Untitled

Having been so long since I last saw this movie, I had not only forgotten a good amount of the story, but I also had not appreciated it as much as I do now when I first saw it. I remember much about the fantastical world that this film brings to life, like Haku the dragon, No-Face, the train that treks along the surface of the water, but it’s nice to now understand at least some of the intent behind the creation of this world.

Obviously, capitalism and industrialized society is a big theme in this film. It has become so prevalent that it seems to even have permeated the spiritual realm. There is a nice shot of the bath house when Chihiro first sees it while her parents scarf down food, with a beautiful, bright green tree on the right of the building, and a tall, dark gray smokestack on the left. This shot exemplifies the nature of not only this spiritual world, but the real world as well. Haku, the spirit of the Kohaku river, is being controlled by a black slug to serve Yubaba’s capitalist endeavors. The other river spirit that we see comes in extremely polluted by modern industrial society. Bikes, fishing lines, metal debris, etc. can all be seen coming out of him when Chihiro is helping him. The people in the bathhouse assume him to be some sort of stink spirit and ignore that his existence as this sludge monster is a direct consequence of their own lifestyle. No one would have helped him like Chihiro did, and in fact they try to turn him away at the door, purposefully trying to ignore the problem that they created. This is especially ironic given that it is a bathhouse, a place where people are meant to become clean and refresh themselves, but the bathhouse itself is run by Kamaji, Lin, and the soot sprites, beings all enslaved to the system to work in horrible conditions with little to no hope of escape. This is also a nice commentary on the nature of working conditions in a hyper-industrialized society and how those at the bottom work endlessly in cruel conditions, e.g. having to walk right up to the fire to throw a piece of coal in, so that those at the top, Yubaba, can live in luxury.

Another important aspect of this critique is the transformative nature of the bathhouse, or capitalist society. Because the name of the game is money and wealth at the expensive of nature and of others, those inside the bathhouse are changed for the worst in this pursuit. Most obviously, No-Face, who changes from a silent, distant figure, to an insatiable monster who literally consumes other people, much like the exploitation of others in pursuit of personal wealth in a capitalist society, and also continues to attempt to satiate his hunger with more and more gold. In the end however, he truly wants Sen, and when he cannot buy her with gold, tries to consume her instead. Sen/Chihiro in this film has the power to exorcise this “demon” of capitalism, first healing the river spirit, and then using the ball given to her by the spirit to force No-Face and Haku to throw up the things causing them to feed into the system.

I had always heard about this movie, but had no frame of reference for it, but upon seeing the art style I immediately saw striking resemblances to Perfect Blue I assumed it was going to be visually gorgeous and absurd film, and boy was I correct. This film like the aforementioned Perfect Blue deals a lot with reflections, with all of the main cast having their own twisted reflection of themself that propels each of their character journeys. Whether it be Atsuko's reflection being the titular Paprika, Detective Konakawa and his deceased friend, or even Osani and Chairman Inui, reflection populates this film and is tied directly with the theme of identity and self-discovery that this entire movie is drenched in. Even the distinction between Atsuko and Paprika showcases the inherent disconnect between her sense of self, with Paprika being colorful, spunky, laid-back, and free as opposed to Atsuko's real life serious demeanor, constrained appearance, and flat color scheme. This is even representative with the dream world and reality, with the dream world usually being doused in a Spirited Away-esque parade that gives it an energy and vibrance that is absent from the more monotone, flat, and dark color scheme that reality has. This visual style is even reflected at the end of the field with Inui's nightmare delusion image corrupting the dream world with a darkness seen with reality, a void that is consuming the spirited world of dreams. Aside from this constant showcase of reflection, this movie was just gorgeously made, the animation captures the peculiar but open domain that dreams can often be, whether it be Konakawa's inability to run, the walking through solid surfaces, and how quickly things seem to go out of your control, it truly made me feel like I was watching dream sequences for its entire runtime. The visuals house a fascinating look into the ethics of technological advancement with the DC Mini device having the potential to effectively change how the mind is studied, but also cause an equal amount of damage that would change the landscape of mankind. These themes of personal privacy and autonomy are paramount in the overall message of this movie, with the DC MIni showcasing such beauty but putting so many at risk with its unlimited freedom and lack of control. To summarize, this film was insanity, and despite being confused for a majority of the runtime, I enjoyed it to a degree I wasn't expecting. I like to think of this movie as a sister movie to Perfect Blue as they have the contrasting colors of blue and red in the posters and in name, and the main character dealing with the same identity issues, and frankly I feel that enhances both of these movies.

Even before I watched this film I knew of the visuals that inspired Inception which only enhances the film because these shots quite literally were copied and finding out that Christopher Nolan potentially took inspiration from this film was very intriguing. It's also interesting to note that the show similarities all embody common features of dreams, like the bizarre movement, reflections being so abnormal and the unorthodox cinematography that both films utilize.

In episode 15, we can see Squealer and his species worry about becoming extinct and therefore try to exploit the queen. They knew they were smart and believed that they deserve some power, yet the queen had so much and ruled over them unfavorably. I feel like this represents governments/powers throughout history: the government exploits or neglects its citizens and, therefore, the citizens retaliate, protest, etc. at the power's expense. The citizens come together to build power and make changes to the government/power. Squealer and his species worked together, forming a union, and tried to negotiate, yet they ended up trapping her and still exploit her for the benefit of the colony. This is similar to when the newly formed government reduces the power of the leader, making them instead a public figure (kind of like the president or prime minister). Then we see things like war prisoners, enslavement, imperialism/colonialism in episode 21, which we see in history during an overthrow of rule as well. In the last episode, the Squealer talks about how change is necessary, which I do think is true, but that the sacrifices would have been worth it if they had won, which I disagree with: in the end, people lost their lives. War and violence are the problem (I can see why Squealer thought they needed to resort to it, especially when they tried to propose equal rights, but to continually hurt the Queen and other species? That does not seem very moral). In the end, it is quite a morally grey area when you consider all things, though.

I think there is also commentary on patriarchy. The Robber Fly colony thinks that the queen's only job should be childbirth, while the "smart" ones should have the power. The queens are stuck inside (domestic duties, trapped in the house) while the men (I think) are free to roam and rule. This also reminds me of Japanese history. There were queens with power an extremely long time ago in Japan, like Queen Himiko, that people at first accepted as ruler; however, men soon believed they deserved the power, labeling women that ruled as evil (people believed that Queen Himiko had magical powers that she used for evil purposes as well), resulting in men ruling Japan. Then, they use violence, blaming the Goat Moths for shooting an arrow when they used violence first. This represents the common opinion that men often resort to violence more compared to women, like starting something as small as fights or as big as war.

Now, something that I find quite disturbing is how kids ended up having a child?! Like I think they are 14? Definitely an interesting plot by the storywriter - I wonder what the idea was behind that?

I think that overall, this anime is a commentary on power, whether its a ruler, and man and woman, magical powers, or the responsibility that comes with it.

Not gonna lie, I didn’t really enjoy Shin Sekai Yori. I don’t think it was a bad anime, I just think I personally don’t have the brain capacity for it. So much information is thrown at you and I made the mistake of trying to fold laundry and watch the show at the same time, LOL. From what I gathered, we follow the young Saki Watanabe as she finally gains her powers and moves on to an academy meant for people who possess psychic abilities. She joins group 1, with the members being Reiko, Satoru, Maria, Mamoru, and Shun. 

I think the episode that stuck out most to me was episode 4. They encounter a thing called the Minoshiro, which reveals the answer to any question they ask. It ends up being a fake Minoshiro, in which a guy comes to destroy for them. However, they learn a lot of useful and saddening information from them. They learn about society from the Dark Ages and their own society, and the creation of Ogres and Karmic beings. They also learn information on the population of those with PK, such as only 0.3% of the population obtain PK and there were movements to eradicate them, some even leading to war. It made me feel sorry for these kids, they are absorbing so much information at such a young age, and given a lot of responsibility for holding this type of power. A lot is to be said about the development and destruction of certain societies and eras. It went from embracing PK powers to suppressing anyone who has them, leading to what they called the Dark Ages. Then it progresses back into acceptance or practice of PK powers into the present time in this anime. Episode 4 contained a big chunk of the history of this universe, and I’m still trying to wrap my head around it. I feel like this show tried to implement many themes but I could not really catch myself developing any of my own thoughts. I think our next round of episodes will help me get a clearer idea of the message of this anime, but right now I feel like my mind is convoluted with the huge information dumps, especially in episode 4. One thing I did notice is the question of what it means to be human and to be treated as human. This goes for the rat people, Queerats, and all other beings in this universe. Even the existence as humans obtaining PK is called into question. So what makes one human, and what is the ethics of treating one as one? 

I found the ending of this anime to be satisfying and answered several questions. NEETs aren't the cause of all of our suffering! It may seem that way because NEETs are portrayed to be lazy and worthless, but it's important to take a step back and realize why NEETs are the way that they are. Who created the system for them to end up like this? Do they not want to get a job, or are they incapable? Itazu was a very talented hacker and helped Akira out a whole lot with his skills, but he is a NEET so he must be useless still, right? The problems that this anime commented on all come from billionaires, the government, and a conformist society who doesn't want to step on anyone's toes for the sake of the "greater good". However, while outsiders often see Japan's society as extremely respectful, disciplined, and efficient, their current overall society lacks the willpower to stand up to an unhelpful, restrictive, and ultimately exploitative government.

According to this anime, the Japanese government exploits workers and makes life after education a nightmare, as we've seen. Japanese workers often commit suicide or end up leaving Japan, which is by no coincidence. I guess becoming a NEET is one way to escape the Japanese working hellscape and express yourself more confidently online and engage in hobbies that would otherwise be looked down upon or seen as useless. I don't see a point in being an active, productive member of society through the eyes of others if we're just backing an exploitative government. The problems in Japan still existed while the 20,00. NEETs were still kidnapped, so clearly the problem isn't them. In fact, you could probably argue that kidnapping all of those NEETs prevented progress, since Itazu was ultimately the trump card for our main characters.

Eden of the East

THIS WAS SO COOL. This is the best representation of America in anime that I've ever seen. It doesn't just feel like a weird reflection of America, it feels genuine. Even down to the squirrels and crows. The opening scene was insane too, really good hook into the show. I didn't think I'd laugh so hard when she asked him if he as cold and he was just like "yeah". Also obviously happy about the great black characters and American characters that actually have American voice actors. Little things like that help sell the setting. It's almost kind of surreal, since I'm not used to such relatively accurate portrayal of America in anime. Seeing anime tropes and acting in an unmistakably American setting is a strange experience. Also, I said "taxi driver?" as soon as Akira did the pose, so I ended up saying it at the same time as him, which was also really funny.

I do struggle to find what to talk about in this post themes-wise unfortunately. The show is really interesting, and it's clear there's some commentary on terrorism with the missile attacks and whatnot, but I can't find anything significant to mention. I look forward to hearing about what people think in class though.

I’m kind of confused and a little disappointed after watching the new episodes of Zipang. It seems that the Mirai crew of Japanese soldiers from the 21st century initially did not intend to alter the real timeline. However, as time went on and as they came face to face with opposition, it seems like they ended up destroying quite a few American ships. More importantly, I thought that this anime would make a completely pacifist commentary on the war at first from viewing the first few episodes, as it originally seemed like Kusaka’s goal was nothing more than to help the Mirai crew achieve peace rather than to embrace the nationalist mindset of the past. While Kusaka did help achieve peace for Japan, the way that they did it was… interesting. Kusaka wanted a modified Japan that wasn’t like “old” or “new” Japan, but rather something in the middle (Zipang) that did not thoughtlessly go to war and did not surrender unconditionally or shamefully, thus necessitating the maintenance of an army. This approach was not quite what I expected at all and it appeals to Japanese conservatives in the sense that it imagines a version of Japan that still retains a military standing even after the war. In other words, Zipang does not imagine a Japan that dominated the war but it does still imagine a Japan that avoids nuclear disaster and preserves its stature and military might, of course, all without taking accountability for their actions. If my interpretation is correct, then I am disappointed in how it turned out. I wanted to like Kusaka because his story reminded me of that of Captain America, although I guess in reverse. Plus, his outfit was really cool. Anyway, I wish that this anime could have headed in a different direction.

ZIPANG!

This show was really interesting. I really liked the intro and the outro too.

Can I just say that the premise of this show resembles an episode of The Twilight Zone? The entire time I was watching the first and third episodes, I was thinking "Rod Sterling would probably write a premise like this". It feels like the kind of story you'd find in a novel or a short story rather than an anime, and I find that intriguing.

The show allows modern Japanese soldiers to confront their past in a literal sense, both personally through the lieutenant and also by being transported to the Showa era in the middle of the war. While we've already seen many works that deal with World War 2, this one feels so much more direct. It feels like it's not only putting Japan's nationalistic, totalitarian past on full display, but it's connecting it directly to the modern audience through modern soldiers who struggle to reconcile their motivations with that past.

Kusaka feels like he will become a driving force in the narrative. His presence alone, just like the soldier said when he first boarded, changes everything. He is what anchors them to the era; Him and all his nationalistic pride, strictness, and hope for Japan's future power. It's why he's on the cover too. He's the symbol of Japan in that era.

When they finally arrive to Singapore and they're at the party/ball(?) Kusaka says that the wants to change the 21st century (something that is already happening, as he points out later). This is after he learns of the future peace in Japan and its lack of military power and whatnot. He wants Japan to be a militaristic superpower like the empire dreams of rather than the relatively peaceful country it eventually becomes. Obviously, the modern soldiers have a contrary opinion.

I actually really enjoyed watching Welcome to the NHK and might watch more of it this summer. The comedy of this show landed for me, though I will agree that a lot of it is pretty distasteful and fan-service heavy. It’s not for everyone, especially if you don’t feel a connection with the characters. Speaking of which, while I mostly pitied the hikikomori characters such as Satou and Yamazaki, I did find some aspects of their lives to be somewhat relatable, such as occasionally having intrusive paranoia or comparing the quality of my life with that of others (minus the degeneracy, though). Also, in my opinion, while the show definitely contains themes of mental struggles, it never takes itself too seriously. Case in point: they made the scene of a (prevented) group suicide really funny.

Something that resonated with me in particular was when Satou questioned whether creating and releasing a digital game counts toward escaping his life as a hikikomori. As a Computer Science major who has an interest in game development, I have impostor syndrome as well, where I sometimes doubt whether my abilities are up to snuff or whether I’m doing any “real work” that matters at all to anyone. It’s easy to compare your routine to that of others, especially when you’re doing things digitally and don’t have anything that can be physically presented. I think a lot of people nowadays go through that to some extent, though.

I’m disappointed that we didn’t get to actually learn about the conspiracy that Satou and Hitomi brought up, unless I happened to miss something. They kind of just mention it at different times to justify their actions. It would be nice to receive more lore regarding the NHK and their motives.