in a post I was going to write after reading an article on Anime News Network about how close Studio Ghibli was (and probably still is) to closing down it’s animation studio. Since it’s related I want to mention my thoughts, in brief, here.

I wasn’t surprised by this piece of news since the last time Studio Ghibli put out a movie truly worthy of their name was Spirited Away and have been living off of it’s name recognition ever since (see my Ponyo review). And their problem ( the future viability of Studio Ghibli) is further complicated by having no younger directors ready and capable to take the reins over for the aging staff. The best way to solve this problem, I feel, is look to how Madhouse runs it’s animation studio. Madhouse does a mixture of series and movies and varies both from being highly artistic – your Satoshi Kon and Mamoru Hosoda movies and Masaaki Yuasa series – to the fluffy entertaining anime like Maid Guy and High School of the Dead. This allows Madhouse the flexibility to try new things and give their younger, inexperienced employees the opportunity to learn what it takes to be a successful director before they’re given a big budget film to direct. So, is it any surprise that Madhouse was behind most of the great anime movies of this decade?

I hasten to add for those that haven’t yet seen a Satoshi Kon movie/series, calling him highly artistic does not imply he lacked the ability to entertain as well or that his films for the snobby “intellectual”. The key was his ability to layer many various themes and ideas into the shows he did. Take Millennium Actress, for example, it’s a love story and it’s a history of 20^th century Japan and it’s a homage to Japanese film making and it’s a visual feast meant to bend your mind by blurring the lines of reality and it’s a character study and there’s probably some shrewd social commentary I can’t remember in there as well since his other works do and it’s thoroughly entertaining and  I’m sure there’s more that an English major or Film major could pull out as well. And I can’t forget the chase scene, there always seems to be at least one chase scene in his works.

Nor could I forget to mention that Tokyo Godfathers has become my favorite Christmas movie. It does all the stuff you’d expect to see in a Satoshi Kon movie and it still finds the room to showcase one of the best examples of what the “Christmas spirit” really means.

There is/was also a vivid liveliness to Satoshi Kon’s work that made the worlds he created feel real and I think I wasn’t the only one that subconsciously imparted this vivid liveliness to Satoshi Kon himself which made his passing even harder to accept. It wasn’t just the fact he was still young but that he was always going to be there, with something new and amazing, ready to enchant us. It took reading several different accounts of his passing and remembering that April First was too far away (sometimes I’m shocked what some people think makes a good joke for April Fools) and remembering that I had been wondering why there had been such a lull in news about his new film before my mind would start accepting that maybe Satoshi Kon was really gone. And I cried; I read what other people said of him and watched the clips of his works that people included and I cried. I watched Paprika and I cried. I waited a few days to watch Millennium Actress and I cried. I’m holding off on Paranoia Agent for now, I don’t want to have to  say in the future that I cried while watching it.

I wish I had the chance to meet him.

I wish I had the chance to tell him how much I loved his movies.

I wish there was something more I could do then praying for his soul and writing this.