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Akira

I knew about Akira from the bike slide that is widely emulated in different media. Neo-Tokyo is shown as a society that never really recovered from its past, and the way the city constantly feels on edge really emphasizes how broken everything is. There’s a sense of anxiety in every part of the movie through the protests, the violence, and the way the government is handling the psychic experiments. Tetsuo’s transformation really stood out to me. At the beginning, he’s just a regular kid—someone who’s always been in Kaneda’s shadow. When he gains powers, it’s supposed to be this moment of control for him, but instead it becomes this horrifying process of losing himself. Watching him spiral made me think about how power without stability can destroy someone. The movie shows that giving someone control doesn’t mean they’re ready for it; especially in a world where no one ever helped them feel seen to begin with. When everything breaks down in the ending, the city basically resets itself. It felt like the movie was saying that sometimes things need to be torn apart before anything new can grow.

Sensoron

Sensoron and A Short History of Mankind both grapple with the evolution of culture, power, and social order but from opposite sides of the spectrum.

Gellner views the development of society as a structural transformation: from small-scale foraging communities, to rigid agrarian hierarchies, and finally to the fluid, mobile, merit-based industrial age. Central to this modern world, he argues, is nationalism, which emerges not from deep historical roots but from the needs of industrial societies for a unified high culture, codified, literate, and standardized for bureaucratic functionality. In this view, culture is no longer diverse but a tool of state-building and mass coordination.

Sensoron, while rooted in prewar Japan, eerily mirrors the world Gellner describes. It dramatizes the consolidation of cultural authority through censorship, showing how state power molds not only law but also what can be thought or imagined. Where Gellner sees high culture as a social necessity in modernity, Sensoron reveals the violent underside of that process: censorship as the machinery that ensures cultural homogeneity, and thus, national unity.

Hetalia: Axis Powers

Hetalia: Axis Powers reimagine global history through national personifications that lean into humor, stereotypes, and emotional dynamics rather than brute strength. While the series plays as a comedy, it becomes more complex when connected to Annett’s article. Annett highlights how Hetalia resonates with female anime fans, or fujoshi, who engage with the series through a lens of gender, desire, and community.

The show is mainly male and they interact in ways that are often emotionally intense or romantic, appealing to fujoshi who enjoy imagining relationships. For example, Italy’s clinginess to Germany or England’s conflicted feelings toward America are framed as comedic, but also invite queer readings. The article also explains that Hetalia taps into “moéfication,” where character traits are designed to spark affection, not traditional power. These dynamics subvert the stereotypical masculine traits. Instead of war, Hetalia frames global conflict as personality clashes and awkward relationships. This feminizes the narrative, shifting power away from aggression and toward communication, misunderstanding, and emotional nuance.

SwampCon Blog

I went to Swampcon last year too, and I think this year was pretty fun too. One of the main attractions at Swampcon is the maid cafe. I went to it last year, but I went this year too. I often thought about why people like to cosplay, and in this case, dress in maid costumes. The topics we covered in class about fandoms helped a little to help me understand. They like the idea of maids and they seek to possess it as their own, so they cosplay and act as maids. I also think there is definitely some societal stigma against people who choose to dress as maids. By going to SwampCon and the maid cafe, it’s kind of like showing acceptance of those people, thereby being accepted in their group. The panels run by the students are them showing their shadow cultural capital. They showcase their knowledge of niche topics related to Japan and anime. Some panels like the Yaoi Panel and Genshin Shipping Guide are even more niche and I think looked down upon by society because it is so niche or weird. With shadow cultural capital like those, I can see why real capital is so difficult to acquire using shadow cultural capital. I thought SwampCon was really fun. I have friends who participate in the maid cafe and the panels, so it was nice to see them show their interests. I think it’s nice to support them.

The End of Evangelion

The End of Evangelion further explores the themes of masculinity. Connell’s concept of hegemonic masculinity failing under pressure shows in Shinji’s mental collapse. Throughout the movie, Shinji does not act decisively, showing a queer masculinity. His breakdown, especially in the infamous hospital scene, highlights his inability to reconcile emotions with societal expectations of masculinity. Connell discusses how hegemonic masculinity demands control, but Shinji is powerless over himself and others.

Shinji is highly emotional and dependent on others for validation, making him unable to fit into the hegemonic male archetype. His interactions with Asuka and Rei reinforce his struggle to fit into societal norms. The Instrumentality Project, where individual identities dissolve, can be seen as a metaphor for the destruction of rigid gender roles. Hegemonic masculinity is about separation and self-sufficiency, Instrumentality offers the opposite—complete unity at the cost of individuality.Through Shinji, the movie presents masculinity as something fragile and performative. Shinji’s final choice to reject Instrumentality and return to reality suggests that while masculinity is difficult to navigate, escaping into an illusion is not the answer.

Neon Genesis Evangelion 2

These episodes explore traditional gender roles and strength. In episode 8, Rei, though emotionally detached, shows that strength doesn’t need to align with traditional femininity. Her quiet resolve and duty subvert the idea that women must display overt emotional or physical traits to be powerful. Episode 16 expands more on this theme, focusing on Shinji's emotional struggles while comparing it to Misato’s and Asuka’s responses to their own vulnerabilities. Misato balances personal and professional life, while Asuka, often seen as a symbol of strength, experiences a breakdown, challenging the trope that women must remain emotionally stoic. Both show that emotional complexity doesn’t undermine strength. In episode 24, Asuka’s emotional collapse further expands on the expectation for women to always embody independence and strength. Her breakdown illustrates that vulnerability is also a form of power, subverting the traditional image of the “strong woman.”

Neon Genesis Evangelion

Neon Genesis Evangelion explores masculinity through the protagonist, Shinji Ikari, whose struggles contrast with traditional heroic expectations. Connell’s concept of hegemonic masculinity from the reading, which emphasizes emotional restraint and dominance, is challenged from the start. In episode 1, Shinji is forced into piloting the EVA, but is hesitant, displaying vulnerability instead of bravery. Unlike stereotypical male protagonists, he does not embrace his role as a hero, which reflects an alternative form of masculinity.

Episode 4 highlights Shinji’s fear of emotional closeness. His retreat from others reflects Connell’s idea that masculinity often enforces isolation as a means of control. I think the conflict between his need for connection and his fear of rejection shows how Evangelion critiques rigid male identity.

Episode 5 introduces Rei, who contrasts with Shinji. Rei’s detached and seemingly emotionless demeanor aligns more closely with traditional masculine ideals than Shinji’s expressive, uncertain nature. Shinji’s fascination with Rei could represent his own uncertainty in defining his identity.

Wandering Son

This anime tackles themes of gender identity. In Episode 1,Shuichi and Yoshino are introduced as two transgender students. The episode emphasizes their struggles with dysphoria and the pressure to conform. It sets up the series’ themes of gender fluidity and self-discovery. Episode 7 highlights the tension between personal identity and public perception. Shuichi’s discomfort with their assigned gender becomes more pronounced when they are pressured into playing a boy’s role in a school play, which contrasts with their desire to present as female. Yoshino also faces challenges with their identity. This episode shows the societal problems they face as trans people. Episode 9 sort of builds upon previous conflicts, particularly as Shuichi gains confidence in expressing their gender identity. The interactions between the characters, especially with Saori and Anna, emphasize the varying levels of support and resistance they receive. The episode contrasts moments of validation and the challenges of navigating identity in society.

Aggretsuko

I think Butler’s idea of gender as something you do, not something you are, fits Aggretsuko really well. In Season 1 Episode 1, Retsuko performs the “ideal” woman at work—quiet, polite, obedient—but that’s clearly not her true self. When she screams death metal at karaoke, it’s like all that pressure gets released. That performance is way more real than the one she does at the office.

Episode 5 shows Gori and Washimi breaking that mold. They’re powerful women, but still feminine. Butler would probably say they’re rewriting the script instead of just playing it. Episode 7, when Retsuko thinks marriage is her only way out, shows how strong those gender expectations still are.In Season 2 Episode 2, her mom tries to set her up with men, and Retsuko goes along with it—not because she wants to, but because that’s what she’s supposed to do. Episode 5 complicates it more with Tadano, who doesn’t follow typical “male” roles either. Even though he challenges expectations, their relationship still fails because Retsuko’s trapped by that script of what her life “should” be.

Sailor Moon

I’ve never watched Sailor Moon before, but it’s probably the most well-known magical girl anime. In our reading, Girl Power, it talks about how characters like the Sailor Scouts in Sailor Moon retain their femininity even when in what used to be the masculine of a hero.Both Sailor Moon and the Girl Power reading emphasize that female heroes don’t need to adopt masculine traits to be strong. Sailor Moon shows that femininity and power can coexist instead of being at odds.

In episode 1 when Usagi wins her first battle not through brute force, but by crying so loudly it disrupts her enemy. The Girl Power reading highlights how female heroes face a double standard, expected to balance their feminine traits and being a hero. Sailor Moon kind of subverts this by showing that emotions can also be a form of power

Ami’s introduction in episode 8 also reinforces this theme. She is shown to be intelligent and kind and challenges the traditional perception of strength. Ami, as sailor Mercury, uses her intelligence and quick thinking to defeat Jadeite, showing that pure strength isn't everything.

Database Animals

“Database Animals” is a really interesting read. The main point is that otaku fans don’t consume anime, manga, or games for their full narratives anymore, and instead consume them for specific moe elements. Full narratives are the stories/worldviews and interconnected universe behind manga and anime, like in Gundam. Moe elements include character traits, character archetypes, and situation settings. I never really thought about it before reading this, but I’m definitely guilty of picking what I consume based on how appealing characters are to me.

Fans of certain me elements will only seek out media that has those elements they like, oftentimes ignoring the plot or narrative of the media. This has led to producers to create products where the characters or moe elements are the selling points. Gacha games are a prime example; players can choose to pull for characters with moe elements they like and invest resources into them. I play gacha games and this made me think a bit. A lot of characters do have defining traits/ moe elements that can make them appealing to fans who like those traits.

I think media becoming more moe element oriented isn’t a bad thing, but I also like to enjoy media for their plot/narratives.

Mobile Suit Gundam

I’ve watched the later Gundam series, but I’ve never watched the original one. Gundam includes many of the topics relating to war we’ve discussed in class. One big thing that actually shocked me was when Amuro was perfectly fine with shooting at Zakus, but hesitating at shooting at an escaping Char. He says, “A Zaku is not a human. Even I can..”. When enemies are not seen as human, it makes them easier to kill. Another thing I noticed is that most of the crew of White Base are kids or teens. One line in the anime mentioned how all the adults died, so the children had to step up. This perhaps showcases that war forces children to grow up and lose their innocence.

One interesting point to me was how much the Zeon resembled Nazi Germany. The Zakus are reminiscent of WW2 German soldiers, the Zeon flag resembles the Nazi Flag, and, though not covered in the episodes that were required to watch, the leader of the Zeon is compared directly to Hitler. This, combined with the reading, just further shows that Gundam is a criticism of the Axis powers in WW2 and the consequences of war.

I’ve already heard of Barefoot gen because of the well-known bombing scene from the movie. I think Barefoot Gen prefect illustrates the horror of war. At the start, the events occurring because of WW2, like the planes and going to the bomb shelter, are seen as normal by Gen and Shinji. They have become desensitized to war, while their parents worry if anything will happen. The movie also shows how communities fall apart during wartime. Gen and Ryuta are tasked by Seiji’s brother to take care of Seiji for compensation. Seiji reveals that his family has abandoned him because of his condition. This shows how war incentivices people to act in their own interest and breaks down social relationships. I also like the message at the end of the movie. Gen and Ryuta find that wheat is growing after the bombing and with renewed optimism, they release a paper lantern boat.

Shin Sekai Yori is a very interesting anime. The beginning establishes that children go through a ceremony when they develop their Cantus and go to school to train them. It’s revealed that the children are under constant surveillance and any child deemed abnormal is killed.There is also a scene where a child with powers is shown to be rampaging through a town. This is similar to the “Shounen A” described in Arai’s “Wild Child”. Shounen A’s case led to unrest throughout Japan as people were unsure if some children would become dangerous. This sort of parallels the world of Shin Sekai Yori, where because of their distrust of children, society puts the children through intense surveillance.

Psycho-Pass

I’ve tried to watch the anime before, but I never got past the first few episodes. Because this anime was required, I decided to watch the whole anime. Honestly, I think it was pretty good. Psycho-Pass poses several interesting questions about society as a whole. The Sibyl system seems like something that can be in our future, with how rapidly society is progressing and increasing surveillance.

The COMPAS system in the article, "Machine Bias", has many similarities to the Sibyl system in the Psycho-Pass. COMPAS assesses how likely a defendant is to reoffend and gives them a score from 1-10, but it also has biases based on its creators. The same problem is revealed with the Sibyl system in Psycho-Pass. The Sybil system isn’t fair; it seeks to preserve order above all else. This is essentially panopticism. The system has to create an illusion of order and oversight so that people self-discipline themselves.

Sword Art Online Part 2

Initially, I was a bit puzzled as to why Sword Art Online was included in the course, but after reading “Simulacra and Simulation”, I can see SAO being viewed from that kind of perspective.

A big, emotional part of the anime is episode 14, the end of the Aincrad arc, where Kirito fights Heathcliff(Kabaya) and frees all the trapped players from the game. After Asuna sacrifices herself to block an attack from Heathcliff and disappears, Kirito is completely broken, no longer having the strength to fight. For Kirito, Aincrad had become his reality. I think another part in episode 10 also illustrates this. Kirito is forced to kill Kuradeel and he anguishes over it since he essentially ended someone's life. In a way, SAO forces the players to view the game as their new reality.

I think Kabaya is the same too. In his conversation with Kirito and Asuna at the end, Kabaya says, “I wanted to fly up and reach that castle. That was all I desired for the longest time. I still believe that the castle exists in some other world.” Kabaya became so obsessed with creating his virtual world, he lost his grip on reality, with Aincrad becoming his new one.

Sword Art Online

I’ve rewatched Sword Art Online 2 or 3 times already, and it’s an anime I really enjoy. SAO revolves around the NerveGear, a headset that allows users to enter a virtual world with all their senses. The anime starts with Kirito entering Sword Art Online (the game), and one of the first things you can notice is that Kirito is using an avatar. This applies to all of the other players too, as their true appearance is revealed by the game master later in the episode. Kirito and the other players’ use of avatars may reflect that the game was initially just an illusion of reality to them, like in our reading. After the reveal that the players are trapped in the game and that if they die in-game, they die in real life, the game becomes an almost faithful copy of reality. The players find ways to cope with what is essentially their new lives, with some fighting to free themselves from the game and some settling and doing normal jobs.

The interesting thing is that the world that SAO takes place in is already at the stage Baudrillard calls “hyperreal”. The NerveGear basically allows users to live in a virtual world almost the exact same as the real world but with game mechanics.

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