International Communications Essay

Advertising may be described as the science of arresting the human intelligence long enough to get money from it.”Stephen Leacock

The role of advertising in the realm of global communications is multifaceted, and the most interesting aspects of advertising on a global scale has been the brand reorganization that we see in not just our home soil but around the world. Internationally, we recognize brands such as Coca Cola, Pepsi, Nike. Getting these brands to reflect to the ever shifting tides of the international world is a task that takes careful consideration and time and a great deal of research and mastery over design, language, rhetoric, marketing and cultural sensitivity.

I remember some of my first interest in this chapter was sparked by a few stories I read of marketing campaigns failing in other countries for instance, Pepsi had a difficult time in China during the 1970s because Pepsi’s slogan of “Come Alive with Pepsi” which in Chinese loosely translated out to, “Pepsi brings your relatives back from the dead”. Another interesting case comes from Gerber in some regions of Africa had a difficult time selling their baby food to the locals since in Africa it is customary to print food packages with the labels of what the product contains, since Gerber prints a picture of a baby on each jar, that did not go over so well.

One of the more interesting aspects of global advertising was clearly outlined in Chapter 15, “The biggest unresolved issues in global advertising is still focused around a historical debate concerning standardization of all advertising versus adaptation of copy as well as strategies to local markets and tastes.” (McPhail 335) this is an issue I saw mostly while abroad last summer, despite the logos and brands still looking the same places such as McDonald’s in Austria the food that was served there was radically different from what we knew as typical McDonald’s fare in the States. Also Coca Cola for instance was the same, despite being the same brand, Fanta, Sprite, Pepsi, Coke the taste was the same and often times in multiple languages and the advertising around it did seem to reflect more local and regional concerns as I travelled around the European continent than with these brands stateside that reflect broad generalizations that seem to apply to every average American.

Brand and ad placement is a key aspect of marketing and one of the most interesting concepts following the idea of the electronic colonialism is the appearance of brand material in the most remote of locations. Coca Cola can be purchased in Tibet, Pepsi can be found in the Middle East. Nike can be found in Dubai and The New York Times is still one of the most well-known and respected newspapers globally. This inundation via advertising has become the wave on which electronic colonialism spreads its influence. These brands are markedly Western yet their influence globally is undeniable.

The spread of these brands is entirely based on income and growing power of the company. For example, there are various local stores and brands but they simply do not have the brand strength to survive internationally, like Dad’s Root Beer, a regional drink that is very popular in the US but lacks the strength to make it outside of at times not just its region yet alone internationally. These companies spend billions of dollars annually to place their ads in strategic places, such as these new cultural centers such as Dubai and Hong Kong also Tokyo and European centers of business like Berlin, Stockholm, London, and Paris.

This placement also acts as an agent of electronic colonialism when Western influence, in being Japanese culture club president, I’ve studied a bit into Japanese culture and one of the most upsetting things to the older generation of Japan is the appearance of Western culture and that burying effect that Westernization has over their traditional ways. The younger generation is eager to abandon the more traditional ways in favor of the increasingly socially acceptable Western ways and a large part of this Westernization is Western brands and ads becoming more recognizable internationally.

The idea of electronic colonialism also comes in to play because ad placement is a form of cultural replacement. By supplanting cultural norms like soda drinking and certain fast food affinities, these companies are actively changing the culture of whatever region is then being taken over and influenced by the West. As more traditional activities are replaced by more Western activities cultures are then lost and then become subject to this cultural domination known as a part of electronic colonialism.

The other more interesting concept of the chapter to me was the influence of Dentsu Inc. in Japan. Dentsu got its start in 1901 by Hoshiri Mitsuguna and founded it as an advertising company. In 1951 the company began to incorporate radio and television. They now have offices internationally and has over 15,000 employees, 6,000 clients including “Canon, Sony, Hitachi, Bell Atlantic, and Toyota.” (McPhail 344). I know about Dentsu because they produce a great deal of the anime that comes in from Japan to the US and I wasn’t quite aware of their power until I started looking at all the titles they represent such as Bleach and knowing that anime is only a small aspect of their influence and yet it was already a well-known name by the American anime fan. I also appreciated Dentsu’s company statement as “’Communications Excellence’” (McPhail 334).

What I took away from this chapter was mostly the concern that international ad placement is the concern for social tact. For example, in certain countries and cultures images and words are taboo. In Muslim countries Allah cannot be depicted so any advertising that would attempt to depict a religious figure or make a remark about religion would not go over well in the Middle East. And we have noted before that many companies have employed the name of God or religious concepts to sell products as common as soda and toothpaste.

Language also becomes a major concern as stated with my study of Japanese, in Japan there are at least 3 distinct dialects within that country and that country alone. As we discussed, there is a similar issue throughout Asia with all the countries and the various ethnic differences within each country, also for instance with China, just between Hong Kong and the over various provinces and parts of the country language and culture attitudes are vastly different.

Another issue impacting global advertising is the delicate balance of cultural consideration. There are a vast amount of gestures and phrases that cannot be said in various other countries that to an American would have no issue being stated. It requires a great deal of time, research and information to get all of cultural taboos of whatever target culture “for example, these agencies employ the latest in research including surveys, focus groups, knowledge management, and demographic analysis, so that foreign customers look to these agencies rather than to local, frequently small firms, which do not have the arsenal of services, staff resources, or highly educated professionals with MBA or PhD credentials, they would need in order to compete effectively.” (McPhail 337).

In conclusion, the role of advertising globally has become an agent of electronic colonialism and a new agent of gatekeeper theory. These brands and ads keep us culturally very similar and with that similarity comes domination and control over other cultures. While placing and working with ads internationally, marketers must be tactful and considerate of various sociopolitical and cultural factors, not to mention the consideration with language and gesture views along with connotation and denotation of the advertisement. As we continue to promote the global colony, advertising will change and as Westernization continues to sweep across the globe, the role of ads will change as well.


Works Cited

McPhail, Thomas L. Global Communication. Oxford: Wiley-Blackwell, 2010. Print.

Falling in Love With Anime Again

_Wise men sayOnly fools rush inBut I can't help falling in love with you (1)

Ah, yes. Now is finally the time for me to do my long-awaited total autopsy on the myriad of reasons I hated Yuri on Ice!. Just kidding, we will talk about that a little but really only to highlight on a bigger point. This, much like Deadpool is a love-story. It’s the story of how this anime Stella got her groove back and how I fell for the medium that propelled me to middling convention success.

But some background. I sound so tsundere talking about YoI because honestly, it’s fine. My feelings have long since simmered away from active hatred to just more of rounded disappointment. It’s odd watching an anime that was like genetically modified for me to like it. Victor’s every 90s anime boy in one and Yuri’s literally a cinnamon roll with no personality. But to me it was so aggressively average that its stans simply exhausted me. I had no patience or desire to deal with people who said it’s the greatest show ever. It was Free! but with ice-skating instead of swimming down to the completely interchangeable doormat of a dark-haired main character to the far more charismatic side cast and a second season full of more interesting characters that we can’t focus on because we gotta focus on the breeding pair that faces zero tension or conflict.

I’m getting ahead of myself.  We’re here to talk about love.

So after my heart was ripped out of my chest by the summer, fall and winter of gay ice-skating, I was actually pretty burned on all things. It was like the world had lost its luster and while I still very much enjoyed the classics (they’re classics for a reason) I had a hard time enjoying new things. Close friends and followers will recall my immense disappointment with Pokemon: Sun/Moon and Pokemon: Ultra Sun/Moon. It was like a fog floated over me. I was afraid to like anything too much for fear that I would hear Victor’s smug cackling in the back of my mind as if to mock me and my feelings of ambivalence and continue to damn me for feeling something that wasn’t unfettered and overly enthusiastic support.

And then Hitorijime My Hero started.

This is an old boy’s love story. I vaguely remembered each character or at least the shape of them. The plot is…simple? Setagawa is a high-school student who looks up to his sensei, Kousuke and Kousuke is older and a teacher and thus conflama. In addition there are side characters who are far less important than Masahiro Setagawa and Kousuke Oshiba: they matter the most to me and the most to the show. And honestly, breaking it down, this is a re-skinned Gravitation but instead of Shuichi being an idiot, he’s a sensitive and conflicted student who falls in love with the only person who treats him as a complex human being rather than a pawn or puppy and the stand in for Yuki Eiri is actually loving, kind, supportive and protective: so the opposite of Gravitation. It’s a simple little story. It isn’t trying to be more than  what it is. It isn’t claiming to be more than what it is. It’s a basic love story with plenty of heart and even though the last couple of episodes with Kousuke’s dumb and contrived plan to “test” his relationship are stupid on Yuki Eiri levels; I can mostly forgive this show.

The show never tries to be more than it is and is really simple. And for that very reason, I fell in love. It wasn’t the greatest, no one said it was the first, the best, the anything. This goes back to my earlier thesis statement of people reading too much into “It’s okay.”

I was floored with how hyperbolic the discussion around YoI was. Yuri is not the first anime character with anxiety. Victor is not the oldest love interest in a boy’s love series. Yurio is far from the most complex rival. All the beats of the series have been done by other series (some series have done those beats better) and while sure, YoI did fine with its depictions, it was far from the best, brightest or anything: it was an animated television show about ice-skating that was very gay.

But what Hitorijime My Hero does well, it’s good at. The voice acting (at least subbed, I cannot speak for the dub) was wonderful and from the start of episode 1 with Setagawa saying that he looked up to the heroes he saw on television and how they helped him cope with his less than ideal life. I loved the opening theme, the closing theme. I loved all of it. And I was far from the only fan talking about the show. But no one had the audacity to say that the show was doing anything revolutionary. I fangirled over this series like many I’m sure did when they decided ice-skating was cool. I sketched costumes, learned theme songs, memorized dialogue and I fell deeper and deeper for the show. I finished season one satisfied and despite my love of it, it passed through me. My life moved on. It didn’t make history, I wasn’t forever changed. I was fine with it and still am. I never finished my costume but the high I felt while trying to morph my body into something that looked like Kousuke Oshiba is a joy I still feel.  The anime made me happy for one glorious and fleeting seasons and like then, it was done.

Hitorijime My Hero never tried to be more than what it is. And for that, I love it.

 

Falling Out of Love (with WebComics)

“All my love gone for nothing. Days of my love, years of my love.” ― Sophocles, Electra

I fell in love with webcomics as a medium in college. I had a pretty steady schedule which left plenty of room to check in on the comics that updated regularly and a steady WiFi connection that did not discriminate. That means that there are some comics that I have literally been reading for over a decade. I say this because it brings me no joy to admit that there are comics that I have absolutely fallen out of love with. I am passionate about this artistic style and some of the creators have been integral to finding form to the things I feel inside but some are in their slow death and to better understand how we got to where we are and how things used to be.

I don’t do this because I really just enjoy being negative. I don’t do this because I just really hate small creators. I do this because I do genuinely love the medium of comics and especially the kind for web. I love the creators that pour their hearts into this medium. I admire them. I consider myself lowly in comparison to them.

I’ll start with a comic that I started reading in more years ago than I care to admit: Go Get a Roomie. This comic done by Chlove centers around the titular Roomie (yes, that’s her name because she’s a bit of a wanderer who is everyone’s roommate at one point in time) and her misadventures through free-love and freeloading. I fell in love with the free-spirited Roomie and her friends including a dom named Ramona and her twink brother, Richard and the ultimate foil to joyous Roomie: Lillian. When this comic was just a slice-of-life day to day adventures in regional beers and taking home a different person each day, I loved it. But then the series too a more narrative turn and now in pure predictable fashion, the comic now centers around Roomie and Lillian in a relationship. Now, I have no issue with this from an LGBTQ standpoint (I hate that I have mention this) but I have a problem with it from the cinnamon roll vs. promiscuous person trope. It’s the exact same problem I had with Yuri On Ice which went out of its way to mention how innocent and pure Yuri is to his clear lecher of husband, Victor. Roomie has been around, it’s part of her character and while it is somewhat nice to see someone change for a partner, it’s just a trope I’m tired of. Additionally, it puts most of the owness on Lillian to be more like Roomie rather than having to reign in anyone else. Lillian starts off as a listless amorphic blob who barely leaves the house: sure, her arc of doing more than sleeping has been fascinating but it all just seems out of left field considering that these are all changes that happened in the comic in just the past few years. I love GGaR for its dedication to authentic diversity and mostly strong storytelling but I’m bored of the tropes, quickness to fall into a more traditional love story and occasional preaching from the author.

Next on the list are the collective comics of Giselle and the rest of the folks who work on such works as Menage a 3 and Dangerously Chloe. I found this comics in the second half of my college career and was sold on them being a little raunchy. Ma3 billed itself as an HBO-style rom-com and it was. Love triangle after love triangle and that was fine for many years. The comic is working towards its ending but with its out of nowhere wrestling plot arc for a character who is literally only known for her bust, I am tired of keeping up with its updates. Dangerously Chloe has a similar problem where we have strayed so far from the original plot of man meets succubus that I am simply wishing for the sweet release of death.

We now reach the comic I take the most ire with. We’ve reached the ultimate comic I have absolutely fallen out of love with. Each update further confirms that I dislike the current direction and only further alienates me from a narrative I began nearly a decade ago: Sister Claire.

Sister Claire started as a comic about a nun who through shady God dealings gets pregnant. The comic references a ton of other media in homage and in blatant ripoffs and at first was a mostly light-hearted romp of magical lands and a questionably hot version of God. What the comic is now…oh boy. Now the comic centers around a quest for a magical deus ex-machina, more anachronisms than a Tarantino movie. But what really irks me is the shift in comic from when it was done by one creator, Yamino, to now two creators with Yamino’s wife, Ash. Ash has seemed to take over the writing of the comic thus the shift from kind of magical romp to anachronisms and heavy-handed guilt narratives about LGBT themes. The homage and rip offs in Sister Claire have also caused some controversy. Famously, there’s a scene with some strange mecha that is somehow related to a holy war and the words to speak the robot to bring it back from its sleep are “Cast into the name of God, ye not guilty.” If that sounds familiar, congratulations, you’ve watched Big O. And so did many of the fans of the comic. And many of us said so. And Yamino was defensive! She said it was a Crusaders’ chant, which, sure. It was. But it was also in Big O and instead of just being humble and accepting that she was caught in a small rip-off, she caused conflama. Yamino has also straight up steals a character from Rose of Versailles in the form of Lady Oscar who is so indistinguishable from her anime “inspiration” that people forget that Oscar is not an original creator at all. And wait, you may be saying, but Sister Claire is so diverse with its lesbian couple at the helm and cast full of queer people. Sure, that’s fantastic. I’m happy to have diverse characters and diverse creators: you know what else makes me happy? Strong storytelling. Being full of queer characters does not an automatically good story make.

This was a negative post and I’m sure by now, many of you are asking: well, why don’t you just stop reading these comics if they cause you such strife?

Good question, astute straw-man. I have put time, energy and money behind almost all of these comics between donations and Kickstarter campaigns, I have invested in these works. Because of that investment, it’s even more personal and tragic to watch them fall from grace. It’s never easy to admit that a relationship is over so I will continue to check in on these stories just because I want to know how it ends. I want to see how we end this saga. I want to know what the final moment where either I break from weak storytelling and leave the series or how it so graciously redeems itself.

Only time will tell.

A Blog Post About Jokes About Jokes

“The longer and more carefully we look at a funny story, the sadder it becomes.” ― Nikolai Gogol.png

When I first started following Deadpool as a character in the 2000s, he was really a interesting but far from the only character doing what he did. 4th wall breaks were somewhat common in comics and She-Hulk was much better at breaking the 4th wall than Wade Wilson ever was. It may have been my love of manga and anime which is full of meta humor and puns that made me sour on the whole thing faster than the average American, but I’m frankly quite tired of meta-humor. Here’s why I dislike meta humor and some practical examples of how it actively usually hurts the narrative its in.

Let’s take a moment to discuss some vocabulary, because once I get started, I will not be slowed down. Meta-humor as currently defined is humor at the expense of the subject. For instance, Scream calling out all the logical fallacies in other horror movies makes it metacritical and metatextual while still being at the time subversive. To subvert or be subversive is to undercut or defy the expectations of a medium or genre. For instance, Rick and Morty subverts the sci-fi genre by being mostly bleak and entirely nihilistic. Meta-humor like this has been popularized for decades and is a vital part of the postmodern culture we live in: thanks, late-capitalism. Meta humor is said to be funny at all because it’s calling out the tropes we know and hate now because they are so overdone. A 4th Wall Break (an instance where a show or piece of media admits it isn’t real and breaks the wall between performance and audience) is rare in theater and was rare in other pieces of media but got more popular with comic books. This is different from being an anti-joke or even surrealist as the goal with these is to defy expectations by being either entirely serious and completely doing something out of the norm. Think of the Lobster Telephone done by Dali. Again, to give credit where credit is due,  the earlier runs of She-Hulk was full of 4th wall breaks but let’s be honest; when you think of a 4th wall break currently, you think of Deadpool.

Deadpool as a movie franchise is interesting, really the character is a hard sell if you aren’t super into comic books. Wade Wilson is a character who cannot die and essentially has gone crazy due to his mutation and is in no way a cheap rip-off of Deathstroke. That being said, the whole idea around his particular version of meta humor is actually pretty strange, Wade Wilson knows he’s a comic book character and knows he isn’t real but most of that is chalked up more to mental illness or lazy writing than it is to anything else. The movies ignore that aspect of canon keep him as every teenage edgelord who thinks he’s funny and too good for the humor of the common folk. This worked in the first movie that came out just after the first big wave of superhero movies. It was funny to have a character comment on the logical fallacies in superhero films. It was great to have jokes lobbed at the film’s own expense, it was, at first incredibly refreshing. By the time we reach Deadpool 2, it’s simply tired. The superhero movie bubble has started to burst and since Avengers: Infinity War had ripped the hearts out of most fans, his humor was just tired. It was no longer new, refreshing or subversion: it was a chore and that movie was mostly a slog for me except for a few scenes that genuinely almost made me spit out my overpriced cola in the theater. Because by the second time Deadpool is commenting on Cable’s weirdly limited time travel abilities or the fact that there are still very few people of color in comic book movies despite there being several people of color in comic books: it just feels like it’s exposing a plot hole. That is a problem.

A 4th wall joke is funny the first time, the second time may even be insightful but the third or fourth is just tired and if anything can take you out of the film. It’s no longer subversive once the trope has already been subverted. Think of the last post we did on the Trope Trope: once being subversive of tropes is established, it then becomes a trope.

It’s especially difficult when a large company tries to comment on the tropes they established. Disney has recently gotten very meta about Disney and it’s infuriating. I grew up with Disney movies and while I didn’t notice many of these errors as a kid, I certainly don’t bat an eye at them much now as an adult. It doesn’t bother me that Beauty and the Beast was full of plot holes: it was a beautiful movie. It doesn’t matter to me that Cinderella isn’t “feminist” enough, she was engaging and the animation on the older movie is gorgeous. But the newer Disney movies have been determined to comment on the tropes that made the movies famous. Don’t like Disney princesses falling in love? Frozen is here to comment on that and then cop to Anna falling in love with her new disposable boyfriend. Disappointed that Belle didn’t fight back more? Beauty and the Beast (2017) is here to make her extra “feminist” and actively weaken her character with an invention subplot that goes nowhere and a total lack of performance or chemistry from Emma Watson. Tired of all those pesky cookie-cutter princesses? Here’s Moana with a character (in the form of Maui who is supposed to be our secondary protagonist) who is literally every teenage edgelord of a kid to undercut the serious moments to the movie’s detriment.

It’s just exhausting. The reason why it’s such a cheap shot is because rather than, you know, fixing the narrative issues; writers assume that calling it out acts as a blanket to cover them instead of just being better. So when Deadpool calls out Cable having a crappy motivation as an antagonist, guess what. I’m aware of how crappy his motivations are. When the new trailer for Wreck-It Ralph makes a jab at how horribly Disney treats its princesses, I’m not laughing. I’m just hyper-aware of how terribly they are all treated and how repetitive it is. When you intentionally poke a hole in the curtain, it becomes easier to see all the other holes in it. Do you know what would be actually subversive? Doing the right thing. In this age of cynicism and senseless cash-grabs, what would really be shocking and subversive would be to just write well. It’d be subversive to have a princess with two loving parents and a stable home life. It’d be subversive to have a gay character who is complex but not magical, a martyr or a token. Sincerity in this cynical postmodern age would be more unique and special at this stage and I can’t believe I have to say that now.

 

Thoughts from George Washington’s Front Yard: A Trip to Mount Vernon

I wasn’t expecting to go to Virginia. One of my aunts reached out to me to offer me a chance to go to a cousin’s wedding over in Colonial Country and I said sure. I hadn’t been out of the state in a few years and I’ve been itching to travel. While this was going to be a longer post about the entire trip and the wedding with plenty of personal details and stories: those are personal so I’ll keep it to the one historical trip I got to take during my short time in Virginia: Mount Vernon.

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For those of you who don’t know, Mount Vernon is the house that Washington inherited from his father and later added onto as he made it the sprawling home that he shared with his family and entertained guests at. It’s a beautiful piece of architecture and an important part of American history so I was happy to take a small trip there with my aunt.

Here are some of the things I learned from Washington’s porch.

    • As a Texan, New England is hilariously small to me. The fact that Virginia is such a small state means that there are plenty of things in very close proximity to each other so while I got to see one historical place I’m sure on my next trip (and trust me, I’m already planning the next trip) I’m sure with a little more planning, it wouldn’t be hard to have a full historical tour of the founding of my homeland.
    • Mount Vernon is huge. I was not expecting it to be as big as it was and based purely on the sweat that covered my poor pudgy frame, I was not prepared to walk this sprawling estate.
    • Our tour guide, Becky, was genuinely amazing and I loved her insights.
  • Mount Vernon is full of wonderfully detailed rooms and decor that gives me serious envy of how colonial folks were as extra as we are now including:
      • A fan chair which is literally a chair with a fan over top that you power with a foot pedal system.
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      • A marble mantle that according to legend a British friend of Washington said he just had to have and then replaced the damn thing from his own British home and gave it to Washington.
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        • I need friends like that.
      • A view of the Potomac that looks across to Maryland.
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        • Again, very strange as a Texan that just right across over yonder water is another state. We only have that with Oklahoma and no one is proud of that.
    • And a stunning piece of historical context in the form of an iron key.
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      • Story time, kids. So Washington was friends with the Marquis Lafayette. The French Revolution had mostly ended the chill part but the Marquis was called back to France on a July day after word of the Bastille prison was facing a prison break of epic proportions. The Marquis reported from the wreckage of the Bastille and upon his return to the United States gave his friend and fellow revolutionary spirit one of the iron keys of the Bastille in hopes to inspire his friend to greatness. The storming of the Bastille kicked off the much bloodier part of the revolution but we’re gonna ignore that for now. And I am proud to own a chachki copy of that key because I am a francophile, don’t judge me.
    • Martha Washington’s gardens were beautiful and it’s nice to see that many of them are still full of herbs, veggies and fruits.
    • Becky was very proud of me for knowing that sugar was the more valuable precious white substance over salt.
    • I struggle with the legacy of one of America’s founders being sold as bobbleheads and more.
      • In my mind, I can imagine Washington being a bit of an introvert and would not like all of us on his lawn and buying his stuff in the form of cheap desk fodder.
    • Becky also understood my hatred of Thomas Jefferson.
      • Jefferson was a racist and he believed slavery was good for black people. On top of that, his love of the French Revolution was dangerous and reckless and led us into a bloodier war with England.
    • I love that Mount Vernon acknowledges that slavery was real and that it was bad.
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        • There’s a very moving monument to the slaves that lived and died on Mount Vernon that was designed by Howard University students and dedicated by local pastors.
      • Honestly, the legacy of slavery is difficult to grapple with and Becky was sweet and empathetic and didn’t try to explain slavery as a white woman to me and my aunt (two black women).
  • I wasn’t expecting to see my aunt cry while touring the slave quarters.
    • It was a powerful moment that I did my best to endure but I suppose because I have the privilege of traveling more and being more away of my history, I’ve moved on past tears and moved onto quiet anger.
  • I was denied the ability to purchase wine from Mount Vernon as we had to return to our hotel for a family obligation, someone avenge me and send me Washington’s wine.

Mount Vernon was lovely and beautiful and the history of this place could easily fill many blog posts and pages. I’m fortunate that I was able to travel and I look forward to doing so again.

The Nostalgia Paradox

“There is no greater sorrowThan to recall a happy timeWhen miserable.” ― Dante AlighieriThere’s a scene in Boruto (a sequel to Naruto and Naruto Shippuden that no one asked for or wanted) where Sasuke and Naruto fight a cheap Orochimaru knock-off and it’s a one that has been on my mind for a while now because of how sneaky it is. Here’s a why the fight is so insidious:

  • It’s a perfectly good shonen fight. Many attack. Much punching. So many jutsus.
  • And two that if you have watched Naruto or Naruto: Shippuden it’s a masterful fight. It’s watching two characters that we have grown up with (hell, I’m the same age as Naruto now, I think) using the skills they learned as kids and teens to defeat a foe. It’s amazing to see their training pay off by becoming efficient masters of moves they used to take on early foes of the series. It’s a wonderful fight if you have that decades long history with the show.

And here’s where I’m going to play a little Nando v. Movies for a moment. That fight shouldn’t have been Naruto and Sasuke’s fight: it should have been Boruto and Sarada’s. For more background on Boruto, this show centers around the children of the main cast. Boruto is one of Naruto’s annoying children with Hinata and Sarada is Sasuke and Sakura’s annoying daughter. And the show is…fine? It’s fine. It’s a weak show and I’ve never seen a series so afraid of its protagonist. We have spent time Naruto, Sasuke and Sakura…over 10 years, in fact. And the companies behind Boruto are very anxious this show cannot and will not live up to the long shadow cast by its predecessor. Boruto as a character also lives in the shadow of his father, Naruto which is metacriticism nearly beaten into the viewer. The show has lots of potential but it’s too soon and it isn’t Naruto. But one change with this fight that happens, honestly, 60 damn episodes in the damn series about the actual main cast, not the older generation, there is a lot of potential for positive change. Back to the Nando v. Movies comparison.

If you made this fight with the mastery of old techniques about Boruto having to learn the moves that lead up to his father being Hokage then that gives Boruto an arc and gives him something else to connect to his father on. If you make this about Sarada and Boruto then it becomes about them becoming the new Sasuke and Naruto. That lets you pay homage to the past while honoring the present rather than reminding me that I am old and that I miss Naruto.

After all that preamble I want to talk about nostalgia.

The whole fight with Sasuke and Naruto didn’t make me happy about Boruto. It made me want to watch Naruto. That’s the upside down of nostalgia. I had the exact same feeling about Pokemon: Omega Ruby/Alpha Sapphire. Aside from the Delta Episode, that game didn’t make me fall in love with it, it made me want to go back and play Pokemon Ruby. And considering that the current media landscape is nothing but remakes, reboots and more, I find increasingly that I am not interested in in the remake, it just makes me want to go back to the original. Knowing that we’re going to have Marvel movies from now until the heat death of the universe doesn’t make me want to see all of them (I’ll see most of them) it just makes me want to go back to the source material.

Which brings us to homage, intertextuality and shameless cash grabs.  

There’s such a fine line between rip-offs and homage that honestly, that could be its own blog. Star Wars: The Force Awakens is a shot-for-shot genderbent redo of Star Wars: A New Hope but some praise the film for it while others saw it as pandering attempt at rebooting a legacy franchise. It’s what lead to all the conflama with Star Wars: The Last Jedi, that movie now is too different from the original but it’s only because we’ve gotten very used to being spoon-fed nostalgia. We can also see this in all the dumb Disney live-action reboots. They so badly want us to think of the innocence we had as a childhood that they just keep repackaging the stories we grew up with but worse. Beauty and the Beast (2017) so badly wants to remind you of the iconic movie from the 90s  but it ignores all the things that made the first movie so great and I left the movie not loving or appreciating the homage, it just made me want to watch the 90s version of the movie. There are very few live-action remakes or just remakes in general that do much to improve the original. The nostalgia these movies want to milk is hollow and just makes me miss the 90s.

Which brings us back to intertextuality. Hey, do you remember that thing? Sure you do. You gotta remember that thing. Take heart in knowing the simply fact of whatever thing you insert into that line will be bill in a movie, game, comic or more. We saw it in Pokemon: Sun/Moon. We see it in Stranger Things and we see it in the new remake of It. What makes intertextuality different than homage is that rather than it taking inspiration from a thing it’s just copying or inserting something into a newer property so that you feel connected to that new thing. And the problem is that leaning into the older and more beloved aspects of a franchise can backfire spectacularly. Again back to Boruto, cramming the older characters in is just there to keep our attention and it actively ruins the story. We aren’t given time to spend with the kids because we have to keep looking at the adults. As much as I dislike Harry Potter and the Cursed Child, we at least don’t spend a lot of time with useless adult Harry Potter and useless adult Draco Malfoy: we spend time with their sons and their friends and it’s wonderful despite the plot of that play being a red hot garbage fire.

This is not the same as the shameless cash grab though some are unique examples of all three.  Newer reboots of shows like ThunderCats (2018) and Teen Titans GO! certainly are repackaged for a younger audience and are both from older and more beloved properties but neither seem to want to even touch the shadow of their former cash grab shows. Teen Titans GO! evenly actively reminds you of the fact that this show is far from the glory days of its prior better television show. But while I’m not really angry at these shows (I know they aren’t for me because I am old) again, it doesn’t make me feel anything for them outside of my desire to just go back and watch their originals.

That’s the problem with nostalgia. While sure, some are inspired by remakes and rehashes, so many more are just tired. I’m old now, it’s why I have such a hard time with newer anime. I started watching My Hero Academia  and it’s so aggressively like Naruto that I’m actively taken out of the show (and while yes, the show does plenty of things I can praise later, it isn’t enough to distract from all the tropes and beats it has taken from other popular shonen series). Why would I want to watch discount Fullmetal Alchemist? I can just watch Fullmetal Alchemist.

If you’re pro-nostalgia, let me know! I’m curious if I’m just an old fart now and just refuse to be hip with the young kids.