Magical Economics 101

So, I finally got around to watching the Wizard movie after being told that it was actually fairly good. Now, this isn’t a review of the movie or my complete thoughts on the thing. All it is, is me explaining something that has been swirling around in my head since watching the film.

The neatest thing about the Wizard movie(to me) is also its biggest problem. On the surface this world, its economy and its social statuses all changing because of the inclusion of magic, is a pretty cool one. However, the moment you apply any amount of thought to it, the whole thing completely collapses.

OK, so in the real world a person uses money to purchase things(oh my god, I’m explaining how money works). In order to acquire said money a person will, more often than not, work for it. They, as previously mentioned, will then use their well deserved money on goods and services. The companies providing such goods and services will then divide the money among their various employees, providers, etcetera. Those employees then take the money that they have worked for and go about using it on their own necessities. This cycle continues on and on.

In the movie they establish that everything is paid for by using mana. Here’s the problem, the mana that they are using as currency is produced within themselves. It’s completely natural to them. Meaning they do not have to work in order to acquire their currency. If there is reward for their work, then why work? Hell, we later find out that all of the mana spent goes straight to a single source, which means that there isn’t even any sort payment for those providing services. So that means, that not only is there no reason for people to go to work, there’s not even a reason for the work to exist.

I know, I know, it’s a movie directed towards kids and here I am talking about this fictional economy, but it’s still a flaw. One that kept nagging me throughout the movie and I didn’t quite know why. It seems like some minuscule fact that kids aren’t even going to pick up on. It shouldn’t even be something necessary for the story to move forward. That’s just it, though. It’s not just this tiny overlooked thing, it’s a major plot point to the movie. The whole plan made by the antagonist completely requires this mana based economy to work. It can’t though. It just cannot work. There’s no reward, so there’s no workers. There’s no workers, so there’s no services, so there’s no mana being collected. Then suddenly you have no economy, you have a society running on nothing, and you have no plot for your movie.

RRR Vcomics

This is something that I’ve wanted to try for a while now and decided to test it out with some of the pixelated RRR guys that I made. So here is a bit of a bulk post with the first three videos that I made for this series.

Lets Manga: Beet the Vandel Buster

Back in the far off year of 2002 a series by the name of Beet The Vandel Buster was published in Monthly Shonen Jump by writer/artist duo Riku Sanjo and Koji Inada. The series follows the titular Beet as he aspires to be a Buster, a sort of high-class mercenary, and put an end to the Dark Age of the Vandels, a race of demon like creatures that rule over the majority of the world.

On his first day as a Buster, Beet witnesses his childhood heroes, The Zenon Warriors, taking on a particularly powerful Vandel. Just as it seems that the Zenon Warriors have the Vandel on the ropes, Beet yells out in excitement, catching the attention of the Vandel who then proceeds to mortally wound the young boy. In order to save his life the five Busters give Beet each of their Saiga, a magical weapon construct connected to ones own soul. In doing so they successfully pass on their greatest power to the boy, saving his life, but in the process leaving them defenseless against the Vandel. As the Busters charge into battle Beet loses consciousness only to find both the Zenon Warriors and the Vandel gone without a trace when he awakes. From that moment on Beet assigns himself the task of wiping out all of the Vandels and ridding the world of its Dark Age.

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The Writing

Riku Sanjo is at his best in this open world fantasy adventure and shows just how far he had come since the duo’s previous work, Dai no Daiboken. While the story and setting are simple and very Shonen they are done near flawlessly. Each character is given plenty of room to grow with no one feeling too particularly overshadowed. Of course this is a story about Beet and as such he gets the bulk of the shining moments within the series. That said it never feels as if it’s too much of a hindrance on any of the other characters and Beet himself manages to show off legitimate development for all of the time that he’s given. Beet aside the supporting cast is wonderfully entertaining, with each character having distinct and fun personalities. Even the Vandels themselves each manage to have an impressive amount of characterization, be it the quirky minor villains or the surprisingly interesting, and sometimes rather intense, big bads.

Surrounding the characters is an impressively fleshed out world for that of a battle manga, and an intriguing one to boot. Every facet of the world functions similar to that of a fantasy roleplaying game, with such things as the Busters and Vandels gaining levels, videogame-esque economies, and even power-up modes for each of the Saiga. The reason behind this choice seems to be entirely for appeal as the world itself is not actually supposed to be looked at as a game, but rather just game-like. That said, it all works fairly well and helps to showcase the growth in strength of each of the characters through visualized leveling. Whether more was meant to be done with this style of world was unfortunately never able to be seen as the series went on an indefinite hiatus in 2006, leaving the story without a conclusion.

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The Art

Being a monthly series the art feels very polished and manages to increase in quality as the series progresses. While, like the story, the art is simple, Inada’s work matches up very well with the story, world and characters laid out by Sanjo. The design of the characters falls in line with the game-like theme of the world with the main characters looking very much like your typical cool RPG-esque heroes and the villains taking on a sleeker and, of course, demonic design akin to that of a Dragon Quest game. Which is fitting given the duo’s previous work, as mentioned earlier.

The overall aesthetic to the series is a fairly lighthearted one, with the human characters looking quite animated and the Vandels looking more “cool” than monstrous or grotesque. The series has an obvious look of wanting to be more fun and adventurous as opposed to taking a more serious tone. That said, both the art and the writing manage to hit a suitable dreariness when dealing with a more somber or ominous moment, while at the same time going just as big and bombastic as necessary for its fight scenes.

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The Wrap Up

As mentioned earlier, Beet The Vandal Buster is unfortunately an unfinished series with it only making it about four years into its publication. The series had originally gone on hiatus following artist, Koji Inada’s, sudden illness. A mere six months later Monthly Shonen Jump had announced that the magazine itself would cease publication with an alternate magazine, Jump SQ, taking its place. Since the end of Monthly Shonen Jump, writer Riku Sanjo, has gone on to do work for the Toei Company, writing for several of its television shows, such as Kamen Rider W and Jyuden Sentai Kyoryuger. To date, Inada has continued to remain out of the public eye with it being uncertain as to his current physical condition.

While Beet The Vandel Buster seems to be in a never ending limbo it is, regardless, a series worthy of attention. For what it does, be it simple or not, it does it near flawlessly. The team of Sanjo and Inada proves to be an effective one and each manage to compliment the others’ talents very well. It is a series that pretty much exemplifies a shonen battle manga and is worth a look, ending or not.

Beet The Vandel Buster is available in English by Viz Media having been fully released in a healthy twelve volumes. No digital copies are currently available. There is also an anime for those who are so bold! Produced by Toei animation, it ran for two seasons for a grand total of 77 episodes. The series was licensed by Illumination Entertainment in North America, but only saw a single DVD release covering about four episodes.

This has been Lets Manga!, a brand new series with a stupid title that I have been working on for a fair amount of time. If you have any criticisms or suggestions then feel free to blurt them out as you will. Lets see if we manage to do this again sometime. Until then, bye bye!

Mighty Morphin Power Rangers Auto Morph Black Ranger Review

 

Hey guys, welcome to my video review of a classic MMPR figure. Things were a little surprising when I took this guy out of the package so go ahead and check it out!

Dairanger: Whatever Happened to Lord Zed?

Going into Dairanger I found myself with an assortment of different emotions. Having just come fresh off of Zyuranger, my expectations were considerably low. Obviously the two series should not be judged on each other’s merits, but the biting distaste that I had for Zyuranger hadn’t quite let up. That all said, I had heard a variety of good things about Dairanger and was, albeit only very slightly, hopeful that the series would turn out well.

Thankfully, it did. While I wouldn’t put this on many ‘Best of…’ lists, I can say that I enjoyed myself the majority of the time. The show displayed an interesting blend of tones, both serious and somewhat ridiculous, and managed to integrate a decent number of likable and entertaining characters. This, coupled with my general lack of knowledge on Dairanger’s plot prior to my watch through, led to an investing and overall very memorable experience.

I think I’ll actually start with the tone of the series this time around as it’s one of the more interesting aspects of the show. Dairanger follows a martial arts theme akin to that of older Chinese kung-fu flicks. This is shown in a variety of ways outside of the obvious use of martial arts. The film style of the show is noticeably different from the previous year’s Sentai, taking a somewhat pseudo film like appearance, utilizing effects and camera angles more commonly seen in martial arts films. Alongside this we have the usage of title cards displaying the combatants of various fights appearing intermittently throughout the show. The last one of note actually comes from the Jin story arc as many of the scenes act as partial homages to the genre itself with the most apparent being Jin’s warrior-like death at sunset.

Unlike the majority of Sentai that I’ve seen, Dairanger’s story is actually more of a compilation of different plot lines rather than one major one. While none of these plots get too terribly deep, they are all fairly well put together and are interspersed over the course of the series as opposed to simply being aired in one go and then forgotten. This is one of the strongest aspects of Dairanger’s story as, while it doesn’t deliver on one big arc, it does manage to intertwine its many smaller ones in a way so as not let any one of them become too overplayed.

For instance, the Kujaku story line is played out over the course of the series and is honestly one of my favorites from the show. Now the arc picks up for about one or two episodes at a time before shifting focus away to something else and because of that this story, which could have easily been a one off arc in any other series, became an investing plot line that managed to make me look forward to whenever it would pick back up. It managed to stay around long enough to make you care, but rarely got to a point where it became tedious or dull.

While there is a variety of stories to be seen within Dairanger, there are, of course, a couple that take precedence over the others. The major one of these is the arc surrounding Kou and his heritage. This arc actually took me somewhat by surprise as every previous experience of mine with toku child actors was an annoyingly soul crushing one. Kou, oddly enough, not only turned out to be a decent toku kid, but also one of the more interesting characters of the series. In fact this arc’s early stages impressed me quite a bit in terms of a sixth ranger arc, especially coming off of the almighty Burai bullshit that I sat through with Zyuranger. While credit may go to Burai for being the first regular sixth ranger, I’d say that more credit should probably fall to Dairanger and Kou for having the first competent sixth ranger story arc.

Of course, with every series there comes a handful of negatives. I really enjoyed Dairanger on a whole, but I still feel the need to be fair in my view of it. So with that said, I would like to clarify that any problems that I may have found that might resemble nitpicks are not presented out of hostility or any sort of desperate search for something to hate. Rather they’re presented in an attempt to cover all of my bases. To show all of the highs as well as the lows.

While the main cast is fun and have no real annoying quirks about them, they are fairly shallow when it comes to actual depth of character. Only a few of the characters really get any amount of growth and it’s very minimal at best. That being said, where the growth is applied is very welcome as the cast becomes a lot less hostile towards each other and a lot more team like as the series progresses.

As for the villains, they never really feel truly threatening and ended up falling more along the lines of just being dicks. While quite a few one-off villains were given very entertaining personas, they were unfortunately tied to some of the weaker filler episodes. This actually felt like quite a missed opportunity as a little bit of flair among the main cast of villains would have been greatly appreciated. Sadly the weaker characters such as Zydos and Gara found themselves in the roles of Generals while the funner and more interesting characters had much less screen time than they really deserved.

Carrying on, several of the story arcs displayed throughout the course of the series do run into the trouble of really knowing how to actually end. Despite my enjoyment of the overall set up to Dairanger, it ultimately felt like several of it’s story arcs had fairly lackluster endings. Going down the list; Kujaku’s arc felt very hindered by the inclusion of Gara’s back story and almost slipped into the realm of being laughable because of it. Jin’s final episode felt bizarrely out of place with it coming off as more comedic than the rest of the arc. In addition to this his story felt as if it had more room to grow, predominately because of Ryu and Jin’s mutual respect for each other having just been formed. Sadly Jin was quickly killed off and the arc overall felt less significant than it should have been. Despite my enjoyment of Kou’s story on a whole, it felt oddly stale towards the end and found itself for some reason completely missing its own character of focus with Kou having been removed for much of the final few episodes.

Of course this all brings us to the ending of the series itself. The final few episodes of the show reveal that not only were most of the Gouma nothing more than puppets made out of mud, but so too was the one that we had been led to believe was their creator, Shadam. Now a twist, I can handle. Truthfully the mud puppets thing was not as much an issue for me as the way it was handled was. The twist has no real build up. There’s literally no groundwork laid for this kind of revelation and really only results in bringing up more questions once a sensible amount of thought is put into it.

Now, credit where credit is due, the loose ties that this twist leaves behind do fit well with the final message of the series. That being, that as long as one side exists the other will always be there and the conflict will continue on eternally. This final message is probably the best note that we could have ended on with this kind of series. With the show being more of a string of story-lines as opposed to being one solid story, there was obviously going to be some difficultly giving it a definite end. To the show’s credit, it didn’t try to and really it didn’t have to.

Of course it also didn’t have to make its main characters dress up as old people and do a very gag-like epilogue set decades in the future, but c’est la vie.

So overall, while Dairanger certainly has its issues they never became so intensive to where they ended up ruining the series for me. Instead I find myself looking back fondly on the series as a whole and slowly, against my own better judgement, overlooking those little road bumps that we experienced along the way. When it comes to older Sentai it definitely sets its own tier and while it may not entirely stand up to some of what we have now there is no doubt that, to me, this one’s a star.