‘Political correctness’ is an ugly term to a lot of people. To them it represents a threat our ability to speak honestly about challenging things, a silencing of dialogues that can help us become stronger and learn new things, a fear driven act of censorship even. Especially when it comes to comedy, people see it as a threat to creativity itself. But let me offer another idea: political correctness has the power to make comedy not only more creative but actually funnier.
And you know who agrees with me? Bojack Horseman creator Raphael Bob-Waksberg. No kidding, you can read his exact words right here. You know who also agrees with me? Mr. Peanutbutter himself Paul F. Tompkins. So how does a dark gritty comedy like Bojack Horseman manage to be surrounded by such sensitive people? The short answer is that ‘political correctness’ isn’t about not saying things. It’s about questioning how and why you’re saying them. And Bojack Horseman is a stellar show when it comes to self-questioning.
Continue reading “How Bojack Horseman Does ‘Politically Correct’ Humour Right”
One of the reasons Neon Genesis Evangelion stands as one of anime’s biggest cultural icons is the boldness of its framing and shot composition. Nothing that came before it and very little that came after conveys quite as many things as Evangelion does in the dynamic composition of its space. Most vividly this is seen in the construction of Shinji’s space, cold and distant by default but veering on tense and claustrophobic in moments of conflict. In the first episode of Evangelion alone there’s a lot to pick at in the way Shinji is framed, and we’re going to do just that.
Continue reading “Evangelion Episode 1 and Framing”
Truth be told, Chuunibyou Demo Koi Gai Shitai! was the very first Anime I ever watched as it was airing. Looking back over an old Facebook account I was absolutely gushing over it right up until the very last episode where I suddenly soured on the series. You see, at the time it was airing I had just separated from the Brony fandom entirely and could only think of the shame of all the times I committed social suicide when looking back. I was outraged that the series ended with Rikka continuing to be a chuunibyou because I saw that as encouraging her social ineptitude. You might say I was a bit like Yuuta in my fear of that behaviour. Eventually I became open to the idea that my reading of Chuunibyou’s messages was a bit lacking, and when that thought got mixed with a nostalgic desire to look back on the series just half an hour or so ago I went through my folders and found the first episode as soon as I could, and boy am I glad I gave Chuunibyou another chance.
Continue reading “Bristle’s Babbles #26: An Analytical Look Back on Chuunibyou Demo Koi Ga Shitai! Episode 1”