Class Blog

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Akira

Watching Akira was like entering a chaotic, dystopian future that somehow captures contemporary anxieties in Japan and around the world. The trauma of nuclear destruction, which has a long history in Japan, is discussed in the movie. With its chaos and corruption, Neo-Tokyo represents a society gone awry, reflecting worries about unbridled governmental power and the speed at which technology is developing. Akira discusses the effects of militarization, youth rebellion, and scientific overreach on a global scale. These topics are still pertinent in light of environmental crises, the development of artificial intelligence, and social upheavals. Not only is the devastation in Akira physical, but it also reflects deep societal anxieties and is cultural and personal. I was particularly struck by how much I could identify with the younger characters' sense of insecurity and annoyance, particularly that of Tetsuo and Kaneda. There is a similar sense of tension in real life, even though I'm not riding a motorcycle through a post-apocalyptic city, particularly when it comes to finding meaning in a system that frequently seems rigged. Tetsuo's battle for identity and control made me think about the pressure, insecurity, and comparison that today's youth face. Akira's examination of power and how individuals seek it, abuse it, and are destroyed by it, and in the end they feel emotionally authentic and painfully familiar.

[aperture880]

Great post. Watching Akira was incredibly investing and entertaining. It's incredible that a film of its relative age can still be so poignant in its messaging, particularly in regards to balances of power in an unstable society.

[aperture880]

Blog Post: Akira

As an avid film fan, I’ve been meaning to watch Akira for the longest time. It’s certainly among the highest regarded anime’s of all time, not just out of the one’s watched for this class. It still holds a high regard throughout global pop-culture, so I’m glad to have it be the last film I watch for the course. I was consistently invested while watching, and particularly stuck by its vividness. Its use of color and violence is strikingly effective. Akira is ultimately a film about human belief, power, and potential.

The film is set in a futuristic Japan following a third World War. It follows a largely juvenile biker gang, primarliy the members of Kaneda and Tetsuo. Tetsuo struggles with insecurity, and during a conflict with a rival gang is severely injured in a crash. He nearly collided with Takashi, a seemingly psychic child who is taken into custody by Japan’s defense council alongside Tetsuo. Tetsuo is then repeatedly experimented on, since the council believes he too demonstrates psychic prowess. They see his potential as on par with Akira, whose identity at this point is kept largely a secret. Tetsuo manages to escape and briefly reunites with Kaneda and the gang, before being taken back into custody. Tetsuo’s struggles throughout the film largely stem from his insecurity, believing to be weaker than those around him, and desperate to prove them wrong. This is why despite enduring gruesome testing and hallucinations, he embraces his new power as it awakens. To me his inferiority arises from misconstruing independence for strength. Tetsuo feels like he must do everything alone, and in doing so winds up isolated from others. He uses his powers for largely destructive means, further distancing himself from society. 

The identity of Akira also plays into Tetsuo’s conflict, and is at the core of this story’s messaging. He’s initially described as energy, a manifestation of human potential. Read this way, his status as an unknowable idol fits quite interestingly with the world and characters. Akira is shown to mean different things to different people, be it weapon, person, or deity, and so ties into the idea of potential. To me at this point Akira represents the volatility of human kind, and how they choose to use the power afforded to them. I believe this idea is supported by the different psychic individuals and how they choose to use their power. Akira himself is soon revealed to be one of these psychics, or at least the remains of an especially powerful one. When intermixed with the different government agencies and revolutionary factions, you have a compelling cyberpunk story about responsible usage of power. 

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Violet Evergarden

Violet Evergarden: Recollections is a stunning and moving journey that explores the aftermath of war through its characters' silent grief and healing rather than politics or combat scenes. Violet's story reflects cultural values of perseverance, responsibility, and emotional control in Japan, where postwar identity has been shaped by introspection and reconstruction. The difficulty of dealing with loss and the value of empathy are universal themes that the anime touches on. Particularly in a digital age where genuine emotional connection is more difficult to find, the notion of someone writing letters to express emotions that others are unable to verbalize is ageless and universal. Violet's emotional development struck a deep chord with me personally. She begins the story as someone who is emotionally distant from herself and unsure of how to relate to other people, which I believe many people can identify with, particularly after experiencing hardship or trauma. I was struck by how crucial it is to confront your emotions rather than repress them as I watched her gradually come to understand love, grief, and even joy. Her experience served as a reminder to me that healing is a gradual, painful, and educational process. Violet's story fits in nicely with the readings' themes of memory, communication, and the need for human connection. This anime takes that same discussion into a more poetic realm, much like the articles that examine how technology is altering our means of self-expression. Although it may seem archaic, writing letters can be a potent metaphor for expressing emotions. Violet Evergarden demonstrates how empathy and storytelling can help heal divisions, between individuals, generations, and even cultures, even when they are quiet or straightforward. It's about us all rediscovering how to feel, not just about one girl.

[aperture880]

Great analysis. I neglected to mention it in my initial post, but the way this anime uses letters as a symbol for the importance of communication is quite effective.

[aperture880]

Blog Post: Violet Evergarden: Recollections

Violet Evergarden: Recollections is a touching and poignant story about purpose and self-worth. It’s about love, war and forgiveness, universal ideas which I can see resonating with so many people in so many ways. For being an anthology film of its respective series, the pacing was handled quite effectively. It’s definitely a favorite among the anime I watched for this class. 

The film follows Violet, a former child soldier trying to find her place in a postwar world. Having been severely maimed in a later conflict, she now possesses robotic arms. Combined with her formal nature, I honestly mistook her for a robot for a portion of the film. I know see that as bolstering the overall message. Violet is someone stunted by the horrors of war. Given she was raised on a battlefield where she was viewed as a weapon first and foremost, it’s no surprise she lacks understanding of what many would consider normal. The overlap and ethics of child soldiers, tools, and weapons in wartime is an early thematic element I appreciate. The repression of emotions permeates throughout the plot, from Violet’s former major to the clients she works with as a ghost writer. In showing how this repression is universal, I’d like to imagine the anime is attempting to foster sympathy for those of all levels of emotional understanding and conveyance, regardless of background. 

Violet’s time working as an Auto Memory Doll presents the anime’s other pertinent theme. Though I doubt many of us faced postwar readjustment, the struggle to find purpose in life is near universal. Violet’s story sees her attempt to find purpose in school, work, and love. She cannot easily comprehend the nature of love, and so becomes a doll to learn. She attends school to become a better writer, through which she begins to grasp the complexity of emotion. Her growth is only completed however after working for a number of clients, each demonstrating a unique facet of emotional complexity. To me this demonstrates the diversity of paths people take to find purpose in their lives. In some cases, that purpose can even come from others, but a good balance of the two is likely preferred. Violet was spurred on by her Major, learned more about purpose on her own, before cementing her growth by helping others.

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JJK

More than just a captivating action anime, Jujutsu Kaisen is a potent meditation on trauma, fear, and grief. The idea that negative emotions, such as pain and resentment, can literally materialize into curses is one of the main themes. When you consider Japan's cultural emphasis on repressing emotions in order to maintain social harmony, that idea strikes particularly hard. This concept is reversed in the anime, which claims that unsaid pain festers and grows instead of going away. This message seems equally relevant on a global scale. Mental health issues affect people all over the world, and Jujutsu Kaisen transforms those internal conflicts into physical form. I can relate to the show because it avoids romanticizing loss or suffering. After losing those he cares about, Yuji Itadori is always wondering what it means to live a good life. I believe that many of us experience that internal conflict—wanting to do the right thing but not always knowing how—especially in college when we're still developing our identities. The program also highlights how our relationships—friends, mentors, and even adversaries—influence our development. Seeing the characters persevere in the face of their trauma serves as a reminder to me that resilience is about learning to move forward while bearing the burden, not about being emotionless. Jujutsu Kaisen links this anime to texts about identity and accountability by posing the same queries: Who am I when no one is looking? In a world full of suffering, what am I supposed to do? This anime questions the notion that having power automatically makes one good, much like the readings that examine duty and selfhood. Rather, it emphasizes choice and how individuals choose to behave in high-stakes situations. Jujutsu Kaisen is ultimately about facing our inner darkness and deciding to protect others despite the fact that it isn't just about fighting monsters.

[aperture880]

Great analysis. While I felt as though the thematic depth you describe is less explicit then some past anime we were assigned, I won't deny that these ideas are present. The dynamics of mental health, and how to best deal with our own in light of societal expectation is a compelling and universal conflict for this story.

[aperture880]

Blog Post:Jujutsu Kaisen

Jujutsu Kaisen is another anime I was at least partially aware of before starting this course. It was entertaining enough, with a few interesting thematic ideas, but definitely felt less explicitly tied to real world issues as past works we watched. The chosen arc of this anime reportedly serves as an introduction and prequel to the series and its major characters. It follows sorcerers Satoru Gojo and Suguru Geto, who attend Tokyo Jujutsu High. The two are assigned to protect and prevent the assassination of Riko Amanai.

In this world, sorcerers are trained to battle monstrous manifestations of negative emotions. Like some of the other anime we watched, this personification of complex ideas is one of storytelling’s greatest strengths. In an early episode the two leads debate the relevance of their efforts for the general, non-magic public. The assertion that a calm populous supposedly controls the wayward spirits suggests two interpretations to me. The first is this dynamic reflects a call to action in the name of universal healing. That efforts should be taken to ensure all of society’s mental health is cared for. An alternative view I considered is decidedly less positive, that being the expected repression of ones self for the sake of society as a whole. Jusutsu is structurally essential for this world’s continuation, which leads to conflict when they’re willing to undermine one of its member's evolution to maintain that stability. Either interpretation has global implications, and is perhaps the clearest thematic element I derived from this arc of the show. 

The other interesting commentary which stood out to me stems from one of the groups after Riko. The star religious group views Riko’s destiny as a threat to their idol and beliefs. They’re at odds with the Jujutsu structure for ideological opposition in helping Riko, but also the fact they have less inherent power. They instead cleverly circumnavigate limits, aware that their enemies won’t come after those not versed in sorcery. This reflects the lengths taken and means by which those will undermine societal structures. Though I lack the context to gauge whether this faction’s actions are just, it stood out to me nonetheless. I also find it interesting that they’re an antagonistic force rooted in religion. 

[ace-o-spades-777]

Watch Out Europe, We're Going on TOUR; "Hetalia: Axis Powers"

“Hetalia: Axis Powers” is an… interesting piece of media commentary. For the most part, it centers on the events of World Wars One and Two, albeit through a rather unconventional lens. Consisting of satirical stereotypes of many of the world’s nations, Hetalia seems to go out of its way to portray each country in the most unflattering light possible through the use of said stereotypes, while also skirting the very things that brought said stereotypes into existence in the first place.

Take Hetalia’s portrayal of Germany: a blonde, blue-eyed, muscle-bound behemoth with a feverish dedication to authority, structure, and order—the very definition of an Aryan Ubermensch—and yet, Germany’s more…sensitive behaviors during WWII are all but glossed over, if not played for laughs. The same can be said of France, painted as a flamboyant Casanova-esque libertine who drapes himself along furniture, wine glass in hand while muttering to himself about former glories, only to be rebuked with commentary on how quick he is to “surrender.” However, the worst offense, by far, is that of the anime’s portrayal of Italy.

Depicted as a sniveling wreck who clings to Germany’s coat-tails, Italy is presented as if he is little else but a weakling who breaks down into sobbing fits and mewls to the heavens for his “big brother” whenever faced with any issue at all, devoid of any ability to stand up for himself. This depiction reaches its most heinous when it comes time to examine the events of WWII. During this time period, Italy wages war on Greece, invades Ethiopia for the second time in fifty years, and under Mussolini, literally invents fascism, which ironically is what inspires Hitler to found the National Socialist party and carry out the atrocities that go on to plague Europe.

In the real world, Italy is the birthplace of the ideology that results in Germany attaining their reputation and/or stereotypes that are played up in Hetalia- iincluding the "Roman" salute, also invented under Mussolini- and by all rights, the anime’s depiction of them both should be on relatively level ground; however, Germany is presented in a seemingly sympathetic light, as a stalwart, practical force, while Italy, the birthplace of one of the greatest art movements in human history, the cradle of the Roman Empire, and the originator of fascist thought, is reduced to “Pasta!!!”

Could you reasonably make the argument that Hetalia’s treatment and/or portrayal of each nation is a carefully curated effort engineered to point out the irrationality of basing your understanding of a country on its stereotypes? Of course—but doing so would inadvertently run counter to the very idea of a national identity. Despite the fact that stereotyping is an illogical practice at best, one cannot refute the fact that a great deal of them are based in truth or have a foundation in national identity.

Hetalia’s personification of France is a licentious philanderer who often fondles anyone in his line of sight—this is obviously the integration of the stereotype that France is a nation of sensuality and closed-door depravity, which in itself is patently false; however, France does have a history of being relatively liberal in terms of sexuality. The French Revolution resulted in the decriminalization of homosexuality at the back end of the 18th century, and the feminine desire for intimacy, physical and domestic, was all but legitimized in the 19th century with the advent of the "ménage à trois," or “household of three,” denoting a dwelling consisting of a man, a woman, and a lover to be enjoyed by one or the other, if not shared between the two.

Attempting to dismiss Hetalia’s portrayal of national identities would require one to denounce the concept of unifying national characteristics as a whole, which in itself would be a demonstrably unintellectual act, so while I cannot say I support Hetalia as a work of commentary, it is nonetheless a phenomenal work of art that put a smile on my face more times than I expected.

[aperture880]

Interesting analysis. I think what makes Hetalia such an interesting show to analyze and discuss is the degree of former knowledge it seems to expect from its audience. As you say it often skirts around the sources of stereotypes it utilizes, but I wonder if there's an expectation that the audience should come in aware.

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Blog Post: Hetalia

Hetalia is a uniquely bizarre stereotyping personification of world powers in the lead-up to WWII. While stereotypes in media can certainly prove problematic, I think what helps Hetalia remain entertaining is that it isn’t presented as an accurate mediation on world events. It’s meant to be an entertaining reconstruction first and foremost. As long as viewers possess enough media literacy and knowledge of the true history, I see no real harm in the show’s portrayal. As someone who thourougly enjoyed studying world history throughout high school, I found this show quite funny. It’s personally among the most entertaining anime we’ve seen in this class. I do however recognize potential issues with its portrayals, especially for an audience lacking in context.

The show portrays the lead up to and events of WWII in a roughly sequential timeline, particularly with the numerous chibi interims. These largely portray the struggles of Italy in the lead up to the Second World War, in an especially heightened fashion. Italy’s characterization in these moments and the series as a whole is certainly one of the more blatantly stereotyped cases. Regardless of individual reception, it portrays the broad strokes of its struggles as they’re relevant to this anime, which as stated before I believe to be fine. The show mostly does a good job of not using stereotypes to clearly elevate one power above the rest. Nearly all involved are subject to some degree of satirical humor rooted in history. A particularly funny standout from the first episode was America’s insistence on talking things out, which reflects efforts of The League of Nations following the First World War.

Hetalia’s portrayals aren’t always as clear cut, and that can lead to some issues. This is best seen with Germany and Japan. Beginning with the later, it raises ethical questions about portraying real world nations and events, especially given our prior work in this class studying post-war mediations. A similar shortcoming can be lobbied against Germany in this show, whose portrayal can occasionally foster a degree of sympathy. Given the hindsight afforded to this show, this portrayal unfortunately disregards many atrocities of Nazi Germany. Whether cohesion with the anime’s overall tone is worth this sacrifice deserves to be debated.

[ace-o-spades-777]

Star-Crossed Lovers; "Your Name"

I have never needed to pause a film more times than I did this particular one. This movie unmade me, and I mean that in the most visceral sense of the word—never before has art transformed my understanding of human emotion, and likely never will again. The true pinnacle of heartfelt storytelling, “Your Name” is a tale that appears to be rooted in red-string theory, where two protagonists, Mitsuha Miyamizu and Taki Tachibana, female and male respectively, wake up in one another’s bodies at odd intervals, and in doing so, begin to fall hopelessly, maddeningly in love with each other.

Mitsuha, a member of a tiny village and a priesthood that appears to be entirely comprised of her female family members, finds herself disillusioned with said village and seeks to escape the monotony of her existence by absconding to the streets of the big city, while Taki, a high school student who lives in Tokyo and works for a rather high-end dining establishment, is primarily concerned with furthering his interests in art and improving his love life, pursuing his coworker, Miki Okudera. 

The pair switch bodies countless times, experiencing life through the eyes of the other sex as they navigate their own lives, as well as doing their best to improve upon each other’s lives to the best of their respective abilities—Mitsuha deepening Taki’s emotional connections and getting closer to Okudera, eventually earning him a date, while Taki improves Mitsuha’s social image. The bond the two share seems to only deepen over time, even despite the fact that Taki and Mitsuha never swap bodies again after the latter earns the former his aforementioned date. Troubled by the apparent disappearance of his body-snatcher, Taki eventually goes on to search for Mitsuha, combing the Japanese countryside for the city of Itomori, only to discover that it, and Mitsuha, were wiped off the face of the Earth by a comet a full three years before the event(s) of the film. 

Spurred by the universe’s apparent rebuke and refusal to allow him to attain even the slightest shred of happiness, Taki embarks on a mission to save his paramour’s life, teaming up with Mitsuha to ensure that the people of Ittomri survive the impact from the impending comet. The pair just barely succeeds, however, at the cost of their memories. 

When the two awaken, they find themselves unable to recall one another’s names and go on to experience the next eight or so years with fragments of their souls recalling someone, somewhere, meaning something very special to them—eight years spent staring out windows and peeking around corners, hoping to catch a glimpse of something you can't remember ever seeing but can't help missing terribly. Nearly a decade of heartache that eventually culminates in a chance encounter on stone steps—twin souls, released with a single question. My god, this film is a masterpiece.

As mentioned previously, I see this movie as an adaptation of “red string theory,” where two individuals, through fate and the sheer will of the universe, are constantly drawn to one another, destined to meet and find love. Initially a Chinese myth, red string theory dictates that fate is similar to the bonds that unite thread, and though they may fray, stretch, or tangle, they will never, cannot, break, and will always find a way to unite once again. This sentiment is directly reflected in the film itself, very nearly verbatim by Mitsuha’s grandmother, which only strengthens my resolve in the tie between the two. Not to mention, the braided cord that Mitsuha gives Taki and that reunites the two is quite literally red. The devil is always in the details.

[aperture880]

Very comprehensive analysis. I like how you tied the narrative back to red string theory. Though I suppose your romantic reading of this anime is a byproduct of tropes, I found myself at least initially invested in the protagonist's relation as platonic. I guess it's just another testament to this narrative's complexity that it can be read so differently.

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Blog Post: Your Name

Your Name is a unique mediation on many ideas relevant to Japan and beyond. Despite its plot built around and impenending cataclysm and time and space dilation, at its core it’s a rather grounded story about memory and contrast. Contrast on terms of geographic location, but also gender and sex.

The anime follows high school students Mitsuha and Taki, as they begin mysteriously swapping bodies. This isn’t initially played for drama as the two struggle to comprehend the shift. While inhabiting each other’s bodies, they indirectly help improve the other’s life in minor ways. Their swap also exposes some of the two’s similarities and differences. Both Mitsuha and Taki are shown to be dissatisfied with their lives and homes, yet struggle when faced with the new expectations of the swap. Mitsuha grow’s increasingly assertive, as Taki compels her to stand up against her father. Meanwhile, Mitsuha’s experience in Taki exposes some struggles of gender performance, as she uses incorrect honorifics when hanging out with his friends.

One of the larger ways they eventually help which becomes the crux of the conflict, involves an approaching comet. Due to time dilation brought on by the body swapping, Taki learns Mitsuha’s town is doomed by an unexpected collision. By reconnecting with the spiritual ways of the small town, he’s able to briefly cross over into Mitsuha’s timeline and warn her of the calamity. Though the asteroid still hits the town, much of the population is saved by Taki’s warning and Mitsuha’s efforts. This isn’t however until Mitsuha convinces her father the mayor to overcome his corruption and adequately warn the town. Both leading up to the collision and after the fact, Taki questions why he should care so much about the rural town where he really doesn’t know anyone. To me this is a reaffirmation of the anime’s message, of the importance of learning from those of different backgrounds. The anime is certainly rooted in a conservative respect for tradition, but without undermining the value in cooperation between old and new. 

[ace-o-spades-777]

Nature is a Mother; "Nausicaä"

Yet another of Studio Ghibli’s masterworks, “Nausicaä of the Valley of the Wind” is a story that showcases Mother Nature’s capacity for vengeance. In the very opening scene, we witness as a man adorned in all manner of protective gear, astride a mount in similar protective gear, maneuvers a landscape that seems simultaneously sentient and bloodthirsty—ranging from flora the size of a hippo spewing spores to fungi that appear to swallow homes in a web of decay, snuffing out all life that dares to exist within its path. 

Before long, we discover that the state of the world, this toxic, desolate wasteland where life appears to be considered as the enemy, is the world we live in now, an entire millennium after the collapse of organized society, presumably after the occurrence of a globally cataclysmic event. Nausicaä goes on to showcase just how transformed the world has become, highlighting not only the development of plant life with lethal capabilities but also the transformation of various forms of fauna. It would appear the dominant forms of life are insects and crustaceans, with the former ruling the skies and the latter evolving to sizes where they would quite reasonably dwarf modern-day buildings.

In a way, this unfolding of nature’s course makes sense, as insects and crustaceans have long been considered the life forms that would hold dominion over the Earth, should any catastrophe befall the human race, as well as the general environment, as a condition of their genetic makeup and resilience to natural forces—the most prominent of which would be the appearance that lobsters are effectively immortal and must be manually killed, as they are immune to the autoimmune failures that dictate a demise at the hand of natural causes, and jellyfish may very well literally be immortal, as they are able to adjust their cellular makeup and make themselves younger at will. Over the course of the film, we as the audience go on to bear witness to not only the desolation of the environment that the plot unfolds within but also the adaptability of humanity as a whole, illustrated in the construction of surprisingly idyllic societies, reminiscent of medieval, feudal lands, complete with castles, agricultural cultivation, royal lines of succession, and suits of metallic armor.

 These depictions of human life in an apocalypse seem to signify the idea that humanity, under certain conditions and self-restriction, is entirely capable of coexisting with nature and carrying out full lives that are free from harmful treatment of the world around us; however, such a belief is immediately undercut when a violent foreign power, armed to the teeth with machine guns, tanks, and what appear to be AC-130 gunships and no shortage of infantry, brings death to the Valley of the Wind. One could interpret such an incursion as representative of the two schools of thought in terms of constructing civilization—technological advancement meant to facilitate coexistence with nature, sacrificing certain things in order to remain sustainable, or technological advancement meant to facilitate the assertion of dominion over nature. The former sees nature as a living, breathing entity; the latter sees nature as nothing but resources—neither is technically incorrect, but the film goes to great lengths to demonstrate how the latter can bring an entire world to its knees through short-sighted devastation, fueled by ambition and the thirst for power.

 Overall, Nausicaä is a brilliant film that details not only humanity’s capacity for change and the broad spectrum of ways nature will defend herself when necessary, but also Mother Nature’s infinite capacity for mercy, as evidenced in the final scene of the film, where Nausicaä, champion of the Valley of the Wind, by showing compassion and a willingness to protect others, restores peace to her people and her home.

[aperture880]

An interesting analysis. I particularly like the connection you draw between the dominant fauna of this anime and the real world resilience of such species. Through it's human conflict and dangerous natural world, Nausicaä raises the question of whether nature's ire is intentional, or merely a self-destructive consequence of our exploitation.

[ace-o-spades-777]

Xenoblade Chronicles 2

A departure from the norm, Xenoblade Chronicles 2 happens to be a video game, as opposed to the TV shows and films that this blog has chronicled up until now—which I find to be rather delightful, as picking apart video games and their plotlines happens to be my specialty. That said, this particular game seems to have one of the most poignant commentaries I have ever interacted with, and this is coming from somebody with well over 200 hours in each of the Metal Gear games, Cyberpunk 2077, Deus Ex, and the works.I am no stranger to interactive commentary, which is part of why I am astounded that I had never played either of the Xenoblade games; so, in preparation, I decided to borrow my cousin's copy and wrench around with the game for a while to gain some additional insight.

Simply put, Xenoblade 2 takes place in a world that seems to be one ginormous ocean, inhabited by colossal creatures named “Titans” (no relation to those of Rumbling fame) who appear to essentially be dragons with stone scales. Said Titans are capable of speech and so large that they are each able to sustain life upon their backs and, in doing so, take the form of nation-states, quite literally imbuing the “ground” beneath a given individual’s feet with life, as it is, again, literally alive… although, not for long. One of the very first points that Xenoblade 2 makes is that the Titans are beginning to die out, and with them, life itself. It is here where Xenoblade 2 begins to make its commentary on the nature of humanity and its interaction(s) with the environment. 

We go on to discover that the reason the Titans are dying out is because a man by the name of Amalthus is “cleansing” the world of Blades. For clarity’s sake, Blades are beings who are effectively sentient weaponry and imbue their users with supernatural powers in battle. Blades go on to evolve into Titans, sustaining a sense of a circle of life. Amalthus, jaded and despondent with the state of the world, as well as humanity itself, possesses the belief that in order for there to be true order, true unity between humanity and the environment it inhabits, he must orchestrate a "cleansing" of sorts. This means all life must be tightly and rigidly controlled, or face eradication; a philosophy which directly results in the deaths of the Titans, and the shrinking of humanity's livable territories, which in turn drives a reduction in the human population.

The argument could be made that the slow demise of the Titans, effectively the shrinking of available, livable land, parallels humanity’s own loss of the environment. Xenoblade 2’s world is a uniform ocean, and climate change, the result of human activity, is contributing to the rising of our own ocean levels. To this end, Xenoblade 2 stands as an example of what may come to pass if current patterns continue unchanged. In this way, Xenoblade 2 posits that humanity is not only integral to nature, but that it is impossible to possess the belief that you are able to remove humanity from the equation of nature as a whole without upsetting an already extremely delicate balance, threatening not only humanity’s future, but the fate of the entire world.

[aperture880]

Interesting analysis. I'm glad you mention Amalthus, as he's among the game's most compelling characters on so many levels. In relation to this discussion of nature, to me Amalthus represents humanity's desire to control nature in the Anthropogenic age. He represents the damage such pursuits can cause, especially when one is unaware of the complex inner working systems of nature.

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Blog Post: Nausicaä of the Valley of the Wind

Nausicaä of the Valley of the Wind presents a unique and engrossing exploration of human’s relation to nature. It does so primarily by tying its world and messages back to fears of nuclear fallout, which was still a common fear at the time of its release. 

The film follows Nausicaä, a young woman living in the seemingly idealistic Valley of the Wind. The world of this anime experienced a cataclysmic man-made event, creating a seemingly toxic and uninhabitable jungle full of spores. Those in the valley recognize and respect the danger this region poses, taking largely preventative measures to prevent it from encroaching on their homes. The film opens showing Nausicaä harvesting resources from the region, suggesting a degree of cooperation with nature. By contrast, the film’s conflict is sparked by the conflict between the Tolmekia Empire and Pejite. Tolmekia also recognizes the threat the toxic jungle holds, but plans to resurrect one of the Giant Warriors to eliminate it. These warriors are the same bioweapons that initially destroyed the world. The film’s conflict stems from the Tolmekia’s occupation of and subsequent conflict with those living in the Valley of the Wind. In this way, each faction represents different ecological ideologies.

Like many ecological films, this one appears to adopt the stance of nature’s independence. That is, nature acts and will continue to act independently of humans, including healing from their exploitation. Throughout the film Nausicaä discovers that the toxins are only concentrated in the jungle by the soil, and that the plants growing in the region are actually just filtering the toxins amassed by humans. This further ties back to the film’s nuclear symbolism, while also being applicable to pollution more broadly. While this discovery does well to cement nature as not inherently malicious, it may leave the audience lacking in terms of actionable behavior. The film therefore appears to take the stance that at our current level of engagement and exploitation with nature, perhaps the best thing we can do is disengage. Though not necessarily bad advice, it’d prove practically impossible given our current Anthropogenic reliance. In spite of this shortcoming, this is still a compelling and thought provoking anime on the nature of our relation to nature.

[aperture880]

Blog Post: Xenoblade Chronicles 2

Compared to the anime watched prior in this course, I actually have lots of prior experience with Xenoblade Chronicles 2, and the rest of its series. The first Xenoblade Chronicles is one of my favorite games of all time, but despite starting with Xenoblade 2, nowadays I don’t give it much reverence. This is likely due to my reservations with elements of its plot, tropes, and gameplay when compared to the concrete and compelling original. Having said that, this course encouraged me to examine the game as an environmental critique, something I recognized when I first played the game, but somewhat lost as the years went by. While certain elements of it’s critique carry over into Xenoblade Chronicles 3, I must admit that this second game portrays perhaps the most environmentally conscious narrative of the series.

For a long time, I didn’t consider Xenoblade 2 objectifying anything other than its female characters. Likely a matter of definition, I didn’t process that objectification extends to the games critique of the Anthropocene and our relationship with nature. As seen in this game, and built upon in the lore of the rest of the series, the cataclysm that destroyed the old world stemmed from Klaus’ desire for control and divinity. In other words, he saw himself as above or separate from the world that humanity relied on. This disconnect from nature is an unfortunately common sentiment in the real world, which limits meaningful ecological change. Despite recognizing our increasing impact on the world around us, humanity tends to maintain a degree of separation from nature. They refuse to fully admit that they’ve become intertwined. It’s this tendency that persists in the new world Klaus creates, manifesting in continued exploitation of resources and wars over territory. Unfortunate hallmarks of the old and real world, partially stemming from an inability to live in harmony with nature. 

Klaus’ decision and plan to restore the world adds interesting layers to the game’s environmental message, especially with the added context of the rest of the series. Not to get to much into the plot of the first game, but after the disaster that destroyed the old world, Klaus’ body was torn in half, as seen in this game. While his more curious and remorseful half remains in the world of Xenoblade 2, his negative desires for control manifest as another persona in a separate universe formed by the Conduit. This leads to the creation of Zanza, the villain of the first Xenoblade, and the manifestation of Klaus’ desire for control and divinity through separation. In a way, the character of Klaus/Zanza reflects the struggle of humanity in this proposed Anthropocene. We’ve amassed a great degree of control over nature, but largely thanks to at least a degree of separation from it. The fact that the more humane Klaus is left behind as the architect is important, as his guilt drives him to take action. Choosing to use his powers for good, his plan to restore the world relies on the true cooperation of humanity and nature. Using human technology to learn from and recreate nature, Klaus’ plan reflects at least the broad strokes of a potentially viable solution. With the odds of finding a new home, our own Elysium being slim, as the game suggests with its ultimate reveal, perhaps we should instead seek to recognize our true relationship to nature. Like it or not, we rely on it now as much as it relies on us. 

[ianjapanblog]

Convention

​The "True Otaku" documentary series offers an in-depth exploration of the anime fandom, delving into the lives, passions, and societal perceptions of individuals deeply immersed in anime culture. By examining the content and themes presented in these videos, we can gain a comprehensive understanding of the significance of the anime fandom and its impact on both individuals and society.​

Understanding the Otaku Phenomenon

The term "otaku" originates from Japan and refers to individuals with an intense passion for anime, manga, and related subcultures. While in Japan the term can carry a somewhat negative connotation, implying social withdrawal or obsessive interests, internationally, "otaku" has been embraced more positively, symbolizing a deep appreciation for Japanese pop culture.​

The documentary series sheds light on the daily lives of otaku, showcasing their dedication to collecting merchandise, attending conventions, and engaging in cosplay. These activities are not merely hobbies but are integral to their identity and social interactions. For many, the anime community provides a sense of belonging and an avenue to connect with like-minded individuals who share similar interests and values.​

The Social Dynamics of Anime Fandom

Anime fandom is characterized by its vibrant community and the strong bonds formed among its members. Conventions and online forums serve as hubs for fans to discuss their favorite series, share fan art, and collaborate on projects. This communal aspect fosters creativity and allows fans to express themselves in unique ways.​

However, the documentary also highlights the challenges faced by otaku, particularly concerning societal perceptions. In some cultures, intense involvement in anime fandom can be misunderstood or stigmatized, leading to stereotypes of otaku as socially inept or overly obsessed. These misconceptions can result in social isolation or discrimination. Despite this, many otaku embrace their identity with pride, challenging societal norms and advocating for a broader acceptance of diverse interests.​

Cultural Impact and Global Reach

The global spread of anime has led to the formation of diverse fandoms worldwide, each adapting the culture to their local contexts. The documentary illustrates how anime has transcended cultural boundaries, influencing various aspects of art, fashion, and entertainment globally. This cross-cultural exchange has enriched the anime community, introducing a variety of perspectives and interpretations that enhance the overall experience.​

Moreover, the rise of digital platforms has facilitated greater accessibility to anime content, allowing fans from different regions to connect and share their passion. This interconnectedness has fostered a more inclusive and expansive community, where fans can celebrate their love for anime without geographical constraints.​

Personal Growth and Identity Formation

Engagement in anime fandom often plays a significant role in personal development. For many individuals, anime narratives resonate deeply, offering insights into complex themes such as friendship, perseverance, and self-discovery. These stories can provide comfort and guidance, especially during formative years, helping fans navigate their own life challenges.​

Additionally, participation in fandom activities like cosplay or fan fiction writing allows individuals to explore different facets of their personality and express themselves creatively. This exploration can lead to increased self-confidence and a stronger sense of identity.​

Conclusion

The "True Otaku" documentary series offers a comprehensive look into the multifaceted world of anime fandom. It highlights the passion and dedication of otaku, the communal bonds formed within the fandom, and the cultural impact of anime on a global scale. Despite facing societal challenges, the anime community continues to thrive, providing a space for individuals to connect, create, and grow. The significance of this fandom lies not only in its entertainment value but also in its ability to foster meaningful relationships and personal development among its members.

[aperture880]

Great post. As you point out, fandom culture but especially those more explicitly associated with Otaku are unfortunately often stigmatized. This is why conventions and other fan gatherings are so important. They provide a reason and a way for people to come together, and often include a number of activities and modes of expression that cross over so many boundaries.

[aperture880]

Blog Post: Conventions

Given my stance prior to taking this course, I’d never attended a strictly anime convention before. I did however attend a number of fan gatherings and events throughout my life, more clearly tied to my interests. With the greater insight into fandom this course instilled into me, I’d like to explore some of my prior experiences at these gatherings. 

For the sake of this assignment I attended UF’s own SwampCon. I actually attended it to perform with my improv team here at the school, but stuck around for a few hours after the fact. I visited their artist and vendor alleys, and saw lots of impressive cosplay. Even though the cosplay’s I recognized were few and far between, I know see that as a testament to the diverse range of fandoms these events cater to. It’s cool that SwampCon exists to provide a fandom event for those interested on campus, which from how many people I saw there appears to be a lot.

The fandom event I’ve likely attended most throughout my life is D23. Held every 4 years or so, it’s marketed as the ultimate Disney fan event. While clearly more marketing focused, as each panel and vendor is carefully vetted by the company, it’s still an opportunity for fans to come together and see some very interesting things. Beyond major announcements, which I see as a constant at these more corporate driven conventions, some panels I’ve attended at these events have been super insightful. It still provided a good first convention experience for me.

Beyond that, my experiences with conventions are more limited, though I still look back on them fondly. The few gatherings I made an effort to attend are all largely united under the same interest of video games. For the longest time I dreamed of attending E3. Beginning as a collection of press conferences solely for investors, it soon evolved into the premier event for the gaming industry. All the major companies came together to announce the latest and greatest, with fan tickets and attendance growing more accessible with each year. Though still rooted in the corporate side like D23, E3 was a huge deal for so many. Unfortunately, declining interest in the wake of the COVID-19 pandemic meant that by 2022, the event officially ended. As such, I was never able to attend one of the biggest gaming events. Potential successors focus more so on the announcements, moving to an entirely digital setup. They therefore lose the sense of community E3 was able to foster, even in spite of its corporate foundations. 

In light of E3s discontinuation, I still attended many fandom events in my time. For example, growing up in California meant I was actually able to visit ComicCon. Though I was never able to get on the show floor, even just being in the city at the time is an experience. The convention center’s surroundings were flooded with attendees, some proudly roaming the streets in cosplay. Smaller booths were set up along the perimeter from some of the presenters currently featured inside. There’d be events set up in nearby hotels that were open to the public, drawing huge crowds in their own right. I remember one year we drove out for another unrelated get-together for my sister’s behalf. Since we were nearby, I attended one of these public events where I got to play a demo of Super Smash Bros. Ultimate. Overall, whenever I “attended” ComicCon. I remember a general sense of positivity and camaraderie, as despite the range of interests, everyone could at least unite in a shared level of passion. 

One recent convention memory actually happened right here in Florida. There was a general fandom convention happening in Orlando that I on most cases would’ve ignored. That was until I saw that Charles Martinet, voice actor of the Mario Bros was attending. Since tickets were cheap enough and we don’t live far from Orlando, my mom was more than willing to drive me out for it. Even though I was just there for him, it was still such a surreal experience. Especially since the in the following years it was announced he’d be stepping down from the position of voicing Mario. Looking back, that con provided probably my last chance to meet one of my idols before his retirement. Otherwise the convention was about what I expected. Lots of cosplay and vendors.

[ianjapanblog]

The End of Evangelion

If you’ve ever watched The End of Evangelion, you know that it’s not just another anime movie—it’s an emotional rollercoaster that leaves you questioning everything about the world and yourself. The 1997 film, directed by Hideaki Anno, is the mind-bending conclusion to the iconic Neon Genesis Evangelion series. But beyond the mechs, angels, and apocalyptic imagery, it’s a deep reflection on personal isolation, mental health, and existential crises. These themes aren’t just relevant to Japan—they resonate with anyone grappling with the pressure of modern life.

In Japan, where societal pressures often emphasize conformity and perfection, Evangelion serves as a mirror to the struggles of its youth. The characters, particularly Shinji Ikari, embody the isolation and the tension between individual desires and collective expectations. The film’s raw exploration of depression and anxiety reflects the intense societal challenges faced by young people in Japan—issues like overwork, expectations of academic success, and the constant pressure to "fit in." Shinji's journey is, in many ways, symbolic of a generation's desperate search for meaning in a world that often feels cold and indifferent.

Globally, The End of Evangelion speaks to universal feelings of alienation. The film doesn't shy away from depicting intense emotional vulnerability, making it relatable to anyone who's ever felt disconnected or misunderstood. The final scenes, with their surreal and philosophical undertones, challenge viewers to confront their own fears, doubts, and desires.

Whether you’re a fan of mecha anime or not, The End of Evangelion is an unforgettable experience. It’s a film that transcends its genre and cultural roots, making it a timeless exploration of the human condition. It forces us to ask—what happens when we confront our deepest fears and try to make sense of an increasingly complex world?

[aperture880]

I agree that the themes explored in The End of Evangelion, and by extent the prior series, are universal and impactful on so many levels. I appreciate how this film provided fans the more concrete conclusion they desired, while not shying away from the series philosophical explorations.