Japanese Anime Quotes

I'll make you so in love with me, that everytime our lips touch, you'll die a little death.

In this world, not everything will be won by justice. If you want to win, you have to learn how to cheat. (Nana)

From the girl who sat before me now...surged a fresh and physical life force. She was like a small animal that has popped into the world with the coming of spring. Her eyes moved like an independent organism with joy, laughter, anger, amazement, and despair. I hadn't seen a face so vivid and expressive in ages, and I enjoyed watching it live and move.

Once you question your own belief, it's over." -Naruto Uzumaki

People can endure almost anything but there's one thing they can't survive. Man is an animal that can't stand boredom

Do you like manga?" she asked after a minute. "Anime?" "Anime's cool. I'm not really into it, but 1 like Japanese movies, animated or not." "Well, I'm into it. I watch the shows, read the books, chat on the boards, and all that. But this girl I know, she's completely into it. She spends most of her allowance on the books and DVDs. She can recite dialogue from them." She caught my gaze. "So would you say she belongs here?" "No. Most kids are that way about something, right? With me, it's movies. Like knowing who directed a sci-fi movie made before I was born.

Human beings are basically huge monkeys that walked upright, but they can be pretty full of themselves.

I'm sorry, mom. I have some bad news. I guess I messed up somehow, somewhere along the way. I didn't manage to become a princess. I became a fujoshi instead.

You see, whether you can draw like this or not, being able to think up this kind of design, it depends on whether or not you can say to yourself, "Oh, yeah, girls like this exist in real life." If you don’t spend time watching real people, you can’t do this, because you’ve never seen it. Some people spend their lives interested only in themselves. Almost all Japanese animation is produced with hardly any basis taken from observing real people, you know. It’s produced by humans who can’t stand looking at other humans. And that’s why the industry is full of otaku!

At the root of Japanese manufacturing lies a feminine delicacy and shyness as well as a childlike curiosity and fantasy-filled worldview.

Now I keep searching for happiness so I don't end up like he did. I learn about this town called Happy in Texas and think about how that must be the greatest place to live. I teach myself how to say and read and write happy in Spanish, German, Italian and even Japanese but I would have to draw the last one out. I discover the happiest animal in the world, the quokka. He's a cheeky little bastard that's always smiling. But it's not enough.

One of the locations that showed up most frequently in Kira’s OASIS account logs was the planet Miyazaki in Sector Twenty-Seven. It was a bizarre and beautiful world that paid tribute to the work of Hayao Miyazaki, the famous Japanese animator behind anime masterpieces like Nausicaä of the Valley of the Wind and Kiki’s Delivery Service.

Out of the ugliness of the ironworks lepers will eat, children will be born, their parents will grow old.

...and where shall we go from here? The Library is vast and infinite.

Even if there are no new Mighty Atom manga or films created, the Mighty Atom character has become a permanent fixture of both Japanese and global pop culture.

You’re not a true fan if you only like the Marvel movies; you can’t be in the anime community unless you speak fluent Japanese; you’re not allowed to dress up as Ms. Marvel unless you’ve read every Ms. Marvel comic, ever.

Life in Japan, nowadays, is nothing like a Kurosawa movie, and only the contemptible Weeaboo thinks that it is. In order to be a whole, well-rounded Otaku, you need to be up on Japanese popular culture, as much as you may be up on anime, samurai philosophy or the canon of Square Enix games.

Plants or animals rarely behave in an unnatural manner that’s contrary to their true makeup. Human beings are also natural beings, but at the same time, we’re conscious entities. We therefore have free will and must make the choice not merely to be part of nature, but also to follow faithfully the “laws of nature.

Whereas an Otaku is a true connoisseur of the culture, showing the same reverence and respectful distance which any true expert shows to their chosen field of expertise, the Weeaboo is like a socially awkward adolescent, ineptly trying to gain the social acceptance of Japanese people — because their unfortunate mental disorder has caused them to believe they are, in fact, Japanese.

The Japanese have two words: "uchi" meaning inside and "soto" meaning outside. Uchi refers to their close friends, the people in their inner circle. Soto refers to anyone who is outside that circle. And how they relate and communicate to the two are drastically different. To the soto, they are still polite and they might be outgoing, on the surface, but they will keep them far away, until they are considered considerate and trustworthy enough to slip their way into the uchi category. Once you are uchi, the Japanese version of friendship is entire universes beyond the average American friendship! Uchi friends are for life. Uchi friends represent a sacred duty. A Japanese friend, who has become an uchi friend, is the one who will come to your aid, in your time of need, when all your western "friends" have turned their back and walked away.

The new fans of Japan won’t be Orientalists, but they will be anime-savvy.

In pursuing a ‘way,’ Japanese typically move beyond an interest in craftsmanship to a kind of sacred search for the ultimate.

In Japan, so many emoticons have been created that it’s reasonable to assume Japanese appreciate their convenience more than anyone else.

Religion, with its metaphysical error of absolute guilt, dominated the broadest, the cosmic realm. From there, it infiltrated the subordinate realms of biological, social and moral existence with its errors of the absolute and inherited guilt. Humanity, split up into millions of factions, groups, nations and states, lacerated itself with mutual accusations. "The Greeks are to blame," the Romans said, and "The Romans are to blame," the Greeks said. So they warred against one another. "The ancient Jewish priests are to blame," the early Christians shouted. "The Christians have preached the wrong Messiah," the Jews shouted and crucified the harmless Jesus. "The Muslims and Turks and Huns are guilty," the crusaders screamed. "The witches and heretics are to blame," the later Christians howled for centuries, murdering, hanging, torturing and burning heretics. It remains to investigate the sources from which the Jesus legend derives its grandeur, emotional power and perseverance. Let us continue to stay outside this St. Vitus dance. The longer we look around, the crazier it seems. Hundreds of minor patriarchs, self-proclaimed kings and princes, accused one another of this or that sin and made war, scorched the land, brought famine and epidemics to the populations. Later, this became known as "history." And the historians did not doubt the rationality of this history. Gradually the common people appeared on the scene. "The Queen is to blame," the people's representatives shouted, and beheaded the Queen. Howling, the populace danced around the guillotine. From the ranks of the people arose Napoleon. "The Austrians, the Prussians, the Russians are to blame," it was now said. "Napoleon is to blame," came the reply. "The machines are to blame!" the weavers screamed, and "The lumpenproletariat is to blame," sounded back. "The Monarchy is to blame, long live the Constitution!" the burgers shouted. "The middle classes and the Constitution are to blame; wipe them out; long live the Dictatorship of the Proletariat," the proletarian dictators shout, and "The Russians are to blame," is hurled back. "Germany is to blame," the Japanese and the Italians shouted in 1915. "England is to blame," the fathers of the proletarians shouted in 1939. And "Germany is to blame," the self-same fathers shouted in 1942. "Italy, Germany and Japan are to blame," it was said in 1940. It is only by keeping strictly outside this inferno that one can be amazed that the human animal continues to shriek "Guilty!" without doubting its own sanity, without even once asking about the origin of this guilt. Such mass psychoses have an origin and a function. Only human beings who are forced to hide something catastrophic are capable of erring so consistently and punishing so relentlessly any attempt at clarifying such errors.

Traditionally, the sole animal raised on a large scale for food in Japan has been the pig; sheep and goats have never been significant, and cattle were raised for pulling plows and carts but not for food. Japanese-raised beef remains a luxury food of the wealthy few, selling for up to $100 per pound.

There was a Japanese TV set in front of us. There were Japanese TV sets all over the prison. They were like portholes on an ocean liner. The passengers were in a state of suspended animation until the big ship got where it was going. But anytime they wanted, the passengers could look through a porthole and see the real world out there. Life was like an ocean liner to a lot of people who weren't in prison, too, of course. And their TV sets were portholes through which they could look while doing nothing, to see all the World was doing with no help from them. Look at it go!

But I, unfortunately, have never been one for acting logically. I'd say my true decision-making process mirrors that of an insane dog following his balls. I just happen to be fortunate enough to be sufficiently Japanese that the need to maintain appearances puts a tidy veneer on my animal instincts.

The obsession with Japan in otaku culture did not develop from Japanese tradition, but rather emerged after this tradition disappeared.

Girly’ products can spur Japan’s growth in this century every bit as much as, if not more than, the ‘manly’ technologies.

Not only does Japan have an economic need and the technological know-how for robots, but it also has a cultural predisposition. The ancient Shinto religion, practiced by 80 percent of Japanese, includes a belief in animism, which holds that both objects and human beings have spirits. As a result, Japanese culture tends to be more accepting of robot companions as actual companions than is Western culture, which views robots as soulless machines. In a culture where the inanimate can be considered to be just as alive as the animate, robots

I know Dad killed himself because of me. Mom thinks that his recent jail stint tipped him over the edge, that his many chemical imbalances caught up with him. Now I keep searching for happiness so I don’t end up like he did. I learn about this town called Happy in Texas and think about how that must be the greatest place to live. I teach myself how to say and read and write happy in Spanish, German, Italian, and even Japanese but I would have to draw that last one out. I discover the happiest animal in the world, the quokka. He’s a cheeky little bastard that’s always smiling. But it’s not enough. The memories are still rattling around my head, twisting into me like a knife. I don’t want to wait around to see what comes next for me in this tragic story I’m living. I open up one of my father’s unused razors and cut into my wrist like he did, slit in a curve until it smiles so everyone will know I died for happiness. I was expecting relief but instead it’s the saddest pain I’ve ever experienced. I never once stop feeling empty or unworthy of anyone’s rescue, not even when the thin line on my wrist makes everything go red. I

What we would think of as a beef animal had the double purpose of being a working or draught animal that could pull heavy loads. There is an old adage, "A year to grow, two years to plough and a year to fatten." The beef medieval people would have eaten would have been a maturer, denser meat than we are used to today. I have always longed to try it. The muscle acquired from a working ox would have broken down over the fattening year and provided wonderful fat covering and marbling. Given the amount of brewing that took place, the odds are that the animals would have been fed a little drained mash from time to time. Kobe beef, that excessively expensive Japanese beef, was originally obtained from ex-plough animals whose muscles were broken down by mash from sake production and by massage. I'd like to think our beef might have had a not dissimilar flavour.

Whaling should stop because it brings needless suffering to social, intelligent animals capable of enjoying their own lives. But against the Japanese charge of cultural bias, Western nations will have little defense until they do much more about the needless animal suffering in their own countries.

They were in the middle of a garden with trees shaped as animals. There were gorillas and camels and lions. Rosie felt like she was in some strange storybook circus. Any minute the gorillas would start talking and the lions would charge towards her. "What are we doing here?" Rosie's eyes went wide. "Just follow me." Josh grinned. Rosie followed him through a maze of gardens, each more elaborate than the last. There was a Japanese garden bursting with pink and white blossoms. They passed a water garden with floating lilies, and a tropical garden with birds of paradise and purple irises. Finally they entered a small garden with low-lying plants. A butterfly rested on almost every leaf. Rosie had never seen so many butterflies. She stood still as a statue, afraid if she moved they'd fly away. "This is my favorite," Josh said as if he created the garden. "It's called the butterfly garden. All the flowers contain food attractive to butterflies. The butterflies lay their eggs and feast for days before they fly away." "They're like kaleidoscopes." Rosie peered at a butterfly with gold-and-turquoise wings.

they found themselves drawn to Japanese references over and over: the deceptively innocent paintings of Yoshitomo Nara; Miyazaki anime like Kiki’s Delivery Service and Princess Mononoke; other, more adult anime like Akira and Ghost in the Shell, both of which Sam had loved; and of course, Hokusai’s Thirty-Six Views of Mount Fuji series, the first of which is The Great Wave.

When it was his turn, he stood and launched into an animated speech in fake Japanese, complete with bizarre gestures and facial expressions. Normally impervious to embarrassment, I was mortified. Our Japanese hosts appeared more confused than offended. Luckily, the large amount of sake everyone consumed masked the slight breech of protocol, and everyone laughed. To this day I wonder what Eby’s speech sounded like to the Japanese PJs.

[Hmmm…Do you know who I was named after?] I’d say Eva Perón. —Eva’s from Puerto Rico, Vincent, not Argentina. [I was named after a robot.] —That is interesting. —Oh yeah. You have his attention now. [I was born on the day of the parade when the EDC was created. My parents were the biggest geeks ever, huge science-fiction fans. Themis was the greatest thing they’d ever seen. They wanted to name me after her, but they somehow thought everyone would start naming their kid Themis, so they named me after another big robot.] A robot? [Yes. Eva’s a common name in Spanish, but apparently, it’s also the name of a giant robot, from a Japanese anime they really liked. It’s old. I never saw it.] —Eva is for Evangelion? That is so cool! —Of course, Vincent knows all about it. —Yeah! It’s awesome! But ours is bigger. —Eva, I think you have a fan now. —I…We have it on DVD, you know.

Kintaro was a legendary Japanese hero who’s gone by many names, but mostly he uses the one his witch mother gave him. He made some cooing noises, and a small flock of pigeons suddenly dive bombed me. “Just giving you some motivation.” In addition to having strength in Herc’s class, Kintaro also talked to animals. Now I realize a lot of people in Central Park talk to the pigeons—as well as rocks and lampposts—but when Kintaro speaks, animals listen.

when you arrive in Japan, you realize that sake means “alcoholic drink” in general. Thus, if you drink a beer, you are drinking sake; if you drink whiskey, you are drinking sake; and if you drink rum, you are drinking sake. So, when we order sake in a Japanese restaurant outside Japan, what is the specific name for the drink they serve us? It will probably be nihonshu, which is the Japanese word used to refer to the alcoholic beverage obtained from rice.

In that sense, “otaku” referred to a sudden, spontaneous, and, to most Japanese, inexplicable eruption of extreme obsessiveness among the country’s youth. One day, Japanese in their teens and twenties were normal, well-adjusted young people. The next day, or so it seemed, they were hopeless geeks who had forsaken all social skills in favor of a deep dive into—whatever. Manga (comics). Anime. Super-hard-core deviant anime porn in which tender young schoolgirls are violated by multi-tentacled octopi. Trains. It could be anything really.

When you give a present, you are giving part of your spirit to the other person. That’s why presents in Japan are so very important, even if they’re small presents of no real value. This belief also has significance when you buy something secondhand. The Japanese are reluctant to purchase things that have belonged to someone else, maybe because the previous owner’s spirit still lingers inside them. One of the advantages of this belief is that thefts in Japan are almost nonexistent: stealing something from someone would be like stealing part of their spirit.

All Japanese art forms, such as chado (the tea-ceremony), ikebana (flower arranging), shodo (calligraphy) and even martial arts are greatly influenced by the unique Zen philosophy, while the art forms themselves were transformed by Zen into a spiritual discipline focused on calmness, simplicity, and self-growth. In Japan, there is a tradition of studying art not only for art’s sake but also for spiritual purposes and when this is practised with Zen principles in mind, art can be a peaceful journey and a way of self-cultivation – leading to calmness, serenity and concentration.

Do the gods of different nations talk to each other? Do the gods of Chinese cities speak to the ancestors of the Japanese? To the lords of Xibalba? To Allah? Yahweh? Vishnu? Is there some annual get-together where they compare each other’s worshippers? Mine will bow their faces to the floor and trace woodgrain lines for me, says one. Mine will sacrifice animals, says another. Mine will kill anyone who insults me, says a third. Here is the question I think of most often: Are there any who can honestly boast, My worshippers obey my good laws, and treat each other kindly, and live simple generous lives?

I often wonder what kind of food I would like if I were fully human. Would I purposefully eat Japanese food, to strengthen that part of my identity - my Japanese ethnicity passed down from my dad - or would I reject Japanese food and fill myself with as much British food as possible: vegetables and roots grown in British soil, fish caught in British seas, meat from animals kept in British fields, in British landscapes - hills covered in wildflowers and heather, slate mountains, flat yellow and green fields, little farmhouses, people in Hunter Wellington boots, with several dogs on leads they hold in a bunch, white cliffs in the background?

The concept of furry characters (another term for anthropomorphic animals) is relatively new; it was popularized in the 1980s. But art and stories juxtaposing humans and animals can be traced back thousands of years. The ancient Egyptians, for example, had animalistic deities such as Anubis, who had the head of a jackal. Anthropomorphic kimono-clad foxes, raccoons, dogs, cats, and other animals were a recurring subject in classical Japanese uikyo-e artwork. Further historical examples of anthropomorphic animals can be found in Native American mythology and works of literature like Aesop's fables, wherein talking animals took the roles of humans.

The salicylic acid content in plants may help explain why traditional, plant-based diets were so protective. For instance, before their diets were Westernized, animal products made up only about 5 percent of the average Japanese diet.72 During this period in the 1950s, age-adjusted death rates from colon, prostate, breast, and ovarian cancers were five to ten times lower in Japan than in the United States, while incidences of pancreatic cancer, leukemia, and lymphoma were three to four times lower. This phenomenon was not unique to the Japanese. As we’ve seen throughout this book, Western rates of cancers and heart disease have been found to be dramatically lower among populations whose diets are centered around plant foods.73

Everything is subservient to the system, yet at the same time escapes its control. Those groups around the world who adopt the Western lifestyle never really identify with it, and indeed are secretly contemptuous of it. They remain excentric with respect to this value system. Their way of assimilating, of often being more fanatical in their observance of Western manners than Westerners themselves, has an obviously parodic, aping quality: they are engaged in a sort of bricolage with the broken bits and pieces of the Enlightenment, of 'progress' . Even when they negotiate or ally themselves with the West, they continue to believe that their own way is fundamentally the right one. Perhaps, like the Alakaluf, these groups will disappear without ever having taken the Whites seriously. (For our part we take them very seriously indeed, whether our aim is to assimilate them or destroy them: they are even fast becoming the crucial negative - reference point of our whole value system.)

Oh, my son loves Japan!" she says, her voice soaring. "He's been studying Japanese, all by himself, and he went there recently actually for the first time, and he said he just felt immediately at home there, you know really comfortable. I mean with him it's mostly the, the, the-" My brain silently fills in the next word: anime. "The animation and so on, you know he's really into technology. I mean he's only seventeen, you know so who knows what is going to happen. But it does seem like, you know, a real thing for him." "Right," I say, and I nod. "That's great." Sometimes at times like these, what fills my head is the things I do not and could not ever say. For example: "You have no idea how many stories I've heard exactly like that one!" Or: "You know, even though I'm generally reluctant to admit the existence of 'types' among people, I'm often shocked by the parallels that exist between the kind of young men who like anime and all things Japanese, to the extent that I sometimes struggle to believe that a group of people with such intensely similar interests are in fact individuals." Certainly I do not say: "And what would you like to bet that he ends up marrying a Japanese woman and becomes an academic teaching the world about Japanese culture while she gives up her job to bring up his children?" But even if these things flicker through my mind, I'm not anywhere near as rageful as any of that makes me sound. In fact, if anything, what I feel in this particular moment is something like envy, for this son of hers that I've never met, I understand that taking refuge in Japan and being shielded from the demands of full adulthood is a privilege offered to predominantly white, educated, Anglophone men, because they are deemed the most desirable that the world has to offer; that it feeds off power relations that date back to the American occupation and beyond, and which hew closely to the colonial paradigm even if there are important differences (and even if Japan also has a history of colonialism of its own to reckon with); and that even leaving all of this aside, this Peter Pan status is not something I am interested in. And yet I can't help but look at the sort of person who feels "immediately" comfortable in Japan and wish that I had felt like that, only because it might validate the way I've dedicated a lot of my life to the country, but because the security of that sensation in itself feels like something I would love to experience.

Alice's Cutie Code TM Version 2.1 - Colour Expansion Pack (aka Because this stuff won’t stop being confusing and my friends are mean edition) From Red to Green, with all the colours in between (wait, okay, that rhymes, but green to red makes more sense. Dang.) From Green to Red, with all the colours in between Friend Sampling Group: Fennie, Casey, Logan, Aisha and Jocelyn Green  Friends’ Reaction: Induces a minimum amount of warm and fuzzies. If you don’t say “aw”, you’re “dead inside”  My Reaction: Sort of agree with friends minus the “dead inside” but because that’s a really awful thing to say. Puppies are a good example. So is Walter Bishop. Green-Yellow  Friends’ Reaction: A noticeable step up from Green warm and fuzzies. Transitioning from cute to slightly attractive. Acceptable crush material. “Kissing.”  My Reaction: A good dance song. Inspirational nature photos. Stuff that makes me laugh. Pairing: Madison and Allen from splash Yellow  Friends’ Reaction: Something that makes you super happy but you don’t know why. “Really pretty, but not too pretty.” Acceptable dating material. People you’d want to “bang on sight.”  My Reaction: Love songs for sure! Cookies for some reason or a really good meal. Makes me feel like it’s possible to hold sunshine, I think. Character: Maxon from the selection series. Music: Carly Rae Jepsen Yellow-Orange  Friends’ Reaction: (When asked for non-sexual examples, no one had an answer. From an objective perspective, *pushes up glasses* this is the breaking point. Answers definitely skew toward romantic or sexual after this.)  My Reaction: Something that really gets me in my feels. Also art – oil paintings of landscapes in particular. (What is with me and scenery? Maybe I should take an art class) Character: Dean Winchester. Model: Liu Wren. Orange  Friends’ Reaction: “So pretty it makes you jealous. Or gay.”  “Definitely agree about the gay part. No homo, though. There’s just some really hot dudes out there.”(Feenie’s side-eye was so intense while the others were answering this part LOLOLOLOLOL.) A really good first date with someone you’d want to see again.  My Reaction: People I would consider very beautiful. A near-perfect season finale. I’ve also cried at this level, which was interesting. o Possible tie-in to romantic feels? Not sure yet. Orange-Red  Friends’ Reaction: “When lust and love collide.” “That Japanese saying ‘koi no yokan.’ It’s kind of like love at first sight but not really. You meet someone and you know you two have a future, like someday you’ll fall in love. Just not right now.” (<-- I like this answer best, yes.) “If I really, really like a girl and I’m interested in her as a person, guess. I’d be cool if she liked the same games as me so we could play together.”  My Reaction: Something that gives me chills or has that time-stopping factor. Lots of staring. An extremely well-decorated room. Singers who have really good voices and can hit and hold superb high notes, like Whitney Houston. Model: Jasmine Tooke. Paring: Abbie and Ichabod from Sleepy Hollow o Romantic thoughts? Someday my prince (or princess, because who am I kidding?) will come? Red (aka the most controversial code)  Friends’ Reaction: “Panty-dropping levels” (<-- wtf Casey???).  “Naked girls.” ”Ryan. And ripped dudes who like to cook topless.”  “K-pop and anime girls.” (<-- Dear. God. The whole table went silent after he said that. Jocelyn was SO UNCOMFORTABLE but tried to hide it OMG it was bad. Fennie literally tried to slap some sense into him.)  My Reaction: Uncontrollable staring. Urge to touch is strong, which I must fight because not everyone is cool with that. There may even be slack-jawed drooling involved. I think that’s what would happen. I’ve never seen or experienced anything that I would give Red to.

In North America, there is no nostalgia for the postwar period, quite simply because the Trente Glorieuses never existed there: per capita output grew at roughly the same rate of 1.5–2 percent per year throughout the period 1820–2012. To be sure, growth slowed a bit between 1930 and 1950 to just over 1.5 percent, then increased again to just over 2 percent between 1950 and 1970, and then slowed to less than 1.5 percent between 1990 and 2012. In Western Europe, which suffered much more from the two world wars, the variations are considerably greater: per capita output stagnated between 1913 and 1950 (with a growth rate of just over 0.5 percent) and then leapt ahead to more than 4 percent from 1950 to 1970, before falling sharply to just slightly above US levels (a little more than 2 percent) in the period 1970–1990 and to barely 1.5 percent between 1990 and 2012. Western Europe experienced a golden age of growth between 1950 and 1970, only to see its growth rate diminish to one-half or even one-third of its peak level during the decades that followed. [...] If we looked only at continental Europe, we would find an average per capita output growth rate of 5 percent between 1950 and 1970—a level well beyond that achieved in other advanced countries over the past two centuries. These very different collective experiences of growth in the twentieth century largely explain why public opinion in different countries varies so widely in regard to commercial and financial globalization and indeed to capitalism in general. In continental Europe and especially France, people quite naturally continue to look on the first three postwar decades—a period of strong state intervention in the economy—as a period blessed with rapid growth, and many regard the liberalization of the economy that began around 1980 as the cause of a slowdown. In Great Britain and the United States, postwar history is interpreted quite differently. Between 1950 and 1980, the gap between the English-speaking countries and the countries that had lost the war closed rapidly. By the late 1970s, US magazine covers often denounced the decline of the United States and the success of German and Japanese industry. In Britain, GDP per capita fell below the level of Germany, France, Japan, and even Italy. It may even be the case that this sense of being rivaled (or even overtaken in the case of Britain) played an important part in the “conservative revolution.” Margaret Thatcher in Britain and Ronald Reagan in the United States promised to “roll back the welfare state” that had allegedly sapped the animal spirits of Anglo-Saxon entrepreneurs and thus to return to pure nineteenth-century capitalism, which would allow the United States and Britain to regain the upper hand. Even today, many people in both countries believe that the conservative revolution was remarkably successful, because their growth rates once again matched continental European and Japanese levels. In fact, neither the economic liberalization that began around 1980 nor the state interventionism that began in 1945 deserves such praise or blame. France, Germany, and Japan would very likely have caught up with Britain and the United States following their collapse of 1914–1945 regardless of what policies they had adopted (I say this with only slight exaggeration). The most one can say is that state intervention did no harm. Similarly, once these countries had attained the global technological frontier, it is hardly surprising that they ceased to grow more rapidly than Britain and the United States or that growth rates in all of these wealthy countries more or less equalized [...] Broadly speaking, the US and British policies of economic liberalization appear to have had little effect on this simple reality, since they neither increased growth nor decreased it.

Tomoe Akagi is known in artistic circles for having beat Nam June Paik to be the first person to perform a work of art inside a whale. Though, I don't think Paik actually wanted to create work inside a whale. His work, Creep into the Vagina of a Live Whale, was about creating an impossible piece of performance art, one that wasn't to be attempted, and could exist only in the minds of the audience. As readers of that instruction, we inevitably imagine ourselves parting the soft flesh of a whale without her noticing, a corridor opening up, stepping inside, breaking through her hymen, creeping into her uterus. I couldn't work out how I felt about this work when I read it for the first time; I remember her thinking, Ugh, of course he has chosen a female animal, and of course he has us enter her without her realizing. I couldn't tell what the point of the work was. It seemed to only exist to be shocking. Akagi had sewn himself into the stomach of a deceased beached whale somewhere in Scandinavia, where whale meat is eaten, and, after that, he was known as the artist who beat Nam June Paik. Unlike that of the other Fluxus artists, Akagi's work wasn't completely nihilistic; he wrote a long letter to the whale, apologizing for his generation's mistreatment of the environment, and sewed it into the whale's stomach with himself.

To make a fresh start, the first thing I had to do was get rid of my stack of manuscript paper and my fountain pen. As long as they were sitting in front of me, what I was doing felt like “literature.” In their place, I pulled out my old Olivetti typewriter from the closet. Then, as an experiment, I decided to write the opening of my novel in English. Since I was willing to try anything, I figured, why not give that a shot? Needless to say, my ability in English composition didn’t amount to much. My vocabulary was severely limited, as was my command of English syntax. I could only write in simple, short sentences. Which meant that, however complex and numerous the thoughts running around my head, I couldn’t even attempt to set them down as they came to me. The language had to be simple, my ideas expressed in an easy-to-understand way, the descriptions stripped of all extraneous fat, the form made compact, everything arranged to fit a container of limited size. The result was a rough, uncultivated kind of prose. As I struggled to express myself in that fashion, however, step by step, a distinctive rhythm began to take shape. Since I was born and raised in Japan, the vocabulary and patterns of the Japanese language had filled the system that was me to bursting, like a barn crammed with livestock. When I sought to put my thoughts and feelings into words, those animals began to mill about, and the system crashed.

In La Tête d’Obsidienne André Malraux relates a conversation that he had with Picasso in 1937, at the time he was painting “Guernica.” Picasso said, “People are always talking about the influence of the blacks on me. What can one say? We all of us liked those fetishes. Van Gogh said, ‘We all of us had Japanese art in common.’ In our day it was the Negroes. Their forms did not influence me any more than they influenced Matisse. Or Derain. But as far as Matisse and Derain were concerned, the Negro masks were just so many other carvings, the same as the rest of sculpture. When Matisse showed me his first Negro head he talked about Egyptian art. “When I went to the Trocadéro, it was revolting. Like a flea-market. The smell. I was all by myself. I wanted to get out. I didn’t go: I stayed. It came to me that this was very important: something was happening to me, right? “Those masks were not just pieces of sculpture like the rest. Not in the least. They were magic. And why weren’t the Egyptians or Chaldees? We hadn’t understood what it was really about: we had seen primitive sculpture, not magic. These Negroes were intercessors—that’s a word I’ve known in French ever since then. Against everything: against unknown, threatening spirits. I kept on staring at these fetishes. Then it came to me—I too was against everything. I too felt that everything was unknown, hostile! Everything! Not just this and that but everything, women, children, animals, smoking, playing … Everything! I understood what their sculpture meant to the blacks, what it was really for. Why carve like that and not in any other way?

PG: Who tends to have an interest in moé characters? HT: Clearly we are talking about those who are marginalized— Japanese men in particular, who seem to be getting weaker. After the Second World War, the value of men in Japan was determined by their productivity at work. The man who earned money was able to spend it, showing that he was a worthy mate. This then became the only way to be a man, the only way to be favorably appraised by women. I call this the era of love capitalism, meaning that dating and courtship were increasingly tied to consumption. Trendy dramas aired on television that promoted going to fancy restaurants or taking a ski vacation. So those men who failed or dropped out of the system looked for love elsewhere, for example in manga and anime. The situation got worse when the economy tanked in the 1990s, which made it harder to get that job and be that ideal man. There were a few men who had love and a lot of men who didn’t. I call this the love gap (ren’ai kakusa). Moé provides a low-cost, low-stress solution to this problem. It is love on our terms. Moé is a love revolution that challenges people’s commonsense notions about the world. You don’t need much capital to access moé, and you can do it in a way that suits you. Don’t misunderstand me. I’m not saying that everyone should give up on reality; I’m just pointing out that some of us find satisfaction with fictional characters. It’s not for everyone, but maybe more people would recognize this life choice if it wasn’t always belittled. Forcing people to live up to impossible ideals so that they can participate in so-called reality creates so-called losers, who in their despair might lash out at society. We don’t have to accept something just because people tell us that it is normal or right or better.

The Japanese sense the presence of a divinity in every industrial object. For us, that sacred presence has been reduced to a tiny ironic glimmer, a nuance of play and distantiation. Though this is, none the less, a spiritual form, behind which lurks the evil genius of technology which sees to it itself that the mystery of the world is well-guarded. The Evil Spirit keeps watch beneath artefacts and, of all our artificial productions, one might say what Canetti says of animals: that behind each of them there is a hidden someone thumbing his nose at us. Irony is the only spiritual form in the modern world, which has annihilated all others. It alone is the guardian of the mystery, but it is no longer ours to exercise. For it is no longer a function of the subject; it is an objective function, that of the artificial, object world which surrounds us, in which the absence and transparency of the subject is reflected. The critical function of the subject has given way to the ironic function of the object. Once they have passed through the medium or through the image, through the spectrum of the sign and the commodity, objects, by their very existence, perform an artificial and ironic function. No longer any need for a critical consciousness to hold up the mirror of its double to the world: our modern world swallowed its double when it lost its shadow, and the irony of that incorporated double shines out at every moment in every fragment of our signs, of our objects, of our models. No longer any need to confront objects with the absurdity of their functions, in a poetic unreality, as the Surrealists did: things move to shed an ironic light on themselves all on their own; they discard their meanings effortlessly. This is all part of their visible, all too visible sequencing, which of itself creates a parody effect.

went to her workshop three times a week to paint with Kirsten. She rarely frequented the Lark House dining room, preferring to eat out at local restaurants where the owners knew her, or in her apartment, when her daughter-in-law sent the chauffeur around with one of her favorite dishes. Irina kept only basic necessities in her kitchen: fresh fruit, oatmeal, whole-grain bread, honey. Alma and Seth often invited Irina to their ritual Sunday lunch at Sea Cliff, where the family paid the matriarch homage. To Seth, who had previously used any pretext not to arrive before dessert—for even he was unable to consider not putting in an appearance at all—Irina’s presence made the occasion infinitely more appealing. He was still stubbornly pursuing her, but since he was meeting with little success he also went out with previous girlfriends willing to put up with his fickleness. He was bored with them and did not succeed in making Irina jealous. As his grandmother often said and the family often repeated, why waste ammunition on vultures? It was yet another enigmatic saying often used by the Belascos. To Alma, these family reunions began with a pleasant sense of anticipation at seeing her loved ones, particularly her granddaughter, Pauline (she saw Seth frequently enough), but often ended up being a bore, since every topic of conversation became a pretext for getting angry, not from any lack of affection, but out of the bad habit of arguing over trivialities. Seth always looked for ways to challenge or scandalize his parents; Pauline brought to the table yet another cause she had embraced, which she explained in great detail, from genital mutilation to animal slaughterhouses; Doris took great pains to offer her most exquisite culinary experiments, which were veritable banquets, yet regularly ended up weeping in her room because nobody appreciated them; good old Larry meanwhile performed a constant balancing act to avoid quarrels. The grandmother took advantage of Irina to dissipate tension, because the Belascos always behaved in a civilized fashion in front of strangers, even if it was only a humble employee from

Though it’s best not to be born a chicken at all, it is especially bad luck to be born a cockerel. From the perspective of the poultry farmer, male chickens are useless. They can’t lay eggs, their meat is stringy, and they’re ornery to the hens that do all the hard work of putting food on our tables. Commercial hatcheries tend to treat male chicks like fabric cutoffs or scrap metal: the wasteful but necessary by-product of an industrial process. The sooner they can be disposed of—often they’re ground into animal feed—the better. But a costly problem has vexed egg farmers for millennia: It’s virtually impossible to tell the difference between male and female chickens until they’re four to six weeks old, when they begin to grow distinctive feathers and secondary sex characteristics like the rooster’s comb. Until then, they’re all just indistinguishable fluff balls that have to be housed and fed—at considerable expense. Somehow it took until the 1920s before anyone figured out a solution to this costly dilemma. The momentous discovery was made by a group of Japanese veterinary scientists, who realized that just inside the chick’s rear end there is a constellation of folds, marks, spots, and bumps that to the untrained eye appear arbitrary, but when properly read, can divulge the sex of a day-old bird. When this discovery was unveiled at the 1927 World Poultry Congress in Ottawa, it revolutionized the global hatchery industry and eventually lowered the price of eggs worldwide. The professional chicken sexer, equipped with a skill that took years to master, became one of the most valuable workers in agriculture. The best of the best were graduates of the two-year Zen-Nippon Chick Sexing School, whose standards were so rigorous that only 5 to 10 percent of students received accreditation. But those who did graduate earned as much as five hundred dollars a day and were shuttled around the world from hatchery to hatchery like top-flight business consultants. A diaspora of Japanese chicken sexers spilled across the globe. Chicken sexing is a delicate art, requiring Zen-like concentration and a brain surgeon’s dexterity. The bird is cradled in the left hand and given a gentle squeeze that causes it to evacuate its intestines (too tight and the intestines will turn inside out, killing the bird and rendering its gender irrelevant). With his thumb and forefinger, the sexer flips the bird over and parts a small flap on its hindquarters to expose the cloaca, a tiny vent where both the genitals and anus are situated, and peers deep inside. To do this properly, his fingernails have to be precisely trimmed. In the simple cases—the ones that the sexer can actually explain—he’s looking for a barely perceptible protuberance called the “bead,” about the size of a pinhead. If the bead is convex, the bird is a boy, and gets thrown to the left; concave or flat and it’s a girl, sent down a chute to the right.

Then they all surrounded the poop little animal and pulled out all his fur. He cried out loudly and entreated them to spare him, but with each tuft of fur they pulled out they said: "Serve you right!

1. GROWTH HORMONES IN MEAT When you eat conventional meat, you’re probably eating hormones, antibiotics, steroids, and chemicals created by the fear and stress suffered by the animal during slaughter and in its inhumane living conditions. In 2009, two Japanese researchers published a startling study in Annals of Oncology. They pointed out that there has been a surge in hormone-dependent cancers that roughly parallels the surge of beef consumption in Japan. Over the last twenty-five years, hormone-dependent cancers such as breast, ovarian, endometrial, and prostate cancer rose fivefold in that country. More than 25 percent of the beef imported to Japan comes from the United States, where livestock growers regularly use the growth hormonal steroid estradiol. The researchers found that US beef had much higher levels of estrogen than Japanese beef because of the added hormones. This finding led them to conclude that eating a lot of estrogen-rich beef could be the reason for the rising incidence of these life-threatening cancers. Injected hormones like estrogen mimic the activity of our natural hormones and prevent those hormones from doing their jobs. This situation creates chaos. Growth hormones may alter the way in which natural hormones are produced, eliminated, or metabolized. And guess what? Hormone impersonators can trigger unnatural cell growth that may develop into cancer. The United States is one of the only industrialized countries that still allows their animals to be injected with growth hormone. Australia, New Zealand, Canada, Japan, and the entire European Union have banned rBGH and rBST because of their dangerous impact on human and bovine health. US farmers fatten up their livestock by injecting them with estrogen-based hormones, which can migrate from the meat we eat to our bodies—and possibly stimulate the growth of human breast cancer, according to the Breast Cancer Fund, an organization committed to preventing breast cancer by

But nobody lives in a universal thing called culture. They live only in specific cultures, each of which differ from one another. Plays written and produced in Germany are three times as likely to have tragic or unhappy endings than plays written and produced in the United States. Half of all people in India and Pakistan say they would marry without love, but only 2 percent of people in Japan would do so. Nearly a quarter of Americans say they are often afraid of saying the wrong things in social situations, whereas 65 percent of all Japanese say they are often afraid. In their book Drunken Comportment, Craig MacAndrew and Robert B. Edgerton found that in some cultures drunken men get into fights, but in some cultures they almost never do. In some cultures drunken men grow more amorous, but in some cultures they do not.

Ro, he's human and he cares about you. He has no way of knowing you're like this super-human, Goddess-channelling Vessel of death and destruction worthy of one very cool Japanese anime series

Not only does Japan have an economic need and the technological know-how for robots, but it also has a cultural predisposition. The ancient Shinto religion, practiced by 80 percent of Japanese, includes a belief in animism, which holds that both objects and human beings have spirits. As a result, Japanese culture tends to be more accepting of robot companions as actual companions than is Western culture, which views robots as soulless machines. In a culture where the inanimate can be considered to be just as alive as the animate, robots can be seen as members of society rather than as mere tools or as threats.

in American animation the dialogue is recorded first. Even though that may sound like a little technical, procedural issue, it actually affects how animation is used, the aesthetics, and the entire approach to the idea of animation as performance. This is a central difference between American animation and Japanese animation.

In 1952 the father of Japanese primatology, Kinji Imanishi, first

Japanese anime and manga cartoons, seeking to accentuate youth, depicted female characters with large irises long before our research.

If I died in a freak accident while hurrying through Shibuya's notorious "scramble" intersection, where thousands of pedestrians crossed from all directions at once when the WALK light shifted to green, I hoped whoever performed my funeral service would know I died satisfied. Shibuya felt like being in the center of the vertical world, with tall buildings flashing advertisements, neon lights, and level after level of stores and restaurants visible through glass windows. So many people, so hurried, so much to look at and experience. Fashionista women wearing skinny pants with stiletto pumps riding bikes down crowded sidewalks. Harajuku girls with pink hair and crazy outfits. Loud izakaya bars where men's conversations and laughter spilled onto the street, and women walking by wearing kimonos with white socks tucked into flip-flops. Young people strutting around dressed in kosupure ("cosplay," Nik translated) outfits from their favorite anime, like it was Halloween every day here. TOO MUCH FUN. I didn't want to die, but if I did, I would tell the souls I met in the afterlife: Don't feel bad about my premature end. I saw it all in my short time down in the upworld of Tokyo.

So, in Spanish I call her Río Abajo Río, the river beneath the river; La Mujer Grande, the Great Woman; Luz del abismo, the light from the abyss; La Loba, the wolf woman; or La Huesera, the bone woman. She is called in Hungarian, Ö, Erdöben, She of the Woods, and Rozsomák, The Wolverine. In Navajo, she is Na’ashjé'ii Asdzáá, The Spider Woman, who weaves the fate of humans and animals and plants and rocks. In Guatemala, among many other names, she is Humana del Niebla, The Mist Being, the woman who has lived forever. In Japanese, she is Amaterasu Omikami, The Numina, who brings all light, all consciousness. In Tibet she is called Dakini, the dancing force which produces clear-seeing within women. And it goes on. She goes on.

What do takumis (artisans), engineers, inventors, and otakus (fans of anime and manga) have in common? They all understand the importance of flowing with their ikigai at all times.

While Iris mercilessly teased Christine until the poor girl looked ready to start flinging icicles, Alex and Andrew continued their merciless assault on Kevin. “You put the ‘k’ in otaku.” “When people look up otaku in the dictionary, they see your face.” “You’ve even got an otaku meme on Twitter.” “Shut up! I am not an otaku!” Kevin stood up and slammed his hands on the stone table. He glared at his friends. “I’m not! Just because I like anime that doesn’t mean I’m an otaku. And you two have no right to say anything!” He pointed an accusing finger at Alex and Andrew. “You watch and read just as much anime and manga as I do!” “You make a good point,” Alex admitted. “It doesn’t change the fact that you are, indeed, an otaku.” Andrew nodded at his brother’s words. “Only a true otaku would deny being otaku.” “No, they wouldn’t! Otaku are people who proudly proclaim their status even though they know others will look down on them for it. That’s half the reason they get such a bad rep in Japan, and even then, Japanese society has begun to accept otaku culture more readily in the last few years. I once read an article on Rocket News 24 that some people are beginning to think that being otaku isn’t something to be ashamed of.” “And how could you possibly know that unless you were an otaku?” Iris teased. Kevin grabbed his hair and threw his head back. “Arggghhh!” “Poor Kevin.” Lilian giggled. “Getting ganged up on by everyone.” “Ha…” Kevin sat down and pouted at his mate. “You’re not really helping me out, you know. You should be backing me up.” “I can only back you up when something isn’t true.” “Now you’re just being mean.” “I’m sorry,” Lilian said in mock contrite, her eyes glittering with mirth. “Would a hug make it better?” Kevin sniffled. “Maybe.” Lilian spread her arms wide. “Okay. Come here, Kevin.” “Lilian.” “Kevin!” “Lilian!” “Would you two knock it off already!” Christine snapped out of her state of perpetual humiliation long enough to shout at the hugging couple.

Unfortunately, Iris was wearing sunglasses. She also couldn’t bring out her tails. That meant enchanting was out of the question. “As much as I would love to deny your words, I honestly wouldn’t be surprised if they were talking about the latest anime.” Iris set her drink down and sighed. “I love my sister very much, but even I sometimes wonder about her obsession for Japanese cartoons.” Several meters away, sitting in their seats, Lilian and Kevin froze. “Do you feel that, Kevin?” “I did. I sense a disturbance in the animu. Someone is making fun of anime right this very second.” “And I have this strange urge to punch my sister for some reason.” “That’s not very strange. Iris is always doing something to warrant you hitting her.” “Hmm… true.

They’re thinking of someone like me, small-framed with delicate features. That’s the film industry’s idea of Asian womanhood. Scarlett Johansson has a better chance of getting cast as an Asian woman in a film than Glory does. After all, when Scarlett Johansson was cast as the lead in the live-action remake of the Japanese anime film Ghost in the Shell, they added a whole convoluted plotline to explain why the character has a white woman’s body.

LOLLIPOP DOLLS IS like some weird little girl's hunting lodge. The heads and faces of every Japanese cartoon character and monster are hung on the walls like trophies. Their plastic guts are in model kits on the shelves and their skins are draped on padded hangers in long rows of animal prints and Little Bo Peep frills. When I turn around, there's a platoon of twelve-year-old Cutie Honey types staring up at me, letting me know that I'm extremely not welcome. It's Village of the Damned with ankle socks.

One of the reasons Japanese culture is so intriguing (and confounding) to westerners is not that it seems so foreign, but that it seems so familiar—at least at first. The packaging registers with our sensibilities, but the actual content does not. Innocent-looking anime characters sprout sudden porno appendages; morning chat shows digress into screaming fits; and musicians that dress like goth metalheads sound like fourth-tier Orlando boy-band members. Shinsaibashi has that same bewildering familiarity. Just as I convince myself that it’s another noisy mall, I’m nearly run down by a drunken bi- cyclist, and then accosted by a fuzzy store mascot.

When we condemn cruelty to animals, we don't call it un-American, or un-European, or un-Japanese. We call it inhumane.

The people around us seem to be dressed in every kind of clothing from every nation and era in human history. I see people dressed in modern military uniforms, animal skins, togas, tribal regalia, European and Japanese armor, robes, breeches, long dresses, short dresses, and suits. Some people wear not much clothing at all. It's as though we're on the back lot of a movie studio and actors from a hundred different exotic movies mingle together. But these people are real, not costumed performers.

When we condemn cruelty to animals, we don't call it un-American, or un-European, or un-Japanese. We call it inhumane.

While the English aggressively turned outwards, laying the foundations of what can justly be called ‘Anglobalization’, the Japanese took the opposite path, with the Tokugawa shogunate’s policy of strict seclusion (sakoku) after 1640. All forms of contact with the outside world were proscribed. As a result, Japan missed out entirely on the benefits associated with a rapidly rising level of global trade and migration. The results were striking. By the late eighteenth century, more than 28 per cent of the English farmworker’s diet consisted of animal products; his Japanese counterpart lived on a monotonous intake, 95 per cent cereals, mostly rice. This nutritional divergence explains the marked gap in stature that developed after 1600. The average height of English convicts in the eighteenth century was 5 feet 7 inches. The average height of Japanese soldiers in the same period was just 5 feet 2½ inches.46 When East met West by that time, they could no longer look one another straight in the eye.

In the popular anime series Sailor Moon, characters Uranus and Neptune are portrayed as cousins in the English dubbed translation. In the original Japanese, they are written as lovers.

Within a decade, both individual identification and food provisioning were adopted at Western field sites, from Gombe Stream to Cayo Santiago. And even though the second part of the method has fallen out of favor, the first remains firmly embedded. The concept of the individual in its society amounts to a momentous theoretical contribution by Japanese primatology to the study of social animals. The ideas that individuals matter, that their identities are linked to their place in the whole, that they need to be followed over time, and that human empathy helps us understand them, are so obviously correct that armies of scientists now apply this perspective, often without knowing where it came from.

Em vez de pensarmos na família como algo que existe, temos de pensar nela como algo que se constrói. Nós «fazemos» a família.

Há uma razão para que as coisas existam neste mundo. E não há nenhuma razão suficientemente boa para as eliminar.

Além disso, os seres humanos insistem em manter os gatos como animais de estimação, apesar da nossa angústia em relação à mortalidade, mesmo sabendo que os gatos morrerão muito antes de nós, causando aos donos uma dor incalculável. (...) Se olharmos bem para a questão, a morte de um gato não é muito diferente da morte de um ser humano.

Há um limite para quão bem nos conhecemos a nós próprios. Não sabemos a impressão que causamos nos outros, não temos como conhecer o nosso próprio futuro e não podemos saber como será a nossa própria morte. E é por isso que precisamos dos gatos. É exatamente como disse a minha mãe: os gatos não precisam de nós; são os seres humanos que precisam dos gatos.

The number of large animals, especially the Naumann’s elephant and the giant elk, began to drop.

is plausible that the first humans to travel to the archipelago were following the migrations of animal herds,

The prehistoric people, including the earliest inhabitants of Japan, were familiar with animism;

they believed that everything in this world—from mountains to grasses, rocks, wild animals, places,

In a way, we're basically equipped to empathize with others because we feel happy when we're nice to someone. Because we are social animals that live in packs, we're programmed to share happiness when we do something for another person.

I'M AN OTAKU. Are you? You say English, We say Japanese. You say Cars, We say Nyan Cat. :D You say Justin Beiber, We say Vocaloid. -.- You say Swords, We say Bleach. You say Reality, We say Anime. You say Comics, We say Manga. You say countries, We say Hetalia. You say Hello, We say こんにちは (Konnichiwa). You learn Japanese from classes, We learn from shows. You cry if a character dies, We have a rainbow of emotions. You only feel what your favorite person feels, We feel what everyone else is feeling. You crush on popstars, We crush on anime characters. You think we're crazy, We just think you're normal. You say Crazy, We say Soul Eater. You say ocean, We say ONE PIECE!!! You say family, We say FAIRY TAIL!!! You say Ninja, We say Naruto. You say Rabbits, We say Flying Mint Bunny. You think we're fangirls/fanboys, but we're all OTAKU'S, Re-Post if Your and OTAKU and PROUND!

The gleaming orange and silver express slid to a stop beside them. Tiger barged his way on board. Bond waited politely for two or three women to precede him. When he sat down beside Tiger, Tiger hissed angrily, "First lesson, Bondo-san! Do not make way for women. Push them, trample them down. Women have no priority in this country. You may be polite to very old men, but to no one else. Is that understood?" "Yes, master," said Bond sarcastically. "And do not make Western-style jokes while you are my pupil. We are engaged on a serious mission." "Oh, all right, Tiger," said Bond resignedly. "But damn it all..." Tiger held up a hand. "And that is another thing. No swearing, please. There are no swearwords in the Japanese language and the usage of bad language does not exist." "But good heavens, Tiger! No self-respecting man could get through the day without his battery of four-letter words to cope with the roughage of life and let off steam. If you're late for a vital appointment with your superiors, and you find that you've left all your papers at home, surely you say, well, Freddie Uncle Charlie Katie, if I may put it so as not to offend." "No," said Tiger. "I would say 'Shimata', which means 'I have made a mistake.'" "Nothing worse?" "There is nothing worse to say." "Well, supposing it was your driver's fault that the papers had been forgotten. Wouldn't you curse him backwards and sideways?" "If I wanted to get myself a new driver, I might conceivably call him 'bakyaro' which means a 'bloody fool', or even 'konchikisho' which means 'you animal'. But these are deadly insults and he would be within his rights to strike me. He would certainly get out of the car and walk away." "And those are the worst words in the Japanese language! What about your taboos? The Emperor, your ancestors, all these gods? Don't you ever wish them in hell, or worse?" "No. That would have no meaning." "Well then, dirty words. Sex words?" "There are two--'chimbo' which is masculine and 'monko' which is feminine. These are nothing but coarse anatomical descriptions. They have no meaning as swearing words. There are no such things in our language." "Well I'm...I mean, well I'm astonished. A violent people without a violent language! I must write a learned paper on this. No wonder you have nothing left but to commit suicide when you fail an exam, or cut your girlfriend's head off when she annoys you." Tiger laughed. "We generally push them under trams or trains." "Well, for my money, you'd do much better to say 'You-------'," Bond fired off the hackneyed string, "and get it off your chest that way." "That is enough, Bondo-san," said Tiger patiently. "The subject is now closed. But you will kindly refrain both from using these words or looking them. Be calm, stoical, impassive. Do not show anger. Smile at misfortune. If you sprain your ankle, laugh.

Phoebe is a manga fan. She’s so enamored with manga and anime and the culture around them that she’s started to teach herself Japanese and plans to take it as a course next year.

Oh, my son loves Japan!" she says, her voice soaring. "He's been studying Japanese, all by himself, and he went there recently actually for the first time, and he said he just felt immediately at home there, you know really comfortable. I mean with him it's mostly the, the, the-" My brain silently fills in the next word: anime. "The animation and so on, you know he's really into technology. I mean he's only seventeen, you so who knows what is going to happen. But it does seem like, you know, a real thing for him." "Right," I say, and I nod. "That's great." Sometimes at times like these, what fills my head is the things I do not and could not ever say. For example: "You have no idea how many stories I've heard exactly like that one!" Or: "You know, even though I'm generally reluctant to admit the existence of 'types" among people, I'm often shocked by the parallels that exist between the kind of young men who like anime and all things Japanese, to the extent that I sometimes struggle to believe that a group of people with such intensely similar interests are in fact individuals." Certainly I do not say: "And what would you like to bet that he ends up marrying a Japanese woman and becomes an academic teaching the world about Japanese culture while she gives up her job to bring up his children?" But even if these things flicker through my mind, I'm not anywhere near as rageful as any of that makes me sound. In fact, if anything, what I feel in this particular moment is something like envy, for this son of hers that I've never met, I understand that taking refuge in Japan and being shielded from the demands of full adulthood is a privilege offered to predominantly white, educated, Anglophone men, because they are deemed the most desirable that the world has to offer; that it feeds off power relations that date back to the American occupation and beyond, and which hew closely to the colonial paradigm even if there are important differences (and even if Japan also has a history of colonialism of its own to reckon with); and that even leaving all of this aside, this Peter Pan status is not something I am interested in. And yet I can't help but look at the sort of person who feels "immediately" comfortable in Japan and wish that I had felt like that, only because it might validate the way I've dedicated a lot of my life to the country, but because the security of that sensation in itself feels like something I would love to experience.

Oh, my son loves Japan!" she says, her voice soaring. "He's been studying Japanese, all by himself, and he went there recently actually for the first time, and he said he just felt immediately at home there, you know really comfortable. I mean with him it's mostly the, the, the-" My brain silently fills in the next word: anime. "The animation and so on, you know he's really into technology. I mean he's only seventeen, you know so who knows what is going to happen. But it does seem like, you know, a real thing for him." "Right," I say, and I nod. "That's great." Sometimes at times like these, what fills my head is the things I do not and could not ever say. For example: "You have no idea how many stories I've heard exactly like that one!" Or: "You know, even though I'm generally reluctant to admit the existence of 'types" among people, I'm often shocked by the parallels that exist between the kind of young men who like anime and all things Japanese, to the extent that I sometimes struggle to believe that a group of people with such intensely similar interests are in fact individuals." Certainly I do not say: "And what would you like to bet that he ends up marrying a Japanese woman and becomes an academic teaching the world about Japanese culture while she gives up her job to bring up his children?" But even if these things flicker through my mind, I'm not anywhere near as rageful as any of that makes me sound. In fact, if anything, what I feel in this particular moment is something like envy, for this son of hers that I've never met, I understand that taking refuge in Japan and being shielded from the demands of full adulthood is a privilege offered to predominantly white, educated, Anglophone men, because they are deemed the most desirable that the world has to offer; that it feeds off power relations that date back to the American occupation and beyond, and which hew closely to the colonial paradigm even if there are important differences (and even if Japan also has a history of colonialism of its own to reckon with); and that even leaving all of this aside, this Peter Pan status is not something I am interested in. And yet I can't help but look at the sort of person who feels "immediately" comfortable in Japan and wish that I had felt like that, only because it might validate the way I've dedicated a lot of my life to the country, but because the security of that sensation in itself feels like something I would love to experience.

Transmigration (saṃsāra) means the repeated cycle of birth and death in this realm of delusion. Literally "flowing together," saṃsāra is an expression of living beings buffeted by waves and at the mercy of water, perhaps a powerful river whose current carries us from place to place. As we have seen, rebirth has five or six destinations. The Abhidharmakośa gives five—the inhabitants of hells, hungry spirits, animals, human beings, and devas. This is the Sarvāstivādin point of view; other schools gave six, the above five plus the asuras. In Chinese and Japanese Buddhism, the version favoring six paths gained popularity, and th expression "transmigration among the six paths" is well known throughout East Asia.

The Japanese primatologist Tetsuro Matsuzawa tracked the development of this skill at the “factory,” an open space where apes bring their nuts to anvil stones and fill the jungle with a steady rhythm of banging noise. Youngsters hang around the hardworking adults, occasionally pilfering kernels from their mothers. This way they learn the taste of nuts as well as the connection with stones. They make hundreds of futile attempts, hitting the nuts with their hands and feet, or aimlessly pushing nuts and stones around. That they still learn the skill is a great testament to the irrelevance of reinforcement, because none of these activities is ever rewarded until, by about three years of age, the juvenile starts to coordinate to the point that a nut is occasionally cracked. It is only by the age of six or seven that their skill reaches adult level.24

People who are too earnest can't bring themselves to blame others, so they end up blaming themselves and suffering for it.

What is Anime Watch Order ? Anime is the Japanese way of animating cartoons. It’s storyline is based upon adult situations. Nowadays, almost 80% of the population is watching anime and manga series. It explains different scenarios, characters, story plots, messy haired cartoon characters, scary eyes and exaggerated stories relying upon physical reality.

I am not reducing your budget, Kevin. Your budget—which last I checked is like twenty bucks, some chewing gum, and a stack of anime comics—is secure.” “Um, it’s called manga.” She gave him the side-eye. “What is?” “Japanese comics. Anime is animation.” “Oh my God, I don’t care.

And then there is the Löwenmensch – the Lion Man of the Hohlenstein-Stadel. In the hills between Nuremberg and Munich in Swabian Germany there are caves that have yielded one of the most important works ever crafted by an unknown artist. Around 40,000 years ago, a woman or man sat somewhere in or near that cave, with the detritus of a hunt scattered around. They took a piece of ivory, a tusk from a woolly mammoth, and carefully considered that it might be the right material, shape and size for something that they had been pondering. Now extinct, cave lions were fierce predators at that time, posing a threat to people, and also to the animals that people would hunt and eat. That person thought about the lions, and how formidable they are, and maybe wondered what it would be like to have the power of a lion in the body of a human. Maybe this tribe revered the cave lions out of fear and awe. Whatever the reason, this artist took that mammoth ivory, a flint knife, and patiently carved the tusk into a mythical figure. It is a chimaera, a fantastic beast that is made up of the parts of multiple animals. Chimaeras exist throughout all human cultures for most of history, from mermaids, fawns or centaurs, to the glorious monkey-man god Hanuman, to the Japanese snake-woman nure-onna, to the Wolpertinger, an absurd and mischievous Bavarian part-duck part-squirrel part-rabbit with antlers and vampire teeth. Today, we have reached the ultimate manifestation of a 40,000-year interest in hybrid creatures in genetic engineering, where elements from one animal are transposed into another, and hence we have cats that glow in the dark with the genes of deep-sea crystal jellyfish Aquorea victoria, and goats that produce dragline silk from the golden orb weaver spider in their udders. The Lion Man of Hohlenstein-Stadel

Or the anime-obsessed white girls who frequent my Aunties’ katsu restaurant and order me to speak to them in “an authentic Japanese accent.” I once dumped a full can of Coke on Queen Becky, the Ultimate White Girl Who Just, Like, Loves Asian Culture, and it felt so good