![]() Tsuchida I imagine to be relatable to older adolescents and young adults. I find this part of the confession to be the most powerful thing in the show. Why did he believe this? He felt immature, still stuck in his adolescent pursuits, half-in and out of this adult life. In the finale when Tsuchida tried to confess with all his might, he acknowledged that he was but half of a man. We spend half of our lives as men, as ‘half of a man’. If you engage them, they will converse with you.” LOL ![]() I just think that there will be times when one needs to test one’s beliefs, and then make a powerful choice whether to keep holding on to them – at their own risk, at some point in life. I can’t fathom being married otherwise, or being a father to my infant daughter. I live in a very religious society, and even if I discount the many fanatics, there are people who really go through life just believing in believing.Įven a sober person as I consider myself to be, I hold on to some of these things despite how silly they sometimes feel. It is an act of faith, to believe in the face of contrary evidence, or the absence of evidence. What the finale did tell me is how people want to believe in things so much, since these things often promise to them the delivery of something dearly wished for. It isn’t love that runs the engine of the universe, or determines the behavior of people on a consistent basis. “Nothing is stronger than the power of love!” Between Sakura, Tsuchi, and Anzu this is an inspiring statement and is very powerful. In life you believe in things that sound good, despite the evidence to the contrary. But yes, this is how we treat people too I don’t endorse it, but rather we could forgive ourselves so we won’t have to be so hard on others. ![]() And those who didn’t become close friends, I’ve pegged down to one or three distinguishing characteristics: guy who mooches cigarettes all the time, the plodding naive and innocent girl(s), the teacher(s) who hates academic-level scholarship but loves the teaching in class part of a university career, the ne’er-do-wells that have been around a long time and are a source of institutional memory… just like Hanamaru Kindergarten I could never remember their names without looking them up. In all those places of work I have come across thousands of people, and I’ve forgotten most of them. The real thing is, I’ve updated my resume just a day prior to this writing and I realize that I’ve listed 9 different companies or groups that I’ve worked for/with the last 13 years (there are things I never bothered listing too). These are for characters who actually got some screen time, otherwise you get Database Animal distinctions (as I imagine them, or just tropes): twins with ponytails who can be clumsy too (twin-tails?), plucky daughter of working-class parents who innocently appreciates work without class politics, bully who turned into follower, etc. The kind of runty teacher with glasses that isn’t heading anywhere due to plain average averageness? Check. and unnervingly rewatches Conan the Barbarian for the muscles? Check. The tall athletic teacher who has a bias for P.E. The show presents characters with easy to handle physical and behavioral distinctions. You will stereotypically stereotype people, regardless of how politically correct you want to be. In life, you will peg people down to one or a few distinguishing characteristics. Hanamaru Kindergarten let me in on something real, and the show being unbelievable to a high degree made this experience stand out. We don’t have to believe this, but just for a few moments as we go through this exercise let’s acknowledge how works like Calvin and Hobbes, The Simpsons, or works like The Illiad, or Candide (Voltaire) despite or because of their fantastic nature (without being fantasy in the mold of The Lord of the Rings) can bring us to an experience of something real. One can access something real (or something as close to the truth as one can possibly get) from the experience of an absurd presentation. Let’s try this concept on, like a hat: The experience of what is real is not contingent to a realistic portrayal of people, events, or even the universe wherein the narrative happens.
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