About Me

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A lover of the liberal arts, especially antiquity in its diverse forms, I am nonetheless wholly devoted to, utterly transformed by divine revelation. I seek to know the thought of the past, articulate my deepest longings aroused by the wise, and understand the uneasy relationship between reason and revelation; all for the sake of proper action and contemplation, both now and in the future.

4.16.2018

New Project

Oregairu was the first series to make me write on every episode, but it might not be the last. Darling in the Franxx is proving to be a smash hit, and one of the most brazen things I've seen - in an era ruled by spiritual version of Marx in general, and the notion that gender is an act of the will in particular, a work of art hammering home the importance of being an embodied man and woman together feels like a groundshattering earthquake. It's making me hungry to dig in, and it's so well done - the use of parallels, time, color, and motion in the frame all serving the story of two people encountering one another. 

Evangelion used the apocalypse as a stage to understand the search for human connection. Franxx uses the apocalypse to as a stage to understand the love of male and female together. Nothing could be more appropriate. 

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3.19.2018

On Vapid, Flat (Male) Characters

Last year I saw most of the Monogatari series, and some of its arcs blew me away with their insight into and careful probing of the characters. Hanekawa, Hitagi, Sodachi, Shinobu, and Sengoku are fascinating, and in seeing their stories you begin to understand them completely. Dostoevsky does this in almost every book he writes (Aglaya and Myshkin in Idiot, Alyosha and Ivan in Brothers), and so does Jane Austen. Monogatari's writing isn't on their level, but its characters might be. 

Curiously absent on this list, I realized, was the male lead, Araragi. Contrasted to the layered, careful revelations of the girls he encountered, he himself received no such treatment (and his sisters don't really either, so they're also not very interesting) and always seemed rather flat, even bland. Kaiki, on the other hand? The con man steals almost every scene he's in, so it's not as if Monogatari is simply incapable of writing a good male character. Araragi is just boring. I began to think about other examples of compelling male leads and found something intriguing. Maybe I'm not giving him enough credit, so when I finish and rewatch Monogatari maybe I'll revisit this opinion.

Most of all I love tautly written, intense character explorations - where the drama of a series comes from the characters themselves more so than the events (Oregairu is a perfect example of this). That means I've seen a lot of romance anime, and while a significant minority of it has been terrible, when I turned my attention to the male protagonists vs the female, I often found that the female leads were better fleshed out, more layered, and more complex - in short, more interesting, more compelling, than the main (male) character. A great example is Nisekoi, where both lead girls, Onodera and Chitoge, as the series progresses, are both unfolded and revealed in interesting ways. Raku, on the other hand, mostly exists so that girls can adore him, and most of his screen time is spent reacting to the spunky antics of said girls. 

This pattern kept cropping up, especially in what I'd call mid-tier anime: the reasonably entertaining, worth-a-watch type of series. Amagami, Seiren, Eromanga Sensei, Konbini Kareshi, Gamers, Just Because, Hidan no Aria, Nisekoi, Radukai Kishi no Calvary, Guilty Crown, Oda Nobuna, Ore no Kanojo, Saekano, Golden Time, and so on. Miyazaki's films are almost always focusing on a female protagonist (Princess Mononoke is an outlier, and of course Ashitaka is an incredible hero, on the level of Nausicaa and Sophie), so for a bit I wondered where the great male protagonists were. 

Two things happened after that. I saw a lot of top-tier animation (Makoto Senkai's work, for one), and a little reflection on it found that there were plenty of well-written heroes - Shinji, Hachiman, Okazaki, Subaru, Takao, Taki, and Willem all come to mind here. Second, I played a psychological horror game called Doki Doki Literature Club - a twisted, demented version of something called a dating simulation (meditate on what a dating sim is and you will experience something called 'fridge horror'), where a number of heroines are present, each with their own route through the game. As it progresses, more about the girls is revealed, but the main character (i.e. you) is static. No change. 

Click. The lights came on. In the dating sim, you simply place yourself in the position of the main character, so it's actually intended that the main character there be flat and empty. And hence in a lot of romance/drama (especially harems), the same principle often applies. The male lead is just a self-insert for the audience. For instance, compare Raku from Nisekoi to Hachiman from Oregairu, or Eita in Just Because! to Re:Zero's Subaru. In the former, the main character reacts to hijinks around him; in the latter, he is fully alive, furthers the drama, and fundamentally changes. The reason I was seeing a preponderant number of compelling female leads was because the genres that attracted me the most were character-driven slice of life dramas/love stories, just like (you guessed it) Jane Austen and Dostoevsky, and those genres simply tended to follow the trope of bland main (male) characters as viewer stand-ins. And similarly in shoujo anime; the female lead is dull, bland, and the perennial object of a much more interesting male character, so that girls can place themselves in her position and enjoy the fantasy. 

That's not very good or very interesting art, and it vanishes with the greatest anime, but at least now I understand it. It's why dramas like White Album 2, Evangelion, and Oregairu are so much better than Saekano, Golden Time, and Konbini Kareshi. Getting beyond wish fulfillment fantasies is in some measure impossible, but that they be woven into great art is not. And in fact, the best anime (and film and literature) are usually some form of both. 

3.11.2018

Anime's Toilet Bowl Genres

I've now seen close to two hundred films and series, and probably thirty or forty were various levels of awful - from three through five stars out of ten. One persistently terrible genre, however, has been shoujo - i.e. adaptations from source material marketed towards young, i.e. adolescent females; shounen being the male equivalent. 

(Obviously there are other consistently terrible genres - harem and ecchi come to mind immediately. Hentai, like all pornography, I do not consider art at all) So for now, I want to crowdsource and compare shoujo series with the shounen series (usually another awful genre). Let the data mining commence. My results are likely to be skewed, since there are about 1800 shounen anime and only about 600 shoujo anime. No matter. For shounen I've got:
  • Attack on Titan
  • Your Lie in April
  • Samurai Champloo
  • Silent Voice
  • Claymore
  • Tsurezure Children
  • Shokugeki (guilty pleasure)
Some very fine material here (except for Shokugeki, of which I am kind of ashamed for enjoying. But I like cooking and boy does it make me hungry). Samurai is very good, Silent Voice is top-tier, and Your Lie has moments of pure, elegaic beauty. 

Okay, onto shoujo. I combed through the complete database of shoujo anime, and didn't find much there:
  • Shirayuki
  • Natsume Yujinchou (by reputation only - D recommended it to me, but I haven't seen it yet)
And that's it.  Of the shoujo I've seen, only Shirayuki comes to mind - the anime adaptation of Snow White. The first season was quite excellent, but the second was just barely watchable. All the other series seem the female equivalent of harems, except I have the sneaking suspicion that such shoujo series (e.g. Maid-sama, Wolf Girl, etc.) are also wish-fulfillment oriented towards high school boys. If they're not, then the Japanese female fantasy makes the male fantasy seem wholesome by comparison (e.g. the constant, omnipresent threat of and deliverance from rape/sexual assault is beyond twisted). Ore Monogatari, which I've seen half of, is pretty much the genre's last hope, and even that was a rainbow unicorn sugar-fest. I've dropped it for now because it was just a bit too much sweet, and because the female lead was barely a person (a good cook, kind and compassionate, and utterly devoted to the male lead. Somehow light-years away from Belldandy, who has many of those characteristics but has a steel core to her). Shirayuki is easily ten times better as a heroine. 

Ecchi is almost exclusively garbage, as is harem (Inou Battle and Nisekoi are really the only exceptions I've found, and they're only rewatchably-entertaining at best; and even then, only Inou Battle has a male lead who's not a self-insert for the audience). Sadly, shoujo seems to be the latest addition to the Anime Toilet Bowl, joining the swirling sewage of ecchi harem. 

1.25.2018

Potential Series

Monogatari is a very, very long series and makes loquacity seem laconic. Endless, endless exposition. Some very, very fine arcs, but I've set it aside for awhile. Owarimonogatari Season 2 will get watched eventually, but other things came first, like Fate/Zero, a series so black it makes Game of Thrones look like Disney Princess tea party. I'll write something on its finest episode, but I can only take so much despair.

Below are a lot of potential series, so while I wait for Saturdays, when the twelve or so series I'm following this season air, I'll pick some to watch during the week. Flip Flappers or Princess Principal, most likely.
  • Servant x Service
  • Iron Blooded Orphans
  • Flip Flappers
  • The Eccentric Family
  • Mushishi
  • Natumse Yuujinshou
  • Yama no Susume
  • Princess Principal
  • Paranoia Agent
  • Kino's Journey
  • Gatchaman Crowds
  • Ef Tale of Memories
  • Denpa Onna
  • Love Lab
  • Aria
  • Dagashi Kashi
  • Mitsubishi Colors
  • My Neighbor Totoro
  • Owarimonogatari S.2
  • Revolutionary Girl Utena
  • Ga Rei Zero
  • NHK
  • Kinmoza
  • Yuru Yuri
  • Net-juu no Susume
  • Is the Order a Rabbit?
  • Kimi to Boku
  • Classroom Crisis
  • Sora no Woto
  • Amanchu
  • Aoi Hana
  • Hourou Musuko
  • Time of Eve
  • Sukkite ii na yo
  • Ano natsu
  • New Game
  • Fireworks
  • Psycho Pass
  • Watamote
  • Terror in Resonance
  • Occult Academy
  • Requiem from the Darkness
  • Girlish Number
  • Ajin
  • ACCA
  • House of Five Leaves

1.04.2018

New Projects

Last year was the discovery that anime had become high art. I think it was the fall season of 2016 I first encountered Oregairu, which utterly transfixed me. Then followed gems like Steins;Gate, Shinsekai Yori, Hyouka, Re:Zero, Garden of Words, and Monogatari. Oregairu is currently battling it out with Evangelion (Episode 2.8 might be worth most, if not all, of Eva) for my #1 spot, with Shinsekai Yori and Hyouka right behind it, and it was the first series to inspire me to cover each and every episode. 

But now that I've finished writing about the finale, I feel a bit restless. I have a list of some thirty more series that look promising, but I don't want to stop writing, either. I could do more character sketches, and go into Hachiman, Yui, Yukino, and Haruno's characters again, from the perspective of the entire series, but I think I'll give Oregairu a rest for the time being. Also, this is my second year (out of ten) in what I'm calling my self-directed apprenticeship of preparation for eventual contribution to the intellectual/artistic/spiritual life as a whole, so reflecting about art in the media of anime and video games will play a distinct role in that, and I should think about what that is.

Thus, I probably won't cover another anime run in the way I did Oregairu, but I might well cover individual arcs at a time instead (e.g. Tsubasa Tiger from Monogatari), especially those which let you know a character inside and out -  and I might even cover standalone episodes that intensely, beautifully depict forms of love: family love in Clannad 2.18, and romantic love in Re:Zero 18 (and I'm still hunting for a beautiful, transcendent depiction of friendship in art). Posts on Breath of the Wild and The Last of Us are probably forthcoming as well. 

What captivates me has always been beauty: beauty in the art i.e. photography of anime, music, and writing. I want to be able to speak about the why something is beautiful, whether an image or a deed, and explain, at least to myself, why it is so moving, or why a character seems so real it helps me understand myself and other people; and when you can really understand someone inside out, loving them often becomes almost effortless. 

Speaking of beauty, there is sometimes beauty - awful, heart-rending beauty - in tragedy, so I might actually start writing on either the arcs or characters of White Album 2. That series had one of the most devastating turns I've ever seen, accompanied with an understanding, empathetic eye for each of the three main characters. No antagonist, no enemy, just three people fully realized, and complicated enough to make it a pleasure to try and understand them. 

12.31.2017

Oregairu 2.13

The finale opens with awkwardness in the club room for the third time, but the flavor is different. The prior two times have been Hachiman acting like his earlier solipsist self, alienating his friends. Now there's a measure of trust and connection between the three, but they don't quite know how to manage friendships which, from Yui and Yukino's perspective, have begun to catch fire. 

And into this relatively normal situation comes the worst possible thing: that's right, Haruno's last scene. She is literally Satan here, combining her own ignorance, the truth, and outright lies to make her younger sister confused, unsure, and afraid. Maybe she's just testing her, but there are ways of testing that will help (see: Hiratsuka-sensei and everything she does and says); the only interpretation that comes to mind is that Haruno wants to be entertained by watching her younger sister work her way out of this test and perform something interesting to watch. This woman is an absolute monster. No, Yukino most definitely has a self, and she's rapidly becoming her own person vis a vis her mother and sister; yes she is definitely changing, and yes of course she has no idea how to act upon realizing she's in love with a friend, especially when acting on that love would almost infallibly hurt - and hurt deeply - another friend; but because Haruno is right about that, it makes it seem to Yukino as if she's right about the rest, too, all of which makes her more prone to being frozen in stasis, not less. Where is Sensei when you need her?

That scene is probably the ugliest in the entire series, and leaves a filthy taste in the mouth. Thankfully, there is Yui to the rescue, and they all go to her house, where we get one of the most beautiful glimpses at family done right: Yui and her mom. Given how Yukinoshita-san and Haruno are, it's hard to imagine how anyone, let alone Yukino, could maintain a healthy relationship with them, Hachiman muses (thank God the show explicitly recognizes that!), and Yuigahama-san illustrates the difference clearly, despite only being in frame for about ten seconds or less. In large measure, Yui is who she is - friendly, pure of heart, and excitable - because of her family, particularly her mother. I wish we saw more of her, but even what we get is enough to see how close Yui is with an adult (role models, sans Hiratsuka-sensei, are completely absent in this series) and how it's made her such a beautifully-souled, healthy human being, capable of deep love and enduring friendship. It is a deeply desirable thing, and Yukino hungers for it at once. Being a stranger in your own family is a terrible thing. She had nobody until Hachiman, Yui, and Hiratsuka-sensei came along, and Haruno is trying her best to destroy even that.

The last half of the final episode is difficult to understand. Yui asks Yukino to go out the next day, and calls Hachiman to ask the same thing - so both Hachiman and Yukino think they'll be alone with Yui, who claims she wants the three of them to enjoy a day together, but also tells Hachiman that she's not the nice girl he thinks she is (consciously or unconsciously echoing Hayama's words). And in truth, though the banter of the three is normal and enjoyable, there's a smoldering tension that makes these scenes hard to enjoy, like waiting for the other shoe to drop or expecting a crash. We don't have long to wait, because there's an adorable sign depicting the behavior of monogamous penguins. According to Yui, if each of the three realizes and articulates the way each feels, they won't be able to stay the same. So her final request is for each to "fix their problems," i.e. find a way to stay together throughout all that, even granting one or two of the three will be hurt by the outcome. 

Part of the reason Hachiman keeps quiet about all of this is because he can't see an outcome except where everything falls apart and he's left with nothing (and I can't either), but in the end he puts his foot down and insists they struggle, writhe, and look for something genuine as friends. And in that moment, threatened as they are by division (all I can see in their future is the ending of White Album 2), they are reunited, together again; the communion between the three of them is palpable. It's a mark how much each of them has grown; Yukino is freely vulnerable before her friends, Hachiman is genuine about what he wants, and Yui asserts her longings at the risk of fracturing communion. None of this would have been possible when they first met, and each of them, through Hiratsuka-sensei and each other, have accomplished a more than minor miracle. Perhaps that's enough to give hope that they'll be able to stay together in the future. 

12.30.2017

Oregairu 2.12

The penultimate episode opens with a meeting between Haruno and Hachiman: she wants to "compare notes" about Yukino's future plans. This would be a perfect time for Hachiman to turn her own speech against herself: "Stand on your own two feet." That Haruno doesn't even know what her little sister plans to study in college speaks eloquently about the state of their relationship, and after all this time learning about her, there is no way anyone would believe she'd use that information for Yukino's good. Haruno is simply an antagonist at this point, with nothing positive to recommend for her - the closest to a villain Oregairu has to offer. 

Unfortunately, Hachiman of course is not that brazen, so Haruno goes unreprimanded. Infuriatingly, she somehow knows about Hachiman's desire for genuine relationships, and weaves truth with lies in order to paralyze everything he's been working for - honest, real friendship. Yukino trusts Hachiman quite a bit, according to Haruno - but wait no, it's not trust, but something far more sinister. She's picked up that Yukino is in love with her friend, and claims "she hasn't changed a bit." But how on earth would Haruno know that? Yukino has changed, and we through Hachiman have seen her lower her walls and be vulnerable before others. The stoic, ice queen of perfection is no more. Haruno naturally can't see that, because Haruno refuses to enflesh it. "Is anything really genuine?" she muses. Of course, her answer is probably 'no,' and not without reason. It's not something you can calculate or deductively reason out; it's not something you can prove. True friendship, like true love, requires belief in another person, analogous to the faith a believer has in his God. Given the indefinite ways we can deceive ourselves or manipulate others or drive them away (Hachiman, Iroha, and Yukino, for example), you can never be sure either you or the other is being real. But for a true friend, as for a true lover or a true believer, that is almost irrelevant. 

Part of the reason I hate Haruno so much is because she exercises such influence in this series, and because someone like that would attract me as well, if only on the superficial level. I like to think I'd cut all ties with her, but Hachiman can't resist the attentions of a smart, vivacious, intuitive, and extremely attractive girl, so he keeps talking to her - and I'd probably be no different, even though I know the flirty behavior is just a wall. Things and actions have meaning, and power, even if you know they're lies. Because she's older and furiously smart, she occupies a place of power with respect to the trio. And because all three of them are so new at this true friendship thing, they can't just shrug off her paralyzing interventions; because they've only just taken the first step, they're extremely vulnerable to exploitation, and exploitation defines Haruno.

Sensei, of course, is the precise opposite. She has never been this warm or encouraging with Hachiman before, and it's perfectly clear how proud she is of him, Yukino, and Yui. She really, really cares about them, and she's the only adult figure we've seen who does (Haruno, for obvious reasons, does not qualify). We've never seen her this gentle. Happy. Pleased. "People's perception of others gets clearer by the day. If you continue to spend time and grow with someone, you'll gradually understand them." And in response to his feeling that he and his friends haven't really grown, she hits the home run: "People don't usually look back to see how far they've come while they're still walking." She's seen their growth, recognizes it, and wants to make sure he knows she knows it. What she sees is real, and we know, because we have seen it too. With only one bizaare teacher as a guide, the three of them have discovered the joys of friendship. Parents or other authority figures have been no help, but Sensei has been there from the beginning, and guided the three of them with a steady hand. She is amazing. 

As if to emphasize the contrast, Haruno appears, and in a sneering monologue, yet again combines truth with lies, and proves yet again that she holds a disproportionate amount of influence with the three. If they were wiser, Hachiman, Yukino, and Yui would have remembered Sensei and her warm, hopeful encouragement, and then they'd be able to dismiss and forget Haruno's deceiving speech. Sure, in a sense, the older sister is right: the three of them are not being straightforward, because the girls are in love with Hachiman, and Hachiman is in love with Yukino, even though he barely recognizes, much less accepts, that himself. Haruno prefers the old Yukino, who'd speak her mind without reservation. And? So what, Haruno? That old Yukino drove everyone around her away with her practice of cruelty by means of truth, and was naturally always alone. Is choosing not to vent your passions as you experience them necessarily disingenuous? I don't think so. Moreover, that old Yukino would have never dreamed about revealing her vulnerabilities before others, let alone reach out to them for help, whereas now she does both

Haruno could be seen as trying to help these kids, but true help looks like Sensei: spend time with each other, and you will better understand one another. You don't need to be mocked belittled as fake and boring in order for that kind of growth to happen: the kind of friendship Sensei is pushing the three to have is self-correcting. Haruno's is self-centered, even Haruno-centered, because it would more fun for her to watch. The worst part about it all is how effective it is. It wrecks all of them. If it weren't clear before, what the three have been doing is clear to all of them now. They would have dealt with it themselves in due time, but Haruno pushed them too early, which made them paralyzed; unlike Hiratsuka-sensei, whose pushes were at the proper time, and lead to growth and good change. Now they're anxious and afraid, more ready to raise the walls again. Worse than harmful, Haruno's interventions are unnecessary in the extreme. She ought to be hated by all. 

Enter the last person we want to see, Yukino's mother. "I want you to live freely and stay true to yourself, but I'm worried you'll go down the wrong path." Pretentious vomit. She wants to control her daughter and make her a replacement Haruno. In this vision, Yukino simply has to do what's expected of her. By choosing liberal arts, she's disappointed her family (presumably Haruno chose the sciences), so she's got some explaining to do. 

So the final obstacles to friendship are enumerated: Yukino's awful family and a love triangle that somehow avoids most cliches - like the medieval stories where two knight-brothers both fall in love with the same girl. Sticking the landing will be hard.