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klevanimeblogs-deactivated20250

Jujutsu Kaisen: Hidden Inventory Arc has a lot of themes to unpack, so let’s get into it. Firstly, there is the commentary on moral conscience and theory, especially pertaining to sorcerers and non sorcerers. We see this in the first episode of the arc, when Satoru and Suguru are playing basketball. The imagery and subtle tones reflect not only their ideologies on the matter but their characterization as well. By then, the two of them are considered the strongest jujutsu sorcerers at Jujutsu High, and arguably within jujutsu society (with the exception of people like Tengen and Yuki Tsukumo). However, neither of them are very obviously stronger than the other.

Given this dynamic, the two balance each other and their ideologies out, with Suguru preaching for the strong protecting the weak as “the proper form a society should take”, and Satoru arguing for the rule of the strong. With the basketball imagery of Satoru’s shots being made flawlessly and Suguru’s shots missing, the audience is not only foreshadowed as to who is stronger, but who would be correct in the end. This is especially interesting given that by the end of the arc, they almost completely switch ideologies, with Suguru wanting to eradicate the weak and Satoru wanting to protect them.

By the end of the arc we also see that Satoru has become the undisputable strongest, which makes Suguru the second strongest, a title that bears heavy upon his shoulders. This leads him to turning against Jujutsu High and becoming evil. This is arguably one of the most important and interesting parts of the arc, when Suguru questions Satoru’s character directly as a result of strength, something Suguru knows very well. Overall, the Jujutsu Kaisen: Hidden Inventory/Premature Death arc has many great themes that it conveys in a variety of ways, through its characters, imagery, direct dialogue on the subjects, and more.

JPT2025Jan

wicckim

Hi @klevanimeblogs,

I really liked the analogy you made about the basketball scene. That wasn’t something I picked up on when I watched it, so it’s really cool that you were able to catch all that symbolism because it definitely adds another layer to their dynamic. I also find the contrast between Geto and Gojo’s ideologies super interesting. While it might seem like Geto was naturally more thoughtful or aligned with the sorcerer’s role at first, I got the sense that he was almost rehearsing his beliefs rather than fully embracing them. That speech he gives about the strong protecting the weak felt more like that's what he says to himself to keep himself disciplined, rather than speaking from a place of real conviction. Like he was reciting something they were learning in school, not something from the heart. So when he finally snapped, I wasn't actually too surprised by it.

As for his descent into hatred toward non-sorcerers, I’m not sure I fully agree that it stemmed from Gojo becoming the strongest. For me, it felt more like Geto started questioning the point of the whole system. Like, if Gojo is powerful enough to protect everyone on his own, then what’s the purpose of the rest of them? That existential doubt seems to have shaken his faith, not just in the Jujutsu world, but in the worth of the people they were supposed to protect. It’s less about resentment of who is strongest or maybe disappointment about not being strong enough, and more about disillusionment with a system that suddenly seemed unnecessary or hollow.

Jujutsu Kaisen- A Shōnen Series is Going to be a Fan Favorite Every-time

Watching Jujutsu Kaisen Season 2, Episodes 1–5 (the “Hidden Inventory” arc), you really start to see the cracks in the so-called grand narrative that the Jujutsu world is built on. At first, Gojo and Geto fully buy into the idea that sorcerers exist to protect non-sorcerers and maintain balance between humans and curses. This worldview reflects modernity as we learned it in class, that is, a belief in order, hierarchy, and a clear distinction between good and evil. But that belief starts to crumble during their mission to protect Riko Amanai. The shocking tragedy of her death, combined with the callousness of the world around them, forces Geto especially to question why they’re upholding a system that sacrifices the few to protect the many, especially when those same "many" fear, reject, or exploit sorcerers. In Geto's perspective, if these non-sorcerer's are the cause of these manifested curses and therefore in need of protection, essentially functioning as the "problem", then would the most logical solution be to get rid of the problem?

This shift marks a move into postmodern disillusionment. Geto no longer sees the Jujutsu system as just or sacred. He begins rationalizing it as a needless sacrifice for the ungrateful and the undeserving, so the role of a sorcerer becomes interpreted as self-sacrificing, inconsistent, and ultimately broken. The lines between hero and villain blur as Geto starts to believe that the only way to “fix” the world is to destroy the current system altogether. I'm not sure if I necessarily agree with Geto's methods, but I do find myself agreeing with his ideology. Sometimes a system can be so corrupt that getting closer to the truest, or most amicable solution, may be to abolish or destroy the constructs of the current system and rebuild it from there. However, his transformation from loyal student to future antagonist isn’t just about ideology, but about losing faith in a narrative that no longer makes sense. Even Gojo, after nearly dying and unlocking his Limitless technique’s full power, begins to act more autonomously, stepping outside the moral boundaries he once respected.

At the same time, these episodes showcase what theorists call force relations, which is shifting power dynamics between individuals, factions, and ideologies. You see this in how different groups interact: the Jujutsu higher-ups prioritize tradition and secrecy, while outsiders like Toji Fushiguro exploit the system’s blind spots for personal gain. Toji’s character is a great example of tactical polyvalence. He presents himself as anti-elitist, mocking the sorcerer clans’ obsession with lineage and power, but he’s also a mercenary who sells his skills to the highest bidder. He criticizes the very world he benefits from, and in doing so, he manipulates multiple systems of meaning such as honor, strength, or freedom to justify his actions.

It was interesting to watch how these theories interlay with one another through the characters' different perspectives and roles. The arc peels back the layers of the Jujutsu world to show how unstable and performative its structures really are, lacking a real solution to the problem at hand but swearing the utmost priority that cannot be questioned is merely in treating the "symptoms" of their problems. What appears to be a stable system of good vs. evil is actually a battleground of clashing ideologies, personal traumas, and shifting alliances. Power isn’t fixed, it’s contested and redefined constantly by the people who wield it. In this sense, Jujutsu Kaisen leans heavily into postmodern themes, using its characters to question not just the world they live in, but the very stories they’ve been told about who they are and what their purpose is.

benny-notes

Akira - Not My Thing

Although Akira get’s super high ratings from critics and fans alike, it’s just not my cup of tea. The visuals were bold and detailed and the animation was phenomenal, but the aesthetic of the dirty, steam punky 1980’s dystopia wasn’t appealing to me. There was lots of blood and gore, so much so that it seemed like the animators were trying to add it to as many frames as possible. Watching the scenes where the Espers were making Tetsuo hallucinate that they were giant toys, and the one where Tetsuo mutates into the giant fleshy monster with fingers coming out of fingers was like a waking nightmare.

That being said, I’ll try to comment on some social ideas that the film tackles. There is definitely some commentary on the ineffectively of government. In the film, social order is hanging on by a thread, with gangs running rampant, high instances of violent crime and mass protesting in the streets. The scene that shows the New Tokyo parliament arguing when Colonel Shikishima requests more funding for Doctor Onishi’s work with the Espers shows how deep the social disorder goes. The politicians cannot seem to agree on their priorities, one pushing to route the funding to social programs, another to the upcoming olympics. Name calling ensues while another politician casts doubt on whether Akira even caused World War III. The Colonel attempts to convince the parliament that the threats are real and quick action is required. Other members accuse the Colonel of corruption. As the disorder goes on one of the politicians is shown dozing off and another quietly sips tea. Frustrated, the Colonel finally storms off. Akira paints a picture of the challenges when there's rule by committee. For someone like the Colonel who values decisive action over deliberation, the slow moving and bickering bureaucracy is a source of frustration. In the context of the film, the scene reads as critique of weak corrupt leadership. Without someone like the Colonel to step in, powerful forces like those being developed in the Espers will get out of control. Instead of bickering over pet ideas, representatives like those in the parliament need to understand and appreciate the threat and support their counterparts, rather than nit-pick. Thus, Akira suggests that in the face of a crisis, those with authority need to unite, otherwise society risks crumbling into anarchy with the worst of the powerful filling in the gaps left over.

wicckim

Hi @benny-notes

I totally get where you’re coming from. Akira is definitely not for everyone. I’m not a huge fan of the cyberpunk aesthetic either, and the intense blood and body horror can be a lot to take in. That toy hallucination scene and Tetsuo’s mutation really do feel like nightmare fuel. That said, I have a lot of respect for the level of craftsmanship in the animation. The techniques used, especially during the more chaotic scenes like Tetsuo’s breakout, are stunning even when the content is disturbing. It actually reminded me of Elfen Lied, which I saw years ago. That show had similar themes: children kept in captivity, psychic abilities and power gone wrong, young subjects bred for experimentation, and an escape scene that was just as bloody and haunting as Tetsuo’s rampage. I wonder if there is a way to discuss or showcase these gruesome themes in a non-violent manner, as any anime I can recall that touches upon these themes usually brings about disturbing imagery with it.

Akira: Transcending Into The Highest State of Being

Katsuhiro Otomo’s Akira (1988) was a rollercoaster of a film to experience, and I can see how it is famous not only for its dystopian narrative but also for its groundbreaking compositing techniques. The compositing in Akira is something prominent throughout the film I had noticed, and I think this film is one of the better examples of using this technique to create distance or depth.

One of the most striking uses of compositing is in the scene where Tetsuo escapes from the government facility. As he storms through sterile, institutional hallways, the layering of security doors, flickering lights, and warping perspectives creates a jarring sense of instability. The background plates move at slightly different speeds than the characters and effects in the foreground, emphasizing Tetsuo’s detachment from reality. The layers blur the lines between subject and environment as he’s not just moving through space, he’s disrupting it, visually echoing his unraveling psyche. This was also especially prominent in the scenes with Kaneda and Kei riding a flying machine through the tunnels of the facility, as compositing techniques were used to show motion, speed, and distance traveling the tunnel system.

Another theme of this film that stuck out to me based on what we've covered in class is the concept of the “Wild Child” as a figure that resists containment. Tetsuo, an orphan and test subject turned god-like monster, breaks down not only physically but also socially. We've discussed that Arai describes the Wild Child as a product of Japan’s economic and educational pressures in the 1990s, where a deviance is reported in development for Japanese youth, thereby embodying alienation and societal failure but most concerningly posing as a threat. Tetsuo fits this mold perfectly, even in the beginning of the film he mentioned to Kaneda that he feels ostracized from the rest of the group due to his small figure, and this in turns brings out more aggressive behavior from him. Following his treatments, Tetsuo becomes abused by institutions, consumed by unchecked power, and ultimately erased in a cataclysm of his own making. Tetsuo is no longer fully himself as he used to be, but is now lost in the chaos that is "Akira", or this transcendence of pushing your psychic power into another state of consciousness. By the end, Tetsuo is completely an entirely new being other than himself.

This brings us to the climactic transformation scene. Here, compositing can be seen again to emphasize the severity and scale of Tetsuo's transformation. Tetsuo’s body expands uncontrollably, with layers of muscle, veins, and machinery animated in grotesque detail. The camera angles swirl, and the background environment bends and shatters around him. The layers here are disorienting by design, meant to show the massiveness of Tetsuo's new form and commenting upon how Tetsuo’s body and identity can no longer be contained by social, physical, or narrative structures. Despite the animation being rather violent, chaotic, and a bit disturbing at times, this film was a fun, wild ride. The animation style of this film was clearly influential, as Kaneda's bike slide become famously known as the "Akira slide", which became an extremely popular animation technique used in many other works of animation since.

wonviiii

Violet Evergarden: Recollections- Blog #26

Goodbye, mental health. I cried so hard, this is not okay, what was that ending, no, what was this!!! The whole movie was so cruel to me. This was so beautifully written yet so soul-crushing, and I feel broken inside, blurry eyes typing this right now. On a different note, this film talks about the consequences of war, not during it but after it has ended, and how it has affected its soldiers, specifically, this story is about Violet Evergarden. Once, known as the “major’s dog,” she had her humanity stripped from her at a very young age, as she was molded into a soldier who only knew how to follow orders. She was considered more machine than human, an emotionless tool of war that obeyed without question and lived solely to serve her superior, Major Gilber, whom she clung to as her sole anchor of feeling. However, following the war, Violet struggles with her purpose. Without orders to follow and without Major Gilbert, she feels hollow and useless and even asks to be discarded. Instead, Claudia Hodgins gives her a job at his company as a letter writer, where she trains to become an Auto Memories Doll. She is precise and efficient, gaining full marks in grammar and typing, yet she does not manage to graduate due to the lack of emotion in her letters, a crucial aspect of letter writing. As the story progresses, she learns what feelings are at the cost of herself. She finally realizes that she has been burning up inside all along due to the horrors she had to commit and the lives she’s taken while mindlessly following orders. She burns in her guilt and self-hatred, even attempting to commit suicide as she questions whether someone like her has the right to live. Cluadia tells her, “You can’t erase the past, although, just know everything you’ve done as an Auto Memories Doll won’t disappear either.” All the letters she’s written that have helped unite people, all the emotions she conveyed, the “I love you” she dearly wished to learn, it can’t be erased; she can redeem herself, of course, she has the right to live. What really got to me was her job at the end, where the sick mother made her write a letter for her daughter’s upcoming birthdays (50 years, 50 letters), since she knew she wouldn’t be there for her anymore. That part just….why!!! Even thinking about it just makes me cry again, it is so touching, and I really loved this film. The power of letters as memory holders, the learning of emotions and love, the concept of redemption, and the depictions of the horror of war were all so beautifully done that it speaks to the heart... and my tears.

wicckim

Hi @wonviiii,

I was actually holding out emotionally during the movie, almost crying but doing my best to hold it back… that is, until the scene with Ann and her mom. That completely got to me. Particularly having to watch Ann beg her mother for more time, knowing she understood her mom was dying and their time was limited together completely broke my heart. After that the water works just came, I was especially impacted too with the scene where Violet is asking Claudia if she has a right to live when she's taken away so many other people's "one day". And that quote from Claudia hit so hard. It’s such a beautiful and forgiving message, especially for people struggling with PTSD, shame, or regret. It’s a reminder that healing is possible and that even after everything, we’re still allowed to move forward. This film really spoke to the heart in a beautiful way.

Violet Evergarden: Recollections- War, Trauma, and Emotional Healing via Letters

Watching Violet Evergarden: Recollections, and the main character Violet's grappling of her emotions behind her traumatic experience, reminds me of the characters we watched in Barefoot Gen and Grave of the Fireflies. Each film gave us three very different lenses into the emotional aftermath of war yet they all tap into a shared experience, showing how people process trauma, especially when it comes from violent, life-altering or world-shattering experiences like war. While each film has its own visual and narrative style, they all focus deeply on memory, grief, and the struggle to move forward. Violet Evergarden: Recollections is a visually stunning film that recaptures those intensely negative emotions from war into something equally intensive, but beautiful and healing instead.

In Violet Evergarden: Recollections, we follow Violet, a former child soldier trying to make sense of life after the war, especially considering she no longer has the guidance of General Gilbert. Eventually coming into her job as an Auto Memory Doll, being someone who writes letters for people who struggle to express their emotions or may not be literate enough to complete the task themselves, she slowly unravels the emotional damages sustained by war and the actions she took during it. By being the liaison for those struggling with the same level of emotional hardship, the process begins to provide healing and support for both her and her clients. Writing these letters forces her to confront her own repressed emotions, especially the pain of losing Major Gilbert, the one person who showed her kindness in the war. The film is a quiet, reflective journey through trauma, not just of Violet’s own, but of others affected by the war. Whether it be fathers, mothers, siblings, or children, Violet is able to connect with those who are all trying to put into words the things they couldn’t say when it mattered most.

In contrast, Barefoot Gen and Grave of the Fireflies show the trauma more immediately and viscerally. Barefoot Gen depicts the horrors of the Hiroshima bombing through the eyes of a child who survives it, while Grave of the Fireflies tells the story of two siblings trying to survive post-bombing Japan. These films show the brutal, physical consequences of war but they also explore emotional wounds: survivor’s guilt, loneliness, and the longing for normalcy.

When thinking about Violet through the lens of David C. Stahl’s work on “Response-ability,” we can see how her growth is about more than just healing herself and coming to terms with her new reality. Her work is about developing the ability to respond to others’ emotional pain with empathy. Stahl talks about “response-ability” as the capacity to witness and ethically respond to the suffering of others, and that’s exactly what Violet does. In the beginning of her journey, she wishes to know the meaning of "I love you", as she functions like an automaton without knowing feelings. By the end, she is not only able to discover those feelings, but feel them on behalf of others. Her work effectively then becomes a way to build human connection in the aftermath of destruction, and in that sense, she becomes not just a survivor of trauma, but someone who helps others carry and articulate theirs.

Altogether, these films show that while war destroys, the human desire to remember, mourn, and connect can slowly help piece things back together. Violet’s journey reminds us that even amid great loss, there’s still room for compassion and understanding if we’re willing to listen and respond.

Hetalia: You Would Not Believe How Huge This Fandom Was in the Late 2000s/Early 2010s

I was in middle school when this anime was in its prime, in fact, this was the largest fandom present at the anime conventions I first went to. This anime was the anime of discussion, the only thing I remember being as big as this on the convention scene was Homestuck that followed some years after. People would be dedicated to role playing their character/country, and I had never understood its popularity then, and still am not sure I quite understand even now after rewatching a bit of the series. It's not my cup of tea (or plate of pasta, I guess).

Watching Hetalia really puts you on a rollercoaster of quirky, sometimes uncomfortable, viewing experience and history lessons presented as anime comedy. It’s an anime that discusses serious topics without taking itself too seriously. The series’ concept heavily relies on personifying entire countries as characters and throwing them into situations ranging from WWII skits to food arguments, which is undeniably creative, but it also walks a tightrope between satire and stereotype. As Annett’s article "World Conflict/World Conference" argues, Hetalia is more than just chaotic nation-boys bickering, but that it’s also a reflection of how fans engage with national identity and historical trauma, sometimes critically, sometimes passively. As someone who experienced the fandom at large in person, it became clear to me that it could be harmful to perpetuate a medium that portrayed off putting stereotypes or maybe even prejudice towards other countries, particularly to outside, objective viewers not familiar with anime. This anime was definitely one that, at the height of its popularity, may have given off the wrong impression on what anime is about and/or what morals anime fans may personally adhere to. I appreciate Hetalia’s ability to make learning history a bit more “fun” by offering a narrative perspective of historical facts and providing a figure to connect with for each nation, but it’s aim to do this did not put the appropriate amount of focus on the problematic undertones associated with the personalities of these characters as these nations.

In these early episodes, we see characters like Italy portrayed as bumbling and helpless, Germany as strict but caring, and Japan as quiet and efficient. These are all exaggerated national stereotypes, and often they're played for laughs. But the article points out that Hetalia doesn’t just mock these stereotypes, it sometimes reinforces them. Watching this in dub was especially problematic, as accents for these countries are over exaggerated and some of the dialects chosen may misrepresent the nation in favor of that stereotype for the sake of comedy. It’s easy to see how people of these cultures could be offended by these representations, especially if the fandom was perpetuating these stereotypes without doing any critical analysis or critical engagement on what they were meant to represent.

So yeah, Hetalia can be problematic. It presents nations as one all-encompassing personality, erasing the internal diversity and complexity of each country. The anime simplifies history, sometimes dangerously, like showing Nazi Germany as a moe character (perceived as cute, innocent or vulnerable which assuredly is not an accurate homage to this time period in history). Despite this, Annett makes a poignant claim to refute how bad this might look to the outsider: the fan community surrounding Hetalia doesn’t just passively accept these portrayals (not most of them, anyway). Fan discourse often discusses what feels offensive or inaccurate, oftentimes creating alternative takes (fanfiction was huge at this time, and often gave people of different backgrounds opportunity to contribute more in their perspective or shed light on otherwise overlooked cultural impacts), and reflect on how they might relate to these caricatures both personally and culturally.

Episodes 1–19, while brief episodes, depict national personalities in silly scenarios but under the tone of humor, and eventually emerge real power dynamics and histories. Especially in the way colonial histories and wartime alliances were represented, these events are brushed over or extremely softened. It enables the viewer to become oddly attached to a character meant to represent an entire nation of people, and with that, comes some complicated feelings toward the messages being represented by the anime. Fans grappled with enjoying a series that relies on national stereotypes and simplifies complex historical events, such as colonialism and World War II. They had to ask themselves how to reconcile their enjoyment with the show’s political and ethical issues, especially when it portrays controversial figures, like Nazi Germany, in a sympathetic light. On a constructive note, these conversations allowed for cross-cultural dialogue, as fans from different backgrounds share perspectives and challenge each other’s assumptions. Annett describes the fanbase as a “fictive collaboration across difference,” where people become more self-aware of their own emotional responses to the anime. I saw this exemplified most when people would role-play their country when they were cosplaying, taking constructive liberties on what a country might do or say based on their emotional contexts or need to maintain historical accuracies.

Your Name: These Characters Traveled Through Time for Each Other and I Can't Get a Text Back

Makoto Shinkai’s Your Name is often celebrated for its emotional storytelling and stunning animation, but in viewing it following Foucault's reading, there are some surprising parallels to this film and themes of power, identity, and the subtle regulation of desire. These guys desired each other so badly that they literally traveled through time and changed timelines, and quite frankly, I'd consider that a power move. They saved the Itomori villagers by meddling with fated events, which was very cool and noble, but neither protagonist gave any thought to how their interference would cause other ripple effects in the world like most time-traveling or dimension altering movies would suggest. The sole focus of the story was in Mitsuha and Taki meeting each other and being with each other on the same plane, and that has got to be the most profound display of desire if I've ever seen it. In the reading, Foucault challenges the idea that power is always top-down and instead argues that power is everywhere, embedded in relationships, discourse, and even the body. Your Name reflects this by exploring how memory and personal agency are experienced and contested by its two protagonists, Taki and Mitsuha.

At its core, the film’s body-swapping premise destabilizes traditional gender roles and expectations. Mitsuha, a teenage girl in rural Japan, and Taki, a teenage boy in Tokyo, find themselves living each other's lives, often awkwardly navigating social norms and personal boundaries. This swap isn't just magical, but a moment where power relations become visible. For instance, Mitsuha’s curiosity and freedom when inhabiting Taki’s male body contrasts with the social expectations that restrict her as a girl in her own town. These restrictions pertaining to the fact that her father is the mayor of her town and she is representative of her family shrine, so she must act responsibly and traditionally in the conservative context of her small village. We see how Taki has grown accustomed to acting without as much restraint, as seen when he takes over Mitsuha's body, her behavior is then described by her friends as being erratic, unhinged, or completely off-color. Their experiences suggest that identity is not fixed, but formed and informed by the micro-power structures like family, school, or friends that uphold these power dynamics. The "power is everywhere" assertion from Foucault is best exemplified by the phenomenon of our surrounding environment providing feedback on what should be considered our normal or typical behaviors, subconsciously molding us into them.

Foucault argues that power operates not by simply repressing sexuality, but by producing knowledge about it. This is accomplished by making people talk, examine, and define it. I wasn't clear how this connected at first because the movie did not go into explicit detail about inheriting one's sexual experience, but it does emphasize themes of embodiment and bodily intimacy. In Your Name, the body swap naturally brings up questions of intimacy, boundaries, and consent, not just in a physically sexual sense, but this sense of personal physical responsibility and autonomy. The concept of the "body keeping score" is a moment where the characters fully realize this sense of connection they share with their bodies especially when they have not inhabited them for some time and return, seen in scenes like Taki waking up crying without knowing why. Taki waking up crying was the result of Mitsuha experiencing a greater emotional range while occupying his form, and in experiencing this in Taki's body, Taki has now unlocked this greater emotional capacity as he undergoes his experiences. This mirrors Foucault’s idea that power is most effective when it is internalized and made “normal" to the user's regular experience. These small acts reflect how power works not through overt control over the body necessarily, but through everyday interactions and internalized norms.

Finally, Your Name shows how resistance can exist within these same power networks. Foucault writes that “where there is power, there is resistance,” and the characters’ attempts to remember, to communicate across time, and to defy fate can be read as acts of resistance. They don’t just accept the roles given to them, they push back, even when the system (or the universe) tries to erase their connection. This sense of power through sexuality explained by Foucault is shown in the film not in an overtly sexual manner, but through the themes of personal intimacy, autonomy, and bodily connection, so it is fitting that it also fits this sense of "desire" (normally explained as lust in a purely sexual context) and the powers derived from that. The sheer willpower exercised by both of these characters following their desire to connect with one another is also symbolic of the intimate "becoming one", or "union of two souls" or "intertwined soul" concept. This is especially emphasized by the braided cords seen throughout the film and the explanation of intertwined timelines given by the grandma to explain their significance. This portion of the film adheres to Foucault's assertions of power being everywhere as well, implying that there is even this universal force outside of our comprehension that can work with or against this ability to manifest upon interpersonal desires into our reality.

ianjapanblog

Hetalia

If you’ve ever wondered what it would be like if countries had personalities, wore cute outfits, and argued like siblings at a holiday dinner—Hetalia: Axis Powers is your answer. On the surface, it’s a wild, comedic take on world history where nations like Italy, Germany, Japan, and America are personified into characters with over-the-top traits. But underneath all the absurd humor, Hetalia actually taps into some surprisingly thoughtful conversations about nationalism, cultural stereotypes, and global history—especially from a Japanese perspective.

For Japan, Hetalia becomes a form of soft reflection. The character Japan is reserved, polite, and often emotionally distant—mirroring real-world cultural norms around stoicism and collectivism. The show gently pokes fun at these characteristics, offering a self-aware look at how Japan sees itself and how it thinks the world sees it. It's not a deep political analysis, but it is a safe way to bring up sensitive topics—like war, imperialism, and international relationships—without making anyone feel attacked. That’s pretty rare in anime.

Globally, Hetalia taps into shared cultural quirks and historical rivalries in a way that makes people laugh while still recognizing the weight behind them. The show doesn’t shy away from WWII or the Cold War—it just delivers them through satire. That approach opens up dialogue. It encourages viewers from around the world to reflect on their own country’s role in history without the usual defensiveness. It also shows how silly and human a lot of international conflict can be.

Is Hetalia politically correct? Absolutely not. But maybe that’s the point. It exposes how countries carry historical baggage and national pride, often to comedic extremes. And in doing so, it creates space to talk about things—colonialism, global tension, cultural bias—that still matter today. Just with a wink, a laugh, and some pasta-loving Italy in the mix.

wicckim

Hi @ianjapanblog, Totally agree that it's rare to see historical events portrayed in a way that doesn’t make people feel attacked, but I can't say that doesn’t automatically mean it's harmless commentary. Sometimes that soft approach can unintentionally downplay just how serious or painful some of those events were. I do think Hetalia does a good job of highlighting the silliness and absurdity that often underlies political conflicts which something that can really only be perceived as harmless once we're well past the wounds of those events. I also really enjoy how the fandom has sort of taken ownership of the anime through fan fiction and reinterpretations, expanding on the characters and personalities in their own ways. It’s a great example of the kind of fan parodies and transformative works we talked about in the Genshiken module, where fans reshape a work to fit their own creative narratives and community engagement.

etanimeclass

Various Thoughts on Your Name

Before I get into my viewing of the film, I want to talk about my history with it. It’s nowhere near as personal as my relationship with A Silent Voice, but I’ve watched this film long before this class. Back then I was a 12-year-old boy, and now I’m a 20-year-old woman, so really, I’m excited to see how my perspective has changed over the years. The movie’s got quite a bit of gender-bending shenanigans, which in hindsight very well might have drawn closeted kid me to the movie.

Oh my goodness, I forgot how much I loved this movie’s soundtrack. Also, I never noticed how weird it is that this only ever theatrically released movie has a standard anime opening.

Why’d she have to specify a Tokyo boy, Huh?

…I say as a joke, but I can tie this movie into our gender performance unit as well. Not much, but I do believe that this movie is an example of crossing the gender barrier being acceptable only within a comedic or theatrical context. It’s a cute gender-bending romance story (and its really good at being that) but it’s not a queer story by any means.

The friend groups in this movie are to die for, they’re so precious.

It’s hard to give strong commentary because I just enjoy this movie. It’s a great comfort watch!

Though earlier I declared the film as being distinctly not about being genderqueer, the moment of them both crying at the disconnect to the life in their dreams makes me think about quite a bit. Though it wasn’t in the assigned watching (nor was it covered in the anime adaptation actually), Wandering Son has a plot about a cross-dressing play for their class. Obviously Nitori and Yoshino have a lot of dreams pent up about living as the other gender and the play gave them a time to unabashedly live as their genuine selves. While I wouldn’t argue one bit that either of Your Name’s leads suffer from gender dysphoria, having a version of yourself be so restricted hurts anyone to the core.

Not at all winning the subtlety competition with that big ARCITECTURE posture are you, Shinkai?

ORANGE GAMECUBE! AND A DREAMCAST TOO! Haha! I love these systems!

If I had an “I told you so” moment this good I wouldn’t let anyone forget it.

I apologize for this blog post being so unfocused (definitely living up to the “Various Thoughts on” title I’ve been using), but the movie is truly masterful in its production and its very obvious to see why it was such a blockbuster. It was fun to watch for sure, and quite fun to re-watch with 8 years more perspective.

wicckim

Hey @etanimeclass,

Your commentary here was deeply personal and I appreciate you being open enough to share that with us in the class. Honestly, I was a bit oblivious to the impact of the gender swapping between Mitsuha and Taki even though it was obvious at times, what with the chest-grabbing scenes and non-masculine dialect interaction with Taki's friends. Initially watching it, I more so focused on the intense anxiety I would have being in a completely unfamiliar place, not knowing anything and having to think on your feet, and didn't realize how much the gender element would further complicate that experience. Your recognition of the disconnect both of the characters feel from the bodies in their dreams to the characters of Wandering Son getting to live as their genuine selves in the play was insightful, and it gave me a new perspective on the limitations from body dysmorphia these types of things can cause. Thanks for sharing!

cherryblossomcinephile

Xenoblade Chronicles 2: Where Fantasy Reflects Reality

While I generally comment on film and television shows, this week, I will be commenting on the cutscenes of the game Xenoblade Chronicles 2.

*WARNING: SPOILERS AHEAD*

Released for the Nintendo Switch in 2017, Xenoblade Chronicles 2 is a role playing game (RPG) but its far more than just a video game. If you pay close attention to the cutscenes, its a story that weaves existing issues into its narrative. These themes include survival, limited resources, and political conspiracy which can resonate with players all over the world.

Xenoblade Chronicles 2 takes place in a place called Alrest. It is a world beneath a sea of clouds where humans live on top of creatures called Titans and each one of these titans holds a specific civilization. As the titans face decline, the available land habitable by humans decreases which leads to conflict over resources. This can reflect Japan’s challenges with limited resources as well as other areas of the world struggling with issues such as food insecurity and limited health resources.

This game also explores the complexity of international political relations through the portrayal of the nations Mor Ardain & Uraya which are headed towards war because of territorial conflicts. Mor Ardain is headed towards depletion of their resources and they seek to expand into neighboring territories which leads to conflict with Uraya. This parallels real world tensions reflecting the balance of power as well as the impact of expansion.

Xenoblade Chronicles 2 also looks into themes such as the nature of humanity as well as the pursuit of a brighter future. Drivers and Blades interactions prompt one to reflect on human relationships as well as societal structures. Rex and Pyra’s bond highlights dependence and understanding emphasizing the importance of alliance despite diversity.

This game incorporates religious and philosophical undertones as well which is something I did not expect. The concept of the Architect and hearing it being called “The Divine” draws a parallel to a theological narrative. While it does not align with any particular existing religions, the Architect could signify a higher being while Elysium could signify divine paradise. This invites players to think about the topics of creation, purpose, and destiny. These themes resonate globally across all cultures as existentialism is something that many question.

While Xenoblade Chronicles 2 seems like a fantastic, fun filled game, it serves as a critique that reflects issues that impact people worldwide. Through the depth of the storytelling in addition to the graphics, this game makes players think about much more than just beating the game; it makes players think about things such as resource management (aka take only what you need), the meaning of human existence, and the complexities of politics. By interlocking real issues within the realm of a video game, it acts as a platform to bring a call to action.

wicckim

Hi @cherryblossomcinephile, great post! I agree that Xenoblade Chronicles 2 really is more than just a game when you delve deep into it's story-telling elements. You highlighted how it tackles survival, resource scarcity, and political conflict through the world of Alrest, and while it was mentioned in our cutscenes, I didn't realize how much this impacted their society until towards the end. I was especially drawn to the deeper themes, like Klaus’ mission to build a more progressive, “perfected” humanity. The way the game blends philosophical and theological questions with real-world parallels, like using Blades' as a means to an end for human needs and wiping their memories clean takes away their sense of autonomy, and makes me think of how the human race in real-world applications will sometimes abuse power dynamics in a similar way. I especially liked how toward the end the game questions what we experience in our lifetimes is influenced by our control and the relationships we choose to have, or if it's all left up to fate. It’s wild how these themes were packed into a game, and I'm definitely considering playing it fully someday.

animeblogforclasswooooo

Nausicaä

Going into this movie, I had no idea of what to expect. Needless to say, I was blown away and enjoyed the movie a lot. I was very happy by the visuals of the movie and I was surprised that Hayao Miyazaki had directed this movie. The reason being that I had never heard of it before. The big critique that this movie had was about how humanity is destroying the world with pollution. However, I was surprised that the civilization was destroyed not by bombs, but by giant beings. I believe it was pushed in this direction because the giant beings, although made by machines, were mostly organic. Moreover, they also add to the pollution of the world in how they die. They turn into stone like beings, unable to ever give nutrients back to the soil. Thus, ending the cycle of how everything returns to mother earth. I believe that there was an importance placed this organic property. This could tie into how the old world was destroyed by organic beings and the new world also suffers similarly. This also ties into the critique in how humanity is now destroying the new world. Humanity doing this by trying to destroy the toxic jungle. This jungle being the saving grace of the world in how it cleans the soil. This was shown in how Nausicaä grows the plants with good soil and water. The plants are no longer toxic towards animals and living beings. When watching this movie, I noticed a lot of similarities with how Nausicaä treated the Ohmu and how a Native American treated a buffalo. I felt like there were a lot of similarities there. This could be Miyazaki's way of telling the audience that the only way to heal the earth is to respect animals much like our older cultures did. It was very interesting to see this similarity between these two cultures.

wicckim

Hi @animeblogforclasswooooo,

I also had no idea what to expect from this movie, since I hadn’t seen it before either, though I did know Hayao Miyazaki was involved in the project. Your analysis shed new light on the impact of the giant warriors, as I hadn’t considered that their bodies, once destroyed, were rendered useless to the soil and Earth. That really contrasts with the usefulness we see in the Ohm’s shell early in the film, and it suggests the importance of organic life being able to return to and nourish the Earth in a sustainable cycle.

It does make me wonder, though, what exactly are the giant beings made of? We see one "growing" in an egg-like chamber, suggesting it is organic, and when it’s "born," it quickly degrades into a slime-like substance and leaves behind bones. That ending left me questioning what caused the warrior’s short lifespan and what that was meant to represent.

Lastly, I thought your comparison between how Nausicaä treated the Ohm and how Native Americans treated the buffalo was really insightful. I also noticed that Nausicaä and the people of the Valley of the Wind lived in a way that reminded me of early indigenous cultures as they were more in tune with nature and its cycles.

Xenoblade Chronicles 2- Oh Yeah, It's All Coming Together

In Xenoblade Chronicles 2, the struggle between humanity and nature is intricately explored through its rich narrative, especially in cutscenes like The Hubris of Mankind, The Creator’s Memories, and The Blades’ Life-Cycle. These moments echo ideas from our reading that challenge us to question the mechanistic view of nature as something to be controlled or transcended. Instead, it calls for a more holistic, romantic view that recognizes the interdependence of all life using metaphorical elements like the Titans and Blades. The world of Alrest reflects this same themes of fragility between the survival of the human race against our damages to the natural environment we see in reality, as humanity lives on the backs of Titans, a fragile balance born from past catastrophe and kept alive by the Blades, who are living beings treated as tools despite their clear emotional depth.

The character Klaus, who is creator of this new world, embodies hubris for humankind and the progress for humankind. His character serves as a representation of "God", often referred to at the "Architect", responsible for the construction of the world in this universe and all the systems that support it. I noticed that this concept of the "Architect", or one sole proprietor of how the world and all within it will function, mirrors Gendo Ikari of Neon Genesis Evangelion, who seeks to erase the pain of human separation by forcing all life into one consciousness. Both characters have this belief that they have discovered the true and only way for humankind to develop past their shortcomings on the path to ultimate evolution, and act on these desires despite the fact that they, too, are human, and come with great oversights to their vision. Klaus’s own regrets are felt in The Last Gift, where he acknowledges his arrogance in trying to “solve” the human condition. Both he and Gendo represent a scientific rationalism that oversteps ethical and spiritual bounds, ultimately devaluing individual lives for the sake of some imagined utopia that is never realized once carried out.

The article critiques this same mentality, emphasizing that nature should not be instrumentalized or reduced to a system of control, and the lifeforms existing within that natural environment should be not be exercised as tools or means to an end. Instead, deep ecology proposes a shift in values, recognizing that all beings, even nonhuman ones, have intrinsic worth. This shift is reflected in Rex’s journey, seen first in From A Boy and the Sea to Reaching Elysium, he grows from someone chasing an idealized paradise to someone who learns the value of coexisting with others, especially the Blades, who live and die through human decisions, is the key to this paradise. In A Better Bargain? and Stand With Me One More Time!, Rex’s choices represent a move away from domination of the Blades toward mutual flourishing and equal partnership, aligning with the ecological ethic the article advocates.

Malos, meanwhile, is the shadow side of this dilemma. His nihilism toward this greater message that Rex tries to convey to him at the end stems from being created for destruction, or moreover, that he represents what happens when consciousness is stripped of choice. Malos does not believe his existence is capable of free will, surrendering his autonomy to this idea that his existence is greater than himself, and that it must serve a purpose regardless of the morality behind what is being carried out. This is not unlike Asuka from Evangelion, whose fierce pride and hegemonic masculinity remain unhealed because she too has been shaped to fulfill a narrative not of her choosing. In both characters, we see the tragic consequences of determinism. Their personalities, in the end, do not change, because their existence has been defined by roles, not by relationships. As I was reflecting on how Logos has not shifted the reality of his existence under this belief, it made me wonder if this idea of "fate" and specific roles that people are meant to play while they are alive is more or less natural than people finding or redefining their sense of purpose as they go through life, like Pneuma.

Xenoblade Chronicles 2 shows that salvation doesn’t lie in transcending nature, but in embracing it. In Rexsurrection, The Fields of Elysium, and At the Endpoint, hope is found not in the artificial perfection Klaus once pursued, but in the imperfect, messy coexistence between humans, Blades, and Titans. Like the article argues, the way forward isn’t conquest, it's communion, which was also similarly represented in Nausicaä of the Valley of the Wind.

Nausicaä of the Valley of the Wind- Personally I'd Hang Out with the Ohms Before I'd Hang Out with the Tolmekians

Studio Ghibli’s Nausicaä of the Valley of the Wind is a powerful film that critiques industrialism while advocating for a deeper, more spiritual relationship with nature. At the heart of this film is Nausicaä, a character whose reverence for all life, especially the Ohm and insects of the jungle, sets her apart from others. While most characters see the toxic jungle and its creatures as dangerous enemies that must be eliminated to support their own survival, Nausicaä understands that nature isn’t inherently hostile. We see this as early as the opening scenes, where she tames an "enraged" Ohm with nothing but a charm and flash grenades, akin to metaphorically using words in a fist fight and still winning that fist fight without lifting a finger. Nausicaä sees that the insects are not offensive in terms of inevitable destruction, but rather, they're responding to the damage done by humanity centuries before. Her compassion and curiosity lead her to discover that the jungle is actually working to cleanse the earth by filtering out the toxic soil and water left behind by a war-torn, industrialized old world.

Nausicaä’s attitude toward the Ohm reflects a pantheistic worldview, one where all life is sacred and interconnected, in my opinion. She doesn't see herself as above nature, but instead she is a part of it, which is a major departure from the dominant mindset in the film, especially among the Tolmekians. Her deep empathy and understanding of the ecosystem reminds me of how many Indigenous civilizations once lived in harmony with the natural world. These cultures were often dismissed as “primitive” by industrialized societies, even though their knowledge systems were rooted in sustainability and mutual respect with the environment. It's interesting to consider that the practice of environmental mutualism leads to higher rates of longevity of those civilizations, but is still so heavily disregarded by the other nations, especially considering that this need for mechanized development and centralizing human-need above all other things is the very reason the world has come to be as it exists in the film.

The people of the Valley of the Wind also embody this harmony. They use renewable wind energy to power their homes and machines, and they harvest resources mindfully, like reusing the shells of dead Ohm rather than harming living creatures. This is in stark contrast to the Tolmekians, whose worldview is rooted in dominance and technology to secure power over others, believing that nature's usefulness is in serving human purposes, and otherwise if not, if harmful and must be destroyed. Kushana and her followers embody this attitude, relying on force and destruction to control the natural world. We see this attitude extended in callousness toward the civilians of the valley during their "unification" of forces, which looks more like a hostage situation, as the attitude towards them from the soldiers is that they are primitive or superstitious, not be taken seriously. Kushana's insistence on using the God Warrior to dominate the jungle mirrors real-world global superpowers, like the U.S., that often turn to weapons and military dominance to maintain control rather than seeking cooperation or diplomacy.

Then there’s the Pejitians, who seem caught in the middle. In my opinion, they reflect the position of many nations today, as they are aware of environmental crises but unsure how to respond, often manipulated by more powerful forces. Their leaders make decisions based on immediate threats or sometimes personal biases or political indifferences, even if those choices aren’t in line with what the people themselves believe. It’s interesting that many Pejitians saw Nausicaä as a savior, helping her escape, even while their leadership opposed her.

Ultimately, Nausicaä presents a vision of nature with its own agency, suggesting that the Ohm's are intelligent, reactive, and even judgmental. This comes up in many instances when the Ohm's are "assessing" the people, "seeing the shape of their hearts". The Ohm don’t just protect the jungle out if animalistic instinct, they act almost as a force of nature's will. Nausicaä’s self-sacrifice at the end symbolizes the need for humanity to repent from its destructive path and adopt a new way of living, one of coexistence, humility, and harmony with the natural living world.

the-ultimate-blogforum

Convention Post

I have been to quite a few conventions, sometimes in cosplay, but my most recent was MegaCon in Orlando. Personally, I love the escapism that conventions offer- being surrounded by hundreds of people with similar interests is both comforting and exciting, though at times it can be overwhelming as well. As someone who is big on merchandise, the sheer amount of it can drive me into a state of paralysis with no idea where to go next. Of course, MegaCon is known to be one of the larger conventions, and not every convention is so grand in size. Despite the initial shock, my experience was overall lots of fun, and while this time around I didn’t go in cosplay I was able to appreciate plenty of outstanding cosplays around me. Cosplay in general is huge at MegaCon, with specific group meetings for cosplayers within a certain fandom and also cosplay competitions, which often have a panel of judges along with a general audience. It’s a lot of fun to see people come together to not only bond over their similar interests, but to actively participate in it- whether it's in panels, cosplay, or interactions with each other. Some people get really into character, and that can also be a blast to watch. All in all, bonding through fandom can be quite validating, especially for young people who may not always feel understood in other aspects of their life.

For many people, including myself, conventions are a place where you can be anyone you want. There is such a mix of different ideas and cultures, so you are bound to find something you like, or even discover something new. Overall the environment is very welcoming, and you are free to try on different identities, to experiment with aspects of yourself that you may feel you are unable to in everyday life. The confidence that many cosplayers exude is a clear example of this in action. Of course, this isn’t restricted to any one group of people. People of all ages and walks of life attend conventions, which is another fun aspect of it. No matter how young or old you are, you can enjoy what fandom has to offer. There is also a wide variety of gender expressions, sexualities, and cultural identities. Plenty of people express these identities through art or other forms of creative expression that they can then share with other convention goers.

Of course, going back to the merchandise I mentioned previously, conventions are definitely heavily commercialized. There is an entire floor dedicated to merchandise, although I do think it’s a good opportunity for lesser known artists/entrepreneurs to get recognition for their work and bond with people who are genuinely interested in what they offer. Conventions simultaneously serve as a space for fans to connect and create, as well as a space for people to market their products. Fans ultimately shape these spaces, subverting commercialized media by producing their own works that often serve as a commentary on, or reinterpretation of, mainstream content.

One thing I would also like to comment on is the celebrity panels. While I didn’t go to any panels at Megacon, I did attend one for Ella Purnell in Supercon. The excitement in the audience was palpable, and everyone’s energy seemed to bounce off each other. There was lots of clapping, and occasionally someone would yell out a witty remark that had everyone laughing. Celebrity panels are an awesome way to connect with the stars who play a pivotal role in shaping media franchises. The opportunity to hear directly from actors or creators is not one you get often, and at larger conventions there are often several panels, allowing you freedom to create your own schedule of where to go next.

All in all, conventions serve as a great intersection between fandom, youth culture, and cultural identity formation. I am looking forward to the next one!

wicckim

Hi, @the-ultimate-blogforum, I was hooked as soon as you said you love the escapism conventions can offer. I completely relate to this, as my first experience with conventions came at a point in my life where I was not enjoying my pre-teen/teen experience. Your post really captures the spirit of what makes conventions so special to me, I completely agree that they’re an incredible blend of community, identity, and creativity. And I also did feel extremely overwhelmed by it at first, and I do still have some reservations about attending again, only because I know some communities have become so large that you would have to be devoted to a particular anime to comfortably share those spaces. I especially liked your point about trying on different aspects of yourself that might not always feel safe to express in everyday life. That freedom is so empowering. I’ve been to several anime conventions before moving to Florida, and reading about your MegaCon experience has definitely inspired me to check it out! I haven’t had a chance to go to any conventions down here yet, but MegaCon sounds like an amazing one to start with.

Convention Blog Post- My Kind of Place

Attending anime conventions has been one of the most affirming experiences of my life, especially when viewed through the lens of postmodern culture and fandom. These gatherings offered me not only a sense of belonging but also a unique way to explore identity, self-expression, and community outside of conventional norms. As someone who attended conventions at a younger age, I was initially timid. Many other attendees were older, more confident, and already embedded in fan culture. Yet, I was amazed by the diverse age range present, from solo adults to entire families with young children. Despite age gaps, we shared something profound: a mutual love for anime and manga. That shared passion created a level playing field where conversations sparked easily and friendships formed naturally.

What struck me most was how quickly I felt understood. Behaviors that felt niche or even strange in my everyday life, like fan fiction writing or role-playing, were not only accepted, but celebrated. These conventions were spaces of open admiration, vulnerability, and creativity. They allowed me to safely indulge in fantasies I had previously kept private. In a postmodern sense, anime conventions deconstruct traditional boundaries between reality and fantasy, authenticity and performance. These events gave me permission to be silly, expressive, and deeply immersed in a shared cultural language of memes, references, and fandom-specific jokes.

Cosplay played a central role in this journey. Wearing a costume wasn’t just dressing up, it was a homage and exploration rolled into one. My favorite cosplay was Ronald Knox from Black Butler, and participating as him, especially alongside friends who cosplayed as Grell and William, was one of my most treasured memories. We felt seen, appreciated, and part of something larger, especially when we joined the Black Butler cosplay group photo at Another Anime Convention (AAC). That experience made me feel genuinely important and admired in a way I rarely experienced in my day-to-day life.

Cosplay also gave me a unique outlet to explore gender fluidity. Presenting as a male character was thrilling and freeing, particularly because I could do so within the accepted bounds of a beloved character. In the postmodern blending of identities, cosplaying allowed me to inhabit and perform multiple selves. It's still me, but also someone new. It wasn’t just about hiding behind a character but expressing a version of myself I hadn’t yet felt safe to show on my own. The ability to "match" my friends, to become part of a cohesive group, gave me a sense of inclusion that echoed throughout my teenage years.

This creative exploration didn’t stop at cosplay. The Artist’s Alley became another key part of my convention experience. It wasn’t just a marketplace, it was a microcosm of participatory culture, where fans produced and consumed each other's work. This felt uniquely postmodern: artists remixing existing properties into collectibles, hand-made goods like stickers, charms, and art prints. I felt like I was purchasing a piece of someone else’s love for a series, and it inspired me to one day contribute my own creations. Anime Boston had the largest Artist’s Alley I’d ever seen where tables upon tables were filled with everything from gunpla to keychains to obscure fan art from niche titles. Being there made me want to make things, too. The blurred line between consumer and creator was exciting as we were all participants in building the culture together.

Panels and events added another layer. I attended voice actor panels, language workshops, and even lectures on Japanese art and history. In one standout moment, I attended a panel with the voice actor for Joey from Yu-Gi-Oh present, where the audience broke into a meme version of “Brooklyn Rage” to the tune of Lady Gaga’s "Poker Face." It was surreal, hilarious, and completely unrepeatable. It's truly one of those deeply shared cultural moments that could only be understood if you were there. That’s the magic of fandom in real time.

Anime conventions as a whole embody what Henry Jenkins describes as "convergence culture", where media producers and consumers interact in a shared cultural space, blurring traditional lines of authority and ownership. They’re a key part of postmodern fan identity that's participatory, decentralized, ironic, sincere, and self-aware. Conventions allow us to remix identities, reimagine stories, and reclaim space in a world where sincerity and play are often undervalued.

Even though I haven’t been able to cosplay in recent years due to time constraints, the impact of those experiences continues to shape me. I found lifelong friends, explored parts of myself I didn’t know I could express, and gained confidence in my creativity. Anime conventions taught me that fandom isn’t just consumption, but it’s about community, identity, and belonging. And in the spirit of postmodern culture, it’s about reimagining the world not as it is, but as it could be.

etanimeclass

Various thoughts on The End of Evangelion

…I wasn’t prepared for this to be the first scene of the movie.

I also didn’t really put the pieces together that the movie begins right after the original episode 24. After having lost Kaworu, he’s turned to begging for help from Asuka. In a way, he has given up on his own version of masculinity because of what Kaworu meant to him. Kaworu was the first person to accept him, but showed himself to be non-human, and thus an unachievable ideal. Shinji’s oddness is proven to be unacceptable to man, so he turns back to an avatar of strong masculinity, Asuka, to guide him as he must be unable to guide himself.

As the lowest of low points, his hand signals his new commitment to despair.

You aren’t the Rei we know.

Oh, it’s okay. Welcome Rei III, we love you too.

Unrelated, but women in Evangelion seem to be always subservient even long after death. Eva units 1 and 2 are both animated by the deceased souls of Shinji and Asuka’s mothers. The Magi System is at least in part Ritsuko’s mother, and Rei is used by Gendo as nothing more than a means to reunite with Yui.

In the invasion of NERV, Shinji was useless as he’s completely incapable of participating in Violent masculinity. Despite it being his only option, it backfired every single time. He’s caught between the impossible ideal offered by Kaworu and the reality forced upon him.

Hey, girl.

The postmortal women of Evangelion are violent without shame, brutal and honest. Both in the Eva units going berserk and the final apocalypse coalescing in a body resembling Rei does the series of Evangelion make an argument for femininity as the truest form of humanity. This critiques not just its current form, but rather the very existence of a differentiated “masculinity.”

THANATOS -IF I CAN’T BE YOURS-, the mid credits song, has a lot to say. What I’ve noted the most during this viewing is the contrast between the content and the song. I believe that the song reflects Shinji’s mental state by going into questions of self-love and judging oneself via your relationship to others. These apathetic lyrics and underscored by an almost romantic jazzy tune. This comes from what Misato did to Shinji. She attempted to manipulate his current view towards romance through a sexually intimate kiss. The body was activated, as shown through the tone of the music, but the mind couldn’t move on, as shown by the lyrics.

I also really really love this song. Normal Thanatos is also quite special.

Shinji and Asuka’s gendered role reversal continues long into the third impact. This scene brings to mind images of domestic abuse though Asuka takes the role of the violent and typically masculine abuser here.

He takes his revenge on the gendered society that hurts him. Komm, Susser Tod starts playing here (“come, sweet death” in German). I’ve always interpreted the song as belonging to Gendo and describes his motivations. But the title is German, and it starts with this moment. I wonder if it’s Asuka’s words to Shinji, though I’d argue it’s more a conversation expressing remorse over their shared lack of understanding.

I thought that I could live for no one else But now, through all the hurt and pain It’s time for me to respect The ones you love mean more than anything

wicckim

Hey @etanimeclass, this was an impressive and insightful post! I really appreciate how deeply you unpacked The End of Evangelion and how honest you were with your reactions. The way you connected Shinji’s collapse to losing Kaworu and then turning to Asuka as a last resort was something I noticed as well, and I connected these events to Shinji turning into a self-fulfilling prophecy. It's kind of the experience of trying to avoid your problems so hard, you become a problem. It’s like he’s completely given up on trying to define himself and just wants to fit into something easy, something that already exists and is well received by others.

Your connection to Thanatos –If I Can’t Be Yours is very interesting. The way it’s haunting as it represents a horrific scene but having meaningful lyrics matches the total emotional disconnect going on in that moment. In this instance I would think the anime is trying to make commentary on the negative aspects of hegemonic masculinity, as with Asuka's inability to accept Shinji, being a representation of those traits.

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