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@wonviiii I liked your comments about the ingroup-outgroup dynamics that were debated in these episodes. The sorcerers has special knowledge of the supernatural that ordinary people didn't. The best of them used their abilities to help others, but the plot comments on how it could be difficult to keep this up. I think this is a relevant debate with connections to real life - How much help should you give before it's enabling bad behavior? Great post!

Jujutsu Kaisen- Blog #26

YAY! Honestly, I'm really hyped to see Jujutsu Kaisen made it on the list as I’m a big fan, especially of this arc, because of the character dynamics displayed. Specifically, the complete switch of ideologies between Geto and Gojo makes this arc so intriguing to analyze. In the beginning, Gojo is incredibly arrogant as he believes his status as the strongest absolves him from any responsibility and wonders why he should save the weak due to how exhausting it is. However, Geto disagrees as he believes that jujutsu sorcery exists to protect non-jujutsu sorcerers. Despite this, as the series progresses, they exchange these ideologies completely. Gojo begins to carry the true weight of his power and chooses to protect others exactly because he’s the strongest. On the other hand, Geto can no longer believe in non-sorcerers due to having witnessed the ugliness of the masses over and over and over until he broke, especially present during the village scene, where two young sorcerers' sisters are deemed as monsters, accused of murder. After killing 112 villagers in a moment of rage, he ultimately decides to create a world of only jujutsu sorcerers; in other words, he declares to wipe out all non-sorcerers completely. In this shift, the weak, whom he once saw as admirable for their perseverance despite needing protection, are now seen as undeserving, cruel, and the direct cause of the cursed energy encompassing their world. On a more globally relevant perspective, the show does comment on the exploitation of youth. Jujutsu sorcerers, no matter how young, are seen as disposable tools thrown into battle without regard for their lives, as their sacrifices are all for the “greater good.” Even the strongest, Gojo, and the most unassuming, Geto, suffer from this cycle of trauma and exploitation, showing how no one is truly safe. I especially really like Gojo’s quote regarding this, “But apparently it's not good enough for just me to be strong. The only ones I can save are those who are already ready to be saved by another.” He is caught in a system that weaponizes their existence until it breaks them apart…All in all, the Gojo and Geto break-up arc is too sad :(

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Belief and Critical Thought in Jujutsu Kaisen

Episodes 25-29 of Jujustu Kaisen were a lot of fun to watch. They were action filled and set in a universe where the supernatural is real. Amidst all the excitement, the episodes made some great commentary about belief and the way that people engage with the supernatural.

One thing that stood out to me was the way that the jujutsu sorcerers interacted with cursed energy vs. the way that the Time Vessel Association, a religious cult, did. For the sorcerers, cursed energy is like another natural force, something that follows rules, can be studied, and with practice, put to use. For example, Gojo’s infinity technique is explained as an application of a mathematical infinite series. It is magic, but it’s properties can be known, quantified and manipulated through careful study and discipline.

The cult on the other hand, engages with the same supernatural world through faith. Their beliefs are based on prophecy and charismatic leadership instead of critical thought. They don’t try to master cursed energy, they only believe. The Time Vesel Association is willing to kill for their cause, carrying out assassinations to try to fit events to their prophecies. This element of the show reminds me of the Aum Shinrikyo cult and their subway attack which killed 13 people in March of 1995. It’s important to mention that the jujutsu sorcerers also resort to violence for their cause, even killing other humans. Their approach is differentiated by its basis in critical evaluation and deep reflection in the morality of their actions and the cost that they have on society.

I think it’s really interesting that Jujustu Kaisen doesn’t condemn a belief in the supernatural, but shows that it can be engaged with in a way that doesn’t betray critical thought. In our world, supernatural beliefs are not in the realm of testability, but they are in Jujustu Kaisen. Even so, cults based on fundamental ideologies and the appeal of charismatic leaders emerge. This part of the show suggests that critical thinking, including understanding common pitfalls in logic, is essential for avoiding fundamental, cult ideologies.

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@stephst Great post! I hadn't thought about this as a commentary for Japan as a society working to process emotions and depart from a militaristic, rigid social structure. That's an insightful take.

That last paragraph has my curiosity peaked. If you have a minute would you mind replying with the source for the Sara Ahmed piece that discusses emotions as being socially shaped by events and and relationships? It sounds like a fascinating idea and I'd like to learn more about it.

VIOLET EVERGARDEN

Violet Evergarden is a story that cuts deep. Set in a world that’s just emerged from a devastating war, it centers on Violet, a young girl who was once a soldier and is now trying to find out who she is without a uniform or orders. She becomes an Auto Memory Doll—someone who writes letters for people who can’t find the words themselves. Through this job, Violet starts to connect with others and slowly, painfully, begins to understand her own emotions.

What struck me most is how this anime handles the long shadows left by war—not just on nations, but on individual people. Japan has a complex history with militarization and emotional expression, and Violet’s journey reflects that struggle. She’s trained to follow commands, to suppress all feeling, and when that structure disappears, she’s left adrift. This isn’t just a Japanese issue; it resonates globally, especially in places where people return from war, abuse, or loss and don’t know how to live as anything but survivors.

Personally, I found parts of Violet’s emotional journey painfully relatable. There have been moments in my own life where I’ve felt disconnected, like I was going through the motions but not really feeling anything. Watching Violet try to figure out what “I love you” means hit hard. It reminded me that healing isn’t linear. It’s awkward and slow and sometimes doesn’t look like healing at all.

The anime also ties in beautifully with some of the emotional theories that I'm exploring for my essay, like Sara Ahmed’s idea that emotions are not just personal—they’re social, shaped by history and relationships. Violet is learning not just how to feel, but how to belong. And in doing so, she helps others heal too. That’s what makes this story so moving—it’s about learning to be human, one letter at a time.

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Violet Evergarden: Recollections - A Progressive Message in a Conservative Costume

Violet Evergarden: Recollections was aesthetically beautiful. I was especially impressed by the architecture and the landscapes that form the films backgrounds. The skill and attention to detail by these animators is awe inspiring. The way that light and shadows are used is sophisticated and adds extra drama and feeling to nearly every scene. The story in unique in itself and is set in a mixed genre universe, somewhat of a steampunk Downton Abbey giving the film a distinct and memorable atmosphere.

The film makes some interesting comments on gender performance. It largely upholds traditional gender roles, but in a sophisticated way. The main character Violet is a young delicate looking woman who was raised to be a soldier in the Great War. Her physical appearance is 100% the opposite of what traditionally would be expected of a soldier, especially in a setting that visually evokes the early 1900’s. Despite this, she proves to be a capable and effective warrior.

When the war ends, Violet is expected to adopt a role more traditionally aligned with her gender. She learn to become an Auto Memory Doll, a scribe who helps people accurately convey emotions in letters to their friends and loved ones. Initially, Violet excels at the technical aspect of her new vocation, but fails to be able to translate the spoken ides of her clients into emotional prose. After practice she learns to overcome this and ends up excelling at a this aspect of her career as well, better matching the traditional notion that women are better able to convey emotion than men.

Although the film ends with Violet embracing a more traditionally feminine role, it also invites the viewer to consider that gender is a learned performance. It suggests that while war may temporarily disrupt gender norms, society expects a return to traditional roles once peace is attained. This echoes the experience of many American women during World War II who entered the workforce to support the war effort, building tanks and airplanes, only to be expected to return to domestic life once the men returned home.

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@leosdenial Great analysis - you made a lot of connections to the other anime in the course. I think that your comparison of Shinji and Tetsuo was interesting. I don't think that I would have connected their experiences, but your'e right, they both do have some serious internal struggles. I think it's also interesting that both of the situations they found themselves in were instances of the government taking advantage of them - forming them into something that is needed, rather than letting them grow into who they want to be. This is definately a feeling that resonates with me. I think that balance is needed when guiding young people to adult hood. It's important to help them learn lessons from past generations, but also allow them to grow into the new generation that they are a part of.

Akira- An Analysis of Control and Alienation

Akira is a film that applies to many themes from this course, such as control over children, discrimination, and different internal domains of power. I was able to draw connections from the messages of Akira with some of the other assigned films from this class.

Almost immediately off the bat, the viewer learns that the Japanese government in this futuristic version of Tokyo- which is referred to as Neo-Tokyo- frequently conducts inhuman lab experiments on children for them to carry out "godlike" tasks. Instantly, I thought of Shin Sekai Yori, which admittedly was a bit different in its treatment of children; however, the two forms shared similar themes on the surveillance of children. The differences between these seemed stark at first but became increasingly similar as the plot of Akira unfolded. While Shin Sekai Yori began with child surveillance, Akira started with lab experimentation and evolved into child surveillance and control, which is not quite the same thing. However, once Tetsuo's superhuman abilities were revealed, the government treated him as something dangerous and similar to Shonen A. It was then in the movie that I asked myself, "How would the government change how it surveilled adolescents?" Once the government realized they could not control Tetsuo, they attempted to terminate him and ultimately failed. I noticed that Tetsuo was also meant to be exploited in ways that reminded me of Shinji from Neon Genesis Evangelion. This demonstrates the government's internal sphere of power it holds over the people in this futuristic time with evolved technology. Unlike Psycho-Pass, the government in this film exerted its power through brute force rather than psychologically, which is evident through the heavy insertion of assault weapons throughout the movie.

Tetsuo is similar to Shinji in ways more than one. I noticed the parallels between the two in the ways that they both house their own internal dilemmas. While Shinji internally struggles with his queer masculinity, Tetsuo struggles with harnessing his unique abilities. Although a lot of Tetsuo's struggles may root from his powers themselves, I would like to argue that his perspective of himself may very well be heavily affected by the treatment of the government, as stated above. Tetsuo is treated as both a god and an animal, but never as a human by the internal societal powers he is subjected to. In this way, he is similar to Naruto from Naruto, who is viewed as a monster just because the spirit of the nine-tailed fox resides inside of his body. While Tetsuo may struggle under the pressure of his abilities, the way that he is being hunted and treated by the government is likely contributing to a major sense of self-isolation and feelings of alienation.

Akira is definitely an appropriate film to wrap this course up with. There are so many aspects of it to analyze and connect with the learnings of the class. Additionally, the plot is amazing and keeps you interested; I consider it to be a must-watch classic for all avid anime watchers.

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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.

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@klevanimeblogs You make a cool point about the threads. I like that symbology representing the connection between Mitshua and Taki. Especially when you point out the bidirectionality of the process - not just weaving and strenghtening, but also coming undone and weakening. Relationships and connections don't always go in one way. The ebb, flow and change as time goes by and we evolve as individuals.

From the start, I noticed that the visuals were stunning. Truly a memorable sight and way to start off a movie. Speaking of memories, that was a driving force in this movie. Memories and consciousness are factors that make up reality, making them cardinal for humans. They are the foundation of how we build meaningful relationships with others, a theme explored in this movie. As such, this movie is not a commentary on just society, Japanese or globally, but rather universal concepts that apply to every living being, putting it on a whole different scale.

I specifically like how this movie explores such a situation, where one is placed in an unfamiliar setting and must maneuver their way around it. Furthermore, the person they switched with must then reap the repercussions. As I started off this blog, I talked about the stunning imagery of this anime, which goes beyond just visual quality. Rather, there are things like the threads and braids that are used as symbols to convey the message of bonds and relationships. Constantly strengthening, weaking, thinning, thickening, these are all qualities of a thread being woven, such as how relationships are woven through experiences, a common theme in this anime. This is also a theme that transcends simple nationalism and society, as it remains a constant for anyone and anything living.

As for nationalistic themes, I would think that the emphasis of rural vs. urban is a large one. This emphasis entails other themes as well, such as traditional perspectives vs. modern. These themes work together and act cohesively to show how Japan can be united by these common themes despite their differences. Overall, “Your Name” was a very enjoyable watch and one that was very rich with its themes, ranging from stream of consciousness to relationships to a commentary on traditional society and more.

JPT2025Jan

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Gendered Power in Your Name

I feel like I’ve watched enough anime to begin to understand the styles of animation that appeal to me the most. Aesthetically the look of Your Name fits into my favorite category. The visuals are crisp and well defined and there are more advanced effects that you’d expect in filmed media. The portrayal of lighting and shadows is well thought out and realistic. The shots had depth of field with items further from or closer to the “camera” blurrier than the in focus elements. I also think that the full feature length of 90-120 minutes suits itself well to telling a story that is deep and engaging, but is not a massive investment like jumping into something like Naruto would be.

Your Name also featured some interesting commentary on deeper themes. Considering it along with chapter 2 from Foucault’s “The History of Sexuality” was thought provoking. It was interesting to consider the idea that power isn’t necessarily about raw physical power. The way that Taki and Mitsuha swap bodies allow them to experience the different types of power that each of their bodies possess. Taki is used to having the implied physical power typical of the male gender, but he doesn’t really understand the subservient power that is intrinsic to Mitsuha’s body. Girls are trained from a young age to behave like ladies, a way of society instilling in them a need to control the power they have over men. Taki missed out on these lessons and when he is in Mitsuha’s body, he has to be told simple things like keeping his legs together when wearing a skirt. On the other hand, Mitsuha, not understanding the male expression of power, doesn’t seem to be such a problem. She ends up leveraging her social skills to help Taki build a friendship and then date a girl who he has a crush on. In stepping into each other’s bodies, Taki and Mitsuha begin to learn how power can be embedded in everyday behavior, even though it’s not obviously evident.

References:

Foucault, M. (1978).  Method. In The history of sexuality (pp. 91-102). (R. Hurley, Trans.).  Éditions Gallimard. (1976).

Shinkai, M. (Director). (2016). Your Name [Film]. CoMix Wave Films.

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@the-animated-world-of-kay This is some really great analysis. I like the way that you point out that the Blades are sentient weapons wielded by the drivers. I know that when I think about growing up, sometimes I feel like the adults in my life were using me for their own aims, steering me in a direction that they thought was best but did little in the way of considering that I might want something else. With insights like those in this post, it sounds like you are going to do a great job of guiding future generations with deep perspective and in a way that respects their individuality.

Xenoblade Chronicles 2

Xenoblade Chronicles 2 felt like diving into an entire philosophy class hidden inside a colorful, emotional RPG. At first glance, it’s this massive, imaginative world full of Titans, Blades, and anime-style storytelling. But underneath all the fantasy, the game explores heavy themes like identity, war, social hierarchy, and the search for meaning—topics that feel especially relevant in Japan’s cultural and historical context.

One of the most striking things is the way Blades are “born” to serve others, yet start questioning that purpose. As someone in my own journey of figuring out my future—especially working with kids and guiding them toward their own goals—that idea of breaking out of a role society assigns you really resonated with me.

It actually reminded me of an anime I watched called Akira. While the two differ a lot in tone and style, both challenge the idea of control—whether it’s over others, technology, or ourselves. In Akira, you see power spiral into destruction when it’s used without understanding or emotional maturity. In Xenoblade Chronicles 2, Rex’s strength comes not from power itself, but from compassion, relationships, and the refusal to let the world’s brokenness define him.

Both works also address global concerns. In Akira, there’s the fear of uncontrolled scientific advancement and political instability. In Xenoblade, there’s environmental decay, inequality, and a world shaped by trauma. But what separates them is tone—Akira is a warning, while Xenoblade is a call to hope. And both are necessary. One helps us see the dangers of repeating the past, the other reminds us that we can still build something better.

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Xenoblade Chronicles II - Nature as a Character.

While watching a selection for the cut scenes from Xenoblade Chronicles II, it was interesting to see how pieces of a video game could be woven into a film. I haven’t played any of the Xenoblade Chronicles games and in the other games that I’ve played, I usually have enjoyed the gameplay more than the cut scenes. When I go to play a video game, I’m looking for more of a participatory experience rather than a passive one. For that I’d be inclined turn to a TV show or movie. That said, my interest is peaked now and I’m curious about what the Xenoblade Chronicles II experience would be like when such extensive cut scenes are mixed in with gameplay. I think I’ll have to give it a try.

The bits of the story that were in the selected scenes weave a detailed narrative full of mystery and action. Environmental commentary is clearly one of the major themes and shows up in many ways. One interesting aspect was the connection between the people and the Titans. In the world of the game, people travel and live on the backs of these gigantic sentient beings. This reminded me of our own existence on Earth, riding through space on a living planet. For many thousands of years, humans have personified the natural world, imbuing oceans, rivers and mountains with personality and agency. Xenoblade Chronicles takes this further, making the Titans active participants in characters’ lives. The connection between the Titans and the Earth as our home is made even more clear at the end of the game when all the titans come together to form a new continent.

Imagining that the world we live in has a personality may not be a scientific notion, but it can be a powerful reminder that we live within a shared, living system. Everything that we do has an impact on others – humans, animals and the natural world alike. Xenoblade’s portrayal of the Titans suggests that we should treat the ground that we live on with the same care and respect that we would to an old friend or grandpa.

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@wonviiii I thought that Teto the fox squirrel was a super cute sidekick for Nausicaa too! I like your thought about humanity being polluted as well as the ground. The plants are processing the toxins and making the ground clean again and since they're toxic to humans, they are cleansing them as well. The jungle is rejecting the toxins and their source. This some strong commentary on the power of nature. The film is saying that it's something to live within, not control. Awesome blog post!

Nausicaa of the Valley of the Wind- Blog #22

About a thousand years after the collapse of industrial civilization, a toxic forest called the Sea of Decay spreads across the earth, releasing polluted spores and seemingly dangerous insect creatures that destroy everything in their path. The people who inhabit this land must cover up because breathing in the toxins will result in death. Despite this, humanity endures and adapts to the hostile environment, yet still retains its ideologies of greed and war against the threatening insects and their own kind. Nausicaa, the main protagonist, is different from all of the other characters in the film in that she is fascinated by the beauty of the forest and is driven to understand it rather than annihilate it. She shows deep empathy with the creatures and plants, even growing a garden inside her base using such species. However, everything changes when a warship crashes near her village, bringing Tolemkian soldiers inside to invade the valley and murder her father as they grab the villagers' hostages with the plan to awaken a giant warrior to fight against the Sea of Decay in the name of “peace” despite their actions contradicting their words. As the film carries on, we learn that the poisonous plants of the Sea of Decay are not inherently toxic; rather, it is the earth itself, polluted by humans, that has corrupted them. In this exchange, we learn that the forest’s real purpose is to cleanse the planet, not destroy it, and the insects/creatures, like the Ohm, are there to protect this process. The film draws to a close when Nausicaa sacrifices herself for her people in the middle of the fierce battle, and the Ohms, a symbolic representation of Earth’s fury, calm down for her and bring her back to life. Society then rebuilds, and nature slowly creeps its way back into the land.

Overall, the film seems to serve as a reminder of the dangers of environmental neglect and war, specifically the consequences of global warming. Nausicaa’s character personifies compassion and functions as an example of what a happy ending would be like if we respect nature as well as one another. A quote that stuck out to me is that “the pollution lies in the Earth itself.” I like the symbolism behind this and how it could serve as both environmental pollution but also human degradation and a lack of empathy towards one another. Despite the inherent danger and a nearly destroyed world, wars keep raging as people brutally kill one another as if they were mere chess pieces just to push personal agendas of grandeur. Kushana, in particular, commits heinous acts while declaring that she is doing so for greater peace; however, is an Earth bedridden with never-ending sacrifices really a peaceful Earth? Once again, the scenery and ingenuity of the film are so beautiful as to be expected of Ghibli movies! I loved Teto so much too, especially when it kept nuzzling around her in care, too cute!

[benny-notes]

Aerial Symbols in Nausicaä

Nausicaä, first released in 1984, was an enjoyable film to discover and watch. It had a great story, and the quality of the animation held up, now over over 40 years later. I did some reading about the history of the film, and even though it was created before Studio Ghibli was founded, it’s considered to be one of the studio’s foundational works. The film was created, written and directed by Hayao Miyazaki and several other founders of Ghibli were involved in production. The high-quality animation and rich storytelling that is a hallmark of Ghibli shines through.

The film’s main message is that humanity is better off living in harmony with the environment, than trying to dominate it. One way that idea was depicted that stuck out to me were the different aircraft that were in the film. The militarized Tolmekians and Pejites operated hulking industrial warships. They were ugly – unpainted, with exposed rivets, and clearly built for warfare. The ships carried large crews and when they were shot down or crashed the casualties were enormous, but the leaders didn't seem to care.  For example, when the Tolmekian military officer Kurotowa learns that a fleet of their ships was attacked and all but one was destroyed, he instructs his underlings to, “continue working as if nothing has changed” and then thinks only about how the event could advance his position. Krutowa's calloused attitude to the loss of life reflects the meaning of the massive aerial warships: symbols of the desire to overshadow the earth below, dominating everything both natural and human-made beneath by mechanized, industrial force.

By contrast, in the Valley of the Wind, a peaceful society lives in harmony with the ecosystems around them. This is reflected in the way that they take to the skies. They have flying machines, but they are smaller and simpler than those of the waring people around them. The Valley’s princess and heroine of the story Nausicaä has a personal flying wing that while having an engine is always referred to as a glider. When piloting it, she is referred to as reading and riding the wind, working in harmony with the sky, not trying to dominated it, but using the perspective granted to observe and protect. Even the Valley’s aircraft that has weapons, the gunship, is understated. Rather than a hulking ship, it only has seats for two. Its guns are used sparingly and defensively, shooting flares instead of bullets. When Mito, piloting the gunship has enemies in sight, Nausicaä instructs him to hold fire, electing for a peaceful solution that will calm the heard of Ohmus charging toward the Valley.

The contrast between the two types of aircraft in Nausicaä reminds me of some of the aircraft that were operating at the time that Nausicaa was created. Durring the cold war, the United States had fleets of massive eight engine B-52 bombers ever ready to deliver nuclear payloads anywhere around the globe. Just like the warships of the Pejites ant the Tolmekians, these real world analogs overshadowed the ground below, streaking plumes of black soot, imposing and ready to destroy. On the other hand, hang gliding was peaking in popularity during the late 1970’s and early 1980’s. The unpowered, foot launched aircraft closely resemble Nausicaa’s glider. They represent a type of flying that works in harmony with nature, seeking to ride air currents for the sheer joy of it.

Among other elements, the aircraft in Nausicaa suggest that the way that we interact with the natural world is important. Science and technology aren’t inherently bad, but advancement must be made with respect of and harmony with existing natural systems.

References:

Miyazaki, H. (Director). (1984). Nausicaa of the Valley of the Wind [Film]. Topcraft.

Wikimedia Commons contributors, "File:A Boeing B-52H Stratofortress in flight over the Persian Gulf (190521-F-XN348-9173).jpg," Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:A_Boeing_B-52H_Stratofortress_in_flight_over_the_Persian_Gulf_(190521-F-XN348-9173).jpg&oldid=933526005 (accessed April 9, 2025).

Wikimedia Commons contributors, "File:Hang Gliding - Pt. Fermin, California.jpg," Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:Hang_Gliding_-_Pt._Fermin,_California.jpg&oldid=690216708 (accessed April 9, 2025).

[benny-notes]

@radiorams It was cool to read your post! It's great to hear about others' experiences at conventions and what draws people in. Before starting this course, I knew nothing of anime and I really wanted to attend MegaCon this year, but work got in the way. I still don't think that I'm a true fan of anime yet, so I don't think I'd get the "these are my people" vibe, but I'd really like to see the cosplay and do some people watching. I have a few friends that are anime fans and going with them to learn more about that side of their interests would also be really fun.

I agree and think that what you described about finding a place to be comfortable and fit in is very important. For someone who doesn't quite fit in, it can be tough to build confidence when you feel like you're alone on an island. Being surrounded by tens of thousands of people who share your unique interests is a powerful way to overcome those feelings of insecurity.

I love the OG N64 Smash Brothers gif. It brings me back!

My 2017-18 Mega-con Experience

I got to attend MegaCon in Orlando in 2017 and 2018, and I must say that it was one of the most thrilling events I've ever been a part of. It was much more than I had anticipated when I first arrived, but I went because I love anime and wanted to see some panels and cosplay. It felt like entering a whole new world where people could be themselves without fear of criticism, and it wasn't just a convention. Playing in a Super Smash Bros. tournament was one of the highlights for me. Even though I've always enjoyed the game, it was really awesome to compete live with other fans who share my passion. It was so memorable because of the community, the excitement, and the energy, not just because of the victory. I felt like I belonged because everyone was so fervent, like, "Yeah, these are my people." The merchandise played a significant role in the event as well. I saw a lot of things that I otherwise would not have been able to see, including vintage manga, fan art, limited edition figures, and Japanese imports. Being able to hold that kind of material in your hands as opposed to merely browsing it online has a unique quality. It gave the fandom a more tangible and authentic feel. Naturally, cosplay was very popular and inspirational. While some people dressed to the nines in costumes that were appropriate for the movie, others gave characters their own unique twists by switching genders or combining different styles. It served as a potent reminder that fandom encompasses self-expression and creativity. Everybody there was doing what they were doing and getting praised for it. MegaCon was about more than just being an anime or video game fan; it was about being a part of a community that prioritizes passion and individuality. It was incredible to be in an environment where being "too into" something was truly the norm, in contrast to a society that frequently puts pressure on us to blend in or tone things down. Now that I look back, I see how crucial places like that are, particularly for young people who are still figuring themselves out. I strongly advise attending an anime convention at least once if you haven't already. The energy, the people, and the creativity make it a unique experience, regardless of how much you enjoy it or not. Just being present is enough to demonstrate the strength and positive effects of fandom; you don't even need to cosplay or compete to feel included.

[benny-notes]

Anime Cons and Finding Belonging

True Otaku, a three part documentary that was produced in 2010 and 2011 is an great introduction to Japanese fan culture specifically in the Mid-Atlantic region of the United States. The film visits two anime conventions, Otakon in Baltimore, Maryland and Anime USA near Washington DC. The film focuses heavily on cosplay at these conventions, following a costume creator named Dustbunny who enters a costume that she hand made into a competition at Anime USA. The documentary also features interviews of convention fans, trying to figure out who are “true otaku” in their area.

One thing that struck me while watching the interviews and the footage from the two anime conventions in the documentary was how strong of a community that has formed around anime fandom. I’ve seen and mildly been a part of niche communities formed around other special interests like this and it always felt a little different in a way that I found it hard to articulate. Learning more about postmodernism in this course gave me a new framework to make sense of what is going on in these concentrated pockets of subculture. I have heard the term “postmodern” thrown around a lot, but didn’t realize the deep concepts that the term represents.

In the postmodern, a grand, unified narrative no longer exists. Individuals are left to create and discover their own narratives. Narratives that may be fragmented, mixed and change over time. Hiroki Azuma’s Database Animals visualizes this as an underlying database of “moe” elements – pieces that evoke emotion. A person picks and choses from the database to create a custom individual narrative that fits whatever moment and place they find, or even desire to find themselves in. The resulting composite society, with many fragmented narratives forms groups and subcultures rather than a monolithic unified grand culture. For those who have narratives that aren’t common and popular, this can lead to isolation and loneliness. Niche expos and conventions offer a space where those with uncommon narratives can connect with others who share their interests, providing a sense of belonging that counters the isolation from mainstream culture.

The documentary featured many examples of people finding meaningful connections through anime fandom. One couple in Part II shared their story of how they met at an anime convention and their shared interest grew into a long term romantic relationship. Dustbunny, the cosplay costume creator found fulfillment through designing and competing with her creations. While the conventions may last only a day or two, the creativity and preparation involved extend well beyond the event. Her boyfriend even remarked that she might consider turning her craft into a profession. In addition to winning trophies for her work, she gets to share her knowledge with others who ask for tips and advice. Similarly, the Lolita fashion enthusiasts who gather at anime conventions also formed lasting bonds, organizing meetups at places like zoos, museums, and parks. Tracy, an attendee at Anime USA, captured this spirit in Part III when she said, “whatever you want to do that expresses who you are and what you're interested in and maybe that part of you that people don't quite get—somebody gets it here.” Without a connection to others with similar interests, many of these individuals might feel like outsiders. But shared fandom helps them find friends whose personal “collection of moes” aligns with theirs, creating a space where genuine community can grow.

For some people, loss of the grand narrative is deeply troubling. The world is no longer seen as a simple place. There’s not some set of underlying principles that could be discovered – some unifying “theory of everything”. For social beings, this fragmentation can be feel isolating and disorienting. How can we make sense and find meaning? How can we tell who is in our tribe? Anime otaku and fans offer one example of how people can comes together in a postmodern landscape. They’re not unified by a grand narrative, but their by their shared emotional responses and connections to the media and stories that they love.

[benny-notes]

@lapspps I was asking the same questions when trying to process and write about The End of Evangelion. Shinji's behavior didn't make sense to me at all. But I think that your analysis hit thie nail on the head. Shinji's isolation finally got to him. People need a tribe, they need to fit in. Shinji losing Kaworu was the last straw. Kaworu was the first person he met who was like him, but in a horrible twist, Shinji was forced to kill his best chance at finding someone who he could relate to. The unravelled state that Shinji is in throughout the entire film shows how alone he really felt. And then, the lack of resolution lets those feelings sit with the viewer for an even greater impact.

The End of Evangelion

Well… this is a quite interesting anime movie to talk about. When I watched this movie, I still have several questions regarding Shinji’s mental state during the movie. Why is he acting like as if he is seeking attention? Why is he obsessed with Asuka in the opening scene? How does this apply to the concept of queer masculinity?

From what I can understand in the opening scene, Shinji is in a state of despair because he is wracked with guilt of what he did to Kaworu (though Kaworu suggested Shinji to kill him to save humanity). In the hospital scene, Shinji is seen trying to wake Asuka up from her comatose. Is it because he is trying to get her to coddle him? We know what Asuka will do to him, like berate him for his weakness. And yet, he somehow gets away with it unsuccessfully to the point he does… whatever that is to Asuka. Men are usually seen as independent and strong, but not to Shinji. Moreover, we get to see Shinji’s masculine vulnerability by sulking throughout the movie. He even tries to NOT get into the EVA even if forced by Misato. The themes of weakness of being a strong, masculine man continue in this movie, as Shinji descends into madness. 

The themes of being isolated also apply to this movie. As I have mentioned, Shinji tries to distance himself from others (except Asuka) so no one gets hurt. Ironically, he ends up hurting others even more as his friends get slaughtered by the Japanese military. With that aside, isolation can apply to real life issues. We’ve seen isolation in every society in the world, whether that it be NEETs and jobless people in general. The problem with this isolation is that it can actually hurt the societal economy as a whole. Additionally, mental health is also considered an issue. The emotional burden of having hardships like Shinji did also apply to societal and work expectations, when can eventually be too much to handle for the person to function. 

Overall, the movie tackles isolation and emotional vulnerability by using Shinji’s weakness as a critique to tough masculine expectations. The movie also critiques the danger of toxic relationships, particularly Shinji and Asuka’s. 

[benny-notes]

The End of Evangelion – No Place for Shinji

The End of Evangelion did a nice job of filling in the gaps left in the ending episodes of Neon Genesis Evangelion. The imagery that tried to convey the process of the Human Completion Project was a bit abstract for my taste. I understand that it probably needed to be abstract because it wasn’t a process happening in the visible world and the imagery was highly metaphorical. For me, the end result was artsy but it wasn’t moving. It left me confused, and I’m not sure I fully grasp everything it was trying to say. But there were still a few things I found worth reflecting on.

It was interesting to me that Shinji’s character was not as redeemed in the End of Evangelion as in the final episodes of of the show. I’m assuming that the story in the film cut off before the end of episode 26 of the show where Shinji does find resolution. Throughout The End of Evangelion, Shinji’s character was broken, unable to cope with the destructive battle that was going around him. He was crying and in the fetal position in almost every scene. His demeanor, in contrast to Asuka’s thriving in the face of imminent danger, seems to comment that Shinji’s queer masculinity completely fails in this type of situation. It like his weakness is presented as a flaw with no redeeming aspects. Perhaps the film is suggesting that Shinji’s role is not in combat, but in what comes afterward – a rebirth. Before Shinji moves into Human Completion, Kaworu tells him that the future of mankind rests in his hands. In a metaphorical sense, he is tasked with bearing humanity into a new collective existence, a role that would be traditionally associated with femininity. Then again, maybe there is no redeeming quality for Shinji at all.

The film closes out with a scene where Shinji begins strangling Asuka and after Asuka raises her had to touch Shinji’s face he releases her and begins crying. In the final moment, Asuka mutters, “Disgusting”. Normal society, represented by Asuka, just can’t find a place for someone like Shinji who cannot live up to their expectations for how someone should perform masculinity. Shinji tried his best to pass but failed. Conforming to society simply wasn't in him. In the end Shinji is sad, scared and alone.

Tsurumaki, K. (Director).  (1997). The End of Evangelion [Film].  Toei Company. 

[benny-notes]

@bellak1414 Wow! I found your post to be very insightful. You packed a lot of meaning into every sentence. It's nice to hear the perspective from someone who liked the ending. I mentioned in my post that it felt abrupt, but after reading your commentary about the way that Shinji comes to grip with who he is, finding acceptance of himself and then is made whole, I have a greater appreciation for how the series closed out.

I also noticed the gender reversal between Asuka and Shinji. It was most obvious to me when Asuka was blowing off steam about Shinji's success in the locker room in episode 16. The drive to be competitive struck me as more of a masculine trait. Your commentary on this that variety is vital was refreshing to hear, especially in the polarized time that we find ourselves in. I think that it's important not get trapped in our own perspective and engage with others who see the world differently. It can be uncomfortable and we may have to let go of some pride of holding on to some sort of absolute truth, but it is a very powerful way to grow.

Neon Genesis Evangelion (Part II)

I enjoyed part 2 of this anime series even more than I did part 1. I feel like I rarely see media with happy endings these days, so it was definitely a treat to see the anime end with a victory for queer masculinity. Further, while I wasn’t a fan of Asuka’s character, I appreciated that the anime showcased hegemonic masculinity in a female character. I felt that this emphasized my previous point that variety is vital when it comes to personality types and the ways in which people navigate and view the world. In the same way that it is important to have sensitive and emotionally intelligent men in addition to the powerful and protective types. I also believe that it is important to have powerful and protective women in addition to the sensitive and emotionally intelligent types. There is no need for men or women to feel a need to perform in a specific way or in a way that feels unnatural to them. There is room for all kinds of personalities.

I believe the anime also emphasizes the importance of staying true to yourself and how veering away from this and trying to be someone that you are not can ultimately backfire. When Shinji decides to increase the level at which he performs hemegonic masculinity and even goes so far as to state that “Fighting is a man’s job.” He ultimately loses control and finds himself sucked into another dimension, an empty void. He is forced to shut down the robot and curl up in the fetal position in the bath of LCL in order to conserve energy and ensure survival. However, when he finally accepts his queer masculinity towards the end of the anime and understands that he has the right to exist as he is, he is able to join the rest of humanity. He joins them in their completed state. Therefore, we learn that staying true to yourself as opposed to trying to be someone that you are not will have a positive as opposed to negative result. I believe that we can apply this idea to our own world as it is a common trend for children, as they transition to their adult selves, to try to be someone they’re not in order to fit in. However, doing the opposite of this and staying true to themselves is what will ultimately positively impact them in the end.