Optimism has an enduring and lasting power over the shape and course of reality. Shinjii Ishii’s heartwarming “Lulu” not only bolsters this idea, but composes a conviction that the power of hope and positivity can materialize not only metaphorically but also to change the concreteness of the order of things. Lulu is thus a manifestation of the hopes and dreams of the 32 children in … Continue reading The Power of Hope in Shinji Ishii’s “Lulu”: Optimism’s Influence on a Dejected Reality
“But I really have nothing to talk about” she said. This bold statement is an indicator of the detachment that Yuri feels as a human being due to her own position as a woman in the awkward societal structure. It is for this reason Oba Minako attempts to exhibit second wave feminist ideology by communicating the void existence of the ‘housewife’ and the, rather, dull alienation that comes … Continue reading Desolation, Sex and Worthlessness in Oba Minakao’s “The Three Crabs”: Yuri’s Purposeless Wandering as a Housewife.
Tamiki Hara’s “world of surrealistic paintings” is one that is embroiled in a stark contrast between destruction and beauty, with calamity rising victorious in all instances. Continue reading Contrasting Imagery in Tamiki Hara’s “Summer Flowers”: Calamity and Beauty