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Book Club Special Features

Anime Book Club: Kino’s Journey~The Beautiful World~ Week #1

Hi everyone! Anime Book Club is back in session with the first two episodes of Kino’s Journey. Just to let everyone know the drill, what I’ll do here is summarize the episodes in question, and then post a few thoughts and some potential discussion points. Feel free to post your own thoughts, whether related to the questions or not, in the comments on the post. I usually try to have these posts up around noon or 1pm CST each Sunday afternoon. Feel free to post any time during the week and share the posts around in case anyone you know might be interested in getting in on the discussion! As the weeks go on, I’ll post links to previous weeks so they can be referenced easily.

Just a few notes: I know the WordPress comments system is not the most convenient to use. While I don’t really have the time to make changes to that currently, I’ll be looking at it for the future. For now, just know that if you’re a first time commenter I’ll have to approve your comment before it shows up, but once you have an approved comment any subsequent ones should show up without being approved after that. I had this in place because I used to get a lot of spam and rude/abusive comments; if there’s an uptick in that again I might have to move back to heavier moderation. Also, and this is related to the show itself, I’m going to adopt a gender-neutral approach to referencing Kino’s character when writing about them. The Crunchyroll subs are not good about this (to my memory), but it seems to me that it’s in the spirit of the story itself to refer to Kino in this way. I don’t plan to play gender police in the comments but I’d ask that you at least consider this point as I’ve seen it made very well across the anime blog-o-sphere and it’s more inclusive.

With all that said, let’s get started!

Episode 1 – A Country Where People Can Kill Others – CrunchyrollHuluFunimation

Content Warning: Gun and crossbow violence and related blood.

While traveling to their next destination, Kino and Hermes (the talking motorcycle or “motorrad”) encounter another traveler resting along a riverside. The man is on his way to a nearby country and is very excited to make his way there because he has heard that killing other people is legal. Having come from a country where even small infractions are heavily punished for the good of the public order, he is looking forward to the freedom of being able to kill those who upset him. When asked, Kino declines a request to help the man bring his supplies into town, and goes on their way.

Expecting death and destruction, Kino is surprised to find that the country where people can kill others is very orderly, with pleasant people who welcome travelers to stay in their midst. The countryside is lush and beautiful, and the country specializes in a particularly ridiculous multi-layered crepe cake that seems counter intuitive to the place’s hardcore reputation. This doesn’t seem to Kino or Hermes like the type of place where people would want to kill others, let alone somewhere where they’d have the opportunity to do so. But there is an unsettling undercurrent to many of Kino’s interactions with the citizenry – each person seems to have a weapon (whether a gun or other item) at the ready, and those items are, as they all state, for killing people. None of the citizens seem particularly hesitant about that fact, either. A town elder even puts an offer of citizenship on the table for Kino, since Kino seems like someone who would be able to kill others.

The town’s specific nature is revealed when the man Kino met earlier arrives and claims he was deeply insulted when Kino refused to help carry his supplies. He’s now a citizen, and immediately takes that to its logical conclusion by threatening to kill Kino over this matter. It’s then that the citizenry, brandishing their various tools of death, fully articulate the nuances of their local laws. While murder isn’t prohibited by law, that doesn’t mean that it is allowed, and those who attempt to murder others will then have their own lives taken. The man is taken out and Kino goes on their way. Outside of town, another man asks about the details of the country where people can kill others, and Kino gets the impression that he’ll be a perfect fit there.

  

Episode 2 – Colosseum CrunchyrollHuluFunimation

Content warning: Gunshot-related death, seen from behind a barrier.

Kino arrives at the gates of a country that’s been described as beautiful and clean, but soon realizes that things have changed greatly. All travelers who enter the country become entrants into a tournament at the country’s colosseum. The winner becomes a citizen and can amend the country’s laws; losers may only leave with their lives, depending on the mercy of their opponents. This rubs Kino the wrong way but they decide to stay and participate in the tournament, which is set to begin very soon. As Kino travels to the holding area, its clear that the country has been in a steady decline, with garbage strewn across its vacant streets, and crumbling infrastructure all over.

Kino proves their gun prowess early on, readily defeating their opponents without killing them. Soon Kino reaches the finals and faces off against a man named Shizu, someone who proves himself to be very skilled with a sword. Throughout their time in this country, Kino learned more about how it reached this particular state – as it turns out, the current king killed his father, a good but strict king, and allowed the country to fall into hedonism and violence. Kino gets the impression that Shizu has some specific investment in winning the tournament and accomplishing some change, though Kino also has a specific reason to be there. It’s when Kino declines to yield and reveals a hidden weapon that the two combatants learn that their goal is the same. Kino fires a final shot, which “misses” and kills the king. As the winner, Kino proclaims as their new law that all the citizens will fight to the death, and the one remaining will become the new king. Kino then leaves the country to its own devices.

On their way out of town, Kino and Shizu have a final meeting. Shizu was the exiled prince of that country, and wanted revenge on his father. Kino was also there seeking revenge. It just so happened that their goals resulted in the same outcome.

   

 

Discussion Thoughts and Questions (Feel free to share additional ones in the comments!)

In the opening to episode 1, Kino describes the feeling they get when they are feeling most down – it’s it’s during those bleak times that the world reveals its beauty to them. This becomes a theme throughout the series (hence its subtitle “The Beautiful World”), which I think is good to keep in mind just in general. I find this to be a comforting thought nowadays when there are so many bad things happening in the USA – though there are people committing atrocious acts, there are people who continue to work to reveal the truth

  1. In episode 1, there seems to be some linguistic ambiguity regarding exactly what the law allows in terms of killing others. Despite the fact that I’ve watched the episode multiple times, it doesn’t exactly sit well with me when Regel states that killing people isn’t prohibited, but it also isn’t allowed. Does anyone have any thoughts on this?
  2. When the violent man describes the country he left, he talks about its strictly-enforced rules and extreme public order. At the end of the episode, the peaceful man describes having left a country where he had to kill in order to survive. It seems to me that the author is making a statement about the efficacy of laws and how having more laws and harsher penalties in place does not necessarily result in people having a positive mindset. I was wondering what others’ opinions were on this point.
  3. Regel seems like an interesting character whose existence is still ambiguous by the end of the episode. The violent man describes him as a terrorist who killed many people, escaped prison, and went into hiding in this country. In person, he seems much like the other citizens – living a quiet life, but being able to kill when required. This may be a little bit of a leading question, but what does this say about our perception of/empathy toward others’ acts?

I’ve always thought the “Colosseum” story arc was sort of interesting, as it reveals something different about Kino. Going into the series I think it’s common to think of Kino as more of an observer – we get a perception of every country through Kino’s eyes, and Kino generally seems to take more of a hands-off approach to things that are going on there, or at least doesn’t offer any direct criticism against some of the more disagreeable aspects. The people of each country reveal themselves to be good, bad, or (more often than not) much more complicated than the simple conceits of their local ordinances might imply. This episode reveals Kino to have feelings and actual skin in the game. They’re angry about how the woman and her husband on the cart were treated in a country that they were so looking forward to visiting, among other things that we can speculate about.

One thing I also like about this episode is how Kino’s thoughts in the opening carry throughout the story. Kino states that “every now and then you should use your abilities to the fullest. If you don’t, your skills become rusty.” Obviously this becomes very true and Kino’s firearm skills (as well as Kino’s diplomacy and mercy skills) get a workout. It’s been long enough since I watched it first that I don’t recall whether or not each episode starts off with such a lesson, but I find it interesting that both so far have begun with a particular thought or lesson.

  1. Kino appears especially angry when they’re stopped by the guards at the gate of the country and given a breakdown of the rules. I think there’s some ambiguity as to what specifically this anger stems from (that the country was not as advertised, that the rules are unfair to spring on travelers/unfair in general, that Kino was already aware of the false advertisement and has some other reason to be angry about them, etc.). What’s your opinion on this?
  2. In the final moments of the episode, Kino states that “revenge is ludicrous,” and Shizu agrees. Yet both of them participated in the Colosseum tournament for reasons of revenge. What do you think about this obvious contradiction?
  3. While there isn’t much detail regarding this part of the story until the end, Kino’s two encounters with the woman on the horse-drawn cart (as well as her husband), is interesting to think about. During their second encounter, after the woman’s husband has been killed in the tournament, the woman tells Kino “you should definitely stop by that country.” How do you interpret this statement, considering what the woman has experienced prior to it?

I hope everyone enjoyed these first two episodes. I think they’re a great starting point for our discussion and a good lead-off into what’s a very interesting anime series. Again, feel free to link this post around to people who might be interested in participating, and happy viewing!

 

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30 Day Anime Challenge Special Features

30 Day Anime Challenge #3 – My Favorite Male Character

Now that I’m back from my vacation (and through a tough and busy work week), it’s time to continue where I left off with this thought-provoking blogging challenge! Just a note: I might be over-cautious, but I believe some of my statements might give the impression that I just don’t like male characters, which is wrong. I do, however, appreciate certain character traits more than others, which is the point I’m trying to get across.

Takashi Natsume and Madara-sama.

Picking a favorite male anime character is almost as difficult as picking a favorite anime series, but maybe not for the reasons you might be thinking. Despite believing that even anime aimed at kids and teenagers can and does have appeal to fans who are older, I realized long ago that I’ve aged-out of being able to directly relate to the experiences of most anime characters, especially the typical teenage boys who seem to comprise the majority of anime protagonists. It’s certainly not a dig against teenage boys in general, but I can tell you that I’ve seen more than enough artful musings on male adolescence (or raunchy depictions thereof) to the point that the typical shounen character has kind of lost my interest. That already leaves me with a drastically reduced field of characters from which to choose. Add to that the fact that anime character behavior tends to be very archetypical in the first place, and you have an identity conundrum on your hands.

I’ve mentioned the term “toxic masculinity” before on this website. A rough definition of the term is the tendency in our society to encourage boys and men to behave in a very limited way which fits into a misguided masculine ideal, which then has harmful downstream effects to the aforementioned boys and men, as well as to girls, women, and others with whom they associate. Some examples of this issue are the idea that boys and men aren’t supposed to demonstrate certain behaviors or emotions, especially those that are more associated with femininity – crying a lot (or at all), being physically close with one-another – or the idea that boys and men can’t enjoy certain activities that are seen as “weak” or feminine – cooking, doing housework, taking care of children… making this list is just reminding me how screwed-up it is to assign gender to any activities, ugh. We commonly as a society value the expression of aggressive behavior in men and hold these as examples of how to accomplish things in our world – take charge, be a “boss,” get that raise, make decisions, battle it out (physically or otherwise) with people “competing” for resources, “protect” and dominate women, be a “hero.” These are the stereotypes that tend to make it into our mass media. There are some men (and women!) who naturally embody these ideals, and someone who can “take charge” is not necessarily doing anything wrong by stepping into a leadership role. But to many men and women, idealized gender roles can be a prison for their true selves which more than likely exist somewhere else on the spectrum of various human behaviors.

The issue that anime, as well as every other type of popular media, has is that it’s a product of the culture from which it arises (and I’m not trying to say this is just a Japanese cultural problem – it’s everywhere). Human culture has some pretty strong ideas about the boxes into which men and women should fit, and while there’s consistent progress in more egalitarian directions to various degrees, we still have issues with glorifying certain gender expressions, especially some of those toxic and destructive ones. Just look at how many anime are focused around dudes beating the crap out of their opponents, winning tournaments, and dominating one-another. Sometimes there are also women in these shows, but often their choice is to either play support staff, be sexy/available, or participate by adopting the overblown toxic masculinity of their male counterparts. This isn’t universal, but a lot of times when you mention “anime” to someone, this is the type of material that comes to mind. The iconic “sex and violence” descriptor that has haunted anime since they heyday of violent OVAs in the West is enduring in the public consciousness.

I’ve been heartened, though, by a recent trend more towards male anime protagonists who have helped to embody a softer, gentler side of masculinity. We re-watched the relatively-recent shoujo fantasy series Snow White With the Red Hair in my local anime club, and while I had watched it before it was this time around that gave me some more concrete thoughts on why I liked it so much more than many shoujo romances I had seen in the past. I was heartened by the portrayal of Prince Zen, the primary romantic interest and male lead. He’s certainly a typical hero on paper – a wealthy, attractive prince who excels in swordplay and smarts, and helps lead his country and make big decisions. What I found very fascinating about Zen, though, is that he’s also a character who puts a high value on things like friendship, kindness, and personal freedom. He wants to help others excel and provides avenues for them to do so, even if typical class barriers would normally preclude these people from . He’s gentle and kind. And, perhaps more importantly, he seeks consent on more than one occasion when he wants to kiss Shirayuki, the main character. Sure, he’s not perfect; Zen tends to be rash and misinterpret situations, which gets him into trouble more than once throughout the series. But compared to many male anime characters he’s definitely an example of a type I’d like to see featured more widely.

I tend to be a fan of male characters who are what I’d describe as “dad” characters – more mature, good-natured, nurturing and kind to others. The type of characters that remind me of my husband and some of the other male acquaintances in my life. Makoto Tachibana from Free! or Asahi Azumane from Haikyu!! are good examples of what I’m talking about.  Sora Kashiwagi from How to Keep a Mummy, who takes on a pseudo-parental role with the supernatural creatures who surround him and also helps his friends learn to love magical beasts is another great example of what I’m attempting to describe. They’re the type of characters who I would feel pretty okay with putting in the same ballpark as Fred Rogers and all share a kind of paternal quality which gives me a really warm, positive feeling towards the series they inhabit, even if some of those series are otherwise based around hot-blooded competition.

When it comes to my favorite male anime character, though, I have to say that my choice is slightly more complicated than the person just being sweet or “dad-like.” I think one of the best things that anime and other types of storytelling can do is to provide insight into the lives of people who are different from us. Even better, they can also often provide ways to understand our inner selves better and work through our feelings. I think my pick for this topic manages to embody those ideas quite well.

Takashi releases an entity’s name.

It was nearly ten years ago when I watched the first season of Natsume’s Book of Friends, the story of a teenage boy, Takashi Natsume, who is able to see spirits. While it’s easy to see why this could be considered a talent, for Takashi his ability has resulted in nothing but strife. Many of the spirits seem malevolent because Takashi is the grandson of Reiko, a person who is said to have tricked various spirits into serving her and then died young without releasing them from their service. In the opening episode of the series, we join Takashi as he’s being chased once again by a spirit who mistakes him for Reiko (spirits are very long-lived and don’t have many interactions with humans – humans from the same bloodline seem very similar to them). The sequence is very stressful and we feel Takashi’s terror. It isn’t until the second half, after Takashi learns how to return its name back to the spirit, that the series starts to reveal its true colors. As he breathes his life force into the appropriate page of the Book of Friends, there’s a flashback to the spirit’s interactions with Reiko, as well as its profound loneliness when Reiko never returns. Here a connection is made, and just as Takashi does, we gain empathy toward the creature and its fruitless search for its lost master.

I love the series itself for these moments, and the first episode already had me in tears. But it’s really Takashi’s personal story that makes me feel emotionally-attached to this anime. Takashi’s special talent caused him to be ostracized from the various family members who took him in following the deaths of his parents. He was housed grudgingly by most of them, his strange outbursts and fearfulness towards things that weren’t visible to others causing him to be seen as a troublemaker or incurably strange. While his treatment during these years isn’t what most people would deem abusive, at best I feel that his relatives’ disinterest in providing him with a loving environment constitutes neglect; at worst, possibly emotional abuse. When he’s finally adopted by the Fujiwaras (technically very distant relatives related to his grandmother), it takes him a profoundly long amount of time to open up towards them. They are incredibly kind people, but Takashi’s low self-worth and past experiences make him wary about getting too attached. While Takashi’s quest to empty the Book of Friends constitutes a large narrative part of the series, it’s his emotional development as a person that makes the series interesting and special.

I also really like Takashi in a deeper kind of way related to some of my personal experiences that I’ll try to explain a bit. I read a book a while back when I was going through a tough time that discussed the behavior of abusive men and why they chose to act that way (the book is “Why Does He Do That?” by Lundy Bancroft, in case you’re interested in checking it out). In the book, the author dismantles the myth that unfortunately many people believe, which is that because some men are abused, they’re then doomed to repeat the cycle in their own relationships*. Not only does that remove accountability from the abuser, it serves to excuse their behavior somewhat and shift the blame to the victim, who in the eyes of some may not be doing enough to quell the abuser’s rage. The act of abuse, whether physical or emotional, is always a choice on the part of the abuser, and not the fault of the abused. It’s also true that, while some abusers use their personal history as an excuse, there are many other individuals with similar upbringings who use that upbringing as motivation to become someone different, who doesn’t reach towards abusive behavior to try to control the world around them. The big reason why I love Takashi so much is that, while the scars from his earlier childhood are obvious, he never uses them as an excuse to hurt. His experiences have instead helped him to build empathy with others, including the spirits whose situations he’s looking to fix, as well as with the grandmother who he only knows through brief flashbacks and very minimal evidence. There is something very comforting to me about the person that Takashi is, as well as who he chooses to become as he learns and grows throughout the series’ six seasons.

Takashi’s sense of empathy allows him to help spirits of many different types.

Takashi is not perfectly serene in his convictions and he’s certainly not shy to show his frustrations, especially with Nyanko-Sensei/Madara’s antics or the incomprehensible ways in which some of the local spirits act, but I think the fact that he yells and gets a little mad sometimes endears him to me even further. All of us get angry and frustrated sometimes, and to ignore that for the sake of peacefulness would be unrealistic. What makes Takashi a great character is that he doesn’t take his frustrations and weaponize them in ways that puts others down or causes pain. He instead gets motivated to solve the mystery of the moment, or learn more how he can help those around him.

If I had to pick one of the character’s faults to talk about, it would be the issue that Takashi has with trusting other people. Growing up, there was no assurance that the family members dealing with his presence at any particular moment would be the same ones taking care of him long term, so on the flip side Takashi doesn’t always start off giving a lot of consideration to the feelings of his current caretakers and friends. This manifests mostly when he goes off for hours dealing with spiritual situations without giving his family a heads-up that he’ll be away and they become worried. It’s hard work on his part, but as the series goes along he learns to have faith in his family, makes friends with people whose situations are more similar to his than he might have guessed, and starts to become a more considerate person. It’s possibly a little more than one would bargain for when checking out a cute series with quirky magical creatures, but it really speaks well to the heart and soul of the story. The focus on love, family, and repairing broken bonds definitely helps make Takashi’s character arc very compelling. I’m thankful that I was an anime fan at the right time to be able to watch his tale unfold.

So, who are your favorite male characters in anime? Do you agree with me, or are there other traits that really draw you into someone’s story? Let me know in the comments!

*The book references abusive men for the most part. I understand fully that not only men are abusers and the book acknowledges this fact, but the author’s experience working with abusers has revealed that the proportion of abusive men is much higher than that of abusive women, which is why I’ve kept the gender distinction here. Yes, I know, “Not All Men…” etc. Don’t come after me.