No anime has ever captured the zeitgeist of its time like Lucky Star. Sixteen years after it aired, it remains as iconic and emblematic of anime’s recent past as ever. Nestled in its own meta world, Lucky Star is an anime about anime, a series created by otaku, for otaku and all about otaku, decorated with many silly, offbeat references and the funniest stories possible, all guaranteed to make any Akihabara resident blush with shock. Referential humor is no stranger in the world of comedy, but rarely is it done with so much lightheartedness.
© 美水かがみ/らっきー☆ぱらだいす
Here’s what everyone will tell you right away: Yutaka Yamamoto’s direction of the first few episodes led to his controversial termination. The fact that Konata has the same voice actor as Haruhi helps the Melancholy of Haruhi Suzumiya reference blend seamlessly into the background. And the philosophical dilemma of all time, what is the right way to eat chocolate? But most of all, it is the memories of experiencing Lucky Star during that special time that make it so appealing.
The rise of the Moe phenomenon
It was late 2003 when Kagami Yoshimzu saw his original Manga Lucky Star first published on Comptiq. Even as the Evangelion phenomenon creates a whole new generation of otaku, anime has yet to fully emerge from its low-art ghetto, and being an otaku is still not “cool.” None of that can stop Yoshimizu from pouring as many otaku into his work as possible. His love for all things anime and moe shined through every frame and proved to be the key to the manga’s success on Comptiq. The series would soon inspire several Nintendo DS spin-off games and several audio dramas.
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But things really started when Kyoto Animation decided to make an anime adaptation of Lucky Star in 2007. Still riding the wave of The Melancholy after the huge success of Haruhi Suzumiya, Kyoto Animation made a bright decision. trying my hand at another otaku bait show. Although Lucky Star never matched the success of Haruhi, it proved to be an important first step in maintaining Kyoto Animation’s reputation after the implosion of Haruhi.
Much of the anime’s success is due to Kyoto Animation marketing it in a similar manner to Haruhi Suzumiya. Its catchy OP “Motteke! Sailor Fuku” is a great gift, complete with choreography that looks similar to Haruhi’s famous “Hare Hare Yukai.” OP composer Satoru Kousaki later revealed in an interview that a lot of the music was improvised in a very “ad-lib” manner. He created a compilation demo that Aki Hata then rapped over, creating a “cute rap” style whose elements would later form part of Bakemonogatari’s OP.
Also similar to Haruhi is how Kyoto Animation found Lucky Star marketable enough to warrant a seiyuu concert. The biggest difference is that while Haruhi’s concert took place at Saitama Super Arena, Lucky Star’s concert was performed at Budokan, the main venue of K-ON! Girls just dream of playing. And to a rock and roll junkie like me, it’s almost as legendary as Cheap Trick at Budokan.
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Lucky Stars will parade through the streets of Akihabara, with artwork by the Konata group placed next to the SOS Brigades in AsoBit City. Merchandise also filled the streets, with some of the best products on display being crossovers with other anime. The Haruhi Suzumiya-inspired postcards have Konata’s team doing the “Hare Hare Yukai” pose, but my absolute favorite is the Macross Frontier-themed Figurines. I’m somewhat biased here because I own two of them.
The anime and its embrace of all things otaku would create a hero cult of Kagami Yoshimizu. After the anime’s success helped the manga sell a whopping 1.8 million copies, Yoshimizu’s hometown of Satte capitalized on his newfound fame by converting his childhood home into a museum. museum, modeled after Konata’s house and filling it with schoolbooks, manga, and–because why not–a sailor suit. A year later, Konata and her family would be registered as honorary citizens.
Courtesy of Aaronin Japan09
The most famous is the real-life Washinomiya Shrine featured in the OP and some episodes. Chances are you already knew about the temple before reading this article. However, it cannot be overstated how much this place has become an otaku mecca. The town has held many events there, including some held by the cast and staff themselves, and it’s still as brightly covered in Lucky Star merchandise and fanart as ever.
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Lucky Star Was A Meme Goldmine
Similar to Haruhi Suzumiya, Lucky Star’s success rests on its existence as a viral Internet phenomenon. Nico Nico Dougans uploaded viral videos of them dancing Haruhi is now uploading remix videos of Konata saying “Timotei” and Tsukasa jamming out to classic Nintendo tunes on a recorder. If you’re a fledgling American otaku like me, chances are your first encounter with Lucky Star was through the power of the Internet, and it may or may not have given you the watershed moment that made you realize that anime still exists. beyond the level of strength and muscularity. the guys threw hands.
Lucky Star’s unexpected success in Western online communities has created many opportunities for memorizers to unleash their creativity. Because moe was still such a foreign concept, they felt the need to combine the unique cuteness of the series with their own brand of bizarre, wacky humor. The results were… funny, to say the least. For those of you who followed game and anime forums from 2007 to 2011, you know exactly what I’m talking about. And you can believe that Ya Boi™ has done just that.
Art courtesy of Daboya on DeviantArt
Can Lucky Star survive today?
Kyoto Animation was the right studio for the job, further demonstrating their mastery at creating slice-of-life. Lucky Star’s dialogue-based humor makes it as nichijou-kei as nichijou-kei, forgoing any cartoonish silliness in favor of dry and witty banter. Even as it wanders between the banal and the banal, Lucky Star never makes any of these exchanges dull.
Perhaps one of the best examples of this is in the twelfth episode of the anime, right when Konata, Tsukasa, and Kagami go to Comiket. The episode’s visuals portray Comiket as a powerful, intimidating fortress, one that only the most elite otaku can penetrate. And it just so happens that Konata is one of them. When she instructs Kagami and Tsukasa how to navigate Comiket, it is with a tone of urgency and importance. Watching Konata take things to such extremes is one of the funniest moments of the movie–not just because of its absurdity but because (let’s face it) a lot of the people in we also sin when we do the same thing.
Then next we get a scene of two dealers gambling at a booth. The humor involved here shines through–one dealer looks like Domon from G-Gundam, while the other looks a bit like Kyon from Haruhi Suzumiya. As an added layer of comedic depth, both of these characters are voiced by the same seiyuu, who portrays the very characters they are parodying. Their epic argument over card collecting is played for laughs but never as mean-spirited. Either way, it shows how sacred Comiket is to visitors, as well as the otaku’s fierce dedication to their hobby. Even while parodying all aspects of anime and otaku culture, Lucky Star never strays from the idea that anime is a very, very serious thing.
© 美水かがみ/らっきー☆ぱらだいす
What makes the scenes in the film so memorable is how well they color the characters’ personalities. Many television series and movies have characters uttering expository dialogue that benefits the plot but does nothing to make the audience relate to them. Instead, Lucky Star eschews plot and exposition to focus on the characters’ interests and perspectives, allowing the conversation to be simple and genuine. People say these conversations make it the “Seinfeld of anime.” However, with its addictive dialogue, everyday entertainment, and references that evoke a fairly modern sense of nostalgia, I have a wild theory that Lucky Star has more in common with Pulp Fiction . But that’s a story for another time.
Comparisons to GAINAX’s Otaku no Video sometimes pop up when discussing Lucky Star, and it’s easy to see why. Both are self-reflective comedies, reminiscent of the otaku culture of their respective eras. In a way, Otaku no Video is to Studio GAINAX what Lucky Star is to Kyoto Animation. The main difference lies in how they represent otaku culture. While the characters in Otaku no Video suffer varying degrees of scorn, social rejection, and self-loathing, the characters of Lucky Star happily bask in the redemptive light of their own eccentricities. Surname. I’m sure seeing Konata’s unabashed otaku personality inspired otaku pride in us back in the day. It’s a pride that still resonates today and is a testament to the enduring power of the program.
I have watched Lucky Star many times, the sixth time was this year. After so many viewings, I have to admit that it was never a revolutionary slice of life in my head and at times seemed a bit rickety. The animation is pretty flat and its 4 koma look has aged a bit. Lucky Star isn’t what I’d call a “timeless” anime, but maybe it’s better that way. Like an ancient work, its charm still evokes sentimental feelings, and I will forever credit it for pushing me deeper into the anime rabbit hole.
Lucky Star still exists gloriously as a product of its time, containing a strong otaku pride that becomes stronger with each passing moment. Its humor and comedy have made it the subject of analysis and parody, as well as endless fodder for shippers everywhere. But its real staying power lies in our love of anime’s past and present, and our love of that bygone era. We are forever nostalgic about nostalgia itself.