Notes on Anime

While considered part of the culture of Japan, anime in America is still given a stigma that all Japanese Cartoons are about it enormous mechs, cute girls, and tentacle porn. Also,  a lot of peopel associate anime as being "lazy" art--that is, art that isn't based in western, academic painting and drawing. However, that's just a very inconsiderate excuse--a prime example being Miyazaki's work (animation that is treasured by millions across the globe).

But where does the stigma come from? Where did it start? Unfortunately, I don't know for sure. But, I do know that a lot of people still consider anime to be childish due to the fact that animation in its entireity is still considered just for kids. If you walk up to anyone and ask, "What is your favorite animated film?", the chances of it being something created by Disney, DreamWorks, or Pixar is incredibly high. You're not going to get many answers along the lines of Waltz with Bashir, A Scanner Darkly, or Akira (films that I admit no one under the age of 15 should see). These are films about war, psychos, and space physics that could murder you with one look--these are not for children.

Which is why, during my time presenting anime to the class, I chose some that were considered mature/teen-rated. The first one, Psycho Pass, was definitely an anime not meant for kids. In the first episode, people are shot, raped, and psychologically tormented. They also explode into lots of blood (which is something that would require a heavier censorship if released as a live-action show). Even if the anime wasn't everyone's favorite (and it wasn't apparently), it still brought a reaction to most people rather than indifference.

Another stigma that also occurs with anime is the idea of over-sexualizing its female characters. This is still a problem, even in my favorite anime! While some of it isn't as explicit (as some are so explicit they require their own genre), it's still there in certain cuts within the shows. Usually, when a female character is talking, rather than cutting to the face they'll cut to the butt, legs, thighs, ankles, lips, etc. Anywhere but her whole face. And I understand--if the girl is trying to be sensual, then it makes sense to make those cuts to make her more femme fatale. But, in ordinary conversation, it certainly can be distracting.

Lastly, as part of a cherry on top, I introduced my class to Parasyte: The Maxim. This was one that struck a balance between the typical goofiness or exaggeration of anime (while also maintaining serious topics). It's a show I recommend everyone see--a perfect balance between hilarity and horror. And in the end, I think that's what changed some people's minds about anime--most consider it to be just too kiddish. But, in the end, anime can be just as serious and hilarious. It all depends on how you perceive it.

Notes on Austin Grossman's Professor Incognito Apologizes

1. One of the most prominent symbols I notice in this story are the concept of aliens. In this case, not much is known about the Martians in this story, much like how the main character's fiance, Suzanne, doesn't know that much about the main character (an villainous scientist, from what we can presume). The whole story is based on this idea of secrecy and deception, much like how the aliens never really show their intentions/ ideas on what they will do to Planet Earth (except to the main character, who has made friends with them). The story itself if also deceiving--since we are learning more through the notes of the evil scientist and learning as we go along (through the perspective of Suzanne).

2. There were plenty of connections I had to the story--mentioning Captain Atom was one of them, since I've known Captain Atom to be a superhero from before I was born (60's, I think)? Another connection I had with the story was the idea of trying to redeem/ forgive for prior mistakes (despite them being so evil/ silly). In the story, the main character goes through a list of his previous mishaps that he felt he needed to apologize for--some were diabolical and demanded punishment rather than an apology. While others were so typical from a healthy couple (such as the couple's therapy and going to the restaurant after a fight).

3.I could really see this either being a movie or an internet special (such as Dr. Horrible's Sing-A-Long Blog). I'd try my best to keep with the original material--maybe have it so that the main character is a narrator or looming presence that grows more sinister as the show progresses. I'd probably find ways to keep it from the fiance's perspective (so that the audience can relate to her). But, in the end, I'd keep it as the villain's perspective, since it is his story after all. And, it could be good for some of the smaller flashbacks to use either 2D or stop-motion animation. Partly because the villain is so cartoony in how he talks, but also because it could save some money versus doing it all live-action.

Notes on the Fan Community

My Little Pony: Friendship is Magic is a special community dedicated to the cute characters and wonderful stories of the show. And while most people somewhat condone the My Little Pony: Friendship is Magic (the fans known as the "Bronies"), I see no different from any other fan-base. After all, I'm a huge fan of the tribute band, The Protomen, and I'm not a hard-core Megaman fan.

In fact, Megaman wasn't something I grew up with--I never got into it until sophomore year. Because to me, Megaman was something that I always thought was for kids. And not even for the cool kids. But, then my friend recommended me at 3:00 a.m. in the morning to check out the band, The Protomen. I didn't know it was a tribute band, and part of me glad I didn't. Because I was given the chance to listen to "Light Up the Night". Which made me hooked.

What's different I think about the Protomen versus the Megaman is the dystopian twist the band brings to the Megaman storyline. It's not the 90's cartoon I was thinking about--it's incredibly gritty and violent. It's a story about Thomas Light, the creator of Rock/Megaman, trying to redeem himself for making the robots that brought on the end of the world. Which makes the story so much more powerful and has spurred a fan base that resonates with that.

The Protomen are more a cult following than a mainstream one. There's art, fan-music, merchandise, and even some fan-made movies/ animatics based on the album. In fact, I've always wanted to make short snippets/ animatics of the Protomen's album, because I could really see it becoming a mini-series or tv-special. I really hope others will get into them, but I also hope that this won't cause the Protomen to evolve for the main-stream. I hope they grow, but still stay true to who they are as a band.

Here's where you can listen to Light Up the Night (from their second album, Act II: The Father of Death):

Notes on Master Keaton by Naoki Urasawa

Just recently, Naoki Urasawa (manga author of 20th Century Boys, Pluto, and Monster) has released a comic that he created with another writer, Hokusei Katsushika. The title of the series, Master Keaton, is about a former military man now turned insurance officer/archaeologist/ lecturer. It's similar to Indian Jones, except rather than the story being about a reckless American, it's about an eccentric Japanese/English man with a knack for stealing random items, missing his lectures, and traveling everywhere from Ancient Roman ruins, Greece, and other dangerous places.

While not my favorite work by Urasawa, it's interesting seeing how the main character, Keaton, manages to get himself out of terrifying conditions (from being tracked by an assassin, to be left out in the desert to die). It's an escapism to me, while also being knowledgable. In fact, I learned a whole lot about how to survive in the desert through this book. Part of me wonders how much of it is real, but knowing Urasawa, he's bound to have done his research.

And I think that comics like this--that combine both a great story and true facts--should be made more aware. Not shrugged off because it's some kind of comic.

Notes on the Hipster

There's this stereotype that the hipster is someone who tries their best to fight "mainstream" ideals and go against society. However, I think that's farther from the truth--after all, don't hipsters talk about love, pain, society, and sacrifice just like most authors/poets do? Is there any difference between say Napoleon Dynamite and On the Road? Yes, there are, but both talk about love, expression, and fitting into societial norms. The only thing is that On The Road looks more into truth finding oneself, while Napoleon Dynamite is more concerned about who's eating who's tater tots.

And I think this is the ideal for the beat/hipster generation--it's a combination of romanticism and truth. In most poetry I've noticed, there's this running them of gold. I always get the feeling of earthy tones from these poems:

There's also the feelings of truth and seeking said truth. In William Everson's, We In The Fields, he says, "In the beginning, he had had many gifts, different roads his life could take..." The character in the poem has made a pile of thoughts that require his full attention and analysis. It's a lot for him to take in, and I think the point of the poem is to make others aware of their own thoughts, too.

More to come on this soon...

Notes on Oz/ World Build

Only few have ever made their way in and out of Oz. I say only few, because unlike our dimension (Earth), Oz is cut off from the rest of the world by a terrible, four-sided horror. Each side is given it's own name, but as a whole it is known only as the Deadly Desert.

Here is where magic takes the form of destruction rather reconstruction, and where the imagined and realized are placed on equal ground. For no one can touch the sands, unless they themselves wish to become part of the desert...forever. But, if you look closely, you can see them--shifting in the moonlight, swaying to the sounds of the winds and clustering in sand hills. They are the See-Throughs--spirits of former travelers, merchants, knights in shining armor, queens, kings, beggars, thieves. These are the people who tried to escape their lives by running from it--whether they were from Oz, or our realm.

Only a few have found ways of crossing--Ozma, the queen herself, utilized a carpet that never-ended. Dorothy, Shaggy Man, and Button Bright use a sand-ship. But, to those not fortunate to be the main characters or people of great influence, the desert is impossible to cross. Unless you can ask one of the merchants along the border, but even then you need just the right money (and trust) to get through.