Con-vergence reflection: The Internet Generation

I had the pleasure of sitting in on Charles Dunbar’s Con-vergence panel at Otakon Vegas, in which Charles addresses the issues around why other fandoms seem to be taking over anime conventions. Charles’ conclusion is that anime conventions are more welcoming places, that the anime fandom is just more accepting of other fandoms. Then there is the more bleak side of things, the theory that anime fandom is just a secondary or lesser fandom than some of the more prevalent media represented.

The chief cause of the weakening presence of anime at anime conventions is that anime is a medium, not a genre or a single show. So where a group of ten thousand people may not have that many shows in common, three thousand of them have all seen Doctor Who and the other seven thousand has seen the Marvel film adaptations. So the Iron Man cosplayer is going to have more positive attention than the Lupin cosplayer sitting in the corner. Anime is a unique beast in this respect. Single media conventions, like a Star Trek convention, assume that all attendees share at least a common cannon. Even the old school science fiction conventions were dominated by the mass media properties like Star Trek, Battlestar, and the like. With anime there can be almost zero connection between the forty year old fans drinking in a bar discussing the tape trading days and the fourteen year old girls running around in Hatialia cosplay.

The element that made anime so appealing was that it was an entire world of media waiting to be explored, but that allows individual fans to go off into a million directions. This issue can be visibly seen at conventions. There are people who go to the conventions just to cosplay, play dress up and hang out with their friends. There are people at the same event who want to seek out academic programing in order to learn more about the medium they’ve come to celebrate. The latter is a much larger and younger group, one that may never make the transition to going to panels about anime. So if their friends shift over to dressing up as a non-anime fandom that is where most of the group will go. Anime fandom on the Internet is similar. I can write my essays all I want but the mass of people looking at screen caps and writing fan fiction isn’t going to care.

Continue reading “Con-vergence reflection: The Internet Generation”

Top 5 Anime of 2013

This was a difficult year to nail down a top five list because I’ve been watching less anime, but the anime I have watched has all been excellent. Years where I watched a ton of shows allowed the gems to really stand out, but it is much harder to pick out gems among gems.

I wonder why 2013 was a year I watched only a handful of good shows. Am I becoming a better judge or more careful of what media I consume? Was the gap between excellent show and bad show wider this year with no middle of the road shows to buffer the extremes?

Whatever the reason: We got a lot of good anime this year. Here are five you should definitely check out.

5. Attack on Titan

Attack on Titan has the potential to be one of the biggest anime in a long time, mainly because it constantly remains interesting. Every few episodes it tosses in a twist that reinvents the entire show; twists that lesser shows would run with for season long arcs.

It’s exciting, has good characters, a solid premise, and a great pace that makes me want more almost constantly. More importantly: The anime greatly improves on the art of the Manga.

We still have a long way to go before the end but Attack on Titan is a solid first part of the story and I can’t wait for the next season.

4. Watamote

Billed as a comedy, Watamote is more of an extreme character study of a person with severe social anxiety. We follow Tomoko as she attempts to live a normal high school life but constantly fails and falls deeper and deeper into her shell.

There are some moments of dark comedy in the show but, frankly, anyone who would laugh at most of the show is cruel. It turns into a depressing look at the life of a person who just doesn’t know how to relate to other humans. We’re locked inside Tomoko’s head and forced to go along with her as she deals with and sometimes justifies her isolation.

There is a deeper connection the show makes with anyone who has suffered from social anxiety. Few people in the world are as bad as Tomoko but with her problems being so numerous it serves to cast a wide net and allows for the maximum percent of the audience to relate to at least parts of her problems. I loved the show as a way to dive into these issues but be warned, the second half of the series becomes extremely uncomfortable to sit through.

3. From the New World

Taking place in a post-apoctolyptic world where a much smaller human population has learned to live with psychic powers, From the New World is a compelling narrative that keeps the audience guessing. It features weak characterization, which kept it from claiming the top two spots on the list, but the moral questions the show deals with forces the audience to constantly struggle with that they would do in the character’s situation.

As the narrative develops the characters, who we follow from childhood, they slowly learn how their society works and things that seem horrifying become an understood part of their society as they grow older. This structure makes From the New World into a twenty-five episode long course in relative morality.

It’s an accomplishment that will haunt the audience long after the credits roll on the finale.

2. The Eccentric Family

The first episode of Eccentric Family almost turned me off from the entire show. It features a very slow, expository narrative style that establishes the key characters and setting of the show. After that first episode we’re trust into the world of Eccentric Family where we get to live with the characters and watch them deal with their everyday conflicts. The show tackles issues from the necessity of keeping up appearances to the feeling of living on after a family member has passed.

The Eccentric Family is a triumph because of how much fun spending time with the characters ends up being. I could watch these characters do anything. Combine that with a simple mixture of mystery, conflict bxcetween rival families, Japanese mythology, and an exploration of personal life philosophy and Eccentric Family is an obsolete joy that also deals with some serious life issues.

1. Chihayafuru 2

So maybe I’m cheating a little bit. Maybe I just want more people to watch Chihayafuru. Well, more people should watch Chihayafuru. Season 2 picks up where the first one ended and features more detail on the characters experience going through a Karuta tournament series.

While I think this second season is less of the perfect blend of popular anime tropes that the original exceled at, it digs deep into the core themes it wishes to explore. Chiefly: the difference between individual accomplishment and ability against working in a team. Though this theme we get to see the talents of all our favorite characters explored in depth, we get into the heads of the untouchable Karuta champions, and we see our heroine strive to reach the peak of her ability in two very different competitions.

Chihayafuru 2 is half just more of what was so good about the first season and half going so much deeper into all of the characters while they are in some of the most stressful and intense moments of their lives. Everyone should watch Chihayafuru, if not for the characters or the strange thrill of a Karuta match than just to explore this odd bit of Japanese culture not often touched upon outside of Japan.

Convention Report: Otakon Vegas 2014

 

The Otakon name has a certain amount of weight associated with it. The name conjures images of a crowded Baltimore bristling with teenagers in cosplay trying to survive an oppressive heat. It brings to mind long lines, crowded hallways, and the biggest celebration of Japanese culture anyone could imagine.

So when I walked into Otakon Vegas on the first day and saw a handful of people milling around the expansive hallways of Planet Hollywood’s convention center my first reaction was doom. No one knew how well the new Vegas counterpart was going to do in its first year but the Otakon name carries with it some weight that, apparently, means nothing on the west coast and did nothing to boost the numbers of what turned out to be a decent first year convention showing.

Maybe I was expecting too much. What Otakon Vegas always was is a way for Otacorp to expand and spend some of its profits to fulfill its mission statement. Being a non-profit company, Otacorp needs to get rid of its excess cash and it decided to do that the only way it knows how: throwing a convention. Otakon Vegas may just be the greatest excuse for a weekend in Sin City ever conceived.

While small, the programing was absolutely of the quality fans come to expect from Otakon. Otacorp took the time to bring in quality panelists like Mike Toole and Charles Dunbar to spearhead their new convention. Their effects felt like it may have been in vain because while all their panels were excellent, the panel rooms were at best only half full. The panel rooms were far bigger than required for a convention of Otakon Vegas’ size, but I’m used to Mike Toole panels at Anime Boston and Otakon being filled to capacity. Walking in and seeing fifty people in the room felt like a failure.

The highlight of the convention was the main events. The American Sumo event was engaging and entertaining. I learned a ton about Sumo while watching two of the best wrestlers in the world grapple and, more important, gained a newfound respect for the sport. I came out of the room feeling exhilarated. It was definitely one of the best events I’ve witnessed at an anime convention, the best non-anime event at least. The Space Dandy world premiere was also a ton of fun, but that was due to how excellent that first episode turned out to be rather than anything the convention did. Witnessing the world premiere of an anime that is most likely going to go on to massive success will mostly pay off in the future.

The biggest barrier to the growth of Otakon Vegas is going to be Las Vegas itself. Otakon’s standard audience back on the East Coast isn’t going to be able to afford the expensive plan flight out to Vegas every year, so Otacorp is going to have to rely on local attendees to start spreading the word. Of course, even without the flight Vegas is an expensive city. Hotel rooms can be had for under $50 if you know where to look but the city is a carefully designed trap to separate people from their cash. The average convention attendee being a poor fifteen-year old doesn’t bode well for the future of any anime event in Las Vegas. Food in the area is extremely expensive unless you want to keep going to the McDonald’s in the mall or the Subway down the street. The 24 hour buffet meal pass turned out to be a deal and I got four meals out of the $37 I paid for it. The buffet at Planet Hollywood is normally $20 a person, and the meal pass Otakon Vegas offered for $37 is normally $75. Vegas buffets are famous for a reason and the price was well worth it for the amount and quality of the food. The downside of the buffets is that you have to wait in line every visit and during peak traffic that could take almost an hour.

It is definitely a good excuse to go to Las Vegas, if you were planning a trip already, and it will keep you away from the casinos for a couple of hours. Where Otakon Vegas does have a future is in marketing to parents. What the convention can become is a safe and cheap space within Sin City where parents can leave their children with their friends while they go out and gamble. If the convention is able to push that message I see the convention having a bright future. If they fail to deliver that message than Otakon Vegas will always be a small con disguised as a tactic to give Otacorp staff a free vacation while spending money they legally have to spend.

Anti-Conformity in Kill la Kill

Conformity in anime is a common theme because the nature of the Japanese relationships to family and a structured class system. Even in the most mundane slice of life show having characters refer to elders with a special title creates a ridged class structure that the characters obey. There are some anime that tries to challenge some of the expectations of this class structure. The Melancholy of Haruhi Suzumiya challenges many normal anime tropes and structures included that social structure. Haruhi moves in and dominates her shy upperclassmen Mikuru. We rarely see a break in this kind of social structure.

Kill la Kill looks at all forms of conformity common to Japanese animation and gives them a giant middle finger. Our protagonist, Ryuko Matoi, walks into high school on her first day and makes a direct challenge to the social and political structures set in place.

This is first illustrated by her uniform, which she acquires shortly into the first episode and becomes her weapon against the school. The uniforms in Kill la Kill have become a status symbol. Students who are high ranking are giving uniforms that grant them special privileges and powers. Students who have no ranking get a standard bland uniform. Ryuko walking into the school wearing a nonstandard uniform serves as a symbol for her challenge to the authority established at the school. By not wearing a uniform she is rejecting the ranking system the student council has put in place and exists outside the social order. 

This theme matures during the battle between Ryuko and Gamagoori, in which Gamagoori discusses why Ryuko is a threat to the school and it’s current set up. When he becomes fed up with her during the battle he declares that he will, “end her independence and mold her into a model student.” Followed by calling her a slut for the appearance of her uniform during transformation. Gamagoori believes the act of modifying the uniform in any way a threat to the order to the school, a sign of independence and a mark of depravity that shouldn’t be tolerated. If Ryuko shows more skin than the chosen uniform than she is a sexual deviant and must be dealt with.

This also brings sexual standards into the importance of the uniform. A girl cannot be more or less “scandalously” dressed than the rest of her class if everyone is forced to wear the same uniform. Ryuko’s revealing transformation sets her apart sexually from the rest of the school as well. To the end, Ryuko is the only girl that anyone shows any sexual attraction to during the show. By the 9th episode the other female characters in the show are comic relief, Mako, or the fearsome antagonist, Satsuki Kiryuin.

The club system in Kill la Kill also serves to aid in its anti-conformist themes. Again, in The Melancholy of Haruhi Suzumiya the titular character is tired with a normal life and wants to live more interesting than the average high school girl but she still works within the rules of her school in order to create a club. She still feels like using the structure of the club system is required before she can successfully start her journey. That is the start of a great many high school anime. The characters want to start a club for whatever reason and they proceed to work within the school-designated rules of picking a topic, getting enough students, finding a teacher sponsor, ect.

Kill la Kill’s club system is an extreme version and the very core of the shows criticism towards conformity. The club structure is really how students become ranked in the school. Students gain rank if they are members of clubs, presidents of clubs, and if their club successfully brings glory to the school. By working within this system, students not only gain rank in the school but those benefits leak out into their personal lives. Students in high-ranking clubs get elevated into a higher class and their families are allowed to move out of the slums into a more gentrified area of the city.

In episode 7 Mako, Ryuko’s only friend in this world and whose family has allowed her to live with them, becomes the president of the “fight club”, a club the two made up to take advantage of the system. Because Ryuko kept winning battles the club’s purpose was extremely successful and Mako’s family moved up from the slums into the richest part of the city. At the end, Mako is forced to fight Ryuko to keep her status and Mako’s once loving family cheers for Ryuko’s head.

Living within the social structure has had nothing but benefit for Mako and once her position is secured, she must destroy the threat to her comfortable life. Anything that threatens the social order must be destroyed.

The metaphor presented is so universal that Ryuko’s challenge to the student council can be swapped in with nearly any like conflict. The anime, I believe, is specifically tackling the monoculture of corporate business. But the student council’s reaction to Ryuko’s challenge reminds me of media companies’ rejection of digital technology and online distribution in the early 2000s. The status quo becomes the source of success and comfort, and any challenge to it must be squashed.

There is a fear that runs through the antagonists of Kill la Kill. They don’t want things to change; they don’t want their absolute rule to be overturned. They have developed a society in which one person controls the wellbeing of everyone under her. The scariest thing they can imagine is a person working against the system they put into place. Then Ryuko Matoi arrives and everything they built starts to crumble around them. In the battle of individuality versus monoculture, the individual almost always stands victorious.

Review: Silver Spoon

Fish out of water stories are fairly easy to construct. You take a person and drop them into an unfamiliar situation and then each episode going forward features this character exploring the world they previously knew nothing about. It automatically accomplishes two tasks: giving the audience a compelling world to explore and a character to grow while exploring them. Silver Spoon follows this formula to the letter, and that might be its greatest strength.

The story follows Yugo Hachiken an overachiever at academics but a dispute with his parents convinced him to move to a boarding school as far away as possible. He is accepted to Oezo Agricultural High School where he is surrounded by the children of farmers who already are adept at most of the lessons. At Oezo, normal academics take a backseat to learning how to tend livestock, harvest crops, and all manner of the menial labor of farm life. Hachiken is forced to adopt to his new lifestyle and learn the skills of working on a farm in order to pass High School.

Hachiken’s adjustment to the life on the farm is where most of the drama is focused. The show goes over the standard facets of farm life and how Hachiken is completely unprepared, while his classmates handle most of the tasks with ease and precision. The audience watches as Hachiken becomes accustomed to everything from waking up early to learning how to clean and care for the animals.

The heart of the show lies in Hachiken becoming estranged from his parents, which is only talked about briefly during the show. Hachiken ran away from his previous life where he shut out everything except for academic advancement and in the process completely lost sight of himself. Arriving at Oezo he learns quickly that his classmates all have clear paths in their life and he feels like he doesn’t know where he is going. What his parents demanded of him was pure academic achievement but he had no goal in mind, no idea why he was striving for academic perfection other than to please his parents. While most of his classmates goals are that they will take over the family farm he envies them for having some direction while he floats around aimless.

However, the show is clear that this aimlessness isn’t fruitless. Hachiken accomplishes some amazing advancements in his own personal skills and in bringing people together at Oezo. Hackiken’s classmates, whom Hachiken is jealous of, become envious of his ability to unite people and succeed at his short-term goals. While they know where their lives are going to take them after High School that actually limits them from trying new things. Hachiken has no limitations and so he makes an effort to go around just trying as many of the skills Oezo has to teach. In doing so Hachiken’s aimlessness forms him into a well rounded person. 

 The chef among those skills Hachiken tries is raising a pig. Early in the show he falls in love with a small piglet and takes care of it throughout. The way Hachiken comes face to face with the slaughter and preparation of animals also works to change him. His first few days on the farm he is disgusted at where an egg comes from but as the show goes on and he learns more about the process of preparing meat and the farmers relationship with animals, he gains a respect for the entire process. If Hachiken had never come to the country he would have continued to enjoy meat in blissful ignorance for the rest of his life, but now he carries with him a new respect for where his food comes from, and that completely changes the way he approaches food.

Silver Spoon ended abruptly and with a lot of questions unanswered. The final scenes of the anime were bittersweet because they hinted at things that were to come such as Hachiken’s budding romance and him finally confronting his parents, among a lot more stories still untold. Luckily, a second season has already been announced so Silver Spoon is ultimately an unfinished piece, there is more coming and hope that these loose ends will be tied up with the expertise that they were opened.

Grade: B

Review: From the New World

The start of From the New World might be the most unsettling and interesting opening scene in recent memory, on par with Serial Experiments Lain. The quick images of children, blood, chaos quickly shows the start of events that lead to the utopian like society scene in the rest of that first episode. Mystery, irony, and pulling the curtain back to reveal the larger picture are what make From the New World a compelling piece of fiction.

From the New World is about a group of children growing up in a seemingly idealized society based on feudal japan, except with some comforts of a technologically advanced society. We experience and see the world through the eyes of these children as they grow up from middle school aged to adults working as productive members of their community. The main tactic the show employs is using these children to guide the narrative forward. The audience is slowly introduced to the details of the world as these children, who are mostly ignorant of how their society works, grow up and experience the price humanity had to pay for living a peaceful life.

The show asks one question: what would the world really be like if people developed physic powers. The opening scene is what happened in the immediate aftermath and the children learn quickly that in the era following the emergence of “power” war, slavery, and chaos followed. The utopia the show opens in is a result of figuring out how human beings can co-exist when everyone has god like powers. The main element of which is called the “Death of Shame” which causes any human who harms or kills a fellow to suffer terrible physical pain and most likely die. Only by altering the way human physiology works were they able to build and maintain a peaceful society.

That is one of a dozen serious moral questions the show addresses and forces the audience to struggle with, it effectively takes all of the horrible elements human society had to implement and presents them in a sinister light, but when more is revealed about the reasons for the setup of the world all the elements that originally came off as abhorrent take on a shade of gray. The show runs through a constant cycle of revealing something to make the audience mortified and then, a few episodes later, finds a way to justify it. This cycle is amazingly effective in keeping the audience on the edge of their seats while simultaneously providing a thoughtful moral dilemma that continuously evolves throughout. 

A large portion of the show focus’ on humanities interactions with the “Monster Rats” a race of intelligent mole rats that have taken over as the dominant species on the planet and view the powerful humans as gods. Early in the show Saki and her friend Shun get caught up in a war between two Monster Rat clans and are forced to use the blunt of their power to defend themselves. This is when the audience is treated to the full force that humans have been able to wield using Power, and the result is terrifying. The Monster Rats themselves continue along the same path as the rest of the show. As we live with the Monster Rats and witness their lives and their conflicts we get a thought-provoking shade of gray. Even though the humans have these destructive powers why and when they should get involved in the politics of this “lesser” race is a consistent question throughout the show and these decisions have lasting effects on humanities future.

The only unfortunate aspect of the show is that it does feel a little truncated at times. Adapted from light novels the series does quickly pass over a large section of romance that is introduced, flashed quickly, then is mostly ignored except for a few key plot points. In fact, most of the characters feel a little hollow and interchangeable, with the exception of Saki Watanabe. Ultimately they are used as a way for the audience to get exposed to the world and develop how the politics of new human society work. It’s not a huge fault, as From the New World is a pretty dense show, but it would have given the show a bit more of a personal feeling if I care more about the characters.

The real terror the show presents to the audience is that we are all capable of doing these terrible things and that there are consequences for trying to do the right thing. In “From the New World” the peace that humanity finally one is fragile, and if not maintained properly will crumble quickly. The gift of ultimate power comes at a startling cost and the show illustrates these facts beautifully. While it lacks individual compelling characters the driving force behind the show become the moral questions it asks and the horrifying realization the characters as a group experience when they realize that aspects of their society they wanted to rebel against are necessary for humanities survival.

Grade: A

 

Review: Chūnibyō Demo Koi ga Shitai!

Chūnibyō Demo Koi ga Shitai!, known in English as Love, Chunibyo & Other Delusions, is a coming of age love story like so much anime that has come before. But the slight tilt that Chunibyo takes on the formula is placing the main love interest in a period of adolescence known as “Chunibyo” in Japan, where a person begins to believe their own delusions of having magic powers or being from another dimension, or any of a long list of like delusions. Yuta Togashi is a boy who has decided to leave his delusions behind and live a normal life, and to that end goes to a high school far enough away as to guarantee no one who remembers his previous life will attend. On his first day he meets and becomes connected with Rikka Takanashi, who is lost deep in her own delusional world.

The show builds on the relationship between Yuta and Rikka with the tension comes from Yuta being sympathetic to Rikka but wanting to attempt to live a normal life. Yuta ends up helping Rikka set up a club, which he then unintentionally joins, and the two become friends despite Yuta’s constant annoyance at Rikka’s actions. Yuta falls into this trap where he likes Rikka and wants to help her but doesn’t ever want to be too close to her because of the fear of being labeled. The odd part is no one in his class seems to care that much about Rikka being a bit weird, other boys response to his relationship with Rikka is jealousy at getting attention from any girl. It quickly becomes apparent that most of Yuta’s fears are completely his own, created by his own insecurities. That factor plays in and forms the central theme of the show, which is not only to accept who you are but to accept others for who they are. It is a beautiful theme, one often seen in adolescent and adult romances alike but including it with the delusion hook of Chunibyo gives the message all the more power.

This comes to ahead when it’s unveiled at about the half-way point, the reason for Rikka’s delusions and the reasons why she immediately attaches herself to Yuta. There is no real surprise as to where the narrative goes, from the start of the show it’s clear this is a story about a broken person, it’s the depth at which she is broken and the fact that the show does seed reasons for her delusions and obsessions. Even pulling back from the tragic reasons for Rikka’s delusions, the flashback for when Yuta’s delusions began show a young boy with friends who are starting to be interested in girls and moving away from the games and stories of their childhood. In that moment is when Yuta’s delusions began, it was a coping mechanism for feeling different. Being out of place.

In the entire show the theme of delusion keeps coming back, from the obvious ones of Rikka but even in the character of Shinka Nibutani. I struggled with the purpose of this character for a good part of the show but she is there as a thematic anchor. She suffered from delusions as deep as Rikka’s when she was younger but now, attempting to break out of them, her new set of delusions are formed around her idea of a “normal high school girl.” She acts the way she believes she should, and she joins the cheerleaders only because that is what she thinks is expected of her. In reality she ends up hating her club and struggling to even know how she is supposed to act. The message of the show is that all of us suffer from delusions. Some of them are like Rikka where it manifests as a borderline personality disorder but most of them are much simpler than that. Delusions could come from acting how you feel you are expected to act, putting up a shield around your own personality because you fear being rejected.

While the show becomes profound and compelling, the first few episodes I found Rikka more annoying than endearing, there is a trend in Moe anime where the early episodes relay on a hook in order to bring people in and Chunibyo definitely falls into that pattern. There was a moment into episode two where I felt the show was moving towards fetishizing the mentally ill. I think that might have been a rush conclusion, based the fact that Rikka was just being weird, but Rikka being weird that was the entire show for the first three or four episodes.  Also, most of the side characters fall flat for me. In the middle of the show half an episode focus’ on Yuta’s friend Isshiki who gets caught ranking the girls in his class. This just didn’t fit with the themes of the show. The anime only side character Dekomori gives Rikka someone to play off of, but she is ultimately redundant.

The most troubling feeling I got while watching the show is it seems overly abusive to Rikka. There is a slapstick trope in anime that when a character is acting overly silly, the other characters react by hitting them. When Yuta hits Rikka, mostly taps on the top of the head, an awful lot. Combine that with the feeling in the early episodes that she was seriously mentally ill and it started to make me feel uncomfortable. This comes to a head when Rikka faces down the wrath of her sister, whom she is living with. The first time the audience sees her sister she approaches Rika menacingly carrying a large spoon, Rika becomes visibly frightened and tries to fight back.

Then there is the second to last episode, where something occurs between Rikka and Yuta that made me want to stop. To give up. To write off the entire series. Yet even with all that which made me uncomfortable the series does end on a high note, lessons learned. Does it justify the emotionally traumatic and physically abusive moments in the show… absolutely not. Some of it I can forgive just because they are common anime tropes added without thought to how it would affect tone. But the event in the second to last episode nearly completely undid everything positive the show had accomplished up to that point. I’m not disappointed I watched to the next episode, but that may prevent me from ever going back and re-watching the series.

Chūnibyō Demo Koi ga Shitai ends up being an above average love story with a nice character arc between the two protagonists set on a backdrop of overcoming a part of adolescence which, ultimately, prevents young teenagers from progressing to the next stage of their lives. It has a sincere and effective message which carries serious weight. Unfortunately the early episodes end up being Moe non-sense with a feeling of fetishizing the problems of poor Rikka. Mix that with a lot of useless characters and subplots, slapstick comedy that is skewed by the serious tone of some of the scenes, and an upsetting event in the second to last episode the series was difficult to watch. There is a good narrative, a good theme, and great characters in this show. Unfortunately, they are buried under some of the more tedious aspects of Moe.

Grade: C