Kyle's Class Blog 11・5・14

[lazurievans]

Perfect Blue

The best way to describe my experience with Perfect Blue was unsettling. There was not a moment in the film in which I felt at ease or comfortable watching the screen. Especially in the second half, the movie felt as though I was viewing the world through another’s eyes and psyche. I can’t say I particularly enjoyed the film, though that may have been my general aversion to the topic and the movie in general.

The film seemed to address the line between reality and performance, where the main character Mima begins to have trouble differentiating between the two. The stress of her new work was multiplied by both the public and her coworkers aspirations for her to succeed, and we see her take every chance she can get in order to do so. Starting her acting career with an individual stalking her added significant stress to her daily life, which seems to in turn amplify her desire to perform her role to her absolute best. Her mental state begins to fog events of the television drama and her reality into one reality after her filmed rape scene, and she begins to no longer be able to distinguish between real life, her dreams, and the script. The addition of her manager Rumi being in league with her stalker and believing she is the “real” Mima, Mima looses track of what actions were actually hers. This dilemma presents itself in the modern world quite frequently with the ease of impersonating others online, where one can craft a narrative with another’s identity which could have adverse effects on the victim’s day to day life. In the movie these effects were worsened by Mima’s already fragile mental state and drove her into a state of delirium, confusing, and fear. Her inability to determine what actions were actually based in reality and performed by her was lost, and thus all of her illusions “became real”.

[no-11514]

I appreciate how you list out all of the things that build up Mima’s stress.  While the level of insanity shown in the movie isn’t something that we can really imagine experiencing, we’re at least able to understand how she reached that point.  

[no-11514]

Perfect Blue

Holy shit, what a trip that was.  Nothing surprised me more than the final reveal; I’d been waiting for what felt like forever for Mima to be confronted by her stalker, and the narrative felt pretty straightforward, almost tedious, up until that point. But the reveal of Rumi as the true mastermind, what a satisfying twist. The motive, the means, the intimate knowledge of Mima’s life, everything that had been hiding in plain sight came together.  Despite the happy ending that we’re given, I imagine that being betrayed by the one she trusted most was even more mentally damaging than the trauma of her stalker.

I want to touch on the work cultures of both Mima’s talent agency and the drama studio.  When Mima agrees to work that she doesn’t want to take, she mentions how she doesn’t want to burden those who have helped grow her career.  While possibly not a terrible attitude on its own, this is often used against her by her manager and others.  When they want her to do something, they’ll use the same rhetoric in a way that insinuates she’s being greedy if she doesn’t agree.  Similarly, in the one scene from the drama recording that Mima kept messing up, the main actress would make comments such as “I’m going to get a cold in this rain,” and “I’m going to have nightmares from this line.”  She too is manipulating Mima into feeling guilty, suggesting that her failures are burdensome.  This treatment from her coworkers and peers worsened her feelings of isolation and confusion.  It’s possible that her inability to make important decisions without being pressured by others initiated her loss of self.

There’s certainly something to be said about the strange nature of idol fandom.  While idols hold events and produce media for fans to consume, the idol itself is as much of a product as their music is.  Fandoms focused on an individual can exist with many types of celebrities, but the notable difference with idols is the standard that they can be held to.  Perfect Blue presents how idols need to presented as pure, and that their lives can be combed through and judged without empathy.  While I’m not sure how representative of or prevalent in the idol industry this type focus on an idol’s life is, how the movie presents it is, once again, strange.

[lazurievans]

Death Parade

I went into Death Parade with relatively low expectations, and ended up with a significantly better experience than I was expecting. I watched the entire season in one sitting this weekend, and upon the ending was feeling relatively underwhelmed and rather confused on multiple aspects of the show. It’s ambiguity and lack of a solution or stance at the end caught me off guard. 24 hours allowed time for me to ponder various aspects of the show, and I found much more meaning, mostly self-assigned, in the various different themes explored in the show.

Death Parade presents us with a simple format - People play a game that induces extreme emotions, they are judged by an emotionless third party, and then sentenced to a fate. This simplicity throughout the show is continually abstracted as we learn more about the system and said third party Arbiters through their decision making, and we begin to question the system itself. This show seems to encourage this individual explanation of the system it portrays. It does not offer any absolutes, we don’t know if the void or reincarnation are “good” or “bad”, we are unaware of the entirety of the contestant’s lives, We know not if the games outcomes are truly preordained, and we know absolutely nothing as to how or why the system has come to be the way it is.Death Parade allows the viewer to explain these things and glean meaning from them, while providing a single change in the system as a matter of perspective - that of emotion. We are presented with different Arbiters making different decisions based on similar scenarios, some seemingly of no comprehensible reason. Chiyuki is brought into the mix to add a differing perspective on these judgments and provoke the viewer into considering multiple perspectives.

While it is certainly hard to get all of my thoughts out into a concise post, the majority of things addressed in the show can be tied back to the concept of judgement - as the series states. Judgments in this “purgatory” are made based on memories that are considered important, chosen by those who share the same emotionless attributes as the Arbiters. Thus the Arbiters are given curated memories that they must use in tandem with provoking individuals to drastic mental states in order to determine whether they are fit for reincarnation or the void. Chiyuki and Nona are aware of the fallacies this presents, and the fact that human actions can be entirely contradictory to their intentions. Taking things at pure face value as we see in the first two episodes results in judgments that do not purely reflect on the intentions of those receiving them. Conversely holding emotions and intention above actions also causes inaccurate judgement - as in the case of the TV idol in an episode that was not assigned. So where is the line drawn? Can it be drawn by a third party, and what gives them this authority? Just like the series, I have no answer to these problems, they lie on a similar plane to that of the question of what gives life meaning. This also leads into the results of the judgments. Is reincarnation always a good thing, or is it a gateway to those who regret their past actions and wish to try again? The void surrounds you with your negative thoughts and regrets of your life for eternity. Does that not mean one with no regrets would desire the void over reincarnation? It all boils down into a mass of existential questions that cannot be answered the same for everyone, and is truly a matter of their own individual “judgement”.

[no-11514]

So where is the line drawn? Can it be drawn by a third party, and what gives them this authority? Just like the series, I have no answer to these problems

In the series, the line doesn’t really matter because the arbiter can decide to reincarnate or dispose of the deceased however he sees fit.  While Nona is a bureaucratic overseer of sorts, the series never really presents a higher power that forces the arbiter to seek the truth, or create the best possible judgement.  The setting is so vague and distant from any conventional religious beliefs, or reality, that the question of how to properly judge others doesn’t really translate well.  In few situations are people forced to judge others and then take life-changing actions based on that judgement.  And for institutions that do, such as courts, there is an extensive legal code that spells out how we draw that line and when actions have to be considered above intent.  One could certainly question the authority of these institutions, but I don’t think Death Parade is attempting to do that.  Thus, it feels like the series created a moral quandary that doesn’t have any connection to real life.

[no-11514]

My Exploration of “Death Parade”

I really did not understand this series, and it frustrates me to admit this.  From the beginning we are presented with this system of purgatory and judgement, where individuals are either reincarnated or destroyed depending on the conclusions of an arbiter.  In the case of Decim, the arbiter is someone who seemingly lacks empathy and a basic understanding of what might be motivating those whose souls he has control over. 

Is the anime parodying the religious concepts of purgatory and judgement?  It certainly seems to be painting them in a negative light, as if they are unfair and unreasonable.  And yet, to my knowledge, the setting itself doesn’t mimic any specific religion.  Thus the series comes off as being critical of it’s own made up system, to what point I don’t really get.  

Is the series a commentary on our own human tendency to judge others without all of the context, or a lack of empathy?  If so, I think this is a very agreeable message and especially prevalent in a time where cancel culture runs rampant through social media.  However, I’m not sure how profound it really is.  At least for myself, I’m very aware that I make decisions or perceive others based off conjecture, which can be unfair sometimes.  We live in a world where we have imperfect information, so it’s almost unproductive to suggest that one shouldn’t judge others without absolute confirmation that their perception is valid.

But then again, Death Parade doesn’t seem intent on doing more than presenting debates and letting the audience pick a side.  There could very well be an argument made within the show that opposes everything from my previous paragraph.  And therein lies my frustration.  For me, the series does little more than create a setting in which the games transpire, and present morally gray characters.  And yet, the actions and morality of the characters doesn’t always matter in the face of their judgement, which sometimes feels arbitrary.  What am I supposed to take from this, that people don’t always get the lives that they deserve?  That peoples’ lives are inconsequential from the perspective of an unrelated outsider?  If the anime serves no purpose other than for the viewer to draw their own message from it, then I’m not sure if there’s any value in it for me.

[lazurievans]

Violet Evergarden

I watched Violet Evergarden closer to when it was released, and enjoyed both the beauty of the show itself, as well as the moments that effortlessly were able to spark an emotional reaction. The show revolves around Violet herself, yet also tells the stories of those she interacts with, paralleling well with her job of writing down the feelings and thoughts of those that cannot. Two of the biggest reoccurring themes in the series are those of loss and love, and they intertwine with one another in most of the stories that Violet is involved with, including her own. Violet’s primary challenge is working past the loss of her commander Gilbert, and learning the meaning of what others call “love”. The show addresses multiple different perspectives of those dealing with loss, and in the episodes we watched we see two of these perspectives; one that has evolved into acceptance, and one that is preparatory in nature. In the special, we see two individuals who have faced their grief many times and have acknowledged the truth. They have come to understand the necessity of pushing onward through life while cherishing the memories with those they have lost. Violet has yet to overcome this particular barrier, as she repeatedly shows her yearning for the commander. Through the events that transpire in the series she has certainly grown closer towards overcoming this, as we see with her inability to take her own life. The second perspective we see in episode 10 is more preparatory, with an ill mother having Violet write letters for her daughter to be delivered after her passing. She is taking steps to assist in mitigating the grief her child will have to face, and help her cherish the positive members with her mother. As a result of this preparation her child feels distant and at fault for what afflicts her mother, causing further stress for the already paining mother, who is not so much concerned for her life as she is for that of her daughter. She suffers grief herself from the knowledge she will be the reason her daughter faces it later, and sees her only method of mending something that is yet to happen is by arranging the framework to help her daughter cherish her affection for years to come. I think this along with the previous perception highlights the message “Violet Evergarden” tries to get across; that life continues on, and that one must cherish the past while continuing to experience the good times that lie ahead.

[no-11514]

I really like how you mention and discuss the recurring themes of the series.  I took away a similar message in that the show attempts to portray the necessity of appreciating past moments of happiness and relationship, while still being able to continue to live and function after they disappear.

[no-11514]

Finding Purpose and “Violet Evergarden”

tgBecause of the comments my classmates and random people online have made, I’ve chosen to not skip to the later episodes assigned for this lecture.  I’ve built up certain expectations for this series because of all of the hype surrounding it, and I’d rather get the full experience (which I currently just don’t have the time for).  Thus, I’m going to focus on the first episode and share what my main takeaways from it are.

I have always greatly appreciated narratives that focus on characters who are brought up to fight in wars from a young age.  It’s often coupled with these characters struggling to develop emotions typical of someone their age, and typically touches on difficulties with romance.  When Violet makes her grand profession at the end of the first episode, it isn’t simply that she wishes to understand love.  Her general lack of empathy and understanding of others causes her to lack purpose.  This is typical of stories that portray the effects of PTSD, but it is especially saddening because of Violet’s young age.  While the loss of her commanding officer is what she defines as her loss of purpose, war itself and the justifications for it motivate people.  It’s very easy for us the viewers to understand how dedicating yourself so wholeheartedly to something can destroy you once it is lost.  The irony that arises from this is that, in general, the end of a war is perceived as a good thing for those residing in the country that has won it.  And yet, for Violet, dedicating and subsequently sacrificing herself to the war leaves her feeling lost once it’s over.  While nations may devise grand narratives to justify the war, Violet and likely many others were driven by personal motives over all else.  

I quickly want to gush about the premise of Violet’s job as a doll.  The idea that many individuals would be unable to read and write in an industrial world is a very reasonable, and having Violet write for them exposes her to many different lives, experiences and emotions.  

[lazurievans]

Sensōron

As I read this manga, I continually related the tone of the mangaka to that of which I observe when I read through a conspiracy theory. Sensōron was certainly written with an intent to persuade, and the arguments and evidence presented in the work certainly make it seem more than a simple conspiracy, yet it still comes off as quite biased and relatively insensitive considering the topics it addresses.

Going into this assignment we were aware that this text was conservative, yet one would still be able to quickly determine this by the opening argument that seems to imply support for a more nationalistic viewpoint, and disdain for more individually driven shift in attitude. Something I also thought was of note was that large amounts of “physical” evidence is thrown at us under the argument that given the different descriptions and dates assigned to photographs, they can be determined to be false. This approach relies on the presence of information in order to make the argument, which allows information that does not support the approach the mangaka is taking to be easily left out in order to maintain the integrity of his points. I think this approach is interesting as it is one of the methods in which he argues against, which to say would be the lack of evidence rendering a point irrelevant. He argues that testamonials cannot be used as evidence and only physical evidence can suffice, but also proves the malleability of physical evidence when recorded in history through his examples of photography.

I think a work such as this has much more allure to those that are less knowledgeable about the specifics of certain events, where an alternate narrative can be installed through the use of selected evidence and persuasive writing. Kobayashi addresses the idea of sensationalism in the work, especially in regards to the use of provoking imagery as a device for persuasion, yet a work written in this manner, especially in pairing with the particularly exaggerated expressions used in the comedic kit portions, is utilizing sensationalism in its own sense to gain traction and attention for a particular viewpoint that is less represented, yet easily disproved.

[no-11514]

I think you make a very good point about creating alternative narratives.  For those reading his work, he presents himself as someone who is knowledgeable.  Thus, by only including evidence that fits his narrative and disproving certain things that challenge his narrative, his narrative appears to be substantiated and trustworthy.  What the reader doesn’t know is how much he excludes, or when he may have given a false account or description of events himself.  

[no-11514]

Political Narratives in “Sensoron”

While I found the discussion of doctored and misattributed photos to be interesting, the author discredited himself in my eyes with the first 10 or so pages of the work.  His perception of his peers transcends cynicism and enters the realm of conspiracy, while all the while sounding rather pretentious.  This work can be described as a combination of grand generalizations and internal inconsistencies.

The author criticizes other Japanese for pursuing individualism, and expresses that he believes this is the fault of foreign/global propaganda.  While it is well known that America had a large influence over post-WW2 Japan as a result of their extended occupation and influence on the new constitution, he reduces the Japanese public to these unthinking masses, describing them as brainwashed.  While it’s somewhat insulting to suggest that there is no personal desire, or that these people have no autonomy, it’s also somewhat laughable that we’re supposed to believe that his characterization is completely accurate and fair.  For someone who obsesses over the details of individual photographs, he certainly doesn’t attempt to substantiate this portrayal beyond “this is how it is” phrasing.  It also reminded me of the academic article we read that was critical of generalizing Japan as collectivist, and more generally the application of constraining terminology onto complex societies.  The way in which the author describes individualism and the loss of collectivism, it’s as if he buys into that very same narrative.  

What I found to be possibly the most strange was the denial of the existence of the “comfort women,” and his outright rejection of testimonial as a form of evidence.  He makes an extended metaphor to suggest that anyone can make an emotional plea, and that criminal courts require harder evidence to convict the accused.  I found this to be a poor comparison, because much of history cannot be constructed on much more than testimonial, through both written and oral works.  Historical narratives can absolutely be constructed through the collection and comparison of testimonials; even if there is no “harder” evidence, independent individuals can corroborate each other by giving consistent tellings of events.  I agree that individuals can be politically motivated, but the author was very willing to quickly move on from those who didn’t validate his narrative (and likely excluded many works that would disprove him).  

[lazurievans]

Your Name

Your Name is a movie that received a stellar reception on its release, and is often lauded for it’s beautiful art and animation, as well as the atmospheric soundtrack that seems to amplify every emotional moment experienced. The movie contrasts two relatively different ways of living and the individuals that live in these environments; as well as the supernatural connection they share.

I think Your Name provides an interesting commentary on tradition and religion, as not only is it a focus of Mitsuha’s life, but it is also given actual form through the events of the story, at least in the explanations that the characters come to. We learn relatively early on the traditions that Mitsuha’s town follows lost their original meaning and purpose many years prior, yet they are still practiced diligently, while tidbits of knowledge give meaning to certain parts of their customs, such as their braided cords and the location in which they bring the sake. There is also the character of Mitsuha’s father, who has left the family tradition in order to pursue politics and develop their town, which in turn would bring more modernization and cause tradition and older ways of thinking to diminish. Here the lack of purpose, and in the case of Mitsuha’s father the loss of belief, is causing more individuals to move away from these older ways of thinking. The events of the film then come around and begin to assign purpose yet again to these older traditions. The dreams of Mitsuha’s family are given their reason for existence and the tales her grandmother speaks of are shown as reality. What I find most interesting about this is that this occurs due to the growing beliefs of a boy in the very core of modern Japan: Tokyo. Not unlike how time is rendered obsolete through Taki and Mitsuha’s connection, the film shows that despite the level of progression of modern society, tradition can (and will) still maintain a presence in society. The arbitrator of the events of the film is never given form, in fact the closest assumption we can make is that the events are simply a part of nature itself - supported by both the comet and the secluded tree where Taki and Mitsuha are able to meet at half-light. We see that even the scientists cannot fully predict the actions of the comet, and thus the explanation is handed over to religion and tradition, which are often used to give a sense of rhyme and reason to the unknown. It seems the movie tries to acknowledge tradition as a valid way of knowing, whilst giving it reverence and placing it on equal footing with modernization and quantitative knowledge.

[no-11514]

I agree that the movie intends to communicate the importance of belief, and how tradition is placed on the same platform as modernization.  I found that they’re likely trying to emphasize the differences, while not putting down one lifestyle versus the other.

[no-11514]

“Your Name”

 Whenever I watch Your Name, I always find it interesting how the two lead characters struggle with swapping genders.  Beyond the obvious physical differences that lead to some awkwardness, they have difficulty with how men and women speak differently.  Japanese is a very gendered language, from the differences in self-referential pronouns to the way in which they express aizuchi.  The most obvious example from the movie is when Mitsuha is looked at strangely by Taki’s friends when she uses watashi.  This made me reflect back on the Performative Acts scholarly article that we read, and think about the role of language in gender identity.  When someone is expected to speak a certain way as an adult depending on their gender, it may be somewhat restrictive on those that don’t find themselves to be the same gender as their sex at birth.  

There is also a focus on traditional culture and religion with Mitsuha’s relatives.  The comparison of her background with Taki’s urban lifestyle appears to be just for the sake of contrast, rather than to present one as superior or more desirable (in the way that Wolf Children) did.  The contrast is certainly effective, and it’s really interesting how individuals in the same country under the same laws can live in completely different environments.  There is, however, a large difference in the focus given to each of the two leads’ families.  Taki’s father is given little attention throughout the first half hour of the movie, whereas several of Mitsuha’s relatives take on major roles.  While this is likely the result of the creator’s desire to focus on the “musubi” stuff and saving Mitsuha’s village, but I still find it notable for the focus on more materialistic aspects of Taki’s life that supplants familial interaction.  Taki is able to work part time to earn money, and spends time going out with friends after school to cafes and such.  Nonetheless, despite their different lifestyles and environments, both were able to look upon the same sky.

[lazurievans]

Hetalia Axis Powers

This series had some rather amusing comedy, which certainly benefited from the forged connections to historical events and figures, yet the comedy also revolved around repeatedly utilizing the same character tropes in the form of stereotypes for the personified countries.

The stereotypes in this show are humorous to me, and often call upon trends in the history of a country or the notable actions they have taken in the past, but also encroach on grounds that may be more offensive to those that identify with certain nationalities. While I am sure we all know that Italy has more merit than simply being a consumer of pasta and having weak militaristic action in the past, Italians or others could feel insulted by this overly simplistic and surface level comedic take, and this goes for every character in the series. The article we read speaks about “moe” and how repeated characteristics are what attaches oneself to a character, thus in addition to the unique visual traits each character has, it is understandable that this stereotype might be utilized as an interesting take on a moe element, similar to personality archetypes such as “tsundere” or “kuudere”. 

These stereotypes serve their primary role of comedic value rather well, yet it interesting to consider the nature from which they originate from. As I mentioned, the personalities of the characters often come from the perceived attitudes that countries took in past events, and are simply generalized to a large degree based on what is most recognizable to those moderately informed in world history. We see with some countries, most notably Germany and Japan, that some of their more negative attributes are omitted, where countries such as Italy are almost entirely based off of the negative portions of their history. The article mentioned how large groups of people took offense to certain portrayals of their nation, most notably Korea, yet if the show was based of the perceptions of a different groups view of world history it might offend others. This had me contemplate whether there was bias by the creators that perceived their point of view of world history as they were taught, or if it was arbitrary assignment in order to facilitate the flow of comedy in the show.

[no-11514]

I think you identify the key part of the controversy surrounding the stereotypes used in the series, which is whether or not they are reflective of certain biases that the author has.  It’s impossible for us to know if the portrayal of these countries had to do with their own perception, or if it was purely for the purpose of confidence.  The question that then arises is whether or not it matters if there was intent, because it was taken negatively by certain viewers regardless.  

[no-11514]

Stereotyping and “Hetalia”

After discussing my impressions with a friend for a bit, I can’t much better describe the work than to call it strange.  On the one hand there are allusions to a plethora of historical events, that at their core are portrayed faithfully.  On the other hand, the personified countries themselves are extremely simplistic, only being characterized by the most surface level of stereotypes.  The mix of these two elements was confusing for me, and at times I was unsure if the series was a parody of these stereotypes, or simply another victim of them.

While the version in Japanese is relatively dependent on these stereotypes as the basis of its humor, I wonder if the dichotomy of Italy and Japan’s characterizations to be reflective of certain Japanese post-war attitudes that some citizens might still harbor.  Italy is shown to be incompetent, unfaithful and militarily weak.  While this is somewhat in line with their small impact in WW2 and changing of sides in 1943, my issue arises with how Japan is contrasted with them.  Aloof and yet subservient, Japan is shown to be both loyal to their allies, and somewhat distanced from them.  To me, this communicated the sentiment that Japan wasn’t responsible for the war and the events that took place in Europe, while also being more refined and upstanding in nature.  This paints a more positive and idealized Japan, and hints at none of the more gruesome parts of their history.  It felt almost unfair to rag on the incompetence of Italy without acknowledging the militaristic and totalitarian policies expansionism that took place throughout the 1930s.

From the assigned article, I most appreciated the discussion of community in the context of anime fandom.  The conflict between older and newer fans is one that I see on an almost daily basis on certain forums, along with a general distaste for newer members.  It’s an interesting conundrum, where one wants to preserve the culture and mutual understandings of their community, while seeing their beloved works of fiction become more widely appreciated and well regarded.

[no-11514]

Fandom, Materialism, Defining「Otaku」and the Documentary “True Otaku”

Having the documentary be produced and narrated by people involved in the convention scene made it feel casual and easy to consume.  I’d have probably enjoyed the perspective of an outsider looking in, but it was nonetheless a fun mixture of footage and interviews.  The I found the portion of cosplay to be insightful as to what people get out of it emotionally, and reaffirmed that I never want to attempt to create my own.   The two things I focused on while watching were the definitions of “otaku” and the significance of fandom.  

As someone viewing this documentary a decade after its production, my first takeaway was that the usage of “otaku” feels rather strange.  While I’ve certainly seen it be used in person and throughout online forums, I’ve never liked the idea of applying it to myself.  It feels somewhat weird to take a derogatory word from another language and to localize it with a separate meaning, but I also acknowledge the irony of this in light of how many lone words are used in everyday Japanese vernacular.  Personally, I much prefer the term “weeb.”  Despite its similarly negative original connotation, and rather interesting etymology, the fact that its creation stems from online users rather than the general public makes it feel more natural, along with its Western rather than Japanese origins.  Tangent aside, I found the journalist who was interviewed to have the most practical take on the term.  To summarize her comment on using the word “otaku,” she suggested that because of it’s foreign origin and lack of an official definition, individuals from within the fandom have the right to make of it what they wish.  While I personally dislike the use of the term, my opinion has no bearing on others as they have the ability to find value in it.   “Otaku” serves both as a shared descriptor to unite people of shared interests, and to give a label to said interests that these people derive cultural capital from.  

The aforementioned cultural capital has a plethora of benefits that are displayed in the documentary.  This includes the formation of interpersonal relationships and the experience of fulfillment from one’s interests and passions.  One thought that arose during the latter half of this video was a hypothetical question in regards to fandom.  Several interviewees mentioned how these conventions were an important and positive part of their lives, and I couldn’t help but wonder if these same individuals would find fulfillment in a different fandom had they never been exposed to “otaku” culture.  More concisely, is cultural capital something that can be acquired in so many ways that, if not for the first source, one would always find another?  Is fandom more about the passion and devotion rather than the object of focus itself?  I’d personally like to believe that one’s proclivities lead them to specific fandoms more so than circumstances.  Sadly, I’d likely need Laplace’s Demon levels of omnipotence to actually come to a conclusion of any confidence.  Thus, like with the definition of “otaku,” the value of my fandom is but for me to decide.

Finally, I want to address materialism in the “otaku” fandom.  As someone who has been to SwampCon previously, one of my favorite experiences has been repeatedly passing through the vender hall.   Collecting is obviously not exclusive to a single fandom, but I find it curious that it’s so prevalent in a medium whose selling point (animation) cannot be mimicked in any other form.  This relates back to our discussions of derivative works, but also just the general nature of what fandom can be.  When you purchase and display these kinds of goods, they become an ever present part of your surroundings.  Every morning I wake up and see the various parts of my collections, and thus the fandom is a part of my daily thoughts.  In a sense, materialism in this case is not just a pursuit of the physical but also a reinforcement of the more spiritual and emotional parts of fandom.  In this paragraph that I had started off with the intention of forming a negative conclusion, I have instead found a rather satisfying way of rationalizing my collection.  

[elliekimono]

Wandering Son

With today’s anime, we see the role of gender identity on people who don’t fit with the one society expects for them. We see a struggle of people attempting to be their true selves in a judgemental society. Like the article, gender isn’t determined by birth unlike sex is. This is evident with the transgender characters in the anime, as gender is clearly not linked with the borned sex. Although both characters struggle with their social identity and gender identity, there is a difference in their struggles. Perhaps because of the feminist movements to challenge social norms, it is much more acceptable that Yoshino and Chizuru go to school dressed as a guy than when Shuichi goes to school dressed as a girl. Yoshino and Chizuru are complimented as looking cool perhaps because others see it as a move to remove social norms and empower females. However, Shuichi doesn’t have this movement to cover their change, and people and students make fun of him, believing that its a shallow desire to wear clothes or be a pervert. This is an example of how although females struggle with constricting societal expectations, males are not exempt from this fact as they are constricted in different ways. We also people misinterpreting or not understanding the complexity or totality of people identifying differently. Both Doi and Anna act differently once Shuichi decides to dress in a girl uniform and come out to society unanonymously. Previously, they don’t seem to realize what truly changing the way they identify to society means, and although they initially were accepting before, after the fact they have a hard time dealing with it.

[no-11514]

I’ve had trouble identifying what caused the double standard treatment of the students that chose to cross-dress at school, and I think you come up with a very reasonable justification.  Social movements are a great way to make certain things more acceptable, and Nidori’s lack of any kind of ideological background leaves him isolated.  I think another possible reason may be that clothes that men typically wear aren’t typically exclusively worn by men.  While school uniforms are specifically gendered, it’s not at all out of the social norm for women to wear pants, polos, t-shirts etc.  Skirts, however, are considered exclusively women’s clothes and aren’t seen as normal for men to wear.  Thus, one situation may be interpreted as wearing the opposite gender’s uniform to garner attention, while the other is doing something that transcends social norms entirely.

[no-11514]

Double Standards in “Hourou Musuko”

Every time I watch this series, I find it ironic and somewhat sad when Nidori falls victim to a double standard against the gender that he doesn’t even want to be.  His sister often makes statements along the lines of “a boy shouldn’t...,” and it’s reflective of how casually and unconsciously gender roles can affect relationships and conversations.  In general, Hourou Musuko does an incredible job of expressing its characters’ emotions through sound and animation.  Early on in the semester a claim was made that limited animation fails to communicate the narrative without exposition, and yet this is clear evidence to the contrary.  Instead of saying she’s upset or making sounds of frustration, Takatsuki visibly pounds her fists and throws her bag (in a rather typically masculine way).  

Going back to the most unfair of double standards, we see how Nidori dressing up as a girl creates far more turmoil than Sasahina ever could.  Only his actions garnered a response from the adults, who made him leave school because of how disruptive it was.  This is the moment that I find most interesting in the series, as it is the one instance that leaves me genuinely confused.  There are gay characters and characters that wish to transition, but from my perspective these things have long since become accepted, and don’t feel out of place.  Cross-dressing is something that could be similarly inconspicuous for the person doing it when they’re around strangers, but in the setting of a middle school it’s obviously out of place.  While we are meant to empathize with Nidori’s struggle, or possibly feel bad for him, but I wonder if he acted in poor judgement.  He likely knew that he would be ousted by his peers, and while I wouldn’t suggest that he should reject this part of himself, I think the “Koe no Katachi” route of finding happiness would’ve been most advisable.  Nidori has a group who encourage and support him, along with Yuki who serves as a prime example of someone who was bullied by others but found acceptance.  It’s certainly not ideal, but I really feel like he experienced unnecessary hardship.

Finally, I hope that nobody judges the older sister too harshly without reflecting on how angsty they might have been at the time.

[lazurievans]

Aggretsuko

Watching this show reminded me a lot of The Office  but if it were more closely followed on a single characters struggle, mainly due to the shows’ expertise at managing to use typical office tropes to great comedic effect. While the show is a comedy, and quite a funny one at that, it portrays situations in the workplace that are so common that they are relatable, despite the overwhelmingly negative characteristics that form them.

The first episode of Aggretsuko introduces us to a lot of the colorful characters we see repeatedly, as well as the stereotypes they represent in the office environment. We very quickly see multiple examples of Retsuko’s split personality between her home life and office life, as well as the various additional challenges her and her female coworkers face due to their gender. The article we read talks about how ones expected behavior can be closely tied to their gender, and how in different contexts acting out these expected behaviors can be expected of your gender. In these episodes we see Retsuko conceal her outlet of death metal, which can be considered distinctively unladylike, and carry out actions that would be expected of a woman such as fetching tea for her supervisor. In the workplace we see a false version of Retsuko that acts out the created role of her gender in the office to maintain the order and stability of the workplace. As the show progresses we see glimpses of how the other female workers are often doing the same, and are aware of their “performative act” that they uphold in the workplace.

This workplace acting can be seen in a larger context than just gender as well, which we see when Retsuko begins to interact with her coworkers outside of the office. They quickly attempt to break each others charades down in an attempt to see their true personality outside of the stifling workplace. As the article says in regards to gender, continuing to perform an act outside of its context often leads to much different emotions and outside opinions than simply assuming a different act or behavioral pattern. We see Retsuko realize this with Gori and Washimi, yet also find that Anai struggling to maintain a proper act in either situation. In society we see different acts in every type of social interaction, where people alter their behavior to more easily conform to the requirements and desires of the context they are interacting in. What become most important however, is finding the situations and people in which certain acts can be used, or perhaps when they can be dropped entirely so that one can be their truest self

[no-11514]

A lot of different blogs have made mention to this idea that the women have a false persona that only exists to maintain structure in the workplace.  While I’d agree that they likely would act more casually if they weren’t forced into a certain role, I’m not sure if I’d go as far as to suggest that it’s completely fake.  Simply by being able to take on this role to sustain oneself must be reflective of some part of their personalities, as not everyone is capable to work in such a restrictive environment.

[no-11514]

Career Selection and “Aggretsuko”

Aggretsuko highlights different criticisms of workplace culture in Japan, from the strict hierarchy to the long, sometimes unreasonable work hours and almost obligatory social events.  I want to specifically look at what Retsuko desires from her job, and the implications of this.  

It’s mentioned early on that Retsuko hopes to get married so that she can quit her job as a regular accountant, which suggests she wants to either become a mother or take on a less demanding line of work.  In this case, emphasis is placed on the fact that she currently has a “normal” office job.  Many people her age like her, and as her boss likes to remind her, many remain in that role for their entire careers, climbing up the hierarchy.  I believe that the creator intentionally chose accounting because of how secure of a line of work it is.  In the US, many accounting students get their degrees and then join one of the four major accounting firms.  The message that I took away from the show is that there are negatives that come with this security.  In a line of work where many perform similar, repetitive tasks, it can be hard to find value in one’s work.  These similar tasks can make it hard for employees to stick out from one another.  Essentially, the work itself may be part of what causes this career path to wear down on Retsuko and her coworkers.  Ton-buchou stringently believes that those who will take on his role will become as cold-hearted and jaded as he is, because they will have had to endure decades of this line of work like he has.  

While Aggretsuko is clearly attempting to appeal to viewers of this lifestyle, and possibly encourage the push for reforming workplace culture, I believe that one could also take away that this is a criticism of choosing a safe career path.  While one’s desired line of work might be riskier or less lucrative, it may still be a better choice than something that is personally unfulfilling.  Anecdotally, I’ve never heard someone who was passionate about accounting.  While fulfillment can certainly be found outside of work, I sincerely hope that I’m able to do something that I enjoy spending 8+ hours a day on once I finish college.