John Wants to Be Him | A Collaborative Story Concept

Management: I do other things outside of occasionally watching anime and writing blog posts about them. I also occasionally participate on podcasts. The podcast below is “Words, with Friends,” hosted by RogerMcSexington. During Roger’s podcasts, he and a guest (such as myself) come up with a story concept based off of two random story genre cast from a digital card deck of 9.

NEW EPISODE! Roger and @ZeroReq011 create a romance sci-fi! https://t.co/DVJjjySG2i

— Words, with Friends (@wordspodcast) September 28, 2016

So after humbly accepting an invitation to Mr. Roger’s digital neighborhood, we did a podcast… after several attempts. Scheduling conflicts came up, my hardware was being uncooperative (the result of my previously dying and now very dead laptop), and there was a lot of workplace drama. We were finally able to nail a new date, I finally realized that my phone was smart, and I was able to negotiate my way to a better working arrangement. We sat down, we recorded successfully, and the audio was published without serious issue.

“Words, with Friends” is a creative writing podcast, of sorts. Out of a deck comprised of 9 genres of Roger’s construction (yuri included), upon command, a computer program would draw 2 genres at random. From those 2 random genres, we would create an original story concept, complete with plot, characters, setting, theme, and title. After making a mental declaration to myself in the voice of Dan Green, the 2 genres we ended up drawing were “Romance” and “Sci-fi.” They weren’t altogether bad genres to build out from, but I didn’t have any experience beforehand writing science fiction. So after a moment of brainstorming on Roger’s part, he suggested that come up with something inspired from an Overwatch short.

The Overwatch short he had in mind was “Alive Animated.”

AKB0048: Work, Play, and Life Fulfilled

Management:  While my opinion of the show is generally positive overall, this essay, by no means, is meant to serve as a comprehensive review, but rather, as an articulation and analysis of some of what I feel is this series’ most integral and interesting themes.

Idols doing battle in space. It’s not as though this eccentric premise is especially unheard of in anime history (See: Macross). However, its eccentricity seemed to demand something thorough explication of its setting’s cosmology. I demanded one, anyway. The show’s backdrop is one of conflict between the forces of play and the forces of work. At the vanguard of the forces of play is the idol battle group, AKB0048. The armed guard of the forces of work are the Destroy Entertainment Soldiers, DES.

While the audience during the show was treated to insider information  about the motivations of the idols and the mission of idols’ organization, the DES was treated, more or less, as this large, amorphous, and ambiguous force that sought to destroy singing and dancing and idols and entertainment. Why? Because EVIL? Because the show treated them as clear EVIL,  AKB0048’s mission would be seen all the more as GOOD, because the alternative is EVIL? Is play all good then, and work all bad? Musing on the show more, I would say the answer is neither.

Terror in Resonance: Voices Beyond Violence

Management: While my opinion of the show is generally positive overall, this essay, by no means, is meant to serve as a comprehensive review, but rather, as an articulation and analysis of some of what I feel is this series’ most integral and interesting themes. This essay is meant to take the place of a previous review on the show.

I want to address a rather easy prejudice people end up giving in to: Terror in Resonance is about terrorism. No, Terror in Resonance is about the terrorists. It was about empathizing with the two terrorists of the show. Well, I suppose now it’s a bit reductive to fully separate “terrorism” from “terrorists,” not least because both terms have “terror” in their names. I’ll concede that show is parts “terrorists” and “terrorism.” What I do want to divorce from the conversation is the inordinate attention people pay towards the morality of terrorism. Should terrorists deserve our empathy when, to us, they show none for their victims? Many, if not most, of these victims are “innocent people,” innocent people insofar as they have no direct connection to the causes they are committing terrorism for. Many terrorists know they are targeting “innocent people.”

Well, now we’re talking about the morality of terrorism. Conflating the motivations of one particularly amoral terrorist with the motivations of all terrorists is problematic. It’s just as dehumanizing to the terrorists as to the people they terrorize. And yet, this kind of oversimplified heuristic still operates on a public level. Terrorists are people. The people who are inspired to terrorism are people. The people who are vulnerable to becoming terrorists are people. Most terrorism doesn’t happen spontaneously because most terrorists don’t decide to become terrorists spontaneously. This drive to terrorism comes from somewhere on the lines of freedom and faith, somewhere filled with grievance and resent. It comes from somewhere human.

Nine and Twelve are human.

Death Parade ~ A Rant About Why the Show Isn’t Going to Hell

Management: Unlike more formal entries, this post is just me kind of freewheeling some hate I’ve worked up on something or other. I intend they be civil, but they are rants. They are demonstrably more passionately accusatory towards something or someone, but the points I’ll make will at least be coherent. I won’t do these on a regular basis. They’ll just spontaneously spring to life one day in a conversation, and I’d rather at least the reasonableness, if not the rhetoric, of my sentiments aren’t forgotten.

Every Death Parade discussion that I’ve skimmed through had people dropping and arguing opinions. Not a whole lot of surprise there. It happens for most, if not all, shows. But there’s something about the type of opinion being expressed and debated in Death Parade that seems to be unique to it, special to it. This “specialness” is where the focal point of these opinions are concentrated: posts and polemics about good and evil and heaven and hell of all variations.

They frustrates me.

My public health professor posed a question about the infamous “Typhoid Mary.” People opined about who was right and wrong, while here I was, the only person in my class who thought this question about Typhoid Mary was dumb.

Here I am now, thinking that these Death Parade discussions about morality were dumb.

Paranoia Agent: Strongest

Management: While my opinion of the show is generally positive overall, this essay, by no means, is meant to serve as a comprehensive review, but rather, as an articulation and analysis of some of what I feel is this series’ most integral and interesting themes. This essay, in particular, is about Episode 11 of Paranoia Agent, “No Entry,” though it does contain some elements of Episode 13, “The Final Episode,” towards the end.

“Paranoia” is a term that could be described as seeing daggers in shadows where there are none. It’s a mental state where minor suspicion of the intentions of people and things, whether or not those people actually know who you are and whether or not those things are actually sentient, degrades to the point to a neurotic obsession. It becomes a plot against your life, a conspiracy where certain people, certain things, or all people and all things, are out to get you, to be cruel to you, to make you suffer.

“Agent” is a term could be described as something or someone being the perpetrator of something else.

The perpetrator of paranoia. The neurotically suspicious agent. For the first half plus of Paranoia Agent, the show plays around with who or what is beating everyone in the head with a bat. Or is there even someone out there like that? Is there a ‘lil Slugger? Is there a shounen bat? There wasn’t, and there is, and before where people were simply sent to the hospital, people are now being sent to the morgue. Shounen Bat has become the iconic equivalent to certain death in the show as the grim reaper is in pop culture (the bat’s bent in to parallel the bent nature of the scythe). It now kills everyone it ends up appearing to.

Episode 11, “No Entry” , pitches along, and it appears in the midst of this woman who you would think would be the easiest target to bludgeon into a crackly and pastey oblivion, at least compared to its previous victims. A woman with a fragile constitution and a weak heart, and yet alone she managed to survive, even when her house didn’t. It wasn’t luck though that she was able to make it out.

I Have No Friends and Must Win | Stella Women’s Academy, High School Division Class C3, A Review

Management: This is a comprehensive review of own devising, where I go over a pro and con analysis of the material in an attempt to convince people to watch the show-in-review. Hopefully, in encouraging people in general to watch things I think are interesting, they’ll at least somewhat know what to expect while watching. For clarity’s sake, I’ll emphasize this: the review isn’t meant to be so much holistic as it is coverage of what I believe is of core importance to the show. 

From the surface, Stella Women’s Academy, High School Division Class C3, or C3-bu for short, looks like it’s going to be K-On! with airsoft. It could also turn out to be Girls und Panzer, but with airsoft. Maybe Upotte!!, but instead of real guns, airsoft. Sabagebu! Its name translates from the literal Japanese equivalent of “airsoft.”

Not quite. Unlike all these aforementioned shows, C3-bu’s not treating girls with airsoft as fun and games, or airsoft as fun and games, or even airsoft as war as fun and games. It’s treating airsoft as war. And it’s treating war as war, and war is zero-sum. For the player of fortune, for fortune of victory, the fighting ends and fortune’s achieved only when one side wins it all and the other falls to hell. Other conditions notwithstanding, victory’s assured when the enemy side has been all shot. It is imperative that at least you must survive. It is imperative that you survive. You must survive. You are the player of fortune, after all. The player of victory… victory… victory…

…believes Yura after a certain point. It’d be closer to the mark to say that C3-bu’s more like Evangelion.

Of Anthropological Perspectives: Kino’s Journey and the Importance of Cultural Relativism

Management: While my overall opinion of Kino’s Journey: The Beautiful World, is quite positive, this essay is, by no means, meant to be a comprehensive review of the series, but rather, an articulation and analysis of what I feel are its most integral and interesting themes. Much of this essay draws reference to Franz Boaz’s work in anthropology. This is not, however, meant to be a total affirmation of everything he believes.

“The world is not beautiful; therefore it is.”

It’s an iconic quote from Kino’s Journey, probably its most iconic, and rather fitting with the latter part of the show’s title: The Beautiful World. Just watching the show, though, following Kino and Hermes on their travels, it becomes evident that there are many things in this world that are not beautiful in the traditional sense. Miserable snowpacked drifts, windswept desert wastelands, ruined husks of cities. In addition, the countries she visits aren’t the most hospitable places ever, and many of the people she meets are not the most decent lot.

The cultures she observes aren’t literally representative of the real world. They’re, rather, more akin to the “what if” scenarios The Twilight Zone would make the setting of their episodes with. Kino’s Journey, however, isn’t mainly interested in exploring the world as it is interested in the human condition, us, one facet at a time, through these “what ifs.” Exploring our bad points and our good points, our best points as well as our worst elucidating whenever we face adversity.

It is because of this that Kino’s Journey regards vapid optimism with little beauty. Looking at the world within Kino’s Journey and the world without, suffering is not too hard to come by. But the show says its because of humanity’s seemingly permanent ties to pain and hardship, etched on landscapes and people’s faces, in the attempts of these cultures to deal with pain and hardship through belief and practice, that that the world is beautiful.

Beautiful despite suffering, in spite suffering, in defiance of suffering, or even because of suffering.

So it is crucial that, in order to see the beautiful underneath the ugly, that we, the audience, engage the show with an open and critical mind, the mind of an anthropologist, the mind of a traveler.