On anime and nuclear annihilation

A nuclear bomb exploding in downtown Tokyo, as imagined in Akira

It is strange days when we see Japanese schoolchildren running for their lives in simulation of a nuclear attack from North Korea. The picture in the linked article reminds me of nothing more than Cold War evacuation drills in the US.

Selfishly, as an anime fan I wonder how all this uncertainty is going to affect the anime industry. I never thought the threat of nuclear conflict would figure into my estimation of when we could expect season 3 of Attack on Titan, but here we are.

It’s jarring to think of these things when thinking of anime, which, let’s face it, is mostly just escapist fantasy, like most mass entertainments are. I’m reminded that Jane Austen joked about being tempted to include a treatise on Napoleon in Pride and Prejudice just to counteract how light and frothy her novel was. I’m also reminded of what Slavoj Zizek said about the use of the Christian calendar, which uses the birth of Christ to mark the flow of events: he called it the irruption of the infinite into the historical. Perhaps we might call the imposition of nuclear geopolitics into the logic of anime production as the irruption of the political into the inconsequential.

Of course, this statement is both facetious and incorrect, for anime is already political. It is produced in a web of politics -government grants to aid in translating content for export, industry-wide discrimination to discourage women, a regime of austerity that encourages overwork of animators, and a capitalist ideology that demands crass commercialism – and also expresses statements of political positions – women are always emotional, Chinese and foreign characters can never beat Japanese protagonists, and Koreans don’t exist.

The surprise we feel when placing anime in the same headspace as nuclear diplomacy is a surprise that has been manufactured. Being apolitical is a political stance, and depoliticization is a political action. To divide the world and say these things are of politics and these things are not is an act of power (Michel Foucault called it power/knowledge, which is the power of defining what knowledge is).

The personal may be political, but it’s inconvenient for the powerful to let common citizen remember this fact. Politics is not merely debating tax rates and talking at town halls, which is to say it’s not only for politicians and activists, but keeping it an activity of a small elite certainly makes it easier for those elites to set the agenda. Political apathy serves those who already have power.

And so we come to anime and its role in the politics of apathy. Crudely speaking, anime is just another cog in the machinery of distraction that keeps the masses quiescent in that old Roman strategy of panem et circenses (i.e., bread and circuses). Focus on your pop culture, say the masters of the world, and leave the important things to us. This was, of course, the old politics, before the divisions in democracy were laid so starkly bare, but it was a deal that many thought worthwhile, and many still do.

But even behind this wall of willful ignorance, sometimes the world of politics would intrude, as in the current case of North Korea and its nuclear arsenal threatening the home of anime. We find that we cannot leave politics because we are already doing politics. We are reminded that we live in a political world. The personal is political, but now we see that the reverse is also true, that the political is also personal. In a liberal democracy, to not resist is to consent. Therefore if we wish not to die and to continue watching anime, we must act.

Action begins in knowledge, so I ask first that you learn what is happening around you. What circumstances led to the nuclear standoff threatening our beloved hobby? What power moved us to this impasse?

After answering these questions for yourself, then ask yourself this one: am I okay with things continuing the way they are?

If your answer is anything besides “yes”, then continue asking questions, including the big one – what should I do? The answer is simple: do anything that you can. Speech is action, so even something as minimal as talking online is still a step in the right direction.

My fellow otaku, ignorance is only a temporary condition. I challenge you to look up from your TV and computer screens. Remember that you are not only a consumer. You are also a citizen.

The Union Forever

When Britain and France Almost Merged Into One Country

I thought this was about the Angevin empire in the Middle Ages but nope, it was about a proposed Franco-British Union after the defeat at Dunkirk which was actually supported by Churchill and De Gaulle. I don’t know if it wouldn’t have fallen apart like 5 minutes after they signed the paperwork but kind of an interesting counterfactual to consider besides all the Nazi victory ones.

Gen X and the 21st Century

Thanks to a possible gas leak last weekend I watched more movies than I’d planned on. (My house is fine bee tee dubs).

So, Valerian. It reminded me of reading a French sci-fi comic book in that it looked good but the story was thinner than the toilet paper in a public bathroom. I actually fell asleep during the souk shootout, mostly because I didn’t really care if the characters made it. I don’t need to enumerate the rest of the movie’s shortcomings since they’ve been covered well by others already, but it’s no Transformers. I think this will be decent enough to watch when it ends up on Netflix.

Now, Atomic Blonde, that’s a very stylish movie. It’s like 70% style, 30% substance, and 110% Charlize Theron. Actually, maybe I should run my numbers again since it actually did make more sense than, say, Sucker Punch. But despite the Cold War setting it’s not an 80s spy thriller so much as a Gen X nostalgia fantasy movie (i.e., it’s nostalgic for the 80s but for a fantasy version of it where it’s all sexy people with meaningful jobs doing things that matter in between making out with each other).

I hadn’t realized before how tall Charlize Theron was but the movie made sure we noticed this in almost every scene she was in. I appreciated this reminder of her physical presence since this made it more believable that she could engage in hand to hand combat with large angry men. I also appreciated that the movie was conspicuous in showing her looking for weapons every time she would throw down, even if it’s as simple as a bunch of keys clutched in her fist, since weapons do a lot to make fights more equal.

One thing that did take me out of the movie was the selfie in the beginning. People didn’t take selfies with film cameras unless there was a mirror involved, dammit. Otherwise you wouldn’t know if you were in the frame until you got the pictures back a week after you dropped the film off, which might be months after you originally took the picture if you didn’t use your camera a lot and took forever to use up a roll of film. Also, I don’t want to imagine how much work it would take to edit a tape recording in a hotel room, considering it’s already a bitch with digital files under ideal conditions.

But whatever, it’s a minor point. My take away? I liked Atomic Blonde.

Middle Ages: The Video Game

So the book Pillars of the Earth (though I only know the story from the TV miniseries) is coming out in video game format. Specifically it’ll be an interactive novel. It looks like there’s some level of game-like playing in there, judging from the pic below.

A medieval monk stands before another, and at the bottom of the screen two choices are presented: to Lie or to Tell the Truth

But seeing as how it’s based on a book with a definite plot and resolution then I assume you can only change the story so much. Perhaps you’ll be railroaded slightly more than in a typical game from Telltale Studios. And seeing as how it’s set in the Middle Ages, it’ll be full of rape, murder, and irrational persecution, so it’ll feel pretty close to Telltale’s Walking Dead series too.

It’s odd that this is coming out, but the art is interesting. I liked the TV show, so I hope the thing is at least decent.

Tales of the City

Book cover of Imaginary Cities showing a futurist rendering of a shining white city of skyscrapers with a crowd of tourist in 1930s clothing gaping at the panorama

I am in the midst of reading Imaginary Cities by Darran Anderson. The best description of it is one that it provides – a nonfiction version of Italo Calvino’s Invisible Cities. It’s just as hard to describe as the latter book. Basically it’s a collection of short essays loosely grouped around certain themes regarding cities of fiction and dream and myth and architecture.

Well, perhaps “essay” is the wrong word as essays traditionally argue for a point of view, whereas in this book the pieces mostly wander back and forth through Samuel Coleridge and Le Corbusier and Judge Dredd and whatnot. Reading it is like reading Calvino’s book. I think my favourite piece so far is the one about science fiction stories of cities ruled by women – both the ones written by men that are panicked screeds about feminism and the smaller number written by women that seriously try to imagine egalitarian societies.

My biggest complaint at this point is that the book is quite Eurocentric. It would have been stronger if it at least included Asian notions of city building, as historically the largest cities in the world have been in Asia. If there’s a cyberpunk section later on that doesn’t mention Akira then I’m going to be disappointed.

Other than that, I like the book so far.

A lovely day

I was not expecting the Saekano season 2 finale to have an elevator music version of Lovely Day by Bill Withers playing in the background, but there it was.

And for comparison:

Cruising

So there’s a video game about anonymous gay sex in public bathrooms of the 1960s. It’s called The Tearoom and yes, it’s based on Laud Humphreys’ landmark study about the exact subject.

In-game screenshot from the player's first person perspective of eye contact with another urinal user

Your goal is to engage in sexual acts with other men, but before that, you must wait for someone to enter, and then engage in a ritual that involves repeated periods of prolonged eye contact, all the while keeping an look out for the police.

“A lot of it is based on this sociological study by Laud Humphreys called Tearoom Trade,” says Yang. “[He] actually calls it a game, and tries to write out what the rules are and stuff, so it’s almost like a game design document. A lot of it is eye contact, so they’ll be peeing and then they might look at you and then you look at them, and then you look away and then they look away . . . stuff like that.”

Delenda Toronto

There’s something fascinatingly morbid about this nuclear bombing simulator, which maps the effects of a nuking (fatalities, injuries, the maximum radius for getting houses flattened, etc) onto whatever location you select. You even get to pick the type of bomb and the height of the detonation.

Toronto nuking effects mapped out

Here’s Toronto getting a surface burst Fat Man bomb dropped right on the CN Tower – 34,200 dead, 69,550 injured, and radioactive fallout all down the western shore of Lake Ontario reaching as far as Oakville.  Or if that’s boring you can drop a 100 Megaton Tsar Bomba on the White House! Hours of fun for the whole family!

Sing, O Muse

DOOM's space marine protagonist fighting off an endless wave of demons

I had no idea that the Los Angeles Review of Books was covering video games but it seems obvious in hindsight. Games are texts in a literary theory sense, after all, as Wikipedia explains:

In literary theory, a text is any object that can be “read,” whether this object is a work of literature, a street sign, an arrangement of buildings on a city block, or styles of clothing. It is a coherent set of signs that transmits some kind of informative message. This set of symbols is considered in terms of the informative message’s content, rather than in terms of its physical form or the medium in which it is represented.

As texts, games are open to analysis like any other text. It was inevitable that their analysis would move out of the amateur space of student papers and personal blogs and into the formal world of published reviews after the generation that played video games was old enough to get PhDs in literature.

Anyway, the following article is an excellent analysis of the liberal democratic zeitgeist that’s valuable even if one has not played the video game being reviewed. It’s about the modern politics of rage as mediated through the 2016 reboot of the DOOM game franchise.

It’s all great, but here are some choice bits for the tl;dr brigade:

DOOMguy Knows How You Feel

The Union Aerospace Corporation [UAC] appeared as a futuristic defense contractor in the original game. In some not-too-distant, post-apocalyptic future, it has decided that the only path to a sustainable future for humanity is to literally mine energy from Hell. Shockingly, this path to prosperity goes horribly awry. It is up to the newest incarnation of doomguy to sort it out, mostly through destroying key objects, ignoring proffered advice, and murdering a dizzying assortment first of zombified ex- (post-?) UAC employees and then, well, the demonic legions of Hell itself . . .

Games are machines for producing affect, and the affect the public most fears in games is rage . . . The DOOM Emotion Machine pushes you to move beyond mere expression of rage, not just inchoate, unfathomable rage, not just rage at any old thing or the nearest narratively acceptable target, but to feel free to rage at the people who brought you here, rage at their apologists, rage at the idiocy of HR, rage at the plodding stupidity of looking for one more source of “dead labor” . . . Rage at Hell but rage at who brought you to Hell and why any of this is necessary at all . . .

DOOM wants you to consider that when “they go low,” you will scrape the pits of Inferno to go ever lower. DOOM wants you to feel more. But — and perhaps this is sheer, irrational hope on my part, a shard of redemption in a game of bleak glee — DOOM wants you to remember that it is all so stupid. That all of this is instrumental, that the only way out is through, but that this is brutalizing to the world and to yourself. In my most hopeful moment, I think DOOM has old Spinoza on the mind: learn to feel joy in the world again and yes, learn to feel joy in the pain of enemies but remember that it is just — in a measure of mere magnitude — a lesser joy than in the flourishing of friends.

This is some goddamn top shelf games writing. A thousand aggregated Metacritic scores could not encompass the informativeness of this review.

Also, if you’re keen to peruse the magazine’s other video game essays, I recommend Something is Rotten in the State of Lucis: On “Final Fantasy XV”, which analyses the political philosophy of Final Fantasy XV, with especial regard to Hamlet and Americana. I probably won’t ever get FFXV, but this review is well-written enough to give a non-player much to ruminate on.

What do furries think of the Conservative party?

Yes, this was an actual question that was asked.

This weekend’s Conservative leadership convention shared space at the Toronto Congress Centre with the (much better-attended) 2017 Anime North convention. The National Post’s Maura Forrest took the opportunity to get out of the political bubble and talk to some real Canadians about their views on the issues and who they were hoping would win the leadership.

I have no words.