Made in Abyss


Speaking of Genshiken is Reg becoming Kuchiki? He’s starting to get a harem of hot babes but instead he wants to fuck all of them and none of them want him except Faputa but we don’t know her yet. Anyway, this manga is fucking amazing.

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Best part of the manga goes to the third volume and Nanachi’s arc. Like, to say that I cry every time I read it defiles the greatness that is the third volume. Tears are not enough to express the fucking incredibly story. Nanachi finally liberating her best friend from childhood from an eternity of pain and forcing herself to believe in an afterlife so that she can believe she’ll one day be united with Mitty? HOLY FUCK MAN.



Faputa’s also pretty cool so far tho too.


HEY. THINK ABOUT THIS. We all think of Nanachi as being a girl and use she/her pronouns because her design is more feminine, but there’s no confirmation of Nanachi’s gender. Think about how Nanachi being a guy re-contextualizes fucking everything— now Nanachi’s love for Mitty has a more romantic tone (Imean maybe lesbian couple but Made in Abyss is already the best manga it doesn’t need anything else to make it even more amazing) and her relationship with Mitty becomes a more direct parallel to Riko and Reg, with Riko taking the place of Mitty. A bit more ominous now, right?

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Have I mentioned how this is literally perfection of art? This author dude Tsukushi Akihito can super grotesque and horrifying shit but also create SOME TOP TIER ADORABILITY. HE CAN DRAW ANYTHING.

Oh also Ozen’s pretty cool. I appreciate that Tsukushi-sama took a seen-before archetype and made her into A FUCKING BADASS HOLY FUCK MAN.

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Ok… If you can’t tell I have nothing legitimate to say about this. I’m just really fucking hype.

Kaiba – How to do a Dystopia Correctly

I was baffled by how much my father praised the movie Blade Runner after we watched it together— it’s not a bad movie but there’s a reason it didn’t win any Academy Awards. I was also baffled by how praised George Orwell’s 1984 is in the realm of English literature. Again, it’s not bad, but I’d never consider it my favorite book. While Kaiba is largely building off of these giants in its dystopic society, it did it right. That’s because it focuses on the humanity of a dystopia, rather than the society itself.

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One of the first things we see in the show is the machine memory chip-sucking flying things that absorbs the chips of a couple of random guys on a natural-looking bridge. We don’t know anything about these guys, but we can assume from their reaction and physical appearance that they’re pretty ordinary working-class people, and through this we can immediately get that this is a futuristic world with a government or society that is either oppressive or neglectful. These few seconds let us infer everything that 1984 and Blade Runner spend significant portions of their time to establish and analyze.

From here, Kaiba takes time only to look at the human effects of this dystopia. Later in the episode we see the squalor most citizens live in— small gatherings of people with scrap equipment and innumerable memory chips and nothing to do with them. This only preps us for the tearjerker in episode 3 with Chroniko’s Boots (as I discussed the other day). The episode effectively highlights the corruption and apathy of the society in Kaiba, but the focus is put on Chroniko and what happens to her. Contrast this with 1984— sure, there are other relevant characters besides the protagonist, but it only marginally exposits how society is corrupt through the events regarding a particular character. We do see this in one character, Julia, but she tells us very little about the world of 1984 that we didn’t already know.

Listen to the music, too— one of the first songs that is played is “Catch it up!” It’s an action-y, heavy synth song that instantly reminds me of Tron (the original Tron, mind you). And, lo and behold, Tron is another futuristic dystopia movie! Immediately after this tech-y sci-fi song, we’re brought back to the humanity of this world in Planet (laughing version) which is characterized by its bizarre sound that feels down-to-earth and alien all at once. Even here the focus remains on the people, and how they interact under these circumstances.

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This establishment of the extraordinary before giving the audience something to empathize with is how Kaiba conveys its dystopia. It goes a step further in “show don’t tell”— rather than letting the audience see the corruption in the society and how X government official gets assassinated, we see the personable side of it and where we would stand in the shoes of others. And, more importantly, we see Kaiba standing in the shoes of others. The show gets away with expositing what the world is like by making it Kaiba who is watching this unfold. This further establishes Kaiba’s relatability to the audience, which makes us root for him just that much more and be even more surprised when we realize he’s supposed to be the evil king of this world. How can a boy so empathetic be a cruel ruler? And, mind you, all of this is to facilitate the arc of the show. The dystopia isn’t simply a setting in Kaiba, it functions as an influential part of the narrative. And, as such, the expositing of the dystopic setting is all part of the story of Kaiba.


When I was younger, I was always bothered how heroes would always win by the skin of their neck and against some unfathomably large odds. I wouldn’t believe that in a hundred books where the hero has a one in a hundred chance of survival, they would always live.
But that isn’t the point of storytelling. Just because something is unlikely, it is still possible. The reason the hero never gets hit by gunfire or never roles below a perfect 20 is because that is the story we are telling. Sure, we could tell the story where the hero dies at a certain point, but we can also tell the story where that doesn’t happen. So long as something is within the realm of possibility, it makes sense to tell the story of the person who breaks through those possibilities rather than the one who doesn’t. If we’re telling a story about a person who won the lottery, it’s okay if they only bought one ticket. Even though it’s incredibly unlikely, we as people are interested in the stories about people winning the lottery rather than the people who didn’t. So it makes sense that we would tell the story about the man or woman who won the lottery, or beat a dragon where they had a one in a million chance of survival or was able to destroy every asteroid against all odds or whatever. It as an individual event is unlikely, but because it is in the contextual realm of possibility and gives the most narrative interest, it is okay to tell the story.

Grandness of an Idea

Hello, my content is inspired by Digibro if you couldn’t tell. Obviously I’m not making the same things he does, but I became interested in analysis of essentially the media I consume because of him. One of the dilemmas I have run across in doing this has been I have an idea, but it may be too small to make a full post about. Digi is great at having an idea and then expanding upon it for several minutes, but for me, I may only have a couple sentences to say about something and then I am done. It’s interesting, particularly since in a recent video of Digi’s he commented on how he could potentially make a video for every thought he had. I had kind of assumed a minimum mass was necessary to make a blog post, but you know what, if people are interested in watching the smallest idea of his, then I’m sure anyone who cares about my content would be interested in the smallest idea of mine.

Genshiken has made me Depressed

Young and innocent me has created a demon of depression with my experience of Genshiken. For about six months prior to the big reveal of who Madarame picks, I was hyping myself up for the decision day so strongly. I absolutely NEEDED to know. Well, I absolutely NEEDED him to pick Hato. And I was disappointed. This brought me to tears. I was legitimately depressed for a couple of weeks. But then I started to get better. I could move on. Now I’d be able to witness even more Hato, right?

Well, wrong so it seems. Now nobody is doing a full translation of Genshiken that I could find and I’m not going to satisfy myself with a simple synopsis. I am prevented from being able to truly move on. Instead I must fall behind and hope and pray for the day to come that the next translation comes. I’m thrown into darkness. I staked my hopes and dreams on this one thing and it has been stolen from me, never to return.


Why K-On! Falls Flat P2

I was rummaging through the four-chans and the read-its and I found that Hyouka was a show on lots of people’s favorites list. Now, I saw this show a while ago and was absolutely bored and I rewatched an episode recently to recall why. The visuals and music in the show is phenomenal. I love it. It’s beautiful, the character designs are slick and stylized. It’s fantastic. Same as most of the KyoAni shows. But I’ve become aware that it’s hard to enjoy shows centered on character relations and how they change over time since I’ve already seen the shows that to me champion that in Genshiken and Hourou Musuko. If you’re looking for purely how a person causes another person to change, then look no further than Kuragehime. I’ve had my need for character development fulfilled in fullness. Hyouka and K-On! just don’t feel as real and the character feel less three-dimensional in comparison.

Does this mean everyone else would find Kuragehime and Hourou Musuko and Genshiken better than Hyouka or K-On? Maybe??? I honestly don’t understand why Kuragehime and Genshiken aren’t super popular. Hourou Musuko I can get since it can be a bit sappy and it’s paced so slowly. But honestly, Genshiken and Kuragehime and some of the funniest but also most interesting things I’ve ever seen. Character development? Check. Good jokes that a broad audience can enjoy? Check-ish. I guess a lot of people won’t pick up on some of the references. Good pacing? Check. Interesting morals? Check. Enjoyable to binge watch? Check. Enjoyable to savor and watch over a long period of time? Probably check.

Is it the age of the characters? Is it because the characters aren’t traditionally beautiful but more just realistic in appearance? Do people hate Hato that much but also not like the original part of Genshiken because it’s a sausage fest? Is it the fact that both shows question gender and societal norms? What don’t you love about it? What makes K-On! better?

This Kind of Writing

I’ve been attempting to improve “this” style of analytical writing since I enjoy analysis of anime and just most all art I consume. As I’ve been doing this though, it’s become evident that I kind of suck at writing coherently for things like this. I love being swept up in the romantics of writing and going all-out on the fantastical and artistic side, but this conflicts with normal analysis-style writing often since the point is to write in such a way that you can communicate your interpretation of an artwork to someone else. I’m not so sure that I can do this.

The other big point of uncertainty is that I usually don’t have that much to say about a show? Often I have ideas for why I like some aspect of some anime or manga, and the idea is complex enough to take up 500 words, but I’d love to be able to go full-out Hearts of Furious Fantasies style with the 10,000 word posts. I think I do have that much to say about my favorite shows, but I don’t have that much to say at a given time. I tend to be pretty binge-y, both with how I consume media and how I create media, so if there’s a central idea I want to have to a post I have to write it all at once. The only feasible way for me to make a real and lengthy analysis of Hourou Musuko or Kuragehime is to just make a whole bunch of mini-posts and then compile them into something larger, which would have the disadvantage of being totally disconnected from part to part. I’d just be compiling a whole series of completely separate ideas about a show. That’s all.

So what should I do? I don’t think I’ll hear from you guys, since nobody reads me right now and I’m not putting myself out to be read yet. I’m still in the practice stage! I feel more comfortable practicing and then letting people see my past work once I’ve made something good, but I have yet to make something I feel confident about it being good.