Three's Company

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Animation, however, is the perfect medium to portray changing bodies. Animated bodies can be— and often are—pulled, tugged, torn, and even blown up. They are able to change shape and then return to their original shape if needed. These changes are often extreme and comical because they are so unrealistic. In animation, bodies need not be subjected to the laws of space and time. Think of Wile E. Coyote pedaling his feet as he is frozen in mid-air until he realizes his situation. Think of characters aging instantly on the screen as some form of comic relief.

And this contrived contrast between high-powered weapons and their capacity as killing instruments in the small hands of girls may seem at first glance to be a deliberately transgressive depiction. Repressing the Self In “A Manifesto for Cyborgs,” Haraway asserts that due to the blurring of boundaries between human and machine, newer cyborgs have a degree of autonomy and subjectivity that earlier machines did not. Their unique position in this post-human landscape affords them modes of agency never before possible—the very nature of their subjectivity is unsettled and uncertain, and this opens up a range of possibilities not available to either humans or more simple machines.

This extends from otaku showing up uninvited at our office to pitch their projects, all the way to Hollywood making films like The Matrix, with its obvious inspiration from Ghost in the Shell. Being a part of the anime world is a time I will never forget. Though I found anime accidentally, my perspectives on animation and storytelling in general have been blasted open. These are not “cartoons” in the American sense; these are commentaries on mythology, philosophy, post-apocalyptic survival, monsters, sex, nuclear power, and humanity as a whole.

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