animeted world blog

meli talks about anime for uni class

[robian]

Hetalia Axis Powers

Hetalia Axis Powers is basically just a comedy show where countries are represented by a single person who embodies the nation's stereotypes. What's interesting about this show is that it supposedly takes place around the WW2 period, yet many of the stereotypes used are actually more contemporary. For example, stereotypes such as the US eating too much and Japan's quietness are stereotypes I would argue didn't exist during WW2.

What was very concerning to me as I watched this show is how it sort of downplays the events of World War 2. Germany repaying his debts to France is portrayed seemingly to make you feel bad for him. Germany's character overall is depicted in a cute trying to act tough sort of way. In reality, Germany was murdering millions of innocent people at this time.

This anime also glazes Japan like crazy which makes sense considering its anime. All I could think about during the whole sweet China x Japan scene was how Japan literally massacred hundreds of villages, raping and torturing people while doing it. They also show how amazed Germany is by Japan's industrial rising. Japan is portrayed as someone who's just trying to defend his lands when in reality Japan was actively invading people at the time.The only Axis Power they really poke fun at is Italy. They talk about Italy's obsession with pasta and their cowardness during WW2.

Anyways, this anime is obviously satire, but there's definitelyconcerning elements within it. I would consider this a kid's show, and I don't know if I'd want kid's introduction to WW2 to be cute Axis Power anime boys.

[anmelcos]

Hi robian,

I agree with you 100%. Even though its an obvious satire, it still severely downplays the amount of suffering caused by the Axis Powers. I just couldn't get behind a cute interpretation of Nazi Germany or imperial Japan, it's certainly problematic in those respects. Also I think it's interesting that you mentioned that a lot of the stereotypes included seem more contemporary if anything. I hadn't thought about that, I do think it's the case. Maybe it was to further play into the reliability or recognizability of the characters? I don't know but in general I think the show handled its topics rather distastefully.

[anmelcos]

Hetalia: Axis Powers

Hetalia: Axis Powers was certainly a unique choice for the final anime in the course. Most of my knowledge of the show comes from its infamous reputation online and within broader fandom culture. Despite my general apprehension about the show, I can see why it holds some significance. The humor often felt hit or miss for me, and considering the implications of its portrayal of countries was a bit overwhelming at times. Hetalia clearly satirizes its content to an extreme, but there are moments of genuine historical interpretation or depictions of countries that left me somewhat baffled.

Hetalia is a show that personifies countries as individual characters. This concept inherently plays into the notion of stereotypes. There's no way to capture the diversity within a country’s population or history through a single set of traits. While Hetalia clearly satirizes all countries, it frequently treads a fine line, occasionally presenting essentialist ideas. Despite the show’s intent to be humorous, there's a risk that some viewers might internalize the stereotypes it portrays. Moreover, the show does not make any effort to address the suffering associated with the historical events or countries it depicts.

However, one could argue that Hetalia presents history in a fun and accessible manner for a broad audience. It has the potential to inspire viewers to look beyond its satirical content and recognize the multicultural perspectives of different countries. For that reason, I think it still warrants some discussion. Additionally, in a broader social context, it's interesting to see how this show had such prevalence in the early 2010s. Hetalia fits into the previous module’s discussion of otaku culture and the rapid spread of media through online spaces. I don’t think I’ll revisit this show, but I’m glad to have experienced it and can now move on. Anyways, last post… bye bye, dear Tumblrinas!

[autoblur]

Your Name: by Makoto Shinkai

I have watched this film a few times and it still is one of my favorite Japanese films alongside Howl's Moving Castle. This is more my cup of tea because I love romance in anime. However, unlike most romance stories in other animations which can be repetitive, this one had such a lasting impact on me. I remember the first time I watched it I genuinely started crying. It tells the story of Taki Tachibana and Mitsuha Miyamizu, two high school students. Although this anime does take themes and common tropes from other animes, it does so in a very unique and beautiful manner. Their love story transcends time and space.

The two strangers begin switching bodies without ever actually meeting each other. These episodes occur for an entire day, and then they return to their original bodies. Whenever Taki tries calling Mitsuha on the phone, the body-switching stops.

An important element of the film is the natural disasters that it depicts. The most important phenomenon is the comet Tiamat which was expected to pass near Earth during the autumn festival. This is my favorite part of the movie, I had never watched such a beautifully written story. When the body-switching stops Taki tries to find Mitsuha only to find out that the village had been destroyed by the Comet three years prior. The two were not only switching bodies, but time traveling. They were traveling between the years 2013 and 2016. Mitsuha was one of the 500 people killed by the comet.

The red ribbon is also a crucial element of the move in my opinion. I always loved the symbolism of the red ribbon which connects people's fates. Mitsuha had visited him three years prior but he had lost the memories and given him the red ribbon he always wore. Taki again awakes in Mitsuha's body and tries to save the village and their timelines cross. This was such a beautiful and memorable scene, the image of the scene is still engrained in my head. Taki returns the ribbon, and they try to write their names on each other's palms. Both of them had been losing their memories of each other. When Mitsuha returns to her body she convinces her father, the mayor, to order an evacuation that saves the city. However, she loses memory of Taki, but learns that he wrote that he loves her on her palm instead of his name. Years, later they meet again in Tokyo but they have lost their memories of each other. However, the red string of fate has connected them throughout different timelines and universes. They feel the connection between them, and they ask each other for their name.

This film was an emotional roller coaster for me. I love watching romance films because although they endure challenges to their love, the ending usually is predictable which is comforting. However, this film truly takes fate into a different direction. There was a point where I didn't know how everything was going to work out, but it did.

[anmelcos]

I definitely agree with you, the movie is a rollercoaster of emotions ( both highs and lows). I found myself again tearing up despite having already watched it. Though somewhat overused, the incorporation of red string of fate (or ribbon in this case) works so well within the narrative. Both parties truly tried to change the fate they were originally given, only through their shared efforts where they able to arrive in position they found themselves in at the end of the movie. I'm glad they were able to reunite despite their memory loss.

[anmelcos]

Your Name

This is my 3rd time watching Your Name. The last time I watched it was around 2 or 3 years ago I think. I also watched it dubbed in Spanish last time so there’s that LOL. But, I’m happy to say I still thoroughly enjoyed it. Your Name is such a gorgeous film visually, and the narrative just compliments it completely. The film delves into topics such as gender performance and appreciation of rural life.

One aspect that I found particularly compelling this time is how the film tackles the concept of gender performance through the body-swapping premise involving Taki Tachibana and  Mitsuha Miyamizu. This narrative device is not merely a plot twist but a profound exploration of identity and societal expectations. While swapping consciousnesses, Taki and  Miyamizu must navigate the opposite gender’s expectations. Most of the behaviors typically presented by the other gender are viewed with confusion or apprehension. This additionally emphasizes the idea of force relations by Focault. Where instead of power originating from one source, power comes from multiple outsourced. The “checking” of Taki and Miyamizu’s gender performances is done by multiple sources, including peers, family, and friends. 

The film also demonstrates the divide between rural and city life. Taki at the start of the film shows no interest in rural life, while Miyamizu shows great interest in city life. But, through their shared experiences they both learn the importance of the maintenance of rural life and its customs. In that regard the film presents a somewhat conservative view. It emphasizes the traditional values that rural life embodies, as well as presents the idea of the conversation of religious ideas.

In general, I was glad to have revisited the film, with a new perspective. I find the romance aspect of the movie especially endearing. I have no doubts I’ll revisit it again in the future.

[mochicrackersss]

Blog Post - Xenoblade Chronicles 2 ᯓᡣ𐭩‧₊˚ ⊹

Going into Xenoblade Chronicles 2, the only knowledge I had previously was my exposure to some of the featured characters in Super Smash Bros and Super Smash Bros Ultimate. (Shulk was saur annoying to fight and then there were those two girls, but I don't remember their names lol). Besides that, I really didn't know much. I also assumed for how popular the franchise was, it would've gotten some sort of anime adaptation instead of relying on its multiple video games for its story. That's not inherently a bad thing, but just something I wondered about since Japanese video games sometimes do get their own shows, like Corpse Party or Castlevania.

I think Robert Schimelpfenig's way of thinking within The Drama of the Anthropocene is so flawed. As seen so many times throughout history, no amount of pro-environmental media will truly change everyone's minds and encourage them to take care of the Earth. It's sad, but it's the truth. Media like Xenoblade Chronicles 2 or Nausicaä of the Valley of the Wind are powerful pieces of fiction that depict their characters' "risks and sacrifices" for their ruined worlds (Nausicaä has the toxic jungles, and Xenoblade has the cloud sea) as "heroic and honorable" but they will never truly grasp all of their audiences. Especially those who could truly make a difference to slow the processes of climate change or war.

[anmelcos]

I had also never really delved into Xenoblade before so this module took me by surprise. Wasn't expecting a video game to be introduced at all! I definitely agree with you that pro-environmental media is important. It can attract attention to these issues to a brooder audience. Media in general has a great sway and influence, it can easily be used to ensure more sustainable thinking regarding the environment. I think stories like these hold a great amount of merit in general.

[anmelcos]

Xenoblade Chronicles 2

I had never played Xenoblade Chronicles 2 before and wasn’t familiar with it, so exploring this game through its cut-scenes was a completely new experience for me. Recently, I haven’t had the time to play video games, so diving into this series as part of the course was quite an adventure. I do think that solely watching cut-scenes somewhat dampened my experience of the game, as I missed out on the interactive elements that are often crucial to fully appreciating a game's impact. Nevertheless, Xenoblade Chronicles 2 offered an engaging narrative and rich world-building that effectively expanded on environmental issues relevant today.

The game is set in a post-apocalyptic world where humanity lives on the backs of gigantic creatures known as Titans. These Titans function as the primary landmasses and ecosystems for human life, and their gradual decay mirrors the real-world environmental degradation caused by human activity. This setting, combined with its storyline, vividly illustrates themes of environmental issues and ecology. The dynamic between the Titans and the people living on them highlights the fragile balance between exploiting natural resources and preserving them for future generations.

One of the key takeaways from both the game and the course module is the pressing need for proactive environmental action. The game's depiction of environmental decline underscores that the situation will only worsen without significant intervention. While Nausicaä of the Valley of the Wind suggests that humanity should cease harmful activities and allow natural processes to heal the environment, Xenoblade Chronicles 2 demonstrates a more active role for human interaction. It implies that addressing environmental issues requires not only restraint but also positive, deliberate efforts to restore and maintain ecological balance. It shows an interconnectedness between both humanity and nature.

Overall, I believe it's crucial to have media that tackles these issues because it makes them more accessible and relatable to individuals who might not fully grasp the complexities of environmental problems otherwise. 

[rhejac]

nausicaa of the valley of the wind (1984)

First of all, I think this film did a lovely job with having a strong female protagonist. Her emotional journey with loss and struggling with pacifism was so interesting and human. She herself isn't perfect, but she represented all of humanity in the end as she tries to stop the Ohms from destroying her home. A lot of these environmental-themed movies always seem to put the environment over human lives, and while I see what they are trying to do with blaming and punishing humanity, I found this movie much more refreshing. Nausicaa's concern for her people was at the forefront, and she found a way for both sides to survive.

The scene with Nausicaa getting shot up and going to comfort the baby Ohm was very powerful. These were two young beings from each side, battered and wounded, and simply trying to understand one another. The movie seems to argue that we should live in harmony with the environment, and not against it. This message is conveyed through Nausicaa's actions and her ability to empathize with both humans and the creatures of the Toxic Jungle.

What sets this film apart is its nuanced approach to environmentalism. It doesn't demonize humanity for its impact on the planet but instead suggests a path to coexistence. Nausicaa embodies this ideal, showing that it is possible to care for the environment without sacrificing human lives. Her character is a beacon of hope, suggesting that empathy and understanding can bridge the gap between humanity and nature.

In the end, Nausicaa's ultimate sacrifice and subsequent revival symbolize the potential for renewal and reconciliation. Her ability to connect with the Ohms and her unwavering commitment to peace underscore the film's core message: true harmony can only be achieved through compassion and mutual respect. This film, with its strong, relatable protagonist and its balanced view on environmental issues, offers a refreshing and inspiring perspective on how we can forge a better future for both humanity and the natural world.

[anmelcos]

I definitely agree with you on Nauiscaa's character. I found her motivation to bridge the gap between nature and humans very inspiring. Her actions serve as a reminder to more conscious interact with our surrounding environment. I agree, she views both the toxic forest and the Ohms with the same compassion she would a human. I think if more people had similar thinking today, there could be greater strides in achieving a more sustainable future.

[anmelcos]

Nausicaä of the Valley of the Wind

Nausicaä of the Valley of the Wind is a visually stunning film, but that really isn’t surprising as it is one of Miyasaki’s film. I was particularly impressed by the environmental designs of the world surrounding Nausicaä. The film is set in a post-apocalyptic world ravaged by the Industrial Era and its resulting pollution. Toxic forests, overrun with diverse fungi and organisms, have reclaimed much of the land, alongside giant insects known as Ohmu. They have fragmented humanity into select areas in lew of their expansion. 

Nausicaä, the protagonist, lives on the edge of one of these toxic forests. Instead of fearing it, she navigates the forest with a deep respect and consideration for nature. The initial scene has her extracting natural material with no disturbance to the environment. As the film progresses, it is revealed that she has been cultivating plants and fungi gathered from the forest, despite their supposed toxicity. The truth is that the plants themselves are not inherently toxic; rather, it is the soil that contaminates them, a result of past human activity. This illustrates that it is not nature that poses a threat to humans but rather its humanity itself. I think Nausicaä of the Valley of the Wind is clear in its environmental themes. It advocates for a complete shutdown of polluting activity to truly let nature recover through its natural processes. However, human restoration efforts are needed alongside reductions in harmful activity. 

Looking past this, I found Nausicaä to be an engaging and resilient protagonist. Her compassion and willingness to advocate for peaceful solutions is really inspiring. She works well in encapsulating the message of the film. I can see her being a great role model, especially for young girls, to more carefully view their actions through an environmental lens. The environment isn’t a tool for our disposal, but rather something to coexist with and protect.

[whisperingwisterias]

The End of Evangelion and Self Hatred

Neon Genesis Evangelion demonstrated how Shinji was able to find happiness through accepting that he will never truly achieve hegemonic masculinity, instead learning to accept that it is okay for him to exist as he is and that it does not make him any less wanted by his friends. However, the End of Evangelion turns this on its head by presenting a different ending, portraying what would happen if Shinji didn’t embrace his queer masculinity and instead kept striving to reach the hegemonic masculinity he kept falling short of.

In the very first scene with Shinji in the hospital with an unconscious Asuka, we see that he at first leans into his queer masculinity, pleading with her to help him and even inviting her to mock and make fun of him again if she’d just help him. However, as she remains unconscious, he tries in desperation to reach for the masculinity that she embodies and so for the first time reduces her to a sexual object and masturbates to the sight of her. Yet this act does not give him the confidence and security he desires—he just hates himself all the more. And with this failure we find him basically lifeless, having lost all will to live. He hates himself and cannot live with himself and does not want to keep fighting any longer—yet still he is called by Katsuragi to live up to hegemonic masculine standards. She berates him for “hiding behind a girl” and trying to run from reality, and refuses to feel sorry for him.

Again, Asuka serves as a reminder of everything that Shinji fails to be: where Shinji wants nothing more than to die, Asuka sits in her Eva and whispers frantically over and over how she doesn’t want to die, she wants to keep living. Where Shinji does not want to fight and kill people and does not think he deserves to pilot his Eva, mere minutes after Asuka wakes up she charges into battle, reveling in the violence and destruction she is able to cause in a way that is  almost manic, chanting over and over that she’ll kill them.

At the end of the film Shinji’s hatred of himself reaches a climax as he wars with his own thoughts in his head. He insists that he doesn’t have a shred of goodness in him, that he’s awkward and uneasy , but that he’s so so scared that everyone will decide that they don’t want him and that they’ll leave him alone. He reaches out for help but he gets rebuked, he insists that he’s scared and he doesn’t want to be a pilot and doesn’t want to hurt people but he is forced to anyway, he cries out that he hates himself and doesn’t deserve to live but he keeps on living anyways. At the very end of the film, in a final, last-ditch effort he tries to embody the traditional man one last time, attempting to strangle Asuka. But one moment of tenderness from her is all it takes to break him, finally admitting his defeat and failure to “fix” himself and become more of a man. Rather than a moment of happiness in realizing that he is free to exist as himself, Shinji in the End of Evangelion does not see this realization as a triumph but as a broken failure. He cannot be the hegemonic man, he can only be himself, a person that he still hates down to his core.

In the end, despite its confusing imagery, I think the End of Evangelion serves as a lesson to us that we cannot force ourselves and our identity to fit into society’s molds, no matter how much society wants us to. Instead of feeling ashamed of the ways we don’t quite fit into society’s expectations and standards, we, like Shinji from Neon Genesis Evangelion, should feel confident to exist wholly as we are, lest we break under the pressure of forcing ourselves to be something that we’re not, like the End of Evangelion’s Shinji.

[anmelcos]

I really liked your ending statement. EOE was just a dark glimpse of the harmful effects conforming to an opposite identity can cause. It quite literally breaks Shinji's perception of himself time and time again, only to suspend him in a cycle of self-hatred. NGE finally breaks this cycle, as difficult as it was. I'm glad that was shown to be celebrated because societal expectations certainly does not make it easy.

[parivvv]

Today for class I was able to watch part of the second half of Neon Genesis Evangelion. I thought I had understood what was going on, but now that I rewatched it again, I can say that I am still confused at the ending.

The episodes in the second part of NGE continued to discuss masculinity. The introduction of Asuka really showcased the difference between her and Shinji. Asuka displays traits of hegemonic masculinity like assertiveness, confidence, and pride. Shinji, on the other hand, displays traits of queer masculinity like timidness, being accommodating, and being passive. Asuka seems to be the complete opposite of Shinji. The idea of gender roles are also prominent in these episodes of NGE. Asuka often yells at Shinji because of his queer masculinity. Although Asuka has hegemonic masculinity, she uses it to hide her insecurities. Shinji and Asuka are more alike than they know. Both of them lack attention from a parental figure and both of them do not feel like they are enough. Asuka is jealous of Shinji’s ability to perfectly sync with the EVA and wants to get closer to him, while Shinji doesn’t care. 

After he meets Asuka, Shinji tries to get more hegemonic masculinity by leading the EVAs to defeat the Angel. In the process he gets swallowed and trapped by the Angel. This leads him to spiral and reflect on himself. The EVA ends up saving him, because he was unable to do it himself. This leads him to meet Kaworu, who displays similar traits to Shinji, but is treated differently. Once Kaworu is revealed to be an angel and dies, Shinji slowly comes to terms with his queer masculinity and no longer hates himself. 

I feel as if Shinji can relate to many people in the world. There are many people who display traits that go against that of their gender role, which makes people feel like they don’t fit into society. 

In the end, I think Neon Genesis Evangelion was a great show and I’m really happy I got to watch it again. 

[anmelcos]

I also think Shinji and Asuka virtually act as foils to one another. Asuka, while being a girl, plays into hegemonic masculinity far more successfully than Shinji. I think it's interesting you mentioned that this is a form of masking her own insecurities. I definitely think that idea holds truth. There is a lack of attachment to one's emotions (especially the more venerable ones) when performing hegemonic masculinity. The front Asuka places is a major example of this.

[keyboard-meister]

Neon Genesis Evangelion (1995) - Part 1

First off, the intro song is a BANGER.

Neon Genesis Evangelion handles issues of toxic masculinity and oppressive gender expectations. Shinji is a clear example of the queer masculinities mentioned by Heasley in his article. While his sexuality isn't clear, he very much does not adhere to the hegemonic masculinity he is expected by his peers to perform. He avoids violence, has a high-pitched voice, does not objectify women, and is physically quite small, among other traits. The way in which Shinji performs gender really seems to frustrate his peers, resulting in them berating him, telling him to act like a boy. Shinji eventually gives in and performs the masculine violence that is expected of him, but he only does it to gain his father's approval. Shinji does not really want to perform this form of masculinity, often refusing to. Therefore, he has a queer sort of gender expression.

I can't exactly relate to Shinji's experience with masculinity, but I can understand rejecting the gender roles that are forced upon us as children and teenagers. As a kid, I was what many would call a tomboy. I loved getting my hands dirty, hated pink, and rejected many other feminine traits I was expected to display. I was always being told by my mother to act more feminine, whether that be crossing my legs "like a lady", wearing bras, or shaving my body hair. I can definitely empathize with Shinji not wanting to adhere to the expected gender performance that was forced upon him. For a while, I, too, gave into performing these gender rituals as a way of pleasing my mother and fitting in with my peers, but eventually gave up because it was exhausting pretending to be something I wasn't. Therefore, I don't see it as completely unreasonable that Shinji eventually gave into his father's demands and piloted the Eva.

[anmelcos]

I also understand why Shinji was so quick to reject the gender roles placed upon him. Though some may see him as weak or pathetic for doing so, I honestly think it's the most natural response. It can be really conflicting to do actions or perform activities that are deemed "necessary" for an expected gender performance. (Also he is 14 so there's that aspect too?? ) The pressure he is forced to endure from his peers and authority figures mirrors real life in many situations.

[anmelcos]

End of Evangelion

I skipped on watching the Neon Genesis Evangelion movies when I was younger and I’m kinda grateful I did, to be honest. While the original show exhibits some unsuitable content, End of Evangelion definitely has content 14-year-old me would be shocked by. I guess that plays into the movie's darker themes regarding identity and masculinity. The End of Evangelion is an alternative ending to the final two episodes of Neon Genesis Evangelion. 

Rather than presenting a narrative where Shinji accepts his queer masculinity, EOE Shinji still strives towards hegemonic masculinity. His actions towards Asuka highlight this struggle throughout the movie’s run time. The most infamous scene in the hospital (aka omg there were other ways to achieve the same impact but ok…) has Shinji partaking heavily in hegemonic masculinity. Throughout the original show, Shinji never objectifies a woman, a prominent hegemonic masculine trait, but EOE presents a reality where he does just that. He looks upon Asuka’s naked body and does not view her as a subject. She becomes an object for his own arousal aligning with the idea that he is superior and she is an inferior object. After finishing, Shinji feels nothing but disgust for his previous actions, again aligning himself with queer masculinity. Then in his dream realm ?? Shinji confronts Asuka, a figure of hegemonic masculinity, and strangles her. He is at the same time rebuking hegemonic masculinity while being an active participant in it through this violence. Ultimately, he breaks down after this, demonstrating the cyclical nature of his internal struggle towards hegemonic masculinity. This again is reflected in the final scene of the movie. 

Ultimately, EOE offers a bleaker interpretation of masculinity and self-acceptance. It offers no easy answers, instead laying bare the harsh realities and internal conflicts that can accompany the pursuit of understanding oneself while trying to find a place within society.

[anmelcos]

Neon Genesis Evangelion (part 2)

Revisiting the latter half of Neon Genesis Evangelion provided a different experience than my first viewing, which was when I was 14….so take that into consideration LOL. Moving past this, I want to continue discussing how Neon Genesis Evangelion addresses masculinity.

In this part of the show, the character of Asuka Langley is introduced. She is a German girl tasked with being the Second Child, unit 02’s pilot. She serves as a stark contrast to Shinji. Much like Gendo Ikari, Asuka exhibits many traits associated with hegemonic masculinity. She is confident, abrasive, and prideful—all attributes indicative of a “good” hegemonic masculine performance. Her eagerness to showcase her piloting skills and her willingness to engage in violence further emphasize her alignment with these ideals. Her introduction coincides with a moment when Shinji begins to feel he can somewhat conform to hegemonic ideals. However, Asuka’s competence only highlights how he struggles to fully embody these traits. It further demonstrates Shinji’s alignment with queer masculinity. 

In contrast, Kaworu Nagisa represents a queer masculine figure who differs from Shinji. While Shinji feels a sense of disapproval or self-hatred for his queer masculinity, Kaworu represents a socially accepted form of queer masculinity that is confident and self-assured. This dynamic significantly impacts Shinji. He can see a person who despite exhibiting queer masculinity still has a role and place within society. Additionally, their ambiguous relationship may also demonstrate Shinji’s gradual acceptance of his own queer masculinity. Kaworu’s supposed betrayal and subsequent death are significant. Shinji had to deal with the consequences of destroying an idealized version of queer masculinity, disrupting his own perception of himself as well. (But then Shinji goes into his mind palace in the last episodes and realizes maybe self-acceptance is cool! Congratulations! The last episodes and its visuals are confusing, to say the least)

Overall, the interactions between these characters deepen the show’s exploration of masculinity and identity, highlighting the struggles and conflicts inherent in conforming to or rejecting traditional gender norms. 

[anmelcos]

Neon Genesis Evangelion

I had already watched Neon Genesis Evangelion before this module. Despite its cult following, I don’t have a strong opinion on it. I find the art direction most compelling; the score, along with the mecha and environmental designs, creates an immersive experience. Other than that, I’ve never been deeply invested in the characters, though I do find its themes intriguing. Neon Genesis Evangelion explores many psychological topics and offers a nuanced discussion of masculinity.

The series addresses hegemonic masculinity, a gender practice that legitimizes traits such as dominance and aggression while marginalizing those who do not conform to these ideals, including women and men who are not traditionally independent or aggressive. Through its protagonist, Shinji Ikari, Evangelion presents a critique of these norms. Shinji exhibits traits that are the opposite of hegemonic masculinity, such as his reluctance to pilot the Evangelion and his generally meek behavior. He represents a queer masculine figure who challenges this idea of what it is to be traditionally masculine. The characters look down on him when he outwardly displays these traits, demonstrating the subordinate nature of men who do not align with hegemonic ideals. 

Shinji’s father, Gendo Ikari, in contrast, embodies hegemonic masculinity. He is a militaristic, authoritative figure who starkly advocates the need for violence and control. His relationship with Shinji and his treatment of Shinji shows the hierarchical dynamic in society presented by hegemonic masculinity. The contrast between father and son highlights the pressures of conforming to traditional masculine ideals. I also found the comparison between Amuro Ray from Mobile Suit Gundam and Shinji interesting. Both are protagonists in mecha anime, yet they are complete opposites. While Amuro quickly assimilates into his role and engages in hegemonic masculinity, Shinji consistently rebukes and tries to avoid the responsibilities placed upon him. Overall, although I’m not deeply invested in the show, I do think it holds merit upon my rewatch.

[anmelcos]

Convention Post: True Otaku

I haven’t had the opportunity to go to an anime convention or any convention yet, so I’ll be discussing the documentary True Otaku in its place. This documentary provided a broader perspective on Otaku culture and fandom compared to the last module’s focus on Genshiken. It effectively highlighted the diverse nature of fans and the various ways they express their passions.

A major focus of the documentary was on how conventions and fandoms offer a sense of community that is often missing from everyday life. These events create a space where attendees can exchange shared interests and immerse themselves in their fandoms without fear of judgment. This environment allows passionate expressions of support, such as cosplay—short for “costume play”—to be celebrated rather than criticized. While I haven’t yet attended a convention, I’ve experienced the positive aspects of fandom culture through my involvement in online art communities. These communities, centered around shows and media, have been very welcoming in my experience. Many of my closest friends have been made through discussions and participation in fandom culture. However, I’m aware that some artists, particularly those who are younger or less experienced, may face criticism or exclusion. Despite this, the supportive nature of these interactions underscores why conventions may hold such importance for many fans.

Another significant component of the documentary was its focus on cosplay. I admire the creativity and effort that goes into crafting detailed and accurate costumes. The documentary provided a fascinating look at how cosplay allows individuals to express their love for their favorite characters and stories in a tangible way. Seeing the dedication and skill of cosplayers was inspiring and highlighted how cosplay is more than just dressing up—it's a form of artistic expression and identity. I especially liked the insight into cosplay competitions, which aren’t usually showcased in such detail. I was left wondering if the cosplayer mentioned in the documentary, DustBunny, won anything at the event. 

It was also delightful to see Lolita fashion featured in the documentary. Although I’m not actively involved in the Lolita community, I find it, along with other J fashion subcultures such as Gyaru and Visual Kei, to be of great interest. In some respects, my fascination with these fashion styles now even surpasses my interest in anime and manga. Seeing Lolita garments showcased at conventions is particularly exciting because Lolita boutiques and brands have limited presence in the U.S. Conventions offer a rare opportunity for participants and fans to see and purchase these pieces in person. However, I’ve heard from Lolita enthusiasts that these items are often priced drastically  higher at conventions, which can be a drawback of market vendors. Despite this, being able to view these garments up close before buying them is a valuable experience. If I ever attend a convention, I plan to explore these fashion vendors. I’ve created art featuring various fashion styles and am especially interested in gothic Lolita fashion. While assembling a complete Lolita “coordinate” or outfit seems daunting and expensive at the moment, it remains a future goal of mine (that hopefully I will get the guts one day to complete).

In closing, True Otaku offered an insightful view into fandom culture and conventions, highlighting the sense of community and self-expression they foster. It has deepened my appreciation for the various ways fans engage with their interests and has increased my enthusiasm to experience these events firsthand in the future. One aspect the documentary didn’t mention all that thoroughly was artist alleys. If I were to go to a convention, I would probably only spend my time there… my poor wallet will need to be prepared. 

[abixoxo]

Adventures of Sailor Moon!

Hey lovelies!! I’m excited to have you back on my blog! I will be discussing a well-known anime that I enjoyed watching. Sailor Moon is a beloved anime series that has created a profound impact on its audience by addressing both local and global issues. This show follows the adventures of a young teenage girl as she fights evil.  

Sailor Moon challenges traditional gender roles in Japan and worldwide by depicting young girls as strong and capable heroes. This is significant especially in a society where traditional gender expectations are deeply rooted in Japan. This aspect of the show emphasizes the importance of women’s empowerment and equality. On a more global scale, the portrayal of female empowerment resonates worldwide as gender equality and breaking the gender norms are universal issues. Sailor Moon’s characters could inspire young girls everywhere to embrace their strengths and assert themselves. This show also teaches its viewers to be kind to everyone they meet, as Usagi treats those who she meets with kindness. This is how she first met Luna; she saved her when she was being harassed by some kids.  

In a personal lens, this show touches on body image and self-acceptance which I believe is so important for young girls to see. It encourages girls to love themselves as they are and not to endanger themselves by trying to reach unrealistic goals. Lots of viewers can reflect on this part of the show as many people can relate to the struggle with self-acceptance and the societal pressures to look a certain way. This is exactly what Usagi went through when she thought that she was gaining a lot of weight and tried to go on a dangerous diet. 

Victoria Newsom’s analysis of Sailor Moon emphasizes the importance of empowering young women and to challenge the traditional gender roles. Sailor Moon does a great job of doing that as they cover these themes by showing the Sailor Scouts as powerful and reliable characters who navigate both heroic and everyday challenges.  

[anmelcos]

Hi! I agree with all your points in your discussion. I think Sailor Moon and shows like it are important in young girls' lives. Though there may be issues on how women are presented in show, it's clear that Sailor Moon is just trying to establish the idea that girls can partake in their femininity while still being heroic and strong. The heroines are relatable for this reason too. I didn't grow up watching this show, but I definitely think it played a big role in some girls' development.

[whisperingwisterias]

Wandering Son and Gender Identity

Wandering Son is probably the most controversial anime we’ve watched in this class so far. It is a study of gender exploration and how it is viewed within society, but most of all it asks the question “what is gender, and how does it relate to my identity?”

The show follows Nitori, a kid who was born a boy but wants to be a girl instead and is trying to figure out how to comfortably express themself. Right away it is shown that they aren’t super comfortable presenting themself as being masculine, saying that the male uniforms feel suffocating. Instead, it is shown that they are most comfortable when they express their gender in feminine ways. They adopt feminine behaviors and mannerisms, find happiness in trying on their sister’s feminine clothes, like being called cute, want beautiful skin like their female friends, and find freedom in cross-dressing.  In the first episode they ask themself “what are little girls made of?” wondering what really defines them as being a boy or a girl: is it the way they are born, like society tries to say, or is it simply how you express yourself? As the show goes on, they become more confident of their answer to this question and of their identity, which we see in how society has no trouble in seeing them as a girl when they are unaware that they were a boy first. 

However, it is when society is aware of this fact that we see the huge double standard that is present when it comes to the issue of gender. From the beginning, girls expressing themselves in masculine ways is seen as cool and impressive, but a friend of Nitori, when hearing that they want to go to school dressed as a girl, reminds them that they’ll just be seen as a pervert instead. The class itself presents a very obvious double standard, similar to the issue that Genshiken addressed in which women accepted gay men in fiction but not in reality—while they make jokes about a female student actually being a boy because of her looks and are enthusiastic about performing a gender-bending play, when they are confronted with the reality of Nitori’s gender, they react with disgust and scorn. And while the authorities let Yoshiro and Chi get away with wearing male uniforms, they send Nitori to the school nurse and call their parents for doing the same thing. The authorities, while also seeming accepting at first at the idea that Nitori feels more comfortable expressing themself femininely, start accusing and blaming things for being a bad influence on Nitori when they actually see them cross dress. Their parents blame their sister for dressing them in girls outfits when they were little kids and the teachers at school blame the gender bending play, both of them considering Nitori’s gender identity as a mistake in their upbringing rather than part of who they are.

In the end, I think Wandering Son expresses many of the struggles that the youth of today face regarding their identity and how they fight to be perceived by others. To figure out what one’s true identity looks like is a difficult thing, and gender is just one representation of it, but I think what Wandering Son really teaches is that at the end of the day, our identity is up to us, and how our performance is received by others does not change that.

[anmelcos]

Hi! I agree with what you said about the difference in responses between Nitori and Yoshino. It was disheartening to see Nitori's own expression of their gender identity be so fiercely opposed, when Yoshino's isn't. I think society as a whole is more used to seeing "tomboys", not saying Yoshino's identity aligns with this, but it certainly is demonstrated within the show. Expressing oneself to be more masculine is more often accepted then the other way around. I think this partially due to the fact the feminine items and mannerisms are often seen as lesser.