Anime Blog

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57 posts

Violet Evergarden: Recollections

This is a very interesting story which, I believe, is about relearning to live. About understanding how to move forward when the context that grounded you is gone.

Violet does not know how to live outside the context of the army or without the major.

Spencer Marlborough does not how to live after his parents' deaths.

The writer does not know how to live a life without his daughter.

Ann does not know how to live when she is facing her mother's imminent death.

It is, also, of course, about learning oneself, recognizing one's own emotions and that of others, which is what Violet is more immediately trying to learn from moment to moment. I think the way this movie frames stories, narratives, real and fictitious, as a means to reflect inward is... very accurate to my own life experience. Once, I was overtaken with a deep sadness that I could not externalize, and reading a tragedy that allowed me to cry. Sometimes, trapped in our own experience, we cannot work through our emotions, even our thoughts, and seeing them reflected back at us in another one's experience is a gift.

And in the context of the movie, of course, war underlines everything. The effects of war has on communities, on people, and on people's connections to one another. War is a context stripping machine. a connection snapper, a massive life destructing force, and it starts and ends by human choice. Exploring the effects it has on people is always a relevant practice to encourage globally, so that we might avoid it to the best of our ability. And so that we may have some idea of how to live, when we fail.

And so, of course, this movie ends with... is it recollections? Is it remembrance? The idea of a person being connected to us beyond death. The power of words and memories and the knowledge of love.

"A loved one will always watch over you."

This is truly a lovely movie.

Hello,

This blog post is very heartwarming to read. I like that you pointed out the themes of this anime on how to learn to relive with yourself. As we can see, Violet somewhat becomes detached because she is used to war, resulting into an emotionless person. However, when it comes the connections and understanding emotions, she becomes a human. Good analysis.

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.

Hello,

Good analysis on the prequel arc. I love that how you point out the sorcerers were basically like therapists to take care of everyone’s mental health, which in this case cleansing them of their demonic spirits. Also, Gojo and Geto’s bromance somewhat indicates of implied queer masculinity, as they are very understanding of each other.

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.

Hello,

I agree with your points on Akira on fears and trauma of nuclear destruction on Japan because the title character is responsible for wiping it out, as a result of government corruption. I also like that you point out the youth rebellion as it was symbolized through Tetsuo fighting against the military while searching for the mythos surrounding Akira. Good job.

Violet Evergarden: Recollections

I have heard of this anime as I have seen some clips of it on YouTube. So, I have decided to watch it on Netflix. The anime is sad, to be honest. Maybe I can see why this anime is worth talking about. The anime is about a girl named Violet that is trying to recuperate after the war, and now works at a postal office where she writes letters for those that have no emotions.

In general, the anime deals with emotional loss and PTSD. Violet, in particular, used to participate in the war. And now, she is working as an Auto Memory Doll trying to help people communicate their feelings by letting them writing letters. Violet stands out to me as a character due to the fact that she is having trouble processing her emotions especially after the war. Also, she is having trouble understanding others and their emotions. When I think about it, she reminds me of the soldiers after serving in the war. They did not have time to do other things as they were focused on the war. Additionally, I don’t think emotions are allowed during wartimes. Maybe that is what most likely happened to Violet, but who knows. Either way, I think it is hard to get back to your normal state of emotions because war changes a person. This reminds me of Amuro Ray because war turned him into a cold, blunt soldier. Violet, on the other hand, seems to forget the importance of being human and having purpose.

Speaking of purpose, the anime also addresses that issue. While working as a soldier, Violet does lost her sense of purpose because of her experiences in the war. That is why she got hired as an Auto Memory Doll to understand what it means to be human and consider others’ emotions. Even then, she also tries to understand what the purpose of her clients through their letters. I think Violet trying to understand her purpose after the war relates to the show’s theme by raising some questions from Violet’s perspective. “What is it I am living for?, “What do they mean when they said this?”, etc. This may due to Violet used to be following orders in the war, overlying on others to make decisions for her. I think her logic relates to us in real life, because we usually depend on our peers for advice on choosing our career paths instead of choosing the career that aligns with our interests.

The moral of the anime is to not be afraid to show your feelings to others and take some time to explore what you really are. Also, do not be scared to talk to someone about how you feel after you experience a traumatic event. Overall, Violet Evergarden (and Recollections) is a must-watch for those who are trying to find their way in life.

Jujutsu Kaisen

I am glad that this anime will be talked about because the animation of this anime is smooth, and the anime is action-packed. Other than that, there are overarching themes and issues that this anime addresses. While I did not see any meaningful themes in Season 1, Season 2 is an interesting one as it highlights the dark, tragic themes the anime means to present.

The first and main issue that is highlighted in the anime is trauma, especially to the main protagonist Yuji Itadori. While Yuji does the shonen training and all that stuff during Season 1, Season 2 breaks the typical strong shonen type by inducing trauma on Yuji during the Shibuya Incident arc. In Episode 41, we see the destruction that Ryomen Sukuna (while possessing Yuji) wrought on Shibuya, killing many people in the process and leaving a crater on the city at its wake. And then, Yuji saw the destroyed Shibuya after being de-possessed by Sukuna — reduced to nothing but rubble. This destruction scarred Yuji mentally and emotionally, changing his views on how to be stronger. In a way, it actually humanizes Yuji. We have seen every shonen that has the main character so determined and strong-willed. Yuji was like that at first, but the battle at Shibuya changed everything for him. This trauma reminds me of what the soldiers at war witness — comrades getting killed and destruction in every warzone they have participated in. These experiences eventually result in creating PTSD for the soldiers.

I would like to mention that there is also guilt coincided with trauma as well, because actions have consequences. Yuji in particular is guilty of letting Sukuna unleash and kill innocent lives. Ultimately, Yuji realizes that there is no going back because… the destruction has happened. We have been guilty of doing something wrong at some point. When I was young, I have been caught by the vice principal for doing something wrong at school (I cannot mention it, sorry). Either way, I was guilty of it and he called my parents for it. And I just realized that I cannot go back and correct my mistakes now. So… I got punished by my parents for it. What I can learn from this anime, including the Shibuya Incident arc, is that we have responsibility for our actions, and one wrong move can negatively affect others — whether it is intentional or not.

Akira

One of the great classic anime movies ever, the movie takes place in a dystopian future of Tokyo. The movie is about two main characters named Shotaro Kaneda and Tetsuo Shima as they went through separate paths and discover the dark truths about Neo-Tokyo. However, one of them would lead a path of destruction and eventually die at the cost of their powers. The anime is more than just this; it is a warning for dystopian future times ahead.

The main issue that Akira addresses is technological advancement. As we can see in the setting of the movie, it takes place in the dystopian Neo-Tokyo. The reason it is named this way is because the original Tokyo was destroyed by a cataclysmic event caused by an unknown entity called “Akira.” Moreover, even though there are improved technology stuff in the rebuilt futuristic Tokyo, there are also risks of technology being used as weapons of mass destruction. For example, there is a facility that contains the espers; little did they know that they were going to be used as such. Additionally, there are pills that help a person develop and enhance his/her psychic powers; oftentimes it can lead to uncontrollable powers. Based on these examples, Akira is trying to critique technological advancement as it usually can cause more harm than good. This is true especially on a militaristic context, because of the possibility of nuclear and advanced weaponry that can result in deadlier wars. Also, AI exists, and people might abuse them for their own benefit.

Another issue that the movie addresses is the unchecked powers. There are gangs that are prevalent in Neo-Tokyo as a result of not regulated and punished by the government. Additionally, the government is responsible for the aforementioned esper experiments for their personal gain, planning to use them in events like war and other stuff. In a way, this reminds me of Shin Sekai Yori, where governments are nonexistent. Furthermore, both Akira and Shin Sekai Yori involve psychics and government in some point. Psychics in both of those animes are held in such high regard, as they are believed to have the ability to change the world. This is true as their powers can result into being uncontrolled and destroy everything. I think the concept of unchecked powers can also apply to Japan, because… dangerous kids like Shonen A exist. Also, in global terms, governments can abuse their powers to get what they want, or being powerless and hesitant to take action (which is what happened to Japan’s government in Akira).

Overall, Akira explores the dangers of technological advancement and powerlessness of governments in the face of catastrophic events and critiques them. However, the appeal and tragedy of the movie is what makes Akira of the most iconic anime movies.

Your Name

Your Name (Kimi no Na wa) isn’t just a visually stunning anime—it’s an emotional time-traveling, body-swapping love story that hits way deeper than you'd expect. At its core, the film is about connection: across time, space, memory, and even tragedy. While the fantasy elements and Makoto Shinkai’s signature beautiful skies reel you in, it’s the themes underneath that really make this film resonate both in Japan and around the world.

One major theme that stands out is disaster trauma—specifically referencing the 2011 Tōhoku earthquake and tsunami. The comet that destroys Mitsuha’s town isn’t just a plot twist, it’s a metaphor for the unpredictable disasters that Japan is no stranger to. Shinkai doesn't just show loss—he explores the emotional aftermath, the desperation to rewrite fate, and the lingering pain of not being able to remember what you’ve lost. It’s heartbreakingly relevant to communities around the world dealing with natural disasters, climate change, or even political instability.

On a global level, Your Name dives into the modern feeling of disconnection in an overly connected world. Despite smartphones and social media, many people still feel isolated or like they’re living someone else’s life—much like Taki and Mitsuha do in each other's bodies. That longing to find purpose, to feel understood, or to remember something you’ve never actually experienced—that’s something just about anyone can relate to.

The film’s ending is hopeful, which is why people return to it again and again. It's a reminder that even if we forget names or faces, the feelings that connect us—the need to be seen, to be known—stick with us. Your Name is more than a love story; it’s a mirror for our deepest fears and hopes, wrapped in a beautifully animated package that’s impossible not to feel something from.

Hello Ian,

I feel your last statement. I’m still single, but I kept wishing and waiting for someone to understand and relate much to her much like what Taki and Mitsuha did. I also agree with your statement regarding smartphones since it’s easier to connect this way. Oftentimes that connection doesn’t feel authentic and fleeting for that matter.

Good job.

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.

Hello Abel,

I agree with your points here, especially about what you said on Hetalia “skirting around” the stereotypes. In a way, this makes the anime very misunderstood as it is just a satirical take on the countries as you have mentioned. I also like how you further researched the historical context on the countries like France so people will not immediately jump the gun over this anime. Good job!

Hetalia

Ah yes. Some people find this controversial because of the stereotypes recurring in this anime. Additionally, I have watched the English dub for it, which further perpetuates the stereotypical notion of countries based on the accents. Honestly, I think this anime made me laugh harder than I should have. Comedy aside, I realized that there is an interesting deep twist to this anime.

Hetalia depicts the countries during between World War I and II. Interestingly, the main characters are actually the countries of the Axis Powers: Italy, Germany, and Japan. Particularly, the anime focuses on the shenanigans of countries, with chaos unfolding in country meetings to the Axis Powers getting stranded on the beach. Though it might be vague in terms of historical context, it somewhat did give us a slight perspective on what the countries are actually doing during those wartime events. Moreover, the anime also gives us the state of the countries, and a little bit of history on how the countries came about. Though I have to say, there are may be some historical inaccuracies in some of the episodes, so I recommend consulting history books and primary and secondary sources relating to WWII.

With that in mind, there are also criticisms on the characters of Hetalia. As I have mentioned before, there are stereotypical characteristics of the countries being depicted in the anime, with Italy being a wimp, for example. This is very controversial especially when it comes to the depiction of Korea as mentioned in Annett’s article. As expected, South Korea did not take it too lightly as the anime stereotypes the country, resulting in the anime banned in the country. I think this situation represents a problem of overgeneralization of people from other races. For example, I had my fair share of that when I was a kid because most of my classmates think that I was “booksmart” because of my appearance. Luckily, I did not mind that, but I cannot say the same for other Asians. Thus, I can see why most people find this anime controversial and at times offensive. The English dub does not help either.

Anyhow, another thing struck out to me is the queer masculinity existing within the human countries’ interactions, especially Germany and Italy. In most episodes, Italy tends to be comfortable around Germany, since they tend to get along well. Also… France exists. He appears as a… “gay European” to the viewers. I also remember in episode 7 that France is scared of Germany, which illustrates the point of queer men being intimidated by hegemony — whether it’s masculine or not.

Despite the controversy surrounding the anime, I did find Hetalia very amusing and enjoyable to watch. Stereotypes aside, at least the countries have character to them. Moreover, there is some possible yaoi content within this anime, creating a bit of a fanbase dedicated to it. Oh, the English dub also helps my viewing experience as it makes the characters diverse and multifaceted and gives the anime more personality.

Your Name.

One of my all-time favorite animes, this movie is about two main characters that switched bodies. Taki Tachibana and Mitsuha Miyamizu have to find each other to get their souls back to their respective bodies, but this quest is more than just getting the bodies back to normal. For them, it’s something deeper.

The movie mainly addresses the power of fated love and its struggles. Foucault talks about this from his article of power relations. He said that power relations are “intentional and nonsubjective,” and are “imbued with calculation.” What Foucault said sums up the plot of the movie. Tachibana and Miyamizu found themselves in their bodies, and somehow they feel connected. However, not everything is smooth for these two. In fact, Foucault mentioned that power relations are always filled with “points of resistance.” Tachibana and Miyamizu find themselves in a race against time in their path of trying to find each other, with no recollection in between their body swaps. Thus, they have to try to pick up the pieces of where they had left off to meet each other, and simultaneously save the village from the comet. When I think about their situation, I thought of something similar to Romeo and Juliet’s. Although the conflicts differ from each media, the main concept still applies. Furthermore, this applies to real life circumstances of destined love, including busy jobs, schedules, etc. It can be hard to balance daily life with dating, and even though it is burdensome, hopefully it will work out.

Additional real life issues that the movie addresses are monolithic gender and job stagnation. Miyamizu said that she wanted to be a boy in Tokyo… and she did. This is because she is disillusioned with her current status as a shrine maiden because of the expectations brought upon her. What is interesting about this is that Miyamizu’s frustration reminds me of Aggretsuko. We know Retsuko’s work situation, venting her anger at a karaoke and other things. The difference is that Miyamizu actually got what she wanted, and she experimented doing different activities while being stuck in Tachibana’s body (vice versa too with Tachibana). And I think this experimentation is similar to what the main character of Wandering Son did when exploring her gender identity. I brought these issues up because they can apply to frustrations of people being burdened of trying to live up to cultural, societal, and gender expectations like Miyamizu did.

What I love about this movie is how emotionally tense and heartfelt of the interactions between Tachibana and Miyamizu. For those who are still single (like me), we can learn from this movie is that there is always that someone who will love you not matter what you are, and it all takes is patience and knowledge to create a relationship.

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.

Hello Oliver,

I think Klaus represents the regret of using power to its fullest extent and realizing the consequences of his actions. This is a stark contrast to Amalthus, the main antagonist of the game. He aims to become the Architect to strictly control humanity to his whims. In fact, this difference is what makes Klaus such a human character because he tries to be considerate and think about how much toll the power of the Architect has.

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.

Hello Abel,

I agree with the sentiment that nature is not meant to be something dominated for. Moreover, war is motivated by ambitions of one nation to establish superiority over the other, which I think is what the film criticizes.

Xenoblade Chronicles 2

Though I have never played this game, I did heard of it, mostly thanks to Super Smash Bros. Ultimate (Pyra and Mythra are playable as DLCs in that game). So even though I never got the chance to play the game, I think the game is very well-designed based on the cutscenes I watch.

Xenoblade Chronicles 2 addresses the limitations and weaknesses of the world due to its environmental changes. As we can see, the game’s setting takes place in the giant things called the “Titans.” What the Titans do is carry the landscapes with them in their backs and try to sustain them as much as possible through the midst of a cloudy ocean. However, what I notice about Titans is that they have limited lifespan, meaning that when the Titan dies, the civilization on that thing collapses. I think this represents that civilizations do not last forever and will eventually collapse at some point, especially due to climate change. It also warns of us of the inevitable collapse of society if we do not do something to make change for the environment.

Speaking of change, there is one character that stood out to me if power goes into the wrong hands: Amalthus. As we know, Amalthus sought to destroy humanity (including the Blades) completely because of its wrongdoings. Amalthus had a good reason for it, as he was haunted by a betrayal of trust from his past. Because of his experiences, he decided to cleanse humanity by usurping the power of the Architect (which is like a God) and recreate the world in the way he wants. There are problems regarding Amalthus’s goals. First, his goals liken to some form of strict panopticism. This meant that humanity will lose its free will, similar to what happened in Psycho-Pass. I am saying this because power carries a lot of weight and responsibility, and that can also apply to us humans. Suppose if we have the power of the Architect, what is the first thing that you will do? It is important to consider the weight of power, as we can possibly hurt people with it. We have seen this consequence by meeting the actual Architect (who is like an old man) that regrets his choice.

Overall, Xenoblade Chronicles 2 talks about societal and environmental change can depend on our power. In the recent years, different governments have established their own rules to regulate society, whereas pollution and climate change run rampant. Unless we do something about the environment, it is going to be complicated to bring change and prevent the collapse of civilization due to environmental effects.

Nausicaä of the Valley of the Wind

I think this anime movie is really interesting to talk about because not only this anime addresses environmental issues, but also hegemony and militaristic issues as well.

The anime movie mostly addresses environmental issues, which is pertained through the movie’s setting. The movie takes place in a dystopian world, filled with toxic substances that has wrought upon nature itself. In return, nature has become hostile to those who try to attack it. There are creatures that also exist within this world, including the giant things called the Ohmu. What I find interesting about the Ohmu is that they are generally neutral despite their appearance. However, when someone tries to threaten them or their kind, the Ohmu will then go on a rampage to destroy everything including the humans. I think the hostility of nature will occur if humans decide to harm it, and nature will come back to bite them like the Ohmu. It is as expected that Ghibli movies always discuss about environmental issues, and Nausicaä is no exception. While Spirited Away does symbolize and critique greedy humans through some of the environmental problems, Nausicaä shows that there is some gentleness and sympathy within humans who try their damndest to take care nature, like the title character.

The movie also critiques hegemony and miltaristic ideologies. As we can see in the movie, there are two nations that are in conflict with each other: Tolmekia and Pejite. These two nations are fighting over control of nature to assert hegemony. This conflict happens is because the two nations wanted to get ahold of a powerful figure to dominate the world. However, it will result into even more destruction just like the apocalyptic event happened one thousand years ago. If one nation establishes control over the other, this will result in even more conflict. I think this situation represents the possibility of nuclear warfare in the modern world. It also poses the danger of escalation of warfare which can lead to more destruction and loss of millions of innocent lives. The movie also critiques the abuse of technological advancement, especially from Japan as the country mostly benefited from this due to boosting the country’s economy, making the country somewhat forget its traditional roots.

What I can take away from Nausicaä though is that it speaks of pacifism by convincing us to work together instead of destroying each other and the world around us. It is no surprise that the movie talks about taking care of nature, as it forewarns the danger of pollution and other noxious substances that can bring harm to nature. Overall, I found the film interesting to watch.

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.

Hello Oliver,

Thank you for sharing your experiences with attending a convention (or a fandom event)! From what I have read in your blog, I think attending a fandom event looks like a fun thing to do. It allows you to create new relationships and connections with other fandoms and encourage positivity. Good job!

Conventions (and Fandoms)

I have never been to a convention in my entire life, but from what I have seen in the documentary video, it is a place where people can pursue their artistic interests — whether it be cosplay or fanart. I think of a convention as like a meetup of fandoms from different mediums — movies, games, anime, etc. That being said, I never went to a convention but I would love to attend one if I have the time for it. That aside, I did have experience with the fandom concept, and interacted with some fandoms. I will also try to make connections with the “True Otaku” documentary video and how this applies to not just fandom, but also youth culture and cultural identity formation.

As I was watching the “True Otaku” documentary, what stood out to me is when the video showed interviews from different cosplayers and how they talked about how they make these costumes of various fictional characters. For example, one cosplayer talked about how she made her costume out of wax resist (or lack thereof). There is also a family difference on how they perceive cosplayers. Generally, you might convince them to make you participate in a convention, but your parents may think that this cosplaying activity is “weird” to them. Fortunately, one of the interviewed cosplayers said that she has her grandmother help her create the costume because her grandmother is a seamstress. Normally, cosplaying may be appear as a foreign concept for parents to understand. Though it might appear as that, but as long as you explain to them that it is beneficial for the community and for fun, I am sure they will understand.

With that in mind, attending a convention for a specific fandom can somewhat lead to social isolation from the general populace. As I have mentioned, the example would be your parents, because they do not understand the appeal of attending a convention. That can raise some questions especially from the adult population, especially how it pertains to youth culture. Speaking of youth culture, conventions do appeal to this particular culture, as they allow some form of belonging and communication. The appeal of a convention reminds me of Genshiken, where we see an anime club that allows for interaction of people with similar interests. Likewise, conventions encourage a similar concept. For example, Star Wars conventions encourage Star Wars fans to do roleplay with the lightsaber fights. This is one of the examples that create some sort of belonging within the group. Moreover, there are also small anime clubs, which allow for more connections to conventions. As one documentary maker put it, “Anime clubs are like mini conventions that provide fans a place to gather and share their interests.”

As for my experience with fandoms, I do have an experience with them at some point. More specifically, I did observe and occasionally interact with the video game communities every now and then, especially when it comes to video game strategies. For this reason, I am going to use a mobile tower defense game called The Battle Cats. There is a Reddit community dedicated towards this game, and sometimes can be chaotic. There are memes, shitposts, video game screenshots, fanart, and even discussions as help to beat a specific stage. I picked this because it demonstrates both the appeal of youth culture and cultural identity formation within a specific fandom. Cultural identity formation exists as fandom allows for freedom of creativity and personality. Similarly, conventions do that through the form of cosplays, encouraging artistic creativity and personality.

This gif below is an example of an animated fanart from the Battle Cats community.

Overall, fandoms exist because of similar interests and they can be helpful for boosting the media economy. Weird as they are, most people in the fandom are actually nice and welcoming, and can even be helpful to society like making charity foundations in conventions. Thus, fandoms can be seen as a celebration of a specific media form and not a strange thing to avoid.

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?

Hello Ian,

You and I made similar points regarding the themes of isolation in this movie. I love that you also point out Japan’s societal standards regarding collectivism, which I think applies to the Third Impact. However, that is not an ideal society as people are bound to have suffering and pain to grow. I agree with your points about themes of emotional vulnerability, as Shinji desperately wants to be acknowledged due to his fear of isolation.

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