has a remarkable perspective on a show that I often regard as a solid treatment of rather trite themes. Perhaps Kill La Kill! contains deeper ideas than I had given it credit for.
Havelock wrote in his Prolegomenon to the Study of Plato that the text separates the knower from the known. In oral, as opposed to literate, societies, all knowledge is personal and every dispute is a clash of egos because every criticism is experienced subjectively as a slight. A text stands outside persons. Its detachment from any subject or ego permits dispassionate criticism and non-offensive correction.
Episode 2 had some incredibly primitive animation, but a lot of snappy writing and energy. Whoever is directing it is doing a good job maintaining the momentum and energy level so that the audience doesn’t notice it’s a silly farce with good jokes.
The solitary male character is shaping up as a very Japanese hero – a strong, silent, self-sacrificing samurai from an old, dignified family.
I must note, with a snort of disdain, that not one but two reviewers I read in preparation of this article mistake Tascela’s vampire craving for the life and youth of Valeria as a sexual attraction. (This is because we live in a culture, dear readers, as corrupt as that of the degenerates of Xuchotl.)
January 13, 2014 at 12:31 pm
To be fair, the notes at the back of my Del Rey edition (The Conquering Sword of Conan) argues that Howard was in fact exploring lesbianism in Red Nails.
Continue reading Raphael on Conan’s troubled creator, REH
I don’t know much about art.
I know that I like a lot of pre-modern European art, and I hate a lot of modern stuff like Jackson Pollock.
Remember how charming it was for a silly squid-girl with humorous super-powers to try to invade Japan?
Wasn’t that just adorable?
Here’s the bad news: the little girl from Sekai Seifuku Bouryaku no Zvezda is much less adorable than Ika Musume.
Am I the only one who noticed that this girls’ big brother has some seriously messed-up skin? It’s not just on his arm, his face is messed up too.
No matter how narrowly or broadly we define the term “politics,” superheroes—by their very nature as cultural representations of super-empowered individuals—mirror, comment on, and sometimes parody the kinds of ideas, movements, policies, and institutions that interest political scientists. From their inception, superheroes have interacted with elected officials, political candidates, and law enforcement personnel. Costumed heroes have been involved in wars both cold and hot, engaged in espionage, campaigned for public office, endorsed political causes, and even gone on strike. They have taken stands on public controversies from the Vietnam War to gay marriage, and their stories routinely reference and comment on real-world events, from rising crime rates to catastrophic terrorism.
Can you believe they got paid to write this?
Actually, it’s not all that surprising when a female writer pens an anti-feminist tale.
Consider the Twilight series. That was profoundly anti-feminist, and it was written by a woman. The simple fact is that many women don’t enjoy the demands of feminism and would rather throw in with traditional feminine sex roles.
In the case of Rumiko Takahashi’s Fire Tripper, I think the writer simply wasn’t feeling thrilled with modernity.