What I’m currently watching: Akame ga Kill!, Ao Haru Ride, Barakamon, Free! Eternal Summer, Gekkan Shoujo Nozaki-kun, Haikyuu!!, JoJo’s Bizarre Adventure: Stardust Crusaders, Kuroshitsuji: Book of Circus, Sword Art Online II, Tokyo Ghoul and Zankyou no Terror. (As of August 01 2014)
Miyazawa Kenji (1896-1933) is one of Japan’s best-loved and most influential writers. But for whatever reason, he’s not well-known overseas. This post is my attempt to share just a tiny bit of Miyazawa’s enormous influence over anime to you English-speaking anime fans.
Things were going really well for Slaine and his relationship prospects until the princess’s double exploded and an interplanetary war ensued. He and his sort-of-but-not-really girlfriend lost all touch. They couldn’t even text each other. But Slaine thought they could weather the storm together. After all, he and the princess had already had their first KISSU a long time ago. They were totally going to get married.
Unfortunately, trouble was brewing on the relationship front.
Instead of contributing to society in any shape or form, I have been spending the last couple of days playing a BL visual novel called DRAMAtical Murder. I looked into my crystal ball and foresaw that the anime (which is airing this season) would be full of QUALITY like the above image implies. So I decided to cut the middle man and just play the game instead. Here are my spoiler-free thoughts.
As you may or may not know, I recently translated volume 2 of Yahari Ore no Seishun Love Come wa Machigatteiru on Nano Desu Translations. You can read the first two volumes of the series here.
Before you ask, yes, I have plans to continue translating all the published volumes of Oregairu. But for now, I thought it would be interesting to walk you readers through the translation choices I made. How exactly did I set out to capture the “voice” of Hikigaya Hachiman?
In my last post, I discussed my stance on sexism in male otaku fandom. I described my ambivalence about my own fan activities and how I have always felt complicit in sexist attitudes despite my desire for gender equality. It is certainly easy to point out that anime fanservice objectifies women (among other things) and in doing so turn your critical eye away from yourself.
This time, I want to focus on the female anime fan’s perspective. In doing so, I hope to show that sexism in the anime fandom lies far beyond what is shown in anime itself. The sharp division between anime communities “for boys” (i.e. Reddit and 4chan) and anime communities “for girls” (i.e. tumblr and fanfiction sites) does not help. There is a distinct lack of open communication between both genders online. This enforces gender stereotyping on both ends.
This post is a collaboration with my friend AquaJet. She is an insider of both female otaku culture and tumblr culture. I decided to feature her writing on my blog because I feel this is a perspective that needs to be shared to a wider audience.
I have been thinking a lot about feminism lately. Specifically, I have been thinking about how gender politics relate to the anime fandom. It’s widely acknowledged that otaku culture is sexist and that the vast majority of anime marginalise women by objectifying or “Othering” them. But what about the individual people involved? Ordinary people like you and me who don’t necessarily think women are inferior to men but still involve themselves with anime culture anyway?
So I got to thinking… am I sexist for being an otaku? Am I a big, fat hypocrite for calling myself a “feminist” while also calling fictional female characters my waifus and buying merchandise featuring anime girls in sexual poses? This isn’t just a matter of enjoying ecchi anime – this is stuff I actually do, even if I intend it jokingly or ironically. Lately, I have been doing some hard thinking about what it means to be a “feminist” and what it means to be an “otaku” and I wonder if the two are mutually exclusive.
Kirito is a really overpowered guy who attracts all the ladies by not doing very much in particular. I think he’s an asshole. But I kind of like him.
When Oregairu first aired in the spring season of 2013, I don’t think anyone was expecting too much out of it. A light novel adaptation with a stupidly long title that translates to “My Youth Romantic Comedy is Wrong as Expected”? What sparkling originality. I was looking forward to the show as soon as it was announced because of my partiality towards bullshit otaku romcoms, but I wasn’t expecting anything deep or profound.
I certainly wasn’t expecting this to be the story that would most perfectly criticise my outlook on life. It challenged my snobbishness, my elitism, my cynicism about teenagers. Oregairu is the story that made me respect teen lit.