Digital Era Entertainment

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-COMPLETE EDITION- (2025, 1080p)

YouTube — Final Fantasy vs Kaiju Big Battel (2005) #cosplay #fanfilm #mockumentary #finalfantasy #prowrestling

NOTE: This release restores the "Digital Era Entertainment Presents" from the 2005 release to avoid issues with future logo changes/updates, is upscaled to 1080p, and features both a pre-film disclaimer card as well as updated credits. It also restores audio to the "PG-13"-standard originally intended in the censored audio version before overcorrection happened, while also removing language that does not align with our brand's values. Finally, some elements have not been updated for the 1080p upscale due to the difficulty of the work required; the main focus was originally meant to simply be audio restoration, which took the bulk of the restoration time to successfully accomplish. (With the updated credits adding to that time.) We thank you for your understanding and patience!

Overview Originally premiering at AnimeNEXT on June 19, 2005, “Final Fantasy vs Kaiju Big Battel” is Digital Era Entertainment’s first feature-length, first public release production... Combining characters from beloved Japanese video games, giant monster wrestling, anime/manga, and even with some “Hollywood Celebrities” plus “political figures” in tow, this live-action comedy film is sure to entertain! Plot Synopsis In a tale “written” by former President Bill Clinton (Alex Stamoulis) and narrated by Sean Connery (Mario Bueno, in the first of MANY roles…), years of conflict have finally come to an end, and all seems well on the planet Spira… until the nefarious Dr. Cube (Anthony Vaccaro) rolls into town to try and take over the planet! Undaunted, the rulership of Spira contracts anti-hero Shuyin (Mario Bueno) to stop him before he causes an all-out war! But this is only the beginning of a tale filled with action, betrayal, alliance, suspense, dancing… and a whole lot of side-splitting comedy featuring an assortment of characters you would NEVER expect to find in one place! Project Stats Year: 2005 Length: Approx. 114 minutes (2005 original/”Complete Edition”), approx. 80 minutes (2013 re-cut/”Abridged Edition”) Rating: Unrated (contains adult language, crude humor, sexual dialogue, and stylized violence) Genre: Fan-Produced Comedy Color/Black and White Shot in Standard Definition (Anamorphic Widescreen) on Mini DV Edited in Adobe Creative Suite Production cost: Approx. $8,000-9,000 Production time (including Pre and Post): (9) Months. Credits Cast Shuyin, Tidus, Shuyindus, Sean Connery, Agent Smyth, and the voices of Bill Clinton, and Dr. Cube – Mario Bueno Dr. Cube – Anthony Vaccaro Bill Clinton – Alex Stamoulis Steven Segal, Arnold Schwarzenegger, “Behind the Fantasy Narrator” – John H. Baker Joey Wheeler, Agent Smiley – Chris Cruz Agent Burly – Tom McKimm Yuna – Madeleine Koestner Final Fantasy Contingent Squall Leonheart – Chris Troy Aeris Gainsborough – Carrie Wink Seifer Almasey – Alex Rosario Rinoa Heartilly – Venus Carey Auron – Jonathan Handler Locke – Steve Palmero Riku – Raymond Bryant Yuffie – Alicia Lugo Kaiju Big Battel Contingent Silver Potato – Carmen Lugo Los Platanos – Steve Palmero, Tom McKimm, Chris Wingate, and Joel Bernabel Dr. Cube’s Minions – John H. Baker, Chris Corcoran, Christopher Cruz, Tom McKimm, Johnny Norman, Eddie Del Rio, Alex Stamoulis, Victor Velarde, Chris Wingate Persocoms – Amy Chan, Alicia Lugo, Carmen E. Lugo Olivia Laura, Brooke Steckowski, Erin Sweeny, Carrie Wink Recording Studio Crewman – Jonathan Handler Clinton Residential Guard – Aaron Rosenberg Final Round Commentary Stagehand, Wedding Scene Corpse – Joel Bernabel Kevin Smith – Bryan Ulz Body Doubles – Joel Bernabel (for Tidus and Shuyin), Andrea Grossman (for Yuna) Crew Director, executive producer, Editor (Video, Sound, Compositing, Foley), Public Relations – Mario Bueno Assistant Director – Joel Bernabel Head Production Assistant – Brooke Steckowski Production Assistants – Umm…the entire cast…? ^_^; Principal Photography by – John H. Baker, Joel Bernabel, Mario Bueno, Eddie Del Rio, Tom McKimm, Alex Rosario Additional Photobraphy by – Alex Stamoulis Sound Technicians – Christopher Cruz, Eddie Del Rio, Tom McKimm, Alex Rosario, Chris Wingate Location Managers – Olivia Pomann, Joel Bernabel, Mario Bueno Martial Arts Fight Choreography – Mario Bueno Final Round Fight Choreography – Joel Bernabel, The entire cast…again ^_^;; Story by – Mario Bueno Additional Material by – Chris Troy Creative Consultant – John H. Baker All Costumes Provided/Crafted by the Cast, except for Tidus (Provided by Setsuna Kou and Haruka Kou www.setsunakou.com ) Seifer, Auron, and Sean Connery Makeup by – Brian Ulz Special Thanks The Cast, Crew, and Immediate Families of all involved in making the film. Square-Enix, Studio Kaiju, Clamp, and Kazuki Takahshi for creating such colorful characters. The Staffs of the Monarch Condominium, PaKua Sixth Avenue, The Polanco Family, Anna Fischer, Alex Stamoulis, The Pomann Family, and Pomann Sound for providing locations for the film. The Casts of the Stage Versions of “Final Fantasy vs Kaiju Big Battel” for being there at the beginning. The Cast/Crew of the DEE Short Film “Resident Evil: Bunny”….yet another amazing and entertaining film, guys! ^_^ Dennis Buzis and Ellen Matheussen for giving me the Courtesy, Integrity, Self-Control, Perseverance, and Indomitable Spirit to go and make this film, as well as your time and dedication in training me in the martial arts…. oh, and giving me the gift of “Sexy Torso Power” as a result of that. ^_~ All the people who inspired me to continue the story that made this film possible… thank you for your inspiration! Anyone who I missed for whatever reason…^_^; And of Course, The Viewer, for supporting this film by enjoying it!

-ABRIDGED EDITION- (2012, 480p)

YouTube — Final Fantasy vs Kaiju Big Battel (2005) - ABRIDGED EDITION

NOTE: This abridged cut of the film (using the 2006/2012 release) features only the main story. It is presented with uncensored audio (18+ language) and at its original video resolution. An updated edition of the "complete" film, including the "Behind the Fantasy" segments and "PG-13" audio, is also available!

Overview Originally premiering at AnimeNEXT on June 19, 2005, “Final Fantasy vs Kaiju Big Battel” is Digital Era Entertainment’s first feature-length, first public release production... Combining characters from beloved Japanese video games, giant monster wrestling, anime/manga, and even with some “Hollywood Celebrities” plus “political figures” in tow, this live-action comedy film is sure to entertain! Plot Synopsis In a tale “written” by former President Bill Clinton (Alex Stamoulis) and narrated by Sean Connery (Mario Bueno, in the first of MANY roles…), years of conflict have finally come to an end, and all seems well on the planet Spira… until the nefarious Dr. Cube (Anthony Vaccaro) rolls into town to try and take over the planet! Undaunted, the rulership of Spira contracts anti-hero Shuyin (Mario Bueno) to stop him before he causes an all-out war! But this is only the beginning of a tale filled with action, betrayal, alliance, suspense, dancing… and a whole lot of side-splitting comedy featuring an assortment of characters you would NEVER expect to find in one place! Project Stats Year: 2005 Length: Approx. 114 minutes (2005 original/”Complete Edition”), approx. 80 minutes (2013 re-cut/”Abridged Edition”) Rating: Unrated (contains adult language, crude humor, sexual dialogue, and stylized violence) Genre: Fan-Produced Comedy Color/Black and White Shot in Standard Definition (Anamorphic Widescreen) on Mini DV Edited in Adobe Creative Suite Production cost: Approx. $8,000-9,000 Production time (including Pre and Post): (9) Months. Credits Cast Shuyin, Tidus, Shuyindus, Sean Connery, Agent Smyth, and the voices of Bill Clinton, and Dr. Cube – Mario Bueno Dr. Cube – Anthony Vaccaro Bill Clinton – Alex Stamoulis Steven Segal, Arnold Schwarzenegger, “Behind the Fantasy Narrator” – John H. Baker Joey Wheeler, Agent Smiley – Chris Cruz Agent Burly – Tom McKimm Yuna – Madeleine Koestner Final Fantasy Contingent Squall Leonheart – Chris Troy Aeris Gainsborough – Carrie Wink Seifer Almasey – Alex Rosario Rinoa Heartilly – Venus Carey Auron – Jonathan Handler Locke – Steve Palmero Riku – Raymond Bryant Yuffie – Alicia Lugo Kaiju Big Battel Contingent Silver Potato – Carmen Lugo Los Platanos – Steve Palmero, Tom McKimm, Chris Wingate, and Joel Bernabel Dr. Cube’s Minions – John H. Baker, Chris Corcoran, Christopher Cruz, Tom McKimm, Johnny Norman, Eddie Del Rio, Alex Stamoulis, Victor Velarde, Chris Wingate Persocoms – Amy Chan, Alicia Lugo, Carmen E. Lugo Olivia Laura, Brooke Steckowski, Erin Sweeny, Carrie Wink Recording Studio Crewman – Jonathan Handler Clinton Residential Guard – Aaron Rosenberg Final Round Commentary Stagehand, Wedding Scene Corpse – Joel Bernabel Kevin Smith – Bryan Ulz Body Doubles – Joel Bernabel (for Tidus and Shuyin), Andrea Grossman (for Yuna) Crew Director, executive producer, Editor (Video, Sound, Compositing, Foley), Public Relations – Mario Bueno Assistant Director – Joel Bernabel Head Production Assistant – Brooke Steckowski Production Assistants – Umm…the entire cast…? ^_^; Principal Photography by – John H. Baker, Joel Bernabel, Mario Bueno, Eddie Del Rio, Tom McKimm, Alex Rosario Additional Photobraphy by – Alex Stamoulis Sound Technicians – Christopher Cruz, Eddie Del Rio, Tom McKimm, Alex Rosario, Chris Wingate Location Managers – Olivia Pomann, Joel Bernabel, Mario Bueno Martial Arts Fight Choreography – Mario Bueno Final Round Fight Choreography – Joel Bernabel, The entire cast…again ^_^;; Story by – Mario Bueno Additional Material by – Chris Troy Creative Consultant – John H. Baker All Costumes Provided/Crafted by the Cast, except for Tidus (Provided by Setsuna Kou and Haruka Kou www.setsunakou.com ) Seifer, Auron, and Sean Connery Makeup by – Brian Ulz Special Thanks The Cast, Crew, and Immediate Families of all involved in making the film. Square-Enix, Studio Kaiju, Clamp, and Kazuki Takahshi for creating such colorful characters. The Staffs of the Monarch Condominium, PaKua Sixth Avenue, The Polanco Family, Anna Fischer, Alex Stamoulis, The Pomann Family, and Pomann Sound for providing locations for the film. The Casts of the Stage Versions of “Final Fantasy vs Kaiju Big Battel” for being there at the beginning. The Cast/Crew of the DEE Short Film “Resident Evil: Bunny”….yet another amazing and entertaining film, guys! ^_^ Dennis Buzis and Ellen Matheussen for giving me the Courtesy, Integrity, Self-Control, Perseverance, and Indomitable Spirit to go and make this film, as well as your time and dedication in training me in the martial arts…. oh, and giving me the gift of “Sexy Torso Power” as a result of that. ^_~ All the people who inspired me to continue the story that made this film possible… thank you for your inspiration! Anyone who I missed for whatever reason…^_^; And of Course, The Viewer, for supporting this film by enjoying it!

Director's Notes

Originally drafted ca. late 2006 and first featured on DEE Website v1.0 When I set out to take on the challenge of my first film, I had originally intended to do something completely different from this. See, I originally wanted to do a martial arts film at the professional level so I could make back the money I knew I’d have to spend on equipment. Trouble was, I knew I wouldn’t have enough to make a pro film the way I wanted to make it, and more importantly, I needed a little more experience before jumping into something of that scale. So, I opted to throw myself headfirst into a project that ended up being so exhausting and so taxing that it really did feel like a pro film even at the amateur level. See, I took the story from this series of audio clips I made with the original intention of performing them live at anime conventions as a sort of “live-action cosplay theater” kind of thing. But when I realized that they could make the basis of a full film, one that could easily be done since most of the work COULD be done by me in terms of the acting and whatnot, I figured “ok, THIS will be my film.” So, preparing to take time off for a semester from college while finding a job to start earning money for equipment, I started to conceive of what kinds of changes and additions I could make since it was gonna be a film, as well as preparing to figure out what kind of equipment I would need, where to get the money I’d need to round out the funds, etc. It was also at this point in the game that I moved from my original concept of doing the film silently then just dubbing it over with the original audio, but then figured I could perhaps be able to be more experimental with the story, lines, and delivery of lines if I had all the actors (in most cases, me) speak their own lines. So working at FAO Schwarz for that particular winter, I went through the hell of toy retail at an upscale toystore that had JUST reopened to earn cash. Once that tour of duty was over, I was ready to make the film… But that almost didn’t happen. See, I made the mistake of trying to get the camera (the centerpiece and most expensive part of the film’s budget) off the internet, and at one point my money was even being held hostage by some ass-hat in Michigan. This went on for almost two months (from late January to basically mid-March), and with the reality that I might have had to utilize legal action (the thing I was trying to avoid vehemently while making this film myself ^_^; ) in order to get my money back put me through some of the worst emotional stress I’ve ever been through. Because honestly, if you had taken time off from school, sacrificed your remaining educational money that you’d never see again in an attempt to put yourself through what you KNEW was going to be hell to begin trying to realize your lifelong dream of creating entertainment, you’d probably be wracked with turmoil too. Once that ordeal finally came to an end (and put me another thousand dollars over my original allotted budget), I was able to get to work. Now, people have criticized me for not having enough time to work on things. I again point to what happened above, because that DID mess up my schedule immensely since I had originally intended to start shooting as early as late January, and then start working from there. Because of the delay, I lost two months of valuable time I had wanted to spend filming and post-producing. What’s more, at the time it was basically “June or bust” for the film since I was expecting to return to college the next semester. So my rashness was also caused by necessity. Basically, the film was shot in this order, with people and locations being added on as we moved, and I divide the filming into two parts as (ironically) it ended up being filmed much as the events in the movie transpired: All footage pre-Anime Boston Teaser, and Final Round/Behind the Fantasy/Narrations. The first footage to be shot was the Clinton/Shuyin sequence from Round One, and it was an appropriate start for the entire film since we started off with only two people (my friend who did bodywork for Clinton and myself), and by the very end, the last bits of supplemental footage were shot by just one person: me. From there, we hit the first attempt of the sequence “Final Fantasy Fists of Fury,” the most difficult in the film due to the fact we had to not only reshoot the entire scene from both sides a few times, but also had to relocate the scene ENTIRELY, which meant re-staging and re-blocking the WHOLE THING in order to adjust to the new location. 0_o; All the Tidus and most of the Shuyin footage that appear in the final version are the result of the successful part from this shoot. From there, we moved on to Round One, at least our first attempt at it. This shoot is the now legendary “New Jersey shoot” since it was a disaster and a half, despite having a really good dance routine for the “Sexy Torso Power” sequence compared to the final film version. Suffice it to say, it had its merits and served as a good outline for what needed to be done, but because too many things were missing (like my Shuyin wig, as seen in the early version of the teaser), and too many reshoots for that scene to fill in gaps/gaffes were necessary, a reshoot needed to be scheduled from there since to be quite honest, there was no way in hell we were going to go through the grueling public transportation-centric trip to New Jersey again. 0_0; From there, it was all about Round Two and Round Three, all shot over a few days (the core of each scene being shot on a weekend when we had our Agents and Dr. Cube) after that for some Agent Smyth reshoots as the original cut had Smyth sporting cooler hair than Tidus AND Shuyin, which simply didn’t fly for me. 0_o Shortly thereafter, we had the two day reshoot of Round One, which incorporated a newly added “action” sequence (which had to be shortened from my original vision due to lack of time and space to properly choreograph a large fight…plus the hallway was already pretty cramped, so there wasn’t much room to work with), and an exponentially smaller space to work with for the Shuyin/Cube confrontation from the original skit. 0_0 This was the break point for now as Anime Boston rolled up and I had an improved teaser trailer prepared featuring the new Round One footage, and adding in more shots from Round Two and Three. I had wanted Final Round shots, but those weren’t possible since I didn’t get to film Final Round back in late March like originally intended. I guess you could say that there was less time to work on the film than I profess to having because acquiring a space for Final Round (which I had been working on since the beginning) proved to be more frustrating, leading me to one of the worst personal breakdowns I had during the actual filming, given how close to the end I was. It wasn’t until just before Memorial Day that we were able to land a space and start filming, but of course, that wasn’t a picnic either &em; we lost two people for the subsequent shoot, which was SUPPOSED to be the finishing shoot of Final Round, but ended up being not only a grueling top to bottom reshoot of the stuff we HAD shot, but the FINISHING shots to all that work that we were supposed to do that day anyhow. 0_0 See the FAQ for the biggest problem this caused me. In between all of this madness, we shot not only the Wedding Scene, the cleanup/finishing shots for the main action of “FF FoF”, and “Behind the Fantasy,” which was spawned from an idea I had to make a sort of “subplot” to the film to kind of act as filler for sequences I was never going to be able to film due to budget limitations as well as time limitations. Originally intended to be only two short parts, because of how the stories ended up building and tying together, it became the film within the film. I will deal with the controversy surrounding these segments in the FAQ, so I’m gonna leave that for then. Ok, so once “Final Round” was finally complete after the two day gauntlet (we shot the entire action in reverse: everything from the appearance of the FF/KBB Hero crew to the end of “Final Round” the first day, everything from Shuyindus’s entrance to that point the second day), all that was left was narration for the scene, as well as the narration for the main film from Connery. Each was not without its costume related problems: for the narration, I never acquired a Yugi Moto (duh, from “Yu-Gi-Oh”) wig, which meant that I had to find a backup to compensate for that. Hence why we have Agent Smyth filling in, which lead to yet ANOTHER revamp of the lines in the original “script” to compensate for this…and leaving another gaping hole in the story. Joy. The narration was the most frustrating as the Connery makeup turned out to be a train wreck-and-a-half, so my original intention of close-ups, moving shots, etc. had to be cut to compensate for this by nothing but static long shots…although I admit, getting to work in my friend’s dad’s recording studio, much less in an actual sound recording booth, was quite a joy and made up for all the frustration. ^___^ The rest was basically a mad dash to the finish since I basically had two days, and (surprise, surprise) the two weeks I had originally scheduled to do this before everything came crashing down on me would have indeed been a blessing. For starters, I couldn’t do certain cleanup shots, and much to my frustration had to recycle certain shots and even an OUTTAKE to patch up missing things due to people not giving me access to locations again. Also, the time I would’ve spent meticulously trying to adjust audio levels and such went right out the window because the DAY BEFORE the premiere, I encountered a hard drive problem that set me back almost an entire six hours…as you can tell, six hours that I didn’t have. 0_0; To my even worse dismay (although it ended up being a blessing in that it allowed me to show a mostly finished product), the footage I had completed by then was put onto a DVD…which didn’t work. 0_0 With time having run out, I had to cancel the premiere screening the first day of Anime Next to sacrifice most of that convention to stay home and finish the film…which didn’t come without its fair share of problems as well. 0_o; So from there, it all came down to hoping that both discs would work at the convention since I was concerned about the problem that set me back the previous afternoon returning when the film screened; it didn’t, and there was much rejoicing. From there, since I was still expecting a screening at Otakon, I went and did the minor patchup work I needed to do (I couldn’t do more than that since I had a submission deadline to meet for that con and knocked off making cast/crew DVDs that same week), and from there it was all about waiting… Even with Otakon, I admit it was a little touch-and-go since it wasn’t until a week before the con that I found out via a fair amount of pestering (which I didn’t want to do, but really didn’t have much other choice but TO do) for real that I was gonna be able to show the film there. Which it did, and although there was still one more screening afterward, the way I see it, the main journey of working on this film ended after that…an appropriate end (even if it was flawed) to a long, difficult, life changing, and above all satisfying path. I’ve left out a lot about some of my mindset of why I did things a certain way since I wanted to recount the journey this film was with the most brevity I can give it, as well as leave things for the FAQ section, but alas, even that proved to be impossible given my penchant for narration. ^_^; Now that it’s all said and done, even though I know there are already critics out there who believe it sucks, and many more people who think it’s the most awesome thing they’ve ever seen, I can safely say that for the time being, I’m happy with what I’ve created after all the sacrifices made, and I’d like to invite you to share in my gift of entertainment, since that’s what drives me to do this in the first place. Because whether you’re entertained by the tales I tell, or even if you get your entertainment in picking it apart (like I do all the time, hence why I LOVE working with parody, heheh ^_~), as long as you derive some pleasure from my work, I’ve done my job. And that brings me joy in the end. ^___^ - Mario E. Bueno

FAQs

Originally drafted ca. late 2006 and first featured on DEE Website v1.0 What the hell took so long to put this thing online? Like I’ve been telling everyone, the big obstacle has been finding a method that most importantly prevents unauthorized duplication…or at least severely hampers the ability for people to make commercially viable unauthorized copies. Basically, this is being done as a legal safety net, about which I warn in the film’s opening disclaimer. After examining many options, I was left only with using Flash video, as despite its relative ease of nature to copy, it’s still more difficult than ripping from a regular movie file, not to mention that with the video control options floating on it, it’d make for a very annoying experience if you were to attempt copying it straight into a video. ^_~ EDIT (01-16-2015): I finally caved and put it on Youtube in 2013 for the DEE Tenth Anniversary project, buuuuut that got messed up later in the year when the audio got taken out by copyright claims. I hope to remedy this by putting it back on the site next chance I get. Sorry for the inconvenience! *_*;;; Dude, I was at Otakon 2006, and you totally did NOT play the film even though your panel implied that you would. What was the deal with that? Wow…Otakon 2006 was quite a mess…and not just with “FFvsKBB” either! But that’s somewhat unrelated, so I’ll save you the obscenity-laced details. LOOOOONG story short, I was prepared to screen the film one last time during fan parodies, THEN do a comprehensive panel with video clips. However, because nobody informed me that I had to do a disc check with Video Staff, I never found out until FIVE MINUTES BEFORE THE PANEL that my discs (ALL of the copies I brought, mind you) didn’t work with their hardware. It didn’t help that since basically the majority of the crowd hadn’t seen the film and, as per agreement with my crewmembers who were on panel, we’d just scrap the panel and show the film if it turned out like that. In summation, if you have a problem with how that went, bitch to Otakon on my behalf for leaving out that important detail that didn’t allow me to prepare more thoroughly for an emergency situation of that sort. If you do, I’ll give you a cookie (Disclaimer: Mario means a metaphorical one. If you want a real one, buy it yourself.) Why are there so few Kaiju characters!? Couldn’t you get some more? I mean, Studio Kaiju was helping you after all, right? First and foremost, if it wasn’t obvious enough by the emphasis on this having been a fan film, no, I did NOT receive any help from Studio Kaiju . Tempting as the notion may have seemed to seek out their help, to be realistic, that would have been like playing Russian Roulette with a six shooter and five chambers filled with bullets. In other words, I was already pushing my luck as is, so I didn’t want to guarantee a premature death for this film while attempting to bring it to life in a way I would’ve preferred. That being said, I was left to see what I could squeak out of my friends, ’cause to be honest, my original vision had a LOT more Kaiju characters involved for certain sequences (such as “Round Two,” and “Final Round’s” factional rumble). Thus, there was a severe limitation to the amount of Kaiju characters I could include in the film. It sucks really badly ’cause I figured since I was gonna be doing a film I’d get a bunch of other Kaiju characters involved, but whatever…you can only go so far with so few resources. ^_~ EDIT: In April 2006, Studio Kaiju got their hands on it, and gave it a thumbs-up by declaring me the “Otaku Fan King” for that month. Things went further than that when prior to the “Someone Must Die!” event at Anime Boston that year, one very prominent member of the performing team (if you knew who he was, you’d realize I do not exaggerate when I say that) even expressed to me personally that he would have been interested in playing the role he’s known for in Kaiju Big Battel in the film itself…and all for the price of travel fare! This just goes to prove how awesome these guys really are…and how I kinda dropped the ball on that one. Ah well…you have my excuse above. ^_^;;; In “Final Round Part IV”, how the hell is Aeris (who just “died” in the previous scene) still alive? Hooooo boy…This was one of those things that bothered me immensely from the moment that things started going haywire in the last week of the film…Ok, LONG story short, after having to write our actress off the set because she needed to catch a train home, we had to not only work around her NOT being there after the dance-off, but somehow explain how she was able to be there when it went down. It was at that point the continuity of Aeris being alive started to fall apart. It didn’t help that I forgot to notate it for the “Final Round” commentary shoot, and thus I wasn’t able to slip in a line thru the commentators about her “reappearance” during the commercial break and thus salvage that. So, that didn’t escape me, and although I wanted to remedy it, there was quite literally no time. 0_0; Why is “Behind the Fantasy” so LONG! Can’t you just trim it out of the movie? This is by far one of the most controversial aspects of the film…and to a certain extent, I completely agree with this criticism. However, what needs to be understood here is that for every minute of “Behind the Fantasy,” there is a minute of footage I never got to shoot because of my budgetary restrictions. So in essence, it was contrived as a simple-yet-effective “filler segment” for the film. What ended up happening, however (and this is why I stubbornly keep it in the film when screened as a whole), is that these segments not only allowed me to make out-of-story jokes about the various industries that inspired this film, even real-life relations and other absurdities, it also allowed me to flesh out some of the characters and show how they know each other in the context of this story, and why they act the way they do…even if they seem like human set pieces most of the time. This, by far, is the biggest reason why this remains in the film when screened at conventions. You see, in the original audio that served as the script for the story, beyond the narrators and commentators, the only real characters that had anything to do were Tidus, Shuyin, the Persocoms (who had no lines either), and Dr. Cube. The characters who appeared in Final Round (and by default in most cases, “BtF“) were never even supposed to BE in the fight in the first place! Thus, when included in the main film, I figured “since many sacrifices were to be made due to budget and time, I might as well do something unorthodox and potentially amusing.” My final conclusion however would be that if I were to ever do it all again (albeit with a real budget and everything), I’d make “Behind the Fantasy” a stand-alone counterpart to the main film, since I believe it serves a good purpose…and allows a way to rip on things in character. ^_~ EDIT: As you notice, in the internet-ready edition of “FFvsKBB,” “BtF” has in fact become a series of stand-alone segments that are located on DEE’s YouTube page. So, for those of you who enjoy this segment, you can still see it, just not as it originally appeared in the convention screenings of the film. It is found on the site censored since I was taking the versions you see from an already segmented version of “BtF” that only had the censored tracks. Oh, and for those wondering why comments are disabled on all those videos, it’s because I’m only using YouTube for distribution purposes, not as a video message board. Catch my drift? ^_~ In “Final Round”, why are there little to no sound effects during the Big Battel? It’s really a two part answer, one of which is practical, the other artistic. The practical one is that, quite honestly, by the time it was finished there was almost no time to add in as many sounds as would be preferred for a rumble of that nature. Hence, I opted to just crank the music up and let the beats of the songs cover for it. Artistically, if you’ll notice (with an exception or two), all the sound effects return when the “KBB TV” logo disappears from sight. This is because I was going for a “live television” type feel, although given that I couldn’t change the frame-rate to make this distinction easier, I figure this was pretty effective, ’cause let’s be honest: real life impacts don’t make the kind of sounds we’re used to in the movies and on TV, so I figured I could get away with at least that little license. ^_~ Is that your real torso? …No, I used a stunt torso, which they make really cheap and hyperrealistic. *pause* Yes, yes it is. ^_^ Can I have your torso? If you work hard, then yes you can. Heck, you can even surpass mine with ease if you try hard enough. If you mean literally tear it off my body and wear it, then you’re a freak and stay away from me. 0_0;;; Are you a natural blond? HELL no. 0_0 What sorts of changes are there from your original audio script and the film? Glad you asked! The principal change revolves around the expanded role of the Final Fantasy characters, who for all intents and purposes, did not exist in the original audio. From having them appear in “Final Round” to the addition of the “Behind the Fantasy”, this entire group of characters gets more time to shine, and as a result, many new moments that made their way into the film were possible. A great example of this is the “betrayal” segment where Seifer and Rinoa jump to Cube’s side in “Final Round.” Although a means to work around a shortage of extras for Minions, it provided a new take on events in the story that I never would have done if I’d gone with everything as it was in the “script.” Another notable change, and one which unfortunately has a negative impact on one character’s role, is the addition of Agent Smyth in “Final Round’s” commentary. As you could probably surmise from seeing Joey in the commentator squad, Yugi Moto was originally supposed to be the second commentator. Due to an inability to acquire the costume in time, this was a last minute switch that occurred to salvage the thing. Although at the time it felt like a cop out, in retrospect, it made more sense and made what was supposed to be kind of a throwaway character (Smyth) into a more relevant one. Other major changes include: Addition of Shuyin fighting his way into Dr. Cube’s Lab (“Round One”) The setting of New Zanarkand (“Round One”/entire film) The Wedding Scene, additional dialogue in “Final Fantasy Fists of Fury”, and the Riku/Squall/Plantanos segment “The Fast and Los Plantanos” (“Final Fantasy Fists of Fury”) Additional action with the Agents, expansion of Smyth role. (“Round Three”) Omission of Dr. Cube’s Minions being the ones to wear down Shuyindus and replacing it with Dr. Cube himself doing the beating. (“Final Round Part II”) The Agents returning after the Battel, altered monologue for Connery to reflect some of the changes that were made in the wake of the film. (“Final Round Part IV”) Is there going to be a sequel? HAH. In case you didn’t get the implication of this during the director’s notes, my reason for wanting to do a number of spin-off projects and no direct sequel is simple…the entire STORY is a sequel OF ITSELF! Originally, Round One was the be-all-end-all story until I decided for kicks to see where I could go with it. This led to “Final Fantasy Fists of Fury,” which only teased at there being a Round Two. It was when I recorded Round Two that it just kinda snowballed into the rest of the story from there. Henceforth: no sequels, just spin-offs. Why do the costumes, acting, audio quality, and other such things suck? …*blink…blink…blink* IT’S A FAN FILM FOR F***’S SAKE! x_x; I mean, if you read the director’s notes, you’ll see how much I had working against me, and any reasonable person can at least conclude that, given the limitations compared to my grand vision, many sacrifices had to be made, even ones that I had originally planned to compensate for. It was a very uphill battle indeed and thus, for what I managed to accomplish, it wasn’t too bad, despite all it’s flaws. After all, ask anyone who goes out to make a film of any sort, and they’ll tell you they had some measure of trouble along the way. As rewarding and fun as it is, let’s be honest here – no matter how large or how small the project, it’s a pain in the ass and problems pop up all the time . If it’s a piece of cake and there aren’t ANY problems, then the person who told you that is either a liar or made the crappiest piece of crap to ever be crapped out of a crap. That or a Uwe Boll movie. This leads me to the final, and very much related question of… If you have time now, why not go back and fix the problems with it? The reason I refuse to do that is because it’s basically pouring more money and effort into something that is over and done with. What’s more, the only reason I’ll return to this particular story and this film in the future would be if I got a Hollywood deal and lots of money so I could do it the way I wanted to this time around and eliminate all the problems I (and unsurprisingly, audiences) had with it. Besides, I’ve had to slightly tweak and recut this thing numerous times for convention DVD submissions (namely to make minor tweaks for 2006), as well as the version you see online, so suffice it to say, I need a bit of a break from this thing. ^_^ EDIT (06-22-2025): As discovered when reviewing the full film during its 20th anniversary screening, there were a few moments that will require audio edits as they do not reflect the views/beliefs of either myself nor the cast/crew of the film. These were, at the time, meant as "in-character statements" during fully improvised segments, but elements still slipped by hard edits for Youtube postings due to different cultural norms of the time not setting these as immediate "red flags." Though there will be some difficulty due to the age of the work files, attempts will be made to rectify this, or at very least title cards added to acknowledge these points. Thank you for your understanding!

Overview+Director's Notes

The “gritty” re-imagining of the original short, and the first DEE project shot in HD! Finally compiled and edited in 2015 as a celebration of the nearly ten years since “Final Fantasy vs Kaiju Big Battel’s” release, this short film was originally intended to be a warmup before projects like the later work “Doujinopolis.” The project was left to the wayside after being shot in the Summer of 2007 because of a lack of HD-compatible equipment to edit on, and both a busy production schedule/massive life changes for the team at the time said equipment was acquired. It’s worth noting that this edition also features hints at the VERY different direction the story would take in any re-imagining, such as character names being shifted to reflect a more “action movie” type of feel, which is also indicative of the change in tone the actual “Resident Evil” franchise (both games AND movies) took in the years preceding the release of this short. Even the tone of this version, which is intended to be FAR less campy and legitimately “gritty” (minus the obviously tongue-in-cheek moments as even the custom preview graphic indicates), gives off a different feel from the original. (It even goes so far as to integrate the lore from the original 2004 sequels to further hammer home that a full-blown remake would, in fact, bring together the story that was partially told in the unfinished sequels while revamping the entire storyline.) In all, it’s a comprehensive project that represents the early days of DEE (use of this story/use of classic footage for comparison), the transition in quality between “FFvsKBB” and “Doujinopolis” (the jump from SD to HD+the editing techniques refined in between), and the experiences of the years of projects that have come thereafter. Not a bad note to end a particular cycle of DEE’s history on.

Trivia+Bonus Facts

00:08-00:17 – Original monologue from the intros to REBunny 2&3; 2004 file was used since it was hi-res enough. 00:52-00:59 – Exact lines from the original REBunny short, albeit delivered with RADICALLY less melodrama. 01:10-01:16 – Original footage from “data files” used in REBunny 2 as the SD/graininess gave a particular look for the shot. 01:27-01:35 – Shots of the actual hotel where Animazement 2004 and 2007 took place; audio lifted from Subject Zero’s original 2004 dialogue, albeit with heavy processing. 01:39-01:43 – This shot mimics the start of a flashback sequence in REBunny 2. 01:49-01:53 – A nod to two key shots in the 2004 version of the short which were reused in REBunny 2’s opening scene. 02:26-02:26 – Actual photo taken during production of (and used in) REBunny 2 02:29-02:39 – A nod to Maniac’s “preparation” sequence in REBunny 3. 02:43-02:46 – A nod to a key shot in REBunny 3 when Maniac and Bakerman split up to accomplish two different tasks. 02:50-02:57 – Actual flashback footage from REBunny 2 that transitions into recreations of a key shot from the original short. 03:04-03:13 – Credits are laid out in the same order as the original short. 03:19-03:28 – As in the original short, the credits go to static and abruptly cut out.

Director's Notes

Pre-Production/Pilot (Originally drafted ca. late 2009) Note: Unlike “Final Fantasy vs Kaiju Big Battel,” this is being written at the start of what we anticipate will be a regular production cycle. As such, these thoughts reflect the origins of the project and it’s title, and may be updated slightly by the middle of the first season to prevent spoilers from the early part of the story. Anyone who knows me knows that my life has a bizarre way of tending to occur in a circular fashion. It proves to be the stuff of frustration, hilarity, and at times, great satisfaction. With the start of “Doujinopolis” and how it’s morphed into what it is, this is most certainly a case of the latter two. Interestingly, this story doesn’t start with when I was approached to do a weekly show for a local anime retailer. In this case, it starts back in 2006, during the period immediately following the initial promo run for “Final Fantasy vs Kaiju Big Battel”… During that time, I’d been tinkering around with new ideas for another great crossover work. At first, in late 2005 immediately following “FFvsKBB’s” completion, I’d attempted to do a Resident Evil-oriented fan film (NOT one based off my favorite test subject for new tech, Resident Evil: Bunny), but when that fell apart in pre-production and I began the extended stint of unemployment that sidelined alot of my projects until recently, I was still grasping at thin air for ideas. One day, when I was playing around with a newly finished Zaku Warrior model kit from “Gundam Seed Destiny”, I was hit with an idea…a grand crossover that would take place over two separate timeframes and tell a new original story while tying into all the successful anime con skits my team and I had based off most of the popular anime at the time. It was going to be centered around a city that would serve as a hub for the world of anime, a city that would have an omnipotent being not only being the arbiter of this world’s happenings, but who would be the key focus of the story. Unsurprisingly, as I developed the concept further, Haruhi Suzumiya (with Kyon as her trusty right hand man) was to be this figure. After a long consideration process, I settled upon a name for this city which would be the name of the overarching project: “Doujinopolis”. Conceptually speaking, it was exactly as it sounded: a city (“polis”) built upon a fan-made story (“doujin”). Admittedly, I also picked the name ’cause I thought it’d look cool on a poster, but as you can tell, my oddball thinking allowed me to make this work in a very offbeat manner. In late 2007, when I had just started my current job, I thought I was at a point where I could tell this grand story with most of the resources I’d need…even going so far as to begin drafting a script and organizing my production team. Never mind the fact that I was also working part-time as a martial arts instructor on top of that for part of that early period, which was also a huge time-drain for my schedule. However, life had other plans for me, so after taking into account all the new expenses I was going to start paying at that point, remembering that I’d have to get a whole new rig to be able to work with my new footage, AND taking my convention going to a semi-professional level (thanks to my stint with Anime News Network and all the cosplay endeavors I’ve been on thru American Cosplay Paradise), I had to once again shelve a project. But like I already said, life had other plans for me. Fast forward to early August of 2009. On a whim, I decided to go grab dinner one Friday night with my friend (and future co-star) Riot Hashimoto/Mostflogged. Let’s just say I picked a hell of a day to go grab some food with a friend, because that was when I was first told that New York City-based anime retailer and industry friend Image Anime wanted to do a web show. Initially, I was asked to direct/edit/film the thing. When told about the original format they wanted and who else they were considering to get involved, I decided to do the Mario thing and make a few offers of my own that would give me a bit more enthusiasm for the project, while possibly making it into a more fun endeavor. After weeks of planning and setting up the show’s format (and me once again getting plagued along the way by equipment acquisition issues ala the Canon XL-2 fiasco from FFvsKBB), we retooled the show from a simple review program with hosts in cosplay to a weekly narrative that would highlight product in a very unorthodox manner…all made possible with a little help from modern internet technology (read: Youtube’s annotations feature). The first shoot for our Pilot episode was a simple one, oddly thrown in between my frantic preparation for the 2009 New York Anime Festival (wherein I had my first guest stint hosting and headlining the Friday Night Variety Show). Documented by John from Otakuden.com, it was just me, Riot, a camera, and random adult merchandise. …That totally didn’t come out right, but who cares… ^_^; In that hour and a half span of time, we essentially went from being simply Mario and Riot in Kyon and Haruhi costumes praying they knew what they were doing into Kyon and Haruhi bantering about product. With the footage in the can, we were ready to go for editing, which I would be frantically trying to do with two weeks before the con AND a heavy workload of other rehearsals and my day job. The con came and went (unsurprisingly, the Pilot continued my tradition of convention video causing problems and making me arrive late on a Friday), the Pilot Episode was a hit at the Variety Show, and we were pretty much ready for business. But then a new problem arose…what the hell were we gonna call this thing? The day I got the e-mail asking about the show’s upload progress, I sat down and pondered it. I think it was the fact that I had been wanting to use the name for as long as I had that it presented itself so quickly as a good option. After weighing it out, I shot an e-mail to Riot, got her approval, and christened it “Doujinopolis.” It would seem odd to name this kind of program with a name such as this, but when I thought about the plot and where we plan to take it…I’ll avoid spoiling it until the midseason of season one, but suffice it to say…it has earned it’s name. ^_~ This time around, it’s not a literal city built around fan-produced stories: It’s a story produced by a fan-circle (“doujin”) taking place in the big city (“polis”)…amusingly enough, at a conduit of Japanese popular culture that is recognized worldwide. Circles, ladies and gentlemen…circles. While I still hope to one day realize the original vision of “Doujinopolis” (much to Riot’s terror, amusingly), I’m honestly much happier and much more excited to be working on this new version of the concept since it provides a very avante garde approach to serialized storytelling for the internet generation. Looking back on how my last project was developed with the traditional film industry as it’s model, and how much I’m experimenting with a new format on this project (with better tools and more knowledge at my disposal), it’ll be fun to see where we guide this project…doubly so since I had wanted to follow up “FFvsKBB” with internet-based serials and never did. And the great thing is, as you’ll see by the middle and end of the first season…I can always revisit the old without affecting the new. ^_~ Until then, here’s to this city of dreams and the fans who will help create it while further breaking down barriers and establishing new relationships between industry and the consumers who fuel it. Here’s to a bold new step…one fitting for the thing which purports to be the future of the digital world. -Mario E. Bueno Season 1 I started this post on March 29th of 2010, and only finished it now on January 17th of 2011, and let me tell ya, it’s been a roller coaster for me personally since that time; in part due to the aftermath of this show, and in part due to everything that this show taught me. So, after many starts and stops, here’s the story of Season One following the conception and pilot as best as I can present with so much time having passed and with so much still to do. It all began at the start of October of 2009… Initially, we’d planned the first episode or two of the series to be a normal review show with random introductions of the SOS Brigade, with a Capcom-cameo laden Halloween episode thrown in there for laughs. Given that I realized we’d barely be able to make a deadline for that, we opted to make the Halloween special the first episode, and cut all the Capcom characters/references from the episode (save for the Devil May Cry Bluray plug as it was technically under FUNimation territory). In a way, while in the long run the episode wasn’t received with quite the same joy as latter episodes, it served a purpose in the plotline of the season, especially as the format morphed over time and had the “big reveal” (i.e. the characters learning that they were cartoons brought into the real world) come much earlier in the season. That particular day of shooting, we shot the fourth episode (some of the footage of which got rolled into the tenth episode) first to kill some time and get some footage done while we waited for our extras to come by and film episode one. It was an interesting day of experimenting and getting used to format while also getting very comfortable with the characters and our relation to each other as them. It was also on this day we were introduced to the guy who’d be our cameraman for the first half of the season (and eventually our Gin in episode eight), Orin Sarabia. We ended up bonding over stories of fanfilm glory days past, and found out we were well versed in two generations of the same digital video camera. When our army of undead arrived later, featuring mostly an assortment of friends both old and relatively new, we shot the first episode of the show proper. The impending Halloween mood helped alot in getting ready as we were able to channel it with ease and make a seasonally appropriate first episode. Not long after that, we had our first shoot for the next three episodes. It was here that I got to first work with our SOS Brigade, comprised of veteran Carrie Wink-Troy from “Final Fantasy vs Kaiju Big Battel”, and newer friends/collaborators Scootkadoot, who had been in a bunch of my skits over the previous year, and Karl “Uncle Yo” Custer whom I’d just became good friends with earlier that year, but had encountered sporadically from the first New York Anime Festival onward. Now, point of fact…Karl was a Godsend given that I was going to task Itsuki with being one of the movers of plot, and given his penchant for comic dialogue and exposition, he was able to convey an admittedly convoluted and odd plot with skill that I would only expect of very few people. It also helped that he was able to put in a few extra touches on set when we were divvying up dialogue and spending literally hours trying to get parts of this done in one take before giving up and deciding to have to do takes. Initially, we were going to establish that the entire show was being filmed by Kyon and Haruhi with exceptions happening after we introduced a cameraman character. As this never happened, we just kind of winged it and hoped for the best. As we later realized that nobody would notice since it was a web show, it allowed us to shoot the complex episode five first, and then shoot the increasingly simpler episodes two and three right after. With these first five episodes done, I began the editing and release process, trying to get each episode done within a five to seven day span. Each week was nerve wracking as I wasn’t sure how people would react. Initially, feelings were mixed on the first episode due to it’s odd nature, but as each episode progressed (and with a little help from people spamming the show thanks to links on the notorious US internet forum 4chan), word spread about the show and the feedback kept getting exponentially more positive. By the time we hit our first midseason break to begin work on what would be the last episodes before the push for the season finale, we had started discussing what to do with the “Code Geass” characters we were to bring in, as well as acquiring props for that and an episode which, tragically, was cut (an episode done entirely with Figmas). The initial concern Riot and I had going into this block was that, contrary to my usual style, we were going to only stick to playing Haruhi and Kyon, but suddenly we had to become two new characters to carry the next arc. Thankfully, helmets and visors saved our asses there and we were able to pull off the switch, which allowed for an interesting dynamic change for these episodes from a director’s perspective: whereas Riot had been the “dominant” personality as Haruhi and I was the “subservient” one, this shifted just by proxy of the character choices/relationships during these episodes. We also added some new members to the cast, the most notable being Nicole Berardi who played CC for the rest of the program. Aside from our real life chemistry as a couple allowing us to read each other like pros, which made our improvised interactions far more natural considering her lack of formal acting training, she also made for a wonderful foil for Riot when the two were forced to bicker as the two are great friends in real life and flipped their friendship on their head for the roles of Kallen and CC. We were also blessed with returning cosplay collaborator Raymond Bryant, who had a cameo in “FFvsKBB” and did also did double duty for the show as Kayne West (originally intended as a one-off gag poking fun at the 2009 MTV VMA incident with Taylor Swift ) and Tousen, as well as Kenneth Cardez, a longtime cosplay performance collaborator (Kogarashi), and Billy Quick (Sebastian), who at the time was an up and coming face in the cosplay community and soon started becoming a regular in my casts because of how awesome he was to work with on his episode. I was even lucky enough to wrangle in longtime friend Morgan Kelly, who missed making a cameo in “FFvsKBB” but was on set many times, to save my ass in an 11th hour shoot for half of Episode 9. And speaking of blessings, the “Black Christmas” episode was a reminder of how fortunate I am to have the family I do as that episode necessitated me having to drag relatives in to help: I credit my mother for helping out with the post-credit “Saddest Kyon” bump (a gag originally intended to stretch until the season finale) as I needed someone to zoom back while I sat looking miserable and cold on Christmas Eve to get the last shot for the episode. Given that this project was one of the most high profile ones I’ve worked on in years, it was wonderful to know that I was able to not only include some of my closest friends on this project, but family as well. And be able to show it to my Spanish-speaking grandparents, since this project had many moments that transcended language and relied on visual storytelling to convey the humor, was a wonderful thing. We then had an unexpected break in the second half of the season for two reasons: Ken’s son was born around New Year’s, which was when we initially expected to shoot the “Kuro vs Kamen” episode, and I then moved from my childhood home days later, which was all sorts of wacky since it was a very crazy time. (Ironically, the first half of the Season Finale saw my apartment used twice as a set for Itsuki’s apartment and the Celestial Being safe house, then again in pickups for the UN Waiting room in Episode Nine. Due to the other web video promos I’ve gotten involved in since the end of the first season, it was a foreshadowing of what was to come.) With me barely settled back into my new place, we shot the remaining episodes, now with new cameraman Richard Baldovin (who subsequently became a collaborator on video projects from there on). Along the way, we brought in many familiar faces (longtime collaborator Christopher Troy, our Squall from “FFvsKBB”, among them) and equally as much new blood for the finale, and thru the help of the internet, rallied a small group of extras to give our finale some teeth in it’s first half. Equally interesting to note is that had there been more time, certain sequences leading up to the finale would have been more elaborate and possibly including extra Anime sources to make it work (Hetalia for the UN sequence that was effectively cut comes to mind…in retrospect, I’m kinda glad it happened). We were also supposed to have our Shinigami captains return in the Finale, but due to no-shows and costume issues, we had to rewrite the entire sequence on site and cut them…despite bringing back Kanye for a gag revolving around them. Along the way, I compiled footage originally intended for Episode 4 and the Finale and segments that were going to be part of a series of one-offs we were going to put at the end of each episode but never did due to not getting Image Anime store personnel to shoot it, and instead used it as a prelude to the climax of the first season due to the juxtaposition of store life before and after the Black Knights take over from the SOS Brigade. I won’t lie: the filming of these last episodes was brutal the crew and I (at least a paragraph could be devoted to the near mutinies alone, heheh), but in the end, as I expected, everything came together when I finally finished and uploaded the last episode by the first PAX East convention. For me, the bittersweetness happened twice: once on set when I saw how, ironically, with each character exiting the scene, we had the crew dwindle down to just Riot and myself (with an assist from Wing on the camera for the angles/world trembling in the final sequence), thus bringing it back to how it started, and again when the episode was done/reviewed/uploaded because I felt the sense of closure hit me like a ton of bricks the minute it was online and set free into the world. It was also awe-inspiring to see the outpour of support from the fans when the first season ended, and even now, almost a year to when we shot the finale I still find myself getting comments on episodes, and hearing stories from Riot and the team at Image about fans who still thank us for contributing this show to their lives. There’s been many different answers as to the state of what the second season will be, and I will say this: we CAN do a second season, as it’s all part of what I envisioned once we started work on this series as it was designed to run for 2-3 seasons with the original movie concept (retooled to match what we ended up with in this inaugural season, of course) to cap it all off. The WILL is a different story, but I hope that the day will come soon when we can return to this world to finish the story we started telling. Even if we never do, this story is still a great standalone, and much like “FFvsKBB” serves a snapshot of the Anime fandom at a particular period of time; a snapshot capturing what was current and still managing to remain a timeless story of characters becoming real and dealing with the real world as well as a battle of good and evil under these circumstances. I want to return to this story, and thankfully, I may be able to follow thru on that if only because of the love for the show that the crew had. Here’s to a successful first season that still lives on almost a year after it’s completion. May it forever serve as a unifying moment for all those who were involved, and those who came to enjoy it. It was a fun ride, and I hope we’ll get to do it all again. ‘Til next time, I’ll see you all at the clubhouse. In case you forgot, it’s at 242 West 30th Street. -Mario E. Bueno

Episode Trivia (Full Series)

Episode 0: (Kyuun! Kyuun!) My TV Show is a Pilot Episode Summary: In the pilot episode, we meet the show’s hosts, and watch as they bicker over product and the show’s format. Release Date: 9/25/2009 Trivia: – The products “highlighted”* in this episode are: Comic Aun (Lala Poplip Pipiruno Pipiru Paparemmo) ( http://www.imageanime.com/coaunlpopipi.html $105.00 online; made by SoftCore) Horny Ladies and the News ( http://www.imageanime.com/holaandnedvd.html , $23.98 online; Distributed by Kitty Media) – The gag with the camera falling down was inspired by a blown take wherein the camera DID slip back on the tripod, resulting in hilarity. Because the overall take wasn’t that good and key seconds of footage to sell the shot were lost, it had to be redone, albeit with artificial movement. – The end gag with Kyon singing over the credits is derived from the source of the episode’s title, originally suggested by Jenni, as “(Kyun!Kyun!) Watashi no Kare wa Piloto” is the popular Minmay song from “Super Dimensional Fortress Macross”…which returns in “Macross Frontier,” as show that Jenni and Mario are very much fans of. Originally Haruhi was supposed to sing the song then blackmail Kyon into singing, but scheduling difficulties made it necessary to do it this way. – Thus far, this will be the only episode of the series that will not feature opening titles and proper end credit music. – Debuted at the 2009 New York Anime Festival Variety Show, which Mario was hosting/headlining, and which Jenni also performed in. * Highlighted is used in quotations because while these highlights are mostly just a gag, they do foreshadow the fact that we will be doing segments devoted to H-products which will be handled somewhat out of main plot continuity. Episode 1: Night of the Living Horror Cliches Episode Summary: In the first official episode, undead legions invade the store and hijinks insue…unsurprisingly before our hosts can begin a review. Release Date: 10/30/2009 Trivia: – The products highlighted in this episode are: Higurashi (When They Cry) Boxset ( http://www.imageanime.com/whthcrydvdvo.html , $55.98 online; distributed by Funimation entertainment) Zombie Self-Defense Force ( http://www.imageanime.com/zosefodvdmol.html , $19.98 online; distributed by Switchblade) Devil May Cry Bluray Boxset ( http://www.imageanime.com/demaycrydvd1.html , $47.98 online; distributed by FUNimation Entertainment) Witchblade Boxset ( http://www.imageanime.com/widvdboxsetp.html , $67.98 online; distributed by Funimation entertainment) – This episode was shot chronologically after Episode 4, which was done earlier that day. It was also intended to be released as the second episode, but when the production schedule was formulated to have the first episode deploy on Halloween, it was reorganized to fit as the first. – Interestingly, Haruhi and Kyon begin the episodes in almost the same position they ended in Episode 0…equally interesting is the notion that Haruhi storms out on this episode over unprofessionalism whereas Kyon stormed out in Episode 0 for the same reason. – The beginning and end sequences were originally expected to be longer and broken down into smaller takes, but thanks to ideas by producer Wing Leung, it was condensed into a much shorter, more manageable set of extended takes. – The “Thriller” dance bit was originally intended as an outtake, but ended up being funny enough to use in the actual program. Related, Mario’s sentiments on the overuse of the routine at Anime Conventions made it into the show via a dialogue direction for Jenni, who in turn inspired his reference to the (still recent) passing of Michael Jackson. – Originally, a Kanye West cameo as well as appearances by Chris Redfield and Dante (from Capcom games “Resident Evil/Biohazard” and “Devil May Cry”) were a key part of the episode. However, actor unavailabilities and the desire to avoid overuse of Capcom properties caused these to be reworked. Ironically, two Valve properties worked their way into the program in their stead thru the Headcrab Zombie (from the “Half-Life” franchise) and the Witch (the “Left 4 Dead” franchise). Episode 2: MECHA Lekka Hai, MECHA Lekka…OH GOD, THE BUDGET! Episode Summary: An attempt to review the latest model kits turns into an attempt at consolation…which turns into a gaping hole in the budget. Also this week, a departure from cinema vérité…sort of… Release Date: 11/6/2009 Trivia: – The products highlighted in this episode are: HGUC-099 Kshatrya ( http://www.imageanime.com/hg99ksp.html , $60.00 online; distributed by Bandai) Master Grade Gundam 00 Exia Ignition Mode ( http://www.imageanime.com/mggu00exp.html, $80.00 online; distributed by Bandai) Master Grade Wing Zero Custom ( http://www.imageanime.com/mgwiguzep.html , $50.00 online; distributed by Bandai) Ghostbusters Logo Wallet ( http://www.imageanime.com/erprlowap.html , $15.00 online) Lucky Star Hiragi’s Family Karaoke Night Wallet ( http://www.imageanime.com/lusthifakani.html , $15.00 online; made by GE) – Left unexplained in the episode due to human error is the fact that from this episode forward, an active cameraman is filming the action. – Related to this point, and due to the amount of cast/crew members who ended up in key shots, as well as the desire to use different angles for certain parts caused the usual mockumentary style of the episode was eschewed for a hybrid of traditional narrative and documentary style. – First episode to feature Haruhi and Kyon’s Casual outfits. – This episode was shot after episode 5. Episode 3: iShow Episode Summary: The server goes down, leaving one of our hosts trying to fix it and the other alone in the interview…but the two are introduced to hardware alternatives to make their operations better thanks to a special guest… Release Date: 11/13/2009 Trivia: – The products highlighted in this episode are: Ah! My Goddess TV DVD Season 2 Complete ( http://www.imageanime.com/ahmygodvdse21.html , $55.98 online; distributed by FUNimation) Negima DVD Complete Collection ( http://www.imageanime.com/nedvdboxsetp.html, $39.98 online; distributed by FUNimation) Tenchi Muyo Ryo Ohki DVD Complete Collection ( http://www.imageanime.com/temuryoohdvd3.html, $23.98 online; distributed by FUNimation) Love Hina DVD Complete Collection ( http://www.imageanime.com/lohidvdanlec.html , $39.98 online; distributed by Bandai) Please Teacher DVD Complete ( http://www.imageanime.com/pltedvdcoco.html , $31.98 online; distributed by Bandai) Please Twins DVD Complete ( http://www.imageanime.com/pltwdvdcobox.html , $31.98 online; distributed by Bandai) Ouran High School Host Club Logo and Group Pic Hand Bag ( http://www.imageanime.com/hahabagp.html , $20.00 online; distributed by Great Eastern) Big Windup! DVD Season 1 Part 1 ( http://www.imageanime.com/bigwidvdse1p.html , $47.98 online; distributed by FUNimation) – This episode was shot in two long takes, and most of the first comprises the episode. The intro and epilogue for the show were spliced from the second take. – While trained in basic web programming, due to his knowledge of the character’s lack of expertise with computers and the improvisational nature of the show, Mario erroneously implied Adobe’s Illustrator program (used for image editing) could be used for web programming. – Ironically, Uncle Yo is not a Mac user, and had to not only improvise the names of Mac applications and the functions of Mac programs. He also developed the “there’s an app for that” gag during early planning sessions for the episode, which were kept in the show. – The day after the episode released, Apple opened a new store in New York City. – The Dell used by Kyon in the show is the same computer used to edit the first season of the program. – This episode was shot after episode 2. Episode 4: IRL Episode Summary: In this episode, deriving it’s name from internet shorthand for “in real life”, we follow an (abridged) day at Image for our hosts….between misadventures in oversleeping and trips to the outside world for food, we see the two go thru the trials and tribulations of earning their rent. Release Date: 11/20/2009 Trivia: – The products highlighted in this episode are: Kenichi Mui Body Pillow ( http://www.imageanime.com/kemuibopi.html , $35.00 online; distributed by FUNimation) Various Anime Plushes ( http://www.imageanime.com/miscellaneous.html for full assortment) Pokemon Pokeball Plush ( http://www.imageanime.com/pokemondxplush.html , $20.00 online; distributed by Banpresto) Air Yeezy Pink Bear Glow-in-the-Dark T-Shirt ( http://www.imageanime.com/airyepibegin.html , $30.00 online) – This episode was shot the same day as Episode 1, and is chronologically the first episode filmed for the show. However, it was always intended as a buffer episode between the introductions of the SOS Brigade and the mid-season finale. – The Headcrab from the end of this episode is the same one from Episode 1, as Susie’s part for this episode was shot right before Episode 1’s shoot began. – As those shots were last minute additions during the day of the shoot, and Mario never brought his boom pole, the shots of Haruhi and Kyon going to the deli were never able to have proper audio. – The first episode chronologically to be shot with multiple cameramen. – Originally, Producer Wing Leung was supposed to be in the sequences where the duo is woken up and where Kyon gets chewed out, but was substituted with Benny Cho. – The Kenichi hug pillow featured in this episode was used as an in-gag from Mario’s work with FUNimation at Otakon of that year, wherin the pillow was featured in segments where Mario was playing Goku from “Dragonball”. To this day, he still doesn’t know her name… Episode 5: And Yadda, Yadda, Yadda…Plot. Episode Summary: The gang’s all here for a stunning revelation (and obligatory flashbacks) that will change the course of not only their lives, but the very direction of the program! Release Date: 11/27/2009 Trivia: – The products highlighted in this episode are: Haruhi Suzumiya Body Pillow ( http://www.imageanime.com/habopi.html , $35.00 online) For the full assortment of Haruhi Merchandise available at Image Anime, go to http://www.imageanime.com/suhanoyu.html Dirty by the Dozen the Movie ( http://www.imageanime.com/dibydodvdmo.html , $23.98 online; distributed by Kitty Media) – This episode was the first one shot the day episodes 2 and 3 were also shot. – Mikuru was originally supposed to have the casual outfit for this episode, but due to a last minute schedule switch, the episodes were shot out of order, and the costume switch was necessary. – While Mario had designed the episode to be a pivotal one for the plot, much of the dialogue to carry forward this plot was improvised (or, as was the case with Yuki’s monologue written on the spot) by Uncle Yo. – This episode also illustrates the advance planning that was done for the show’s costuming as the Suzumiya Body Pillow is finally shown in frame with Haruhi to show the source of that costume. – The amount of flashbacks doubled from the original plan for the episode as a result of the editing for it. – The episode was originally intended to be shot in one or two long takes, but after numerous flubs at key points made this impossible, it was broken down into three to four smaller takes. – The full SOS Brigade assembled for the show appears together for the first time in this episode. – The episode’s title is a tongue-in-cheek reference to the abundance of exposition in this episode as well as a reference to the seminal American TV sitcom “Seinfeld”. Episode 6: Blackest Knight Episode Summary: One host goes missing, the other goes down, and the (masked) face of the show is forever changed… Release Date: 12/18/2009 Trivia: – The products highlighted in this episode are: Revoltech – Yotsuba ( http://www.imageanime.com/reyoacfi.html , $25.00 online; made by Kaiyodo) Figma – Sonsaku Hakufu ( http://www.imageanime.com/fisohap.html , $30.00 online; made by Max Factory) Nia Full Size Anime Body Pillow ( http://www.imageanime.com/gulaniafusia.html , $34.99 online) For the full assortment of phone charms available at Image Anime, go to http://www.imageanime.com/celstrap.html , as well as various series pages. – This episode was the first one shot following the first two week hiatus of episodes during the first season, and marks the midpoint of Season One. – Kallen was originally supposed to be in the episode as well, but due to an agreement to save her debut for the following episode, she was omitted from this one. As Haruhi is established as missing early on, this is, therefore, the first episode NOT to have Jenni. – Related to this point, the date of release and date in which the episode takes place are both deliberate references to the key date in “The Disappearance of Haruhi Suzumiya”, wherin a key story arc begins and revolves around Haruhi disappearing on December 18th. – Despite Mario’s love of the series and his consistent convention-based work with it, it was actually Jenni’s idea to use characters from “Code Geass: Lelouch of the Rebellion” for this arc. – The use of the Black Knights logo and Zero’s address are designed to mimic the Pilot episode of the series with Kyon’s initial video introduction. – The episode’s title refers to both the name of Zero’s organization in “Code Geass”, as well as making a pun to the American comic book publisher DC Comics’ “Blackest Night” crossover event, which was going on at the time of the episode’s release. Episode 7: Black Christmas Episode Summary: This year, bear witness to the greatest Christmas special of all time…OF ALL TIME! Release Date: 12/25/2009 Trivia: – The products highlighted in this episode are: Anime Christmas Stockings ( http://www.imageanime.com/anchstp.html , $19.99 each online) Robot Spirits (Side KMF) Guren S.E.I.T.E.N. Eight Elements #041 ( http://www.imageanime.com/rospskmgusei.html , 65.00 online; made by Bandai) GEM Series Geass R2 Zero Statue ( http://www.imageanime.com/gemsecogeleo.html , $150.00 online) Code Geass Suzaku Beach Towel ( http://www.imageanime.com/cogeleofresu.html , $19.99 online) – This episode was shot the same day as episode 6. – This episode is also the shortest one of the show to date, but is due in part to the gag that results in the episode’s climax. – The Epilogue for this episode was shot on Christmas Eve due to time constraints. – Features Kanye West in a cameo that was originally slated for the Halloween episode, but scrapped due to scheduling conflicts. – The second holiday episode of the show…both done within the same season. – In keeping with the holiday theme, this is the second episode to feature different ending music besides the Pilot. In this case, “Skating” from the Charlie Brown Christmas Special was selected – This is the second episode to use the word “black” in the title, making reference to the Black Knights from Geass. Episode 8: Black Death Episode Summary: Death comes to the show in the wake of last week’s episode…but not quite in the way you may think… Release Date: 1/1/2010 Trivia: – The products highlighted in this episode are: Project Boobs the Movie DVD ( http://www.imageanime.com/prbodvdmop.html , $23.98 online) Bleach Cosplay – Ichigo Shinigami Outfit ( http://www.imageanime.com/blcoicsaou.html , $80.00 online; distributed by GE) Afro Samurai DVD Director’s Cut ( http://www.imageanime.com/afsadvdvo1up.html , $34.98 online; distributed by FUNimation) Revolutionary Girl Utena “Temptations Saga” DVD Bundle Pack (http://www.imageanime.com/regiuttsadvd.html, $44.98 online; distributed by Software Sculptures) Eureka Seven DVD Complete Collections 1&2 ( http://www.imageanime.com/eusedvdcoco1.html , $39.98 each online; distributed by Bandai) Black Lagoon DVD Perfect collection (http://www.imageanime.com/blladvdpecop.html, $55.98 online) Soul Candy item coming soon! – This is the first episode to not feature any members of the SOS Brigade in any capacity. – Originally, Tousen was going to be saved for season 2, but due to the restructured plan for the second season, this appearance was bumped up to the second half of the first season. – As a result, Gin was added to further play up the Shinigami Captain appearance to make it more “official”. An Aizen was not available, so that character’s role was relegated to being a part of the plot via a phone call. – Originally, the focus of the episode was going to be on Tousen trying to find anime merchandise with black protagonists, but in order to give more plot to the episode, the whole thing was tied in to the previous week’s episode. – This is the third episode to use the word “black” in the title, making a three-layered reference to: the Black Knights from Geass, the fact that Tousen is a Shinigami (Death God) captain who happens to be black, and the disease that killed millions in the Middle Ages up thru the early 18th century. Episode 9: TATAKAE! Kuro vs Kamen! Episode Summary: In the weeks since we last saw it, the store has become a wreck, and a drastic change is about to take place in the world…but not without a little bit of a (literal) wait! The final episodes of the season begin here! Release Date: 3/5/2010 Trivia: – The products highlighted in this episode are: Anime Cosplay Wigs ( http://www.imageanime.com/ancowi.html , selection available online) Image Anime’s One Piece subpage ( http://www.imageanime.com/onepiece1.html ) Black Butler (Kuroshitsuji) DX Figure Set ( http://www.imageanime.com/blbudxfiset.html , $60.00 online; made by Sega) 00 Raiser Perfect Grade ( http://www.imageanime.com/pg00rap.html , $400.00 online; made by Bandai) Sonic the Hedgehog White Plush Knuckles Gloves (http://www.imageanime.com/sohewhplkngl.html, $22.00 online) – Originally intended to be the midseason break, this episode was not filmed until the middle of January 2010, and thus made it the start of the last episode release of Season One. – This episode was originally conceived of as a filler episode due to the changes to come in Season Two that would prevent the episode from occurring then, but then became a crucial part of the plot due to cuts in the episode structure of the season. – Originally, Zero addressing the UN was to be a separate episode (at one point even working in Hetalia to the UN address!). Due to lack of time, resources, and interest, however, this was reduced to an insinuation of him meeting with the general assembly and using his Geass . – This is the third collaboration between Mario and Kenneth Cardez utilizing his Kogarashi costume. The last two were a Capcom-themed skit at Anime Next 2009 (which got referenced at the ending of this episode), and an interview for Kenneth’s website Anime Explosion . – This is the fourth episode to use the word “black” in the title, as it uses the japanese word for “black” in reference to Sebastian (“Kuroshitsuji”) Episode 10: Fan’s View Episode Summary: This week, we feature appearances by store patrons and fans of the show while highlighting the how the store was before under the old hosts and how it is now under the tyranny of it’s current ones. Also, fan questions get answered as only we know how… This is the bridge between the both arcs of the season! Next week: the season finale begins! Release Date: 3/12/2010 Trivia: – The products highlighted in this episode are: Kirby Cosplay Plush Series ( http://www.imageanime.com/kicopl.html , $25.00 each online; made by Nintendo) One Piece Chopper Plush ( http://www.imageanime.com/onepichpl.html , $15.00 online; made by Great Eastern) Ultimate Avengers the Movie 2: Rise of the Panther ( http://www.imageanime.com/ancowi.html , $19.99 online; published by Marvel) Claymore Complete collection DVD ( http://www.imageanime.com/cldvdcocop10.html , $55.98, also on Bluray for $55.98 online; distributed by FUNimation Entertainment) Gurren Lagann – Yoko Real Image 1/6 ( http://www.imageanime.com/yoreim16p.html , $150.00 online; made by Max Factory) EW-2 Wing Zero Custom 1/100 ( http://www.imageanime.com/ew2wgunzercu.html , $30.00 online; made by Bandai) Baccano! DVD 1 ( http://www.imageanime.com/badvdvo1p1.html ; $23.98, full series for $39.98 online; distributed by FUNimation Entertainment) Bleach DVD Box Set Season 4 Part I ( http://www.imageanime.com/bldvdboxsets.html , $39.98 online; distributed by VIZ Media) Fullmetal Alchemist Alphonse PVC Figure (http://www.imageanime.com/fualalp.html, $25.00 online; made by Banpresto) Macross Frontier Ranka Lee PVC Figure ( http://www.imageanime.com/mafrraleesw.html , $15.00 online; made by Banpresto) Yoko Scarf Cosplay ( http://www.imageanime.com/yoscco.html , $15.00 online; made by Great Eastern) A Time to Screw the Movie DVD ( http://www.imageanime.com/titoscdvdmo.html , $23.98 online; distributed by Kitty Media) – The Suzumiya/Kyon parts were shot on the first day of filming for Doujinopolis, and were originally supplemental material for episode 4. They were excised due to the runtime of the episode. Ironically, this episode runs the longest of any to date, as it clocks in at just under 8 minutes. – The CC parts were shot during the Season Finale shoot, and were originally intended as cutaways during the exposition leading into the episode’s plot. However, these were shifted to this episode to allow for the thematic bridging between story arcs to set up the events of the final episodes. – Sarah Stover, who provides the show’s title graphic and makes a cameo as the last customer mistreated by CC, performed as Ranka Lee at the 2009 New York Anime Fest the same night that the show’s pilot debuted. This was, unsurprisingly, referenced in her appearance in the episode with the choice of the Ranka figure. – Originally, the Q&A of this episode was to be done by store employee Frank, but due to scheduling conflicts when the episode was ready to be finished, the switch was made to emulate the style of [adult swim]’s style of viewer mail replies. – The hentai “A Time to Screw: The Movie” has become a bit of an “in-gag” with some of the regular cast/guests of the show due to it’s sudden and infamous scene involving a woman engaging in sexual activity with a cardboard box. – The title is a literal statement about the focus of this episode, and tribute to the now defunct Anime fansite Fan’s View, which was run by cosplay photographer Kevin Lillard between 1999 and 2009…the site featured fans, convention coverage and pictures before the archive was rolled into American Cosplay Paradise’s expanding vault of convention media. Episode 11: Finale, Pt. 1 (Save Our Store, Brigade!) E pisode Summary: With the world under new rule and the store still out of their control, the old gang gets back together (or as together as they can as their leader is still missing) and with help from some new allies, rallies the store’s patrons for one final showdown… The Doujinopolis Season Finale begins here! Release Date: 3/20/2010 Trivia: – This is the first episode to not have any product featured in it (and due to technical errors with Youtube servers at the time of the release, no annotations at all), as well as the first episode (and DEE project) to employ a two-camera system. – This is the first episode to deploy on a Saturday; due to the technical errors, believing them to be pertaining to the video files, Mario re-encoded them and re-uploaded them and didn’t find out until close to midnight on 3/19/2010 that Google reps had gone onto the help forums to address that there was an issue with the Youtube Servers. Thus, it was deployed a little after midnight. – The traditional intro/scene change bump (“bars and tone” with a logo) is used for the first time in the context of the story in this episode. – This is the third episode to feature musical cues beyond the ending credits, and the second that weaves it into the storyline. – Originally, a montage of Kyon staying with all the members of the SOS Brigade was planned for this episode, but was cut due to lack of time and a weary cast. – Most of the footage for this episode (and the footage of Zero from the last episode) was shot in the apartment Mario moved into in January 2010, both on the first night of filming (Meisters introduction) and almost a month later (Kyon/Itsuki) – This is the second episode to feature a post-credit bump with Jenni and Uncle Yo, the first being Episode 3. – This while one of the most technically demanding episodes in terms of technique, it is the only episode to allow full gaffes to stand due to lack of cover footage: in this case, the mirror in the apartment which shows the orange wall (which appeared in the previous episode but was covered) seen in the Meister segment, Mario’s reflection in the TV bezel for Zero’s address, the pronunciation of actor Robert Pattinson’s name, and Richard’s arm appearing at the start of the frame of the mob sequence at Image Anime. – The book Itsuki is seen reading at the start is The Otaku Encyclopedia …this is an in-reference to an event organized by Mario in December 2009 which he and Uncle Yo hosted where author Patrick W. Galbraith spoke to attendees via webcam. – Ironically, Mario first met Chibiplum (who plays Sumeragi and has appeared in numerous other events/performances with Mario) when she was cosplaying as Battle Maid Mikuru at Anime USA 2007. – The template for the news address by Zero is the same one used in Mario’s 2008 Best in Show winning skit (in which he was introduced to, among others, Nicole Berardi, and which featured Chibiplum as Cornelia from Code Geass), The Ballad of La Resistance . – This is the second DEE project featuring Christopher Troy in a supporting role, the last being Squall Leonheart in “ Final Fantasy vs Kaiju Big Battel “. His wife, Carrie Wink-Troy also appeared in “FFvsKBB” as Aeris Gainsborough. – While efforts were made initially to keep all outfits canon to the source, for the first part of the Finale, the crew was faced with a shortage of resources and time to make new casual outfits for Kyon and Itsuki. So, as a last resort, it was decided to make them wear “matching” outfits. Note that the zip-up sweaters each wear are emblazoned with the Dr. Cube skull and crossbones (a nod to FFvsKBB), and Mecha Software LLC’s logo, as Uncle Yo does voiceover work for their games. – The episode title is a pun on SOS Brigade as the episode is very Haruhi-centric. Episode 12: Finale, Pt. 2 (Sayonara, Tomodachi…) Episode Summary: Part Two of the Season Finale…The battle rages throughout the store, and when the dust clears, one drastic decision will change everything…It’s all been building up to this! Enjoy, and we’ll see you next season! Release Date: 3/26/2010 Trivia: – The products highlighted in this episode are: Anime Shot Glass ( http://www.imageanime.com/animeshotglass.html , $7.00 each online; made by Great Eastern) Gears of War Imulsion Energy Drink ( http://www.imageanime.com/geofwarimend.html , $3.00 onlinel) Bleach Wooden Zangetsu Blade ( http://www.imageanime.com/blcowozabl.html , $25.00 online; made by GE) – Due to it’s total run length, this is the first full episode to be released in two parts on Youtube. – The use of “Aimo OC” from Macross Frontier is a nod to the title/end gag of the pilot episode which referenced the original Macross. – Originally, Gin and Tousen were supposed to appear in the Finale to bring a resolution to the Kanye storyline introduced in Episode 8. Due to scheduling conflicts, only Raymond Bryant, who plays Tousen and Kanye, was able to make it and even then, only as Kanye. – This is the second time in the first season that the entire SOS Brigade was in the same place, the first time since Episode 5. – Regarding the choice of ending credit music, Mario is a one-time acquaintance of Lady Gaga, having studied at the Lee Strasberg Institute with her in 1998/1999, and stayed in contact with her for throughout high school before losing touch circa 2004, right around the start of the preproduction for “FFvsKBB.” Around the time the “Doujinopolis” was being initially planned, Mario discovered Gaga’s music and his connection to her. Moreover, he regards the segments of the song selected for the credits reflected the Haruhi/Kyon relationship, which is what the show’s first season ultimately boiled back down to in the end. – The title, due to the resolution of the episode, is the Romanized Japanese for “Goodbye, Friends…”