Gotta admire dem curves.
Coolness, like having curves, is caused by creation, a conceptual cuality that only certain cool cpeople can chave. James (but not Jessie) has this cool coolness. How can you tell? Well, his sunglasses aren’t there just for show. Well, they are just for show, but like, that’s because it /shows/ you not only the reflection of her beautiful eyes but also the reflection of James’s innate coolness.
It is plainly evident that people only go to Sentucky’s to cool down with the cool cashier. I’m sick today because of allergies. I really wish it wasn’t so hot…
Compare Emi’s tomboyish attitude to Suzuno’s polite, almost condescending femininity. While Emi shows the progressive de-sexualization of Ente Islamic society, Suzuno reflects Ente Isla’s reverse unmodernizationability due to her nonassimilation into postcolonial sexual norms. Even confronted with the harsh realities of Nihongo life, she steadfastly refuses to
The stupid slice of life conversations in this episode, the previous episode, and the (n-2, n-3, …, n-k)th episode represents the dullness of city life compared to their previous grandeur and splendour and doors and durrs. They really ram this ennui into our face by protracting their meaningless babbles for half the episode, every episode. Not only is it audiovisual, but simultaneously sensual; often, the urge to sleep overwhelms the urge to stay awake, which gives the entire setting a dreamlike experience.
This is usually because we’re dreaming, i.e. sleeping i.e. not paying attention due to its vapid nonsense.
tl;dr: maou-sama represents the stupidity of life because holy shit is it boring
Everybody hates racks. I hate racks. I rack hats. Iran hats are alright but when it’s summer and the heat gets to your brain, sometimes, you have to settle for less.
Settling for less is the most recent lesser unsettling theme in Part-Time Job Work Lord King Demon.
We all remember the Indian Act, 1876’s effects on Canada, right? Well, that doesn’t actually matter because Ente Isla isn’t Canada and Sa~tan isn’t an Indian. No sir, he’s merely a representation of an
Indian native American, excuse me. So who is Emilia?
Emilia, like Sa~tan, is an outcast. Thrust into conforming to society’s inflexible norms, her mutual ‘alliance’ with Sa~ represents the INDIAN CONFEDERACY and their mutual support in the face of the White Man’s encroachment. Eventually, they failed because they were already croached, and as everyone knows, once croached, always encroached.
What is cultural assimilation? It’s a concept that many people intimately don’t give a toss about, and neither should you. Unfortunately, you’re dealing with Hataraku Maou-sama! (literal translation: ‘Demon Lord-customers work!), one of the most profoundly insightful, cultured, and reflective Chinese cartoons of April 2013.
The main character, Sa-tan (-tan is a endearing suffix in Japanese, and to pursue O-New’s policy of conservative liberalization, shall be henceforth redacted to -y, a corresponding English endearing suffix), is a stranger in a strange land. Say says yes to strangers’ strange sayings in strangeland.
To observe his gradual assimilation into strangeculture, we have three useful metrics:
1) The amount of strangespeech Say says;
2) The amount of strangegovernmentsupport Say receives;
3) And the amount of strangefood Say eats.
Obviously, Say has been completely
Americanized I mean Eurocentrized uh Japanesified ASSIMILATED. This assimilation makes Say’s ass similar to other nations’ asses.
Maoyuu’s entire selling point is ~economics with boobs~.
Add maids into the mix and everyone’s happy.
Except, no, not really. Do maids have any significance in the situation’s context? They’re a good comparison of modern employment vs. serfdom but no, not really. Take away the maids and nothing’s left out. The maids are an accessory: nobody dislikes them, but they’re practically useless.
Similarly, all the fanservice around Maou is practically useless. Fanservice not being all ~boobs~, but also her moé attitudes towards Yuusha. Did we need that hour-long sofa scene? No. Did we need that hilariously dull body-pillow scene? No.
But they’re aesthetically pleasing. They’re the spoonful of sugar that makes the medicine go down, and the medicine is ~economix~.
Maoyuu is just a glorified economics textbook. This isn’t rocket science. Someone (can’t remember who, tell me if you remember) once said: “Spice and Wolf is about characters, with some random economics thrown in. Maoyuu is about economics, with some random characters thrown in.”
Like a textbook, the author wraps Maoyuu in bright pictures and colourful ‘real-world’ examples that drive up production costs a thousandfold. Like a textbook, Maoyuu is just a lecture transposed into another medium. Like a textbook, Maoyuu also suffers from masterful pacing: serf girl mutters, sotto voce, “You’ve never been starving, have you?” Cut to comedy music. Let’s imply that starving serfs is totally a joke! Yeah! (That said, who would want to starve half-servile labour? That’s a recipe to losing money, fast…)
Unlike a textbook, we’re not in an economics class. We don’t need to learn this. Is Maoyuu actually doing a public service? Is Maoyuu an educational anime?
Yes, yes to both. Sure, it’s patronizing 1984-ish (actually manipulating the war so that ending it will be easier?) ~COMMUNISM~ crap, but short of Moshidora, the edutainment doesn’t get much more obvious.
Maoyuu is an educational anime through and through. Nothing else.