lowercase renegade
bella. 19. grad. i'm not that sad.

i reblog a lot of stuff from anime to politics and i also write a lot of prose and poetry. i am stuck between wanting to be pusheen and wanting to rule the world then again i can be both. ask me stuff.

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at the end of nardo there’s like a 12-year timeskip and sasuke’s son’s worried about his sharingan not activating. sasuke sits him down like ”Itachi Sasuke, u were named for two of the bravest men I ever knew. both of them had sharingans. so yeah get the fuck on it”

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Lit and Ideas: Gender, Sexuality and Urban Space || A Critical Analysis of DRRR!!

Colourless: An Analysis of the City, Sexuality, and Anonymity in Durarara!!

“There is one thing I understood. The Dollars are this city. Various people come and go without being dyed a certain colour. There’s always something happening. There are always people hating and loving each other, cultivating friendships, and passing others by. Just like a city will continue to exist as long as there are people around, the Dollars will also continue to exist. No matter what anyone says.” -Mikado Ryugamine, (“Selfless Devotion”)

Picture this: a narration drags along in the background, while the camera pans to a series of panoramic shots of Ikebukuro. A lean, dark-haired highschool boy descends from the train platform, before being reunited with his now-blonde childhood friend in the subway, crowded by grey people.  The blonde male invites his long-time friend to a tour of the city, where they meet all sorts of people, most of which were leaning unto the eccentric side of character. More beautiful city shots are panned across the screen, as the pair go on with their leisurely exploration. Suddenly, a neighing is heard, and a black-suited biker zooms into view. Before the show ends, the viewer is swept into a surreal whirlwind of events, which include flying vending machines, informants who are weirdly skilled in parkour, scientists who dabble too much in Celtic mythology, possessed swords, colour gangs, and the occasional headless fairy on a neighing motorbike (“Exit 1, First Words”).

Above would be a run-through of a normal episode in Durarara!!, an anime adaptation of a light novel of the same title written by Ryogo Narita, with art and designs by Suzuhito Yasuda. It aired in Japan from January to June 2010, running for 24 episodes, all of which were directed by Takahiro Omori and animated by Brain Base—the same duo that brought the highly eccentric series Baccano! to life. It tells the story of Mikado Ryugamine, a newcomer to Ikebukuro, who then begins to become aware of the darker side of the city through the peculiar happenings that are spread about in the vicinity. The series boasts smooth, fluid animation, a star-studded voice-actor line, a great sound track, and an epic plot to boot. At first glance, the anime seems like a typical adolescent fantasy series, weirdly grouped into the slice-of –life genre, despite the incredibly twisted story that it has to offer. But a closer look would actually tell that there is a much deeper narrative behind the magic, beyond the headless horsewomen, parkouring informants, and “colourless” gangs that is besides the obvious quirk.  

This paper longs to prove just that: Ryogo Narita’s Durarara!! is more than just a typical run-of-the-mill fantasy anime, but more of the story of the city told through the eyes of the ensemble of characters, all of which hold different motives and express different sexualities, and are then catalysed by the need for movement and anonymity. This paper would be divided into a three-part exposition: first, it would do a run through of the city through the eyes of the different characters—The Traveller (Mikado Ryugamine), the Victims (Masaomi Kida, Anri Sonohara, and Mikado Ryugamine), and the Exceptions (Izaya Orihara, Shizuo Heiwajima, Celty Sturluson, and Shinra Kishitani). Second, it would then proceed to an analysis of what the city is—as colourless—and explain why Durarara!! is a narrative of the City, before segueing to an exposition on genre and cosmopolitan Japan, on how the series queered both the slice-of-life genre and Japan itself.

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Anonymous asked:

Hi, im a polsci student do you know any tips to improve critical thinking? cause i can't seem to develop it :(( and I'm having a hard time in classes

hello there luv! well, my professors taught us to just read and read. watch a lot of news and always try to connect whatever theory you have learned in class to something that’s happening in the present or past. make inferences and stuff regarding current issues. listen and read a lot and always take notes :>

hope it helps!

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