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every "cute girls doing cute things" anime falls somewhere on the girls-things spectrum, depending on which is more important to the narrative

if the show has no strong gimmick, it automatically falls into the "girls" category, if the show busts out diagrams, it automatically falls into the "things" category

#anime #cgdct

So Help Me God, Lucky Star Is Actually Good

12 Days of Aniblogging 2024, Day 5

As someone who was hard-filtered by the choco cornet during my first attempt a decade ago, some part of me still finds it hard to accept, but I now believe Lucky Star to be a great anime. Veneration is in order.

The real miracle is that I was probably watching the same upload both times. For whatever reason, Lucky Star has been on Youtube for as long as I can remember, in perfect HD quality. Unlike other anime uploads, which persist only through a widespread game of DMCA whac-a-mole, uploads of Lucky Star remain untouched, as if divinely blessed. The one caveat being that you will be watching the dub.

Some background is in order, for the archaeologists and the young. This is a “cute girls doing cute things” anime, which aired at the peak of the “moe boom” in "2007". Market forces had shifted away from the hypermasculine gorefest that was the OVA era and the psychodramas of the late 90s to early 2000s. Now the people demanded moe. Anime girls became ever more neotenic and proportionally compressed until their default designs resembled the chibi and super-deformed sketches you’d previously only see in gags and parodies. The cuteness of the characters themselves began taking absolute precedence over plot developments, as more mundane and relatable settings grew in popularity. It was a perfect storm and generated unfathomable profits for the studios willing to cash in on it. Exactly why this all happened is up in the air, and everyone you ask will have their own answer, guided in part by their own emotions. Weebs with old-school taste view the moeboom as a monstrosity that ate the entire industry for a moment there, from which it never truly recovered. Cultural critics and psychoanalysts will be sure to point out how the artists and directors were knowingly pandering to lolicons by accentuating the innocence and purity and youth of the girls through their designs and demeanors. The more business-oriented might point to how the genre lent itself to heavy merchandising through viewers developing attachment and loyalty towards specific characters, and the later success of idol anime being built directly on the backs of CGDCT.

But watching Lucky Star in 2024, that's not where much of my focus goes. Mostly I’m thinking about whatever the hell is going on with Konata’s gender.

You see, Konata has all the traits of a stereotypical male otaku from this time period, transposed onto a moe girl. That’s it. It’s brilliant in its simplicity. If you’re the type of person to put on Lucky Star in the first place, it’s impossible not to feel a sense of kinship, regardless of your gender. She’s the kwasatz haderach of weebdom.

Konata is the obvious star of the show, and the whole anime would fall apart pretty quickly without her. Her best friend Kagami can be fun, but her snappy personality only works because of her chemistry with Konata framing them as a comedy duo. The other two girls in the main four are kind of nothing, conceived of as helpless by design to appeal to people who are into female helplessness (I can and will judge). There’s a bit of meta charm to Miyuki because she’s being actively pedestalized as a moeblob by Konata herself, whereas Tsukasa’s whole deal can just feel downright patronizing at times.

Between calling her friends moe to their faces, dishing out otaku-based insults left and right, and emotionally leading on Kagami, Konata is a bit of a shitlord! She’s got a real dirtbag voice in the dub, which absolutely helps sell her character, especially compared to the universally shrill Japanese voice acting. It is very, very rare that I watch dubs, but I considered Lucky Star’s survival on Youtube for this long to be a sign, and it mostly paid off! It does its best to treat cross-cultural references as totally mundane which goes a long way for the atmosphere, and the casting thankfully predates the Funimation monoculture that got to dubs a few years later.

Of course, in this day and age, “having the traits of a guy” more often than not means something. It’s impossible for someone like me not to want to poke. And what I propose is that Konata is a lad.

Let’s jump over to some other anime to illustrate my reasoning. One of my favorite games to play while watching CGDCT is “Which girl in this anime's main group is transgender?” It's important that this question cut both ways. Bocchi from Bocchi the Rock is something of a modern classic when it comes from transfeminine headcanons, due to her sublime mixture of hypercompetency and anxious failgirl patheticness. But I've honestly always thought that she makes more sense as a closeted transmasculine character. Hear me out. The boy band sketch, the intimidation around Ryo’s somewhat androgynous demeanor, her insistence on wearing her party outfit with a fake mustache for a liiiitle too long, until someone asks her what’s up with that and she panics…. It’s as if she views herself as a guy on some level, but has no idea how to integrate this into her psyche, and certainly does not have the mental and social acumen right now to work through it sanely. Poor Bocchi.

Sometimes, you even get series like Hidamari Sketch, where my question actually has a somewhat official answer: Hiro was conceived of as a boy who wanted to be a girl. Though this idea was ultimately shot down by the mangaka's editor, it still seems like fair game to parse Hiro as a trans girl when going into the series.

But I digress. With regards to Konata’s gender, what seemed like simply a tomboy’s gap moe back in 2007 now feels like a signal that Something’s Up. We know she plays the same bishoujo games as her dad and projects onto the male protagonists. She RPs as a boy in MMOs, and in-game-marries a guy playing as a girl. Her anime taste skews heavily towards the male demographic, and she's also familiar enough with shounen ai to tease Kagami about it with specifics. But she also expresses comfort, maybe far too much comfort, with her role as a short and cute high schooler capable of being objectified by the otaku gaze. There’s something going on, and that something makes her a crazy power fantasy for people in pretty much every position of the great web of gender, cis and trans alike. Konata as The Divine Moe Androgyne. Seeing the Macross Frontier crossover figure that fuses her with beautiful girlish boy Alto Saotome only furthered my conviction in this.

look at them

Anyways, Konata is clearly genre-aware and uses this to torture her tsundere bestie. Kagami, being what she is, will never admit to anything ever regarding romance, but it seems pretty likely that she’s in love with Konata. The OVA practically spells it out by depicting a particularly psychosexual dream of hers. The Lucky Star mangaka is famously against pairing off his characters, but even he admits that Konata and Kagami have a one-sided love. Most importantly, HE DOESN’T SPECIFY WHICH WAY. While definitely the less likely option, it would be extremely funny if it turned out that Kagami’s tsundere mixed signals were actually just genuine confusion and disinterest, and that Konata’s joke-flirting was real and unrequited all along.

The mangaka may not be interested in shipping, but the staff at Kyoto Animation working on this show were Trve Yuri Warriors. The animation director even drew them married, with Kagami as a butch in a suit and Konata her femme (Maybe I need to re-evaluate my gender takes, but also, dressing as a girl is clearly still a sex thing for Konata). Sakamoto Kazuya, I hereby award you the title of Furtive Himedanshi.

KyoAni understands the importance and hilarity of leaving those two unfulfilled, and goes all in on the underclassmen instead. Konata’s sickly younger cousin Yutaka is introduced halfway through the show, a plot development which immediately threatens to break everything. The background moe concentration of Lucky Star is already at somewhat dangerous levels by default, and throwing in even more childish designs can quickly make things feel uncomfortable. But they thread the needle and it genuinely turns out fine. Yutaka quickly befriends Minami Iwasaki, a butch kuudere who instantly and silently vows to Always Protect Her. Their dynamic would be just as passive and unaddressed of a crush as Konata x Kagami if it wasn’t for their pervert friend Hiyori, who constantly draws art of them as takarazuka couples. She exists in a state of perpetual agony and self-torture from of the shame of shipping her buddies in secret, even if they probably are gay. Obviously, I think she’s great. She and Konata only get a few scenes together but it’s so funny to see how they’re two sides of the same evil pervert lesbian coin, with shame as the dividing line.

From a yuri perspective, the underclassmen round out the upperclassmen well. We’ve got unrealized, possibly one-sided love, and some unfulfilled hazy feelings of dependence and warmth being observed through a terminally yuribrained third wheel. I’m very satisfied by their efforts here. I expected the yuribaiting to be fairly half-assed, but it’s incredibly fun for the most part, and my goggles are lily-tinted enough that I simply see it as the truth.

Speaking of characters that threaten to shatter Lucky Star, everything surrounding Konata's dad walks an extremely fine line considering that the punchline is that he's a total creep. Miraculously though, things never goes too far, and he even gets some sad and sweet character moments in a episode towards the end.

I was kind of surprised by the visual quality of this show! This is a late SD-era anime, but the Youtube uploads I watched are all full 1080p. How is that possible? Basically, they threw it into a late-2000’s upscaling program which generally produced terrible results (the Haruhi BDs are famously rough) but works alarmingly well for Lucky Star’s ultra-simplistic, solid-color designs. You start to see jaggies at the edges of character’s hair, and some background detail is blurry upon examination, but in motion it works really well, and I didn’t notice anything out of the ordinary at all for the first few episodes. Also, it was entirely animated at 30 frames per second??? That’s why the footage in the Out of Touch Thursday meme still looks surprisingly smooth even when slowed down like that – most of the Lucky Star OP was animated on the ones, so at half-speed you still get 15 frames of animation, as opposed to a maximum of 12 frames from the customary 24. Neat! Otherwise, the increased framerate is largely unnoticeable. Thank God it doesn’t do the jarring 30fps panning that a handful of productions from the mid-2000s are guilty of. Looking at you, Haibane Renmei.

Lucky Star showed up in my life at an important time. I first started putting it on as something to watch during lunch, but it ended up serving a far greater purpose. Lucky Star helped me survive a terrible vacation where everyone immediately got covid and we were fully bedridden the whole time. Having a tablet on hand and the show already sitting there dubbed on Youtube genuinely kept me going. The English voice acting was much easier for my covid-addled mind to parse, compared to trying to follow along with subs, as keeping my head up was already a full-time activity. It was also so much more logistically accessible than having to hunt down torrents or DVDs or pirate sites. I suppose that’s the appeal of Netflix and Crunchyroll, eh? Unfortunately for them, I have far too much of a chip on my shoulder to ever pay for streaming anime.

it was like this minus the stuffed animals because I was away from home ;_;

Lucky Star episodes are typically cozy affairs, but the episode where they visit the KyoAni studio is kind of heartbreaking now. The director of Lucky Star was one of the ones caught in the fire, alongside countless other contributors.

Well, the second Lucky Star director. The first one was unceremoniously fired four episodes into the production after a deluge of complaints and chocolate cornet memes regarding his middling introductory episodes. His current hobby is being racist online.

Lucky Star ends as it begins, with the whole ensemble cast of girls working out how to perform the hectic opening theme. It’s an act of eternal return, and provides some nice closure to the show. CGDCT anime often struggle with capping off their seasons, so it was very welcome here.

Somehow, Lucky Star might go on a list of my ten favorite anime??? Even months after finishing it, this is still hard for me to accept, being a weirdo elitist with antiquated weeb prejudices. But I think it’s true. It’s been fun to observe how Lucky Star’s second life in the 2020s has been split cleanly between “webcore” aesthetic collages with nostalgiabait revisionist memes, and a general critical reappraisal of the moe-boom now that we’re so far away from it. I’m obviously in the latter camp, but I’m here for it. This show was a dive into the deep end for me (I avoid shows from the SD era 2000s like the plague, and CGDCT isn’t my thing unless it's explicitly yuri), and it paid off splendidly. One could even say that it saved me.

#12 days of anime #lucky star #moe #cgdct #konata izumi