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Koe de Oshigoto’s first two episodes managed to hilariously and convincingly described the significance of voice acting in breathing life into a character and sensualising the sexual content. Despite being a mild hentai, the lewd scenes didn’t overpower the comedic plot nor ruin the good-nature and innocence in the characters. I also find that the hentai scenes were used cleverly–although I’m not fond of it–to efficiently stretch and tickle the viewers’ imagination.

A quick overview of the story is it’s about Kanna Aoyagi. She was asked to become an eroge voice actress on her 16th birthday by her sister, Yayoi. Initially Kanna refused because she couldn’t bear the embarrassment of saying indecent words. However, after realizing that her sister chose to enter the eroge industry in order to support her, later on she agreed to help in order to show gratitude to Yayoi`s kindness. Like any other voice actresses, Kanna’s main dilemma was due to being inexperienced. She struggled how to overtly articulate sexual scenes and found it hard to keep her job as a secret. Slowly, with the help of her sister and friends, she got used and understood the nature of her job.

Voice acting is the performing craft of narrating compelling stories, creating realistic characters, and bringing audience in a different realm using only the spoken word. It’s important to emphasize that seiyuus don’t just do voice but rather create the persona. They artistically and sagaciously embody the character to give life to the inscribed emotions and carve the story on the audience’s memory. In terms of eroge, the fetishized sounds have been the heart of the voice acting, obviously due of the characteristic of the game.

Let’s take for instance Fumika, a professional eroge actress and Kanna’s role model. As an eroge seiyuu, her ultimate goal is to arouse the gamer. She pleasingly portrays the character by eroticizing her moans through the use of different variations of tempo and rhythm. The speed and pace of her fetishized tone creates excitation and stimulation in order to seduce and arouse the player. Further, the dynamics of her pitch such as the thoroughness and repetitiveness of the heaviness in breathing are being utilized to sexually and leisurely lead the scene into its climax. And, in order to accentuate that the threshold has been reached, she executes an abrupt variation of her voice from low to high pitched range.

Moreover, setting the right body conditions to be in-synch with the imagination is integral to apt voice placement e.g. it can be through nasal, back of the throat, normal etc. For instance, due to lack of experience, Kanna was asked by Yayoi to jog for 30 min in order to emanate a suited sexual tiredness. Her mouthwork has been also trained and developed. For example, in order to produce highly sexualized fellatio scenes and the necessary sound effects, Kanna was asked to suck Nagatoshi and Motoki’s fingers. This vastly eroticized the slurped noises. In addition, this didn’t only help Kanna to become more emotionally attached to the scene but also completely absorbed her into the lewdness of the script–despite being uncomfortable she couldn’t help to come in front of the crew.

Overall, I find Koe de Oshigoto a pretty decent anime regardless of being ecchi. I like how it keeps on reminding the viewers that the main characters aren’t the ones doing the perversion, but rather the personas that they’re portraying–which is actually the main job of the eroge voice actresses. Furthermore, in playing eroge, no matter how intense and creative the pictures are, they can only go as far as visualizing the scenes. However, together with the sounds it takes sensualisation and arousal into a different level, transmitting and eroticizing the exoticness of the writer’s thoughts into the gamers’ imagination.


Side Comments:

  • This post was supposed to be for last Thursday. Let’s just pretend that I posted this last Thursday.
  • Thanks to my beloved cousin for posting this. It sucks not to have an internet connection.