Pop Team Epic Season 2 – Episode 6

Hello everyone! James here, and I’m happy to report that after a few days of legally mandated recuperation for professional observation at the state’s safest “rest facility”, I’m back ready to review Season 2 The real . we’re talking about voice actor notes , reference watch, actual glitches in episode quality and animation – the whole Nine Yards. It’s also a good thing, because we’ve got a lot to dig into for “Popular Memories for You,” which is a comical homage to the classic Japanese visual novel dating sim that I’m sure fans have gone wild for. But first!

Given that we are officially halfway through the season, I think we should eventually Respect the new OP and it’s well deserved (especially since the ending themes all have that weird gimmick that cuts into static blurry nondescript images of screaming faces instead of, you know, starting with a song funny song or something). Don’t worry, I’ll keep it short, especially since the editorial has been very makes it clear that I am following the prescribed word limit this week. However, it’s an absolutely brilliant opener, and it basically needs our praise and attention. In fact, I think we could even argue that it really is the greatest and most profound philosophical beginning to accompany animation in the history of the medium! I mean, before we enter Aoi Before the lyrics of the song “PSYCHO:LOGY”, think about what to analyze:

We joke that Popko and Pipimi are not so much “characters” as “abstract joke delivery vehicles” and whatever personality traits they have are mostly rooted The whims of any given sketch, not to mention the personal talent that the voice actors bring to the table each week. The first few seconds of the OP make it clear that this absence of ego, anti-psychological Our heroine, not just a comedic convenience, but a real artistic genius. We see girls split into two versions of themselves, looking at each other with genuine curiosity, and then split again, each of their forms assigned only one action to define their entire personality. In this modern world of TikToks and perpetual social media engagement, do we ourselves not confine ourselves to who we are and every aspect of what we stand for in digestible, often modular snippets that are often just seconds long? life value? We only enter the void of discourse with the capricious whims of algorithms to enable us to characters, or the few we have minutes of recording. Popko and Pipimi offer no form of judgment or criticism of this self-separation; in fact, they themselves are forever trapped in that liminal mental space that has as much impact as possible in as little time or context as possible. middle. This timeless machine of rumination and reorganization of content is neither a prison nor a tomb. It is the entire life experience of our present moment, repeated endlessly from the past to the future.

Here, at the end, we see that our heroines will not be trapped in this cyclical appearance; they will seize every opportunity to rebel against well-deserved forces, these unseen , possibly non-human forces maintain this endless cycle of self-immolation by spamming. However, the OP forces us to consider the true limits of our ability to successfully escape from the capitalist machine, which has completely engulfed and distorted every aspect of society into a self-deprecating parody death mask. What’s the use of this unspoken defiance if it’s just copy-pasted onto T-shirts and mugs, lunch boxes and fancy underwear? If girls’ extended middle finger is their main sign of violent rejection With the psychosocial systems of abstract economics currently defining the self-boundary of our interactions with each other and our own culture, we must then consider the inevitable fear of seeing this symbol transformed into a blasphemous sign for corporate profits.

Here we get the first stanza of Aoi’s work, which provides a thematic balance and complement to an already rich tapestry of sound collages and imagined bifurcations. The lyrics specifically highlight the eternal conflict between those who pursue a dogmatic “truth,” which is essentially a disembodied pursuit of religion and masturbation, and those who set their sights on “the way to heaven” and its ” abstract philosophy” and focused their energies on deciphering the world of the here and now. Just as Popko’s and Pipimi’s bodies are stretched and twisted into increasingly disjointed shapes and lines, we must do our best to preserve any perspective rooted in the experimental present, because that’s our salvation.

I can only imagine that Aoi is a direct insinuation , and in dialogue with the immortal discourses of esteemed thinkers like Kant, who wrote in his seminal essay “Critique of Pure Reason” (1993)) “All our knowledge begins with experience, There is no doubt about this, because how is it possible for cognitive abilities to be awakened for exercise other than by affecting objects of our senses, which in part produce representations and in part stimulate our understanding to act, compare connections or dissociation These, which then transform the raw material of our sensuous impressions into knowledge about objects, what is called experience? Thus, in terms of time, our knowledge does not precede but begins with experience.” can evoke and even successfully re-phrase these ancient wisdoms in just a few seconds Contextualizing its opening theme is a testament to the raw and unbridled artistic power we’re dealing with.

On the next few lines, the OP seems to By evoking two of the greatest artistic milestones of the twentieth and twenty-first centuries: Lady Gaga’s pop song “Poker Face,” and the Olsen twins’ milestone 1993 Movie,

Double, double, toil and trouble . However, if we only take a second to actually unravel this series of seemingly unrelated tangents, we can learn how to invest is an anti-philosophical thread of its own.

right The ‘poker face’ hint is actually quite clever, if you consider the song’s most prescient lyrics: “I won’t tell you I love you, kiss or hug you / ‘Because I bluff with my muffins’ / I didn’t Lie’, / I just amaze you with my love-glue-shooting”. Clearly, this OP is very concerned with the epistemological weariness created by the distorted mechanisms of modern technocratic society’s oppression, and the resulting inextricable combination of fictional self-knowledge and externalized realization. Indeed, we’re all “bluffing with our muffins” every time we post a doctored selfie, or retweet an angry political meme with the half-hearted earnestness of Gaga’s self-destructive character in the song. If Popuko and Pimimi must be damned to this eternal (online) recurring hell, so must all of us.

with Mary Kay and Ashley The connections are also pretty obvious. Consider, if you will, the film’s most famous tendency to deconstruct Western capitalism by using the oppressed’ own tools of escapism to disenfranchise the oppressed : It’s almost the same and it’s also obvious in context: Mary Kate and Ashley are two symbols of opulence , white, suburban success, we look helplessly at their hierarchical currency and their uncanny physical resemblance to each other performing psychic black magic on people of color that can only be described as colonial appropriation. By reciting things like “This is a limited time offer! Take it or leave it” with their evil, ridiculous voices and their dead eyes, in double, Toil and Trouble finds itself happy to weaponize the dark spells of capitalism that have been used since time immemorial to defraud underrepresented communities livelihood. The question is, given their roles as advertising icons, whether Popuko and Pipimi represent the Olsen twins, or are they the poor blind masses who must willingly pay for their hard-earned Halloween treats time and time again, every time. We press play Crunchy Roll Video steam app?

Naturally, Popuko and Pipimi are forced to consider the paradox of their own anti-immaterial goals marrying their natural supporters. Capitalism, the origins of techno-imperialism, their whole world – and therefore our view the same world we occupy on a semi-conscious and sub-metacultural level – irreparably torn apart by the gravity of its own self-destructive contradictions. We are all immaterial girls living in an anti-world.

at last, raises the question that all great works of confrontational and introspective art must ask, which is shocking and so painful that it can be considered two kinds of psychics and material attack, although it is required One. The self-sublimating pain of transference separation is a natural by-product of any job that forces you to tear the flesh of the “false self” from the bones of the “true Skelington God self” beneath the flesh of society. All structures are. There are no proper English words to describe this pathetic excitement, although I guess it might be related to what the Germans say Scheissenfruede . “What do you believe do ?” asks . Knowing what you know now, what do you believe can ?

Can Popuko and Pipimi idealize themselves in their psychology survived the last, infinite unrendered, as we see it on screen?

Jesus, will Did any of us survive?

Anyway, I could keep reading more pages than this about what to do new OP is awesome, but we can always talk about that later. If Episode 6 itself, we really should be talking about now! After all, this is a review. If you want to know my honest opinion on what happened after after Opening credits, well, I have to tell you, it’s actually

Score:

James is a fan of anime and other popular Culture has many thoughts and feelings writer, which can also be found on Twitter, his blog and his podcast. Season 2 is currently streaming on Crunchyroll.