UlasanAnime.com – When discussing the Phantasy Star Online 2 (PSO2) anime, it’s essential to consider its context, as highlighted by Zac’s initial impressions on Anime News Network. While Zac’s review offers a fair assessment, it might not delve deep enough into the underlying reasons for the show’s existence, especially considering that most late-night anime series benefit from some prior knowledge of their source material.
The PSO2 anime is not the first instance of a SEGA-related anime being produced with the primary goal of promoting a product. Rather than being a straightforward infomercial, which would be rather conventional, SEGA has previously employed a more targeted approach for the Japanese otaku audience. A prime example of this is the 2014 “Seha Girls Project,” which featured idols.
It’s crucial to view the PSO2 anime within this broader context. SEGA, like many companies, has a history of creating mascots based on its intellectual properties (IPs). A quick search for “Sonic” demonstrates this. In a landscape saturated with mascots, particularly in Japan, a deeper strategy is often required. Thus, an anime that acts as a literal “elevator” to provide full context for the game becomes a logical choice. Since the narratives of PSO2 are embedded within the game itself, any discussion of the meta-game necessitates the anime covering both the in-game experience and the surrounding meta-context.
In “Seha Girls,” characters representing SEGA’s iconic consoles revisit classic games, ranging from Virtua Fighter to Phantasy Star. The episode featuring Golden Axe is particularly memorable. The show’s primary appeal lies in its gag-style comedy and the nostalgic journey of seeing cute girls explore SEGA’s gaming history. However, for a younger audience, perhaps around 15 years old, who have no familiarity with SEGA’s legacy prior to its departure from the console market in 2001, the challenge is to entertain them in a way that is uniquely SEGA.
The PSO2 anime appears to be undergoing a process of simplification, and as we consume its initial offerings, the overt commercialism is evident. The reason for this blatant commercial aspect stems from the fact that the target audience for a late-night anime has already been identified. PSO2 is a well-established property, and the anime’s format is designed to resonate with its intended viewers. This approach represents a compromise, taking into account both the original game’s essence (it can’t simply be about a character isolated within PSO2) and the audience’s expectations, as exemplified by the archetypal first episode. The unfortunate consequence of this compromise is that the commercialism feels more pronounced than usual, even though it has always been present. One could imagine a similar scenario if the various arcs of Sword Art Online (SAO) had used trademarked names for their virtual worlds.
This approach clearly doesn’t resonate with everyone, including Zac. The anime’s entertainment value is significantly tied to PSO2’s existing reputation within “nerd lore,” appealing to current players, former players, and those merely familiar with the franchise. In essence, this is typical of many anime adaptations. When dealing with a core concept like PSO2, or perhaps gameplay-first, character-driven games in general, the options for adaptation can be limited. Not everyone will find a solution like “Bahamut Genesis” to be the ideal path forward.
TL;DR – The context relies on familiarity with PSO2, not on overt commercialism.
You might also be interested in : 2015: The Year in N-Lists
PS. There’s a characteristic “Zac-ism” here, reflecting his public persona which can sometimes appear condescending towards other “nerd verticals” outside of his own (film):
Concerned that only losers play video games?
While the sentiment behind the statement is understandable, its logic is flawed. A more fitting joke would be: “Concerned that only losers play video games? Well, you’re watching an anime adaptation of a video game, which automatically makes you a bigger loser! So, what’s the concern?” This highlights the cultural shift and perhaps a misunderstanding of the hierarchy in Japan. Online games often carry more stigma than traditional console games, although the popularity of games like Monster Hunter and the current flood of social network games (SNS) have helped to mitigate this.
Alternatively, a more accurate pitch might be: “Concerned about justifying your PSO2 habit to your friends and family?”
PPS. Suwa Ayaka has a leading role for the first time, which could be interesting. I enjoyed her performance in this episode. While the anime itself might not be my personal preference, it could offer thought-provoking insights aligning with the points made in this post.
PPPS. A FFXIV anime would likely face a different set of challenges, primarily the challenge of its very existence, but it wouldn’t suffer from the same issues of overt commercialism.
PPPPS. The more I reflect on this post, the more I feel that the commercialism, in fact, serves as a form of irony. Perhaps it’s too subtle to break through cultural barriers, and it should have been even more explicit.
