An anti-philosophical “philosophical” investigation of Wonderful Everyday (Subarashiki Hibi/Subahibi) as well as Tsui no Sora.

Fate/stay night and Kinoko Nasu feel like a whole genre on their own. But why aren’t there more Nasu copycats?

To be direct about it, Our Broken World (Sekai vol. 1) is my favourite novel ever written. Here is a review.

Some short notes on a film where history accumulates like sediment—where the dead ends of the past pile up layer-by-layer without ever “moving on.”

There’s multiple angles that one can bring to Cross†Channel. But I’d like to focus on masculinity and gender here, rather than the broader readings.

Every conversation about “otaku culture” begins from the assumption that there is nothing at stake. This is wrong to its core.

Why the rules and conventions of puzzle-mysteries aren’t just a matter of tradition.

Shocker: A political discussion about the movies that used a MAGA hat for a poster. A real “drunk looking for his keys under the same streetlight all night” deal.

The word “moe” is synonymous with anime girls and a “cutesy” style. But what if this way of thinking is hopelessly flawed? What else can moe look like?

Attempting to review Barbie invites the question: What does parody mean in the post-ironic era?

The arguments used to reject “abstract” modern art are brazen, but false. I wish to directly address those who take such positions. And those who would ignore the issue.

Our search for the Nasu copycats means it is time to expand the conversation beyond just him. We came looking for a genre, but what does that even mean?