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Death Note (Ep. 1-11)

These first 11 episodes go hard on one question: what is justice, actually? Like—not the legal system, not punishment, but justice in a cosmic sense. Because Light’s whole deal isn’t just “I want to kill people,” it’s “I want to fix the world and no one else is doing it.”

And here’s the thing—he’s kind of not wrong? At least early on, he’s killing people who were either going to go free, never be caught, or were already doomed by the system. He’s not taking down random people for jaywalking. He’s targeting people that even the state had failed to reach. He sees a broken structure and does what no one else can: act outside of it.

But then it gets complicated. Because Light doesn’t just want people to be punished—he wants them to know why. Not in a “for the greater good” speech kind of way, but because he wants to be known for it. “Kira” isn’t just a title, it’s a symbol, something that represents his idea of perfect justice. The morality of what he’s doing stops being the main focus. It becomes about who’s smart enough, capable enough, and strong enough to define justice in the first place.

Enter L. The whole tone of the show shifts when L shows up, because suddenly justice isn’t abstract anymore—it’s competitive. It’s not “what’s right,” it’s “who’s right.” And that’s when you see the shift in Light, too. His early logic starts getting eaten by pride. It’s not just about criminals anymore. It’s about being the only one who gets to define right and wrong.

By Episode 11, both of them are locked into this unspoken agreement that justice isn’t about principle—it’s about outcome. Whoever wins this weird murder chess match gets to decide what justice means. And honestly? That might be the most unsettling part of all. Not the deaths, not the power—just the fact that two kids got bored and turned morality into a logic puzzle.

Fullmetal Alchemist: Brotherhood (Ep. 2, 22, 25, 30, 54)

So these episodes cover a lot, but the throughline seems to be: the more people try to impose control—on the world, on each other, on truth—the more everything collapses around them. It’s not just a “power corrupts” thing, it’s more like, “you were never supposed to have that kind of power to begin with, bestie.”

Episode 2 sets this up with the Tucker arc. It’s very on-the-nose, but it works: Tucker doesn’t just do something horrific—he does it in the name of understanding. He’s so obsessed with getting results that he turns his daughter into a science project. And the kicker is that no one stops him. The state enables it. The structure validates it. This isn’t just a “bad man does bad science” moment—it’s showing what happens when a system treats knowledge as more valuable than people.

By Episode 22, we start seeing how this idea scales. The Homunculi aren’t just monsters—they’re calculated byproducts of a country built on alchemical shortcuts. Everyone thinks they’re doing what’s necessary (for science, for the state, for family), and the result is a system where horror is normalized as long as it’s efficient.

Episode 25 hits like a truck. Hughes’ death isn’t just sad, it’s cruelly mundane—he dies because he got too close to a truth the state doesn’t want known. The tragedy isn’t just that he dies—it’s that no one can even mourn him properly, because doing so would mean confronting what the country’s actually built on.

Episode 30 shifts gears a bit. It’s about complicity. Ed and Al confront what it means to have used the Philosopher’s Stone—even accidentally—and it forces the show to acknowledge that not knowing isn’t the same as being innocent. The world doesn’t stop to validate your intentions.

Then by Episode 54, we’re fully in cosmic consequence territory. The “Truth” isn’t some benevolent force—it’s a mirror. You don’t get punished for breaking the rules of the universe because the universe is angry at you. You get punished because you thought you were above it. And it’s wild how much this show reinforces the idea that the only real power worth having is the kind you earn through pain, loss, and accountability.

Akira

Alright this was a big one. I completely lost track of what I was even thinking to analyze it for, there's definitely a lot to unpack. I'm gonna stick to the things that I for sure can say, this movie definitely was providing commentary of the relationship between people and the government.

For starters the government in Akira is extremely corrupt: they covered up the truth of WWIII, they seek to further extend their power, and even engage in human testing! Which the viewer might be able to say, "Oh but that's just a way of exaggerating the ills of government" but truly the only difference between that and ours is that we don't know if it's true. We see how this corrupt relationship plays out each time when Tetsuo is taken, the constant riots and terrorism all originating from within their own city, all due to a lack of transparency.

However another angle this movie can be seen through is it's--seemingly unfitting--existential metaphor surrounding the myth of Akira, who Tetsuo start as and who he becomes, him being sent to a new reality, possibly to just allow the 3 chosen kids to have another opportunity to control his power, time-loop style? It's one of those things where you know they're trying to get at something but just cannot place your finger on it. Like I thought I understood what was happening but towards that last 20 minutes it just kept unfolding and unfolding and unfolding and I couldn't keep track.

I'm not gonna be in class today so if anyone has theories and needs to do their repost, give footnotes.

kunojim

Kimino Na Wa

Your name is a very famous work that I have heard of multiple times throughout my life. I am not a big fan of romance anime for no particular reason. But the animation is very well done and I can clearly see why a lot of people would like it.

I want to point out the disconnection from urban and rural areas. Over 70% of total Japanese people live in urban cities and since a lot of young workers seek more job in the urban areas, a lot of the population in concentrated in cities. This would mean that not only rural areas are more shut off from the rest of the world but also cause depopulation of these areas. And given the "boring" life Mitsuha lives, it is not surprising that she wanted to be a handsome tokyo man.

I feel like other analysis would be a little stretch or squeeze since I personally think that is the one of the only societal commentary that affects the plot.

The striking of the comet itself might be a reference to multiple occasions of strong intensity earthquakes that Japan has to deal with. Earthquake is Japan's one of the most prominent bane of existance and thus a lot of the infrastructure and citizens are prepared to withstand the earthquake.

The connection between Mitsuha and Taki might also be a hope for more connection between people around Japan. There are a lot of shut ins and people who does not have much connection and people who are too busy working to form connections. And watching a romance anime that is built upon inseverable connection might give audiences the sense of connection they lack from real life.

esofficialuf

Nice point you made!

Somehow the class disparity between the two of them went over my head due to body / gender swap part, so I had the gender goggles on the whole time!

Your Name

I was watching this thinking it’d be a standard emotional ride, and it kind of is—comets, timelines, soulmates, etc.—but there’s something weirdly smart about how it treats identity. Especially when you’re thinking about performance, routine, and social roles.

The body swap setup is funny on the surface, but it ends up being this lowkey breakdown of how much of who we are is based on other people reacting to us. Taki wakes up as Mitsuha and suddenly everything from his walk to how he talks is being monitored. Mitsuha-as-Taki has to perform masculinity enough to keep people from asking questions. And the way they adapt to each other? Wild. They start literally writing script notes to maintain the illusion.

It doesn’t even feel like they’re pretending, either. They actually get good at it. They’re not just being nice—they’re trying to live each other’s lives as correctly as possible. It’s a weird kind of mutual respect, but also a reminder that identity isn’t just “I know who I am,” it’s “everyone around me confirms it.”

Foucault talks about how power isn’t just held by one person—it’s everywhere, especially in small things. In this movie, power is in school dress codes, tone of voice, expectations from your grandma. Mitsuha and Taki don’t get punished for doing things “wrong,” but they get nudged back into line constantly.

Also the fact that they forget everything afterward but still feel the weight of it? Yeah. The performance left a mark. Even if they can’t name it. Gender, identity, memory—it’s all one messy thing here, and the movie’s like “just feel it.”

nicoles-notes-blogproject

Hetalia: Axis Powers

The first thing about this anime that I really want to touch on is the fact that the episodes are extremely short. I really enjoyed the fact that each episode was only about 4 minutes long because it allowed me to stay captivated the entire episode and not lose focus, which is normally my main issue. I also thought it was interesting how there is not really a major plot, but just minor subplots under an overall theme within each episode. The episodes each had their own issue they focused on, but all of the episodes focused on major political issues across the globe. The issues they focus on are both historical and current, which I also thought was interesting. The anime also gives brief recaps on historical moments that they reference. I thought this was extremely beneficial to ensure that viewers are aware of what the characters are speaking about. The depiction of the countries across the globe as people, and the formation of narratives about historical concepts helps me a lot to understand what is happening within the political context of the anime. I thought it was really interesting to hear narratives of conflict within history in a more unserious way than we usually do.

To connect the anime to the article that we had to read, the anime is a visual display of conflicts across the globe. However, it also depicts how these conflicts are dealt with and how each country is perceived by Japanese society. When closely analyzing the anime, you can recognize that each country is perceived by Japanese society as dealing with conflicts in extremely different ways. The article describes how conflict is always going to happen, but the way it is handled changes with the current political climate within the world around us all.

esofficialuf

You didn't mention it in your post, so did you get the vibe that this was homoerotic? For me I honestly I didn't get that energy because of all of the gags.

I guess I saw it, but I didn't see it as much more than a fun little joke.

Hetalia Axis Powers (Ep. 1-19)

So this is definitely one of those shows where I can't exactly bring myself to say its too much more than satirical parody. Honestly I'm just familiar with this sort of concept so I can't see it as much more than it is, but if we look at this from the perspective of someone who hasn't seen stuff like this before...

It does have an emphasis on characters over plot, tangential to the ideas presented in Database Animals. However in this case that's because they're going for comedy, so I don't think it is as significant. It's like pointing out that a comedian's jokes don't have a plot.

There's also the hilarious combination of personified nations, parodying elements in history and overdramatizing languages, which I've seen in shows like Camp Camp or South Park. It's a fairly fun way to create comedy but also invoke parody/satire without specifically saying it. (If you have seen any shows that reflect reality, they'll have disclaimer to avoid defamation.)

Overall this is a very funny show! I'll probably end up watching the whole thing to see the silliness ensue.

iterationofaphoenix

Xenoblade Chronicles 2

This was an extraordinary game to get to go through and watch the cutscenes of. Also, just an extraordinary game in general. I definitely recommend playing or simply watching all of the cutscenes, because the story as a whole is really quite fantastic, and there is some characters you don't really even get to know or meet with the part that we were required to watch. So, just note that there is so much more than just what we quickly went through. Definitely my favorite thing we have covered so far within this class.

I feel like there is so many places to go with this game, there is a post-apocalyptic world to discuss as well as so many different interpersonal themes spurted throughout. So that this post does not get too long, I have decided to talk about two main aspects in two different paragraphs. First will be the world and second will be the characters.

The world of Xenoblade Chronicles 2 is a postapocalyptic world in which mankind lives on the backs of giant creatures named titans. It is during the setting of this game that the Titans have begun to die off, leading the world to a sense of desperation, at least from the perspective of Rex. This leads him to want to explore and discover Elysium so that he can provide safety and a utopia to the people who all live in Alrest. Elysium means ideal happiness. So, it is important to note that even the creator is calling this location a place worthy of a utopia. As you watch the story unfold things get a lot darker and you learn that Alrest is the aftermath of a destructive event which destroyed Old Earth, or as it is called the Land of Morytha. This world that was destroyed looks exactly like ours. This shows a direct connection between the real and fantasy provided within the story of this game. It is also important to note the destructive nature of mankind, the Anthropocene which is seen within the game itself. This connects to our article, which discussed the changes that us humans are capable of making. I bring this all up and together with the note of how many different aspects there are to this world. Living off the backs of Titans could be equated to the need humans have on so many different nonrenewable resources and each other. It also could be used to show the importance of life and an ecosystem. The destruction of Earth as we know it can show either the hubris of mankind and man trying to play god. There is also discussion of the cyclical nature that humans live within, always repeating past mistakes. That being said, Rex, is shown to help break free from this. Which could be attributed to either destiny or free will depending on how you read the story. Regardless, the world of Xenoblade Chronicles 2 develops so many themes in such an exemplary manner.

Now to discuss the characters. Most notably, I'd like to talk about Rex. He is such a fascinating main character. This is because at the offset he seems like generic shonen protagonist no.1. That is quickly dissuaded, at least from my view, as we watch him on his journey. This is because the way he views the world is idealistic in a manner which I do not feel fits a common protagonist. This is because he sees the world being destroyed and instead of the usual heroes journey, he takes smaller steps in helping himself and others out. He does have the main quest, but I never felt like his goal was simply that. He cared a lot about Pyra, worked towards her goal. Even though they were aligned, I never felt like he would have done anything differently if they weren't. In this manner, he was very down-to-earth. He worked towards what he was able to solve, then followed through on that. He knew bad things were happening and got thrown into the middle of it, but it wasn't in a manner which a protagonist usually follows. It was much more in the method of simply doing things for the smaller purpose. That isn't to say he wouldn't have gone to find Elysium on his own, just more so that he was about the present, not the future in a lot of ways. In a good way. Now, I could also go deep into the meanings of Pyra/Mythra, their duality and connection with Malos, but that is a lot. So, I will leave that discussion for another time.

Overall, such a fascinating story which was executed very well. Definitely recommend and will look through the game again.

esofficialuf

I think I saw a little bit of gameplay before so its on that really long list of "Good Games I should really play at some point".

Outside of analysis, the world of Xenoblade is extremely interesting and fun. :)

Xenoblade Chronicles 2 – Cutscenes Only Aka: Humanity Keeps Writing Bad Plays and Then Crying at the Ending

So Xenoblade 2 isn’t just anime JRPG drama—it’s straight up a tragedy about humans trying to outrun the consequences of their own story. Cobb talks about the Anthropocene as a drama where humanity forgets it’s part of nature and starts acting like the director. In Xenoblade 2, that’s literally what the Architect does. He creates a system, detaches from it, and then regrets everything.

The Blades? Living beings designed to be tools. They get “awakened” and are tied to Drivers, but they don’t get autonomy. They’re thrown into a cycle where their lives reset unless someone treats them like people. Sound familiar? It’s the exact detachment Cobb says got us here in the first place—treating others (and the world) as objects in our story, not co-actors.

And then there’s Torna. That whole arc is one long scream about what happens when creations gain self-awareness but are still denied meaning. Malos literally says he was made to destroy, so that’s what he does. It’s nihilism born from bad writing—humanity wrote a violent part, handed it to someone else, and then cried when he followed the script.

By the end, the world’s crumbling, people are trying to stop a collapse they started, and the solution isn’t some magic fix—it’s connection. Mutual understanding. Rewriting the drama with different roles. Cobb says we need stories that acknowledge interdependence, and Xenoblade 2 finally leans into that.

It’s not a clean ending. But maybe that’s the point—no deus ex machina, just the possibility of doing better next time.

niertiers

Media Analysis: Nausicaä of the Valley of the Wind

[BEGIN REPORT]

Whoa… this movie’s world reminds me a lot of how the Earth looks like right now… except the humans are still living in it. One could easily compare the Giant Warriors in the movie with the aliens that invaded Earth and drove humans off thousands of years ago. As for the bugs… could they possibly compare to the machines...?

Bahahahah- I-I mean, there’s no way! Machine lifeforms could never be so intelligent… right?

Well, enough about machines. Nausicaä of the Valley of the Wind was a very, very interesting watch. I thought the depictions of human destruction of nature to be very creative and smart.

Although we are led to believe that the destruction of nature that was brought about by the Seven Days of Fire was not the fault of humanity, the movie does hint at the fact that nature’s failure to restore itself is by Nausicaä’s mention of the soil having been made infertile by some sort of entity. Seeing as most humans find the only solution to mitigating decay to be to burn it, there’s no doubt that they were likely responsible for this.

I was really touched by the protagonist’s empathy when I watched the movie. I think it really goes to show how empathy is something of a virtue in humanity. It is a quality that few possess, but that has the power to end suffering once and for all. Nausicaä does a really good job at showing this, as her way of resolving conflicts is always through peace, using violence only when her people are being attacked.

Speaking of peace, the movie definitely means to send a message about the destructiveness of war. Because of the conflict between the Pejite and the Tolmekia, insects were angered, decay was spread even further, and several human lives were lost. The parties at conflict thought that only more destruction could bring peace to the Earth, without realizing that they were only perpetuating the destruction of life itself. This is not only in line with the anti-war sentiment reflected in other Miyazaki films, but also presents environmentalist messages that would continue to be relevant for decades after the film’s release.

With all the warnings that they had, how did humans manage to still ignorantly destroy their environment…? Perhaps this attitude is worth exploring further.

[END OF REPORT]

esofficialuf

I completely forgot to mention the anti-war message!

In my post I focused more on the 3 societies we see interacting, but it is important to mention that too!

Nausicaä of the Valley of the Wind

Another Ghibli film, so I knew I was gonna be interested in the happenings and appearance of the film. Here we watched the people of The Valley of Wind resist the conflicts they were brought into. I liked this film a lot, but this class isn't about just acknowledging great anime, its about the analysis.

There wasn't a reading for this, so I'm gonna try and find what I think it was about, and I think this movie is about the tragic irony of human nature. (At a societal scale, not just individuals.) It explores this idea with Nauisca and Kushana (Princess of Torumekia).

Kushana represents the tendency for people to fear the unknown/what is different and lead with & sensationalize hate. She plans to use old technology to eradicate the sea of decay altogether, insisting it was the necessary change. However it is clear that she truly only wants the power that comes with controlling the giant warrior. She used violence to attain her goals, and ultimately, failed because all she did in this film is create more enemies out of everyone who wasn't "her people." So despite her intention of creating world peace and bringing back what was lost, she only created enemies for herself, which only invites conflict. This is without even mentioning that she had 0 clue what the sea of decay even was, and if she did, she would know that destroying it wouldn't really fix anything, you'd just make more desert, but also you would destroy the last thing keeping earth in any sort of ecological equilibrium.

Nauisca represents a foil to Kushana in that she represents curiosity and acceptance. She sought to understand the sea of decay and the insects, through that she learned that the fauna in the sea of decay actually act as purifiers, cleaning the surface level pollution and leaving clean product below and that the insects are protecting the sea of decay from humans. To attain her goal, which was end the conflict in the valley, she used communication nearly exclusively, with humans and the ohm. You may see a lack of irony there, but its because it's in the subtext: Nauisca actually wants to save the world, not through some drastic action, but by understanding and accepting the world as it is. Not aiming for what we had a thousand years ago, because there's a reason it changed. The irony being that she doesn't hold the power to do truly act on it.

A bit too obvious for me to want to make the whole post about, but this movie is also a green PSA. The main issue bringing everyone to action is the issue of the sea of decay and the bugs, but all of that was caused by human disregard for the environment, which forced nature to "counterattack" by destroying everything.

My experience at SwampCon (Doodles included)

To start, let me say that I have never been to a convention of any kind before this. Everything conceptually was familiar through shows I've watched, but was new to me as an experience.

Now lets start with the beginning, it was Sunday and of course the day I go it is raining, so to minimize the time I spent in the rain, I went straight from the cafeteria to the Reitz.

At first I was concerned I didn't see anyone really walking around and I thought I may be too late, but I found my way to the help desk being ran by a few people in cosplay, a few of which were genshin characters I recognized.

I wondered if I should compliment them to like, validate the cosplay accuracy? I ended up just asking for directions to the Vendor Hall.

On the way to the Vendor Hall, I realized just how out-of-place I was here. I'm not in cosplay, I'm tired, not with friends, I was an anomaly. That's when the social anxiety started to rev up, but when I made it to the Vendor Hall, it went away when I saw all the fan works of things I also enjoyed that I generally assume nobody likes, and felt a lot less isolated.

After that, this became a much smoother experience, I bought an Asmodeus (Helluva Boss/Hazbin Hotel) keychain, browsed the art gallery a bit, it was fun to see all the different art styles all over, it was very inspiring.

Overall, it was a fun experience at SwampCon, seeing a lot of people who like the things I like and enjoy art as much as I do was really nice. If I were to go again though, I'd want to bring friends and maybe get a cosplay. ^^;

Evangelion: The End of Evangelion

This movie really said “What if we took everything we were doing before and made it louder?” Emotionally, visually, existentially—it just cranks it all up.

What stands out the most is how the characters don’t just perform gender roles anymore—they get confronted with the consequences of those performances falling apart.

Shinji’s behavior throughout feels like a person who’s completely shut down and doesn’t know how to act anymore, but is still being asked to make huge decisions. A lot of the movie is him bouncing between roles he’s worn before: the scared kid, the passive observer, the person trying to be “strong,” whatever that means. None of them really stick.

Asuka has this explosive moment of return where she just snaps, fully stepping into the pilot role again, and it feels like the first time in a while where someone’s claiming agency. But it’s also really raw, and kind of tragic, since the world around her is collapsing anyway.

The second half gets very abstract, but what’s clear is that the boundary between self and others stops existing. And when that happens, all the things people were performing—gender, strength, individuality, control—just sort of dissolve. There’s this sense that identity was always conditional, shaped by how others perceived you, and now that’s gone, and the movie’s like: “Okay… now what?”

Does it resolve the story? Technically. But in practice it’s like being handed a puzzle with no picture on the box and two pieces missing. It ends—but good luck figuring out what that means.

esofficialuf

Evangelion (Ep. 8, 16, 24, 26)

Since we skipped around, watching this slightly sped up was incredibly hilarious, especially episode 24. (I'm certain this clashes with the tone they were going for.)

Anyway there are two characters that interact with Shinji in the realm of masculinity in these episodes, "I'm an anime girl from 1996" Asuka and Kaworu.

Starting with Asuka, she brings back the missing teenage girl archetype to the show, and along with it the ignorance of one. The moment she shows up we get the "where are you looking" scene, multiple "what are you touching" scenes, the whole shabang. But how does this relate to masculinity? Well it has to do with Asuka's expectations of how boys her age behave, and how Shinji not being what she expected affects their relationship.

After they first meet, Asuka tries to pull her generic teenage anime girl stuff but is not being engaged with in a way she would like by Shinji, that being his lack of perversion and tendency to accept any potential blame being placed upon him. Initially this just makes her berate him about his lack of masculinity, essentially that she was upset that he let her boss him around despite her always trying to yank his chain. This gets compounded when he does better as an EVA pilot than her, causing her to detest him, mocking him for any and all successes, and tripling down whenever he isn't flawless. Although it is unclear to me if this is just her personality (it probably is), it could also stem from her trying to one up the men in her life because she became the EVA pilot, an uncommon talent, so when confronted with a man who could perform better than her, it just materialized hatred, just feeding this idea that her expectations that she would be better than all men in war/conflict led her to having an overall poor relationship with one of her peers for reasons outside of their control. (Although Shinji does end up playing into it because it was a losing battle anyway, so one-upping her was a source of some kind of enjoyment.)

Then we have Kaworu, who although is only around for short while, provides us an example of a guy who doesn't seem to care for his or anyone else's sex-gender congruency. He requests to bathe with Shinji, invites him to sleep together, Shinji didn't even seem to understand how to respond to anything Kaworu did. There's less of a rhetorical point to be made here because honestly it really has to do with vibe you get from watching it play out. The lack of anyone trying to control anybody else's behavior was just kind of noticeable? (Also if they weren't going for Yaoi energy here, they failed miserably. It was "will they, won't they?" the entire time. Breaking News: Did research, it is true.)

Anyway, this show definitely isn't for me, but I respect it for what it means to the wider anime audience.

clnme

Like the other guy said, your interpretation of Asuka is really interesting. I really like how you framed it in terms of expectations.

gigadrillbreak

You brought up the tropes that Asuka brings in, but she was kind of the one that popularized them, so she is only a stereotypical tropey character if viewed in hindsight.

esofficialuf

@gigadrillbreak Yes yes, gotta remember it's 1996, it wasn't quite a trope that everyone was tired of yet. 🙂‍↕️

hellojpt1311

Neon Genesis Evangelion ep 8,16,24,26

Neon Genesis Evangelion is one of those anime that has always been there in my mind but I haven't actually gotten around to watching it. The episodes 8, 16, 24, and 26 are packed with themes and ideas that are just as relevant today in our modern world as they were when the show first aired. Now, as I watch it in 2025, I can't help but draw connections and ideas between the specific discussions we have today in our world and certain themes that are seen in the anime.

Episode 8 introduced us to Asuka Langley Soryu, a character that is "fiery" but confident - a new pilot who brings a whole new vibe and feeling to the series. Her introduction into the anime was significant - it brought up ideas of competition, self-worth, but also identity as she had to clash with Shinji while trying her best to assert dominance and confidence as a pilot. This episode really reminded me of how young people of our world today often feel a lot of pressure when it comes to to proving themselves in a very competitive world - whether that be in school, professionally, or even for trivial things like likes on social media. However, Asuka’s sense of confidence really hides her insecurities, which felt extremely relatable in a modern world where many teens and adults alike try their best to act confidence while still struggling internally.

The last episode, Episode 26, was the infamous conclusion to the series’ psychological analysis. It really left behind and avoided traditional storytelling that we often see in many anime and media just to instead go deep into the characters’ mental states, particularly Shinji’s. This was really interesting to me, as anime often just ties up plots and stories with a regular conclusion. However, this conclusion really made the anime stick out to me.

esofficialuf

The entire last episode of this show was impossible for me to follow 💀

It was one of those moments where you know they're getting at something but I can't quite place what it is.

Evangelion (Ep. 8, 16, 24, 26)

Since we skipped around, watching this slightly sped up was incredibly hilarious, especially episode 24. (I'm certain this clashes with the tone they were going for.)

Anyway there are two characters that interact with Shinji in the realm of masculinity in these episodes, "I'm an anime girl from 1996" Asuka and Kaworu.

Anyway, this show definitely isn't for me, but I respect it for what it means to the wider anime audience.

Psst. I see dead people.

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