Going Beyond

The world of Assassination Classroom is fairly ridiculous: a giant yellow octopus that will destroy the world unless a class of middle school students assassinate him while he is the teacher. But, it does have some realistic elements.

The most prominent theme is the discrimination Class E receives from everyone else in the school. Class E is physically separated from the main campus, and the building is of much poorer quality compared to the main building. The chairman of the school even contributes to sustaining this system because he believes that allowing for the other students to look down at Class E will motivate them to do better than them.

However, the role that Class E is forced to take up does not actually correlate to their actual potential. It is only when Korosensei helps to bring out each student’s potential that they begin to perform at the same level as the other classes, eventually overtaking them. This reminds me of Eden of the East where society prevents NEETs from being motivated to be productive through needless degradation of NEETs. It is not until Takizawa that unleashes the potential of the NEETs to save Japan from destruction, similar to Korosensei. Likewise, the school system only facilitates the mindset of being failures in Class E. Also, in order to be recognized by society (the school), Class E is forced to produce results that are dissonant with its assigned role. In this show, the victims of discrimination are responsible for changing their perceived image.

The mission of assassinating Korosensei reinforces the tradition of hegemonic masculinity. Assassination can not happen without violence. We can only hope that the hegemonic masculinity Class E has to embrace will not endure and help perpetuate the system of hegemonic masculinity. In addition, I find it interesting how the government are relying on the younger generation to take care of critical mission that may result in the end of the Anthropocene.

I like your observation of the hegemonic masculinity aspect the show includes.

Cyberpunk Edgerunners adeptly executes its story in a cyberpunk setting.

We are thrust in media res with a violent scene of a cyberpsycho. It immediately sets the tone of a dark world. Later, David’s walk to school further expands on the world: the degeneracy of society.

Night City is presented as a cruel world once everything starts to come falling down for David. It is an extreme case of money running the world. For example, if you are not a policy holder, then you will not be rescued during a life threatening situation. I cannot help but compare it to the US healthcare system. It really questions when the significance of life is reduced to the same extent in Night City. This further exemplified by David’s impersonal transaction of handling his mother’s remains.

The Arasaka Corporation is an all-encompassing presence throughout Night City. Even David’s mother wants him to climb the corporate ladder because it is supposedly the only path to survive. However, this is refuted when David literally is on top of Arasaka Tower and has no choice but to fall down to his demise with Adam Smasher. Arasaka Corporation can be likened to how capitalism is all-encompassing. There is no exteriority or alternative for capitalism: it is simply an inherent force in the system.

Except, Lucy’s dream to go the moon was a possibility for paradise, but it was nothing without David, unfortunately. The system has snatched away David forever, and by extension, Lucy’s dream.

Cyberpsychosis is an interesting concept, which is creatively depicted. It is a result of the high mental stress of cybernetic implants. This serves as a limit for those trying to make a name for themselves. In short, long-term success can only be attained as a corpo. Also, the only way to deal with cyberpsychosis is to take immunosuppressants; there is no cure, except removing the implants. And in the end, if you fall off the edge, you are targeted for disposal. This could be a critique of a scenario where people with mental disorders do not have access to proper care.

P.S. the music is fire.

i like your observation of the Arasaka Corporation being representative of Capitalism, as their inescapable capitalism becomes the enemy of those who feel like they have been wronged by the system, and who feel like the moon may be the only way to escape it.

Cyberpunk Edgerunners adeptly executes its story in a cyberpunk setting.

We are thrust in media res with a violent scene of a cyberpsycho. It immediately sets the tone of a dark world. Later, David’s walk to school further expands on the world: the degeneracy of society.

Night City is presented as a cruel world once everything starts to come falling down for David. It is an extreme case of money running the world. For example, if you are not a policy holder, then you will not be rescued during a life threatening situation. I cannot help but compare it to the US healthcare system. It really questions when the significance of life is reduced to the same extent in Night City. This further exemplified by David’s impersonal transaction of handling his mother’s remains.

The Arasaka Corporation is an all-encompassing presence throughout Night City. Even David’s mother wants him to climb the corporate ladder because it is supposedly the only path to survive. However, this is refuted when David literally is on top of Arasaka Tower and has no choice but to fall down to his demise with Adam Smasher. Arasaka Corporation can be likened to how capitalism is all-encompassing. There is no exteriority or alternative for capitalism: it is simply an inherent force in the system.

Except, Lucy’s dream to go the moon was a possibility for paradise, but it was nothing without David, unfortunately. The system has snatched away David forever, and by extension, Lucy’s dream.

Cyberpsychosis is an interesting concept, which is creatively depicted. It is a result of the high mental stress of cybernetic implants. This serves as a limit for those trying to make a name for themselves. In short, long-term success can only be attained as a corpo. Also, the only way to deal with cyberpsychosis is to take immunosuppressants; there is no cure, except removing the implants. And in the end, if you fall off the edge, you are targeted for disposal. This could be a critique of a scenario where people with mental disorders do not have access to proper care.

P.S. the music is fire.

I have seen nothing but praise for this film, but I never got around to watching this. And, man this was a ride.

If anyone was not confused the first time viewing this film, kudos to you. The transitions were some of the most creative ones that allowed the film to become a confusing mess. It really plays into the idea of hyperreality, which was most definitely intentional. Also, the drama that Mima was acting in was a clever diagetic element that also contributed to the hyperreality that Mima (and the audience) experience.

A central theme is identity. Mima’s identity as an idol abruptly halts as she transitions to becoming an actress. However, the environment of an actress proves to be very stressful for Mima, and she starts to lose herself. This is also in part due to the website “Mima’s Room”. 

It is revealed that Rumi was the person behind everything. Rumi wanted Mima to stay as a idol to live vicariously through her, as a result of her failure to do so in her youth. On the website, Rumi writes a version of Mima that fits her vision of Mima as an idol. This places pressure on Mima contemplating her choice to pursue acting. In addition, Mima slowly starts to believe the Mima in “Mima’s Room” is the real Mima. 

Besides the whole horror-thriller elements, the film is realistic. “Mima’s Room” is an example of an outside view about someone’s perceived self. In society, we strive to perform acts in a way that ultimately builds our identity—our perceived identity. However, as these acts become habits, we slowly align ourselves with that constructed identity, and it becomes harder to move away from it without properly addressing it. Also, society might be surprised or even disgusted when our identity deviates from the performed identity that society typically views. (This is inspired by Judith Butler’s gender performativity)

Despite the warning of it being of right-wing origins, I still was not prepared for what Kobayashi had drawn up. Assuming Kobayashi truly believes in what he wrote, Sensoron attempts to challenge existing perspectives of Imperial Japan during WW2. 

One section extensively covers the alleged use of fake anti-war photos. Kobayashi claims many photos were arranged in a way to garner anti-Japan sentiment. For example, he states a photo of decapitated heads that was related to the Nanjing Massacre was just from a different time period and place. Of course, when one releases photos like these, there is always an underlying intent, even if it is overshadowed by a journalistic duty to report the truth.

Kobayashi also comments on the brainwashing that has resulted from peace museums with misleading exhibitions. It is true that one’s view can be shaped by the information they consume, but is it too far to call it brainwashing? 

The most interesting part was about testimonies. There is some truth in utilizing actions rooted in pathos to elicit a certain response. Kobayashi clearly demonstrates when the employees complain about Poka-Q with strong emotion. Despite no tangible evidence, Poka-Q is determined to be guilty without any rebuttal. This is a simple case of majority rule; I can see where Kobayashi is coming from because the whole world was against Japan, as shown by the War Trials and other punishments. 

Fundamentally, Kobayashi’s points have merit on their own: information can be utilized to further a certain goal and majority rule can be harshly unfair. However, it can be problematic when applying these simple concepts to a more sensitive topic that already has rigid opinions—of which I have to admit that I hold. 

To be clear, I cannot approve nor disprove these claims within this blog post. Although Kobayashi’s claims are outlandish to a “normal” person, the proper way is to extensively fact-check his sources before making an ultimate decision, but those were not included…

In the end, I believe this manga reminds us to not fully accept information that comes our way to the best of our ability. 

Before starting, this film is gorgeous, and I consider this as one of the pinnacles of animation and music. 

Musubi is the proclaimed central element in everyone’s lives. The film describes it is the flow of time that connects everything and everyone; it can be unraveled temporarily but will always come back and tie itself back. I believe the second part is something of the human perspective. For example, you might meet someone new who can be a significant influence in your life, but then you get separated from them. This is exactly the form Mitsuha and Taki’s story takes on.

I found it touching that instead of writing his name, Taki only wrote that he loves Mitsuha. The film suggests an importance on the holding onto the feelings of one’s memories. And maybe, just maybe, you might be rewarded, as depicted by the ending.

Another aspect was the romanticization of urban life. The trio in Itomori are shown desiring to escape the village for a better life in Tokyo: they wish for the luxuries and commodities. Furthermore, the depiction of Tokyo itself contributes to this romanticization. When Mitsuha is in Taki’s body, she is taken aback by the extravagant view of the buildings from the balcony. The same view is enhanced in the spring with the cherry blossoms blooming. 

As someone who has watched all of Shinkai’s films, Your Name actually stands out from most of them because it is a happy ending (for the most part). 5 Centimeters a Second is another Shinkai film that deals with human connection, but this film is all about the melancholic fading of that connection. It truly must have been a polarizing turnaround for Shinkai fans.

I do not praise Your Name as much as I would. As much as the film stays true to its theme of musubi, it simply promotes a total simulacra to the average person. It is that lack of realism that holds the film back, but to others, it evokes unfiltered emotion.

Also, does anyone know what the heck Foucault is saying. 

I have my fair share of anime with its unique quirkiness that I have watched, but this is truly something else. I never thought literal nations could be anthropomorphized into anime characters.

The way each nation acts can be rather reductive: Italy being useless and running away after seeing a threat. Nevertheless, the comedic skits provides potential for a different purpose. Hetalia presents historical events and international politics in a lighthearted manner (depending on how easily you get offended..). However, Annett brings up a valid criticism: Hetalia can contribute to the perpetuation of stereotypes of nations. From Hetalia’s inception, it opened the floodgates to both cultural and historical awareness and hatred. There will be inevitable setbacks, but it is worth hoping for the day we can understand each other and overcome our difference all over the whole world. 

In addition, the presentation of the comedic skits plays into Azuma Hiroki’s idea of database consumption. Many scenes are discontinuous from each other, especially the scenes with the Holy Roman Empire living with an infant Italy, but it allows for more characters to appear on screen. With this approach, viewers who are inclined towards a certain character will have more chances to “consume”. In other words, Hetalia, with the amount of nations, embodies a setting for database consumption, and with the addition of new nations that are caricaturistic, it will further draw itself closer to an ideal database recombination machine. 

Another topic that Annett explains is how there is a chasm between fan communities. Since anime used to be much harder to find, anime fans were thus hard to come by and interact with (by virtue of less accessibility). Therefore, conventions was a surefire way of connecting anime fans. In contrast, anime fans currently have a plethora of routes to form and join communities. As a result, impersonal relationships over the internet have been preferred. 

The Xenoblade Chronicles series consistently depicts the grandness and beauty of the world, often supported by the magnificent soundtrack, but there is always a greater conflict behind that facade. In the case of XC2, the world is a ticking time bomb where humanity is slowly losing its footing—literally—to survive. 

Although most of the inhabitants of Alrest have long forgotten and given up on a prosperous land once known Elysium (paradise), Rex decides to journey with Pyra in pursuit of Elysium. Over the course of the story, there are small hints about what the nature of the world is, but everything is revealed when the party reaches the top of the World Tree.

Klaus had orchestrated a cycle of life after destroying the world. And now, that cycle of life is at its closest to ending because of Malos. It begs the question whether humanity is always doomed to go extinct. Even after Klaus recreated life from scratch for humanity’s second chance, there are beings that still want to end the world. 

By the end, the party finds paradise: all the titans combine into one land mass. In the short-term, this is a wonderful event because everyone can share the resources on this new landmass. However, will this truly last? I think the story hinges on the fact this hopeful outcome will persist. There is no guarantee that things will not return to the previous status quo. In fact, now that everyone is closer to one another, the consequences of limited resources might be even worse!

Aside from the whole destruction of the world, I found it interesting that Jin proclaimed he was being tired of Blades being used as tools. In particular, Indol is the sole distributor of Core Crystals, so they have a large influence over the means of war. This is similar to how humans exploit nature, but now this analogous nature has a will and wants to resist that. In this case, what should be done?

This film presents the consequences of environmental destruction and how one version, albeit fiction, of human civilization would fare in a post-apocalyptic world—which has becoming a more significant issue.

I like the concept of the Sea of Decay. From the surface, it brings about the destruction of every nation it touches. However, after Nausica unravels the mysterious origins, it is revealed that the Sea of Decay is only purifying the toxic earth caused by the humans of yore. Essentially, since humans are trying their best to survive against the Sea of Decay, it implies a certain incompatibility between humans and nature, especially with the current attitudes toward nature. 

On the other hand, Nausica herself is the only character that is actively trying to understand and accept nature. Instead of killing an enraged Ohm chasing after someone, Nausica chooses to calm it down and guide it back to where it belongs. When that does not work against the stampede of Ohms, Nausica literally gives up her life to stop them. It represents the will required to truly change the current state of affairs. In particular, it is the sacrifice of the future generations that will suffice in the restoration of the land.

I was intrigued by the scene when Nausica goes berserk and kills some of the soldiers after her father is murdered. Later, Nausica states she afraid of what blind rage can accomplish. This is very telling because one emotion the humans definitely possess is rage, and it is their ignorance of the true nature of the Sea of Decay that renders them blind. They are locked in a constant mode of fight or flight, but it limits what methods they choose for survival. By the end, it is only Nausica who seeks coexistence with the oppressors of humankind.