Saint☆Oniisan – What Did I Just Watch?

When you’ve been a die-hard anime fan for a while, you come to realise that there is something for everyone. You name it, there is probably an anime about it. For my original digital artefact, I wanted to focus on the depiction of the Chinese Zodiac across mediums. However, when I stumbled upon this GIF while scrolling through Tumblr, I found myself intrigued by ‘Anime Jesus’. Why had I never seen him? Where was he from?


Saint Oniisan (Tumblr)

After some investigation (A.K.A googling ‘Anime Jesus’), I discovered that the GIF was from a slice of life/comedy manga series called Saint Young Men (Saint Oniisan).

‘Jesus Christ and Gautama Buddha, the founders of Christianity and Buddhism, are living together as roommates in a Tokyo apartment while taking a vacation on Earth. The comedy often involves jokes about Christianity, Buddhism, and all things related, as well as the main characters’ attempts to hide their identities and understand modern society in Japan.’ – MyAnimeList

Why did I decide on this anime? Well, growing up my primary education on religion was through scripture, which was spent as a bludge more than a time to practice Christianity. Religion is often something I would sweep under the rug as ‘complex’ and ‘unnecessary’. As someone who identifies as atheist, I am not tied to any form of religion. However, a common theme I have noticed in many anime, are the references of spiritual manifestations or religious entities. This theme is always something I passed as a spectacle and paid no mind in understanding it’s deeper context. For this experience, I thought to understand how Saint Oniisan touches on the influence of religious beliefs in Modern Japan.  Spending most of the anime discovering if it trivialises the relationship of the two religious worlds of Christianity and Buddhism when they collide.

Scouring the streaming sites, this series was adapted into both a 2 part OVA (Original Video Animation) and a Movie. I decided to watch the Movie, due to being easier to access on online sites such as KissAnime, Gogoanime and Crunchyroll. There were only subbed versions available and as it was later in the night and I had my fingers crossed that I could stay awake for the length of the animation.

Within the first few minutes, I could already notice that Saint Oniisan’s drawing style, especially of the characters, was quite different to what I was familiar with. Think a more proportioned, ‘realistic’ depiction. Despite their ethnic backgrounds being of foreign decent, Buddha and Jesus have predominantly Japanese features. Their ‘foreignness’ is emphasised in other ways during the animation. For example, the scene where Jesus is mistaken for ‘Johnny Depp. I found this scene particularly interesting, as in this reality, Japanese girls were more likely mistake Jesus as a celebrity rather than a religious figure.

Although this is fictional, I believe there is some truth behind the attitude of community members such as the elderly and children towards the prominent religious figures. I couldn’t help but observe their ideas on ‘happiness’, ‘enlightenment’ and ‘revitalisation’. One of the more interesting characters in the anime, was the yakuza. We are introduced to him during the sauna scene, where his Buddha tattoo grabs their attention. Characterised by his criminal behaviour, he parallels Jesus’ historical experiences with his own.


Yakuza with Buddha Tattoo (Gogoanime)

Modern means of expressing faith are challenged throughout Saint Oniisan. Presented by events, food, places and objects scattered throughout the anime. Buddha and Jesus are continuously seen wearing different shirts which I’m assuming had relevant virtues of their religions printed on them. I wasn’t aware of this until one of the community members commented on it and I was upset that these sayings were written in kanji so I couldn’t read them.

Like its name says, slice of life commonly presents the ‘every day’ experiences of a culture. Buddha and Jesus engage with places such as theme parks and spas in the location of Tachikawa. Contextualising their experiences to a specific Japanese suburb (which I had never heard of) presented it in an almost touristic nature. Despite these new and exciting adventures for the characters on earth, the place itself was not particularly new and exciting for me. The repetitive nature of slice of life was well… boring. Nearing the end of the movie, I found myself checking my phone every so often. Even having to re-watch parts as I was distracted by thoughts of hitting pause and going to bed. The one thing that kept me watching was Jesus and Buddha’s relationship, which I couldn’t help but label a ‘bromance’. Almost feeling borderline sacrilegious, it was hard not to wonder whether or not this was avoidable.

I was surprised how much this text made me think. I’m my next post I will be having a more in-depth look at what stood out as epiphanies during this experience.

Spirituality in Anime – Musubi, Twilight and Your Name


In the first iteration of my auto-ethnographic research, I began to make sense of the spirituality in the film “Your Name” through my own spiritual journey. After this experience of comprehending this film through my own cultural past, I would have to systematically analyse this personal experience to understand it (Ellis, 2011).

Further reading lead me to find that the spirituality in the film was indeed Shintoism. This provided me with even more questions about the socio-political, religious and cultural features of anime in conveying spirituality.


I found, in my experience, that a few key moments or epiphanies stood out to me, being transformative to my own understanding of Japanese culture and spirituality. I was able to understand this through identifying and analysing the following phenomena below and evaluating their transformative effects through research. (Moore, 2017).

The Shinto Religion and Your Name

Whilst watching the film, I seemed to…

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Thinking like a kid: An analysis of my Doraemon viewing and the educational role of children’s television

Epiphanies, epiphanies…did I even have any epiphanies when I was watching Doraemon? This thought bugged me for a good few hours before I realised that I did in fact have an epiphany. No, I didn’t uncover the meaning of life or develop a cure for cancer. Instead, I came to the realisation that my choice to watch a children’s television program to improve my second language fluency was significant in itself. I chose to watch a Japanese children’s program instead of an anime series aimed at adults due to my assumption that it would be easier for me to follow the storyline and understand new vocabulary, as these elements would be simplified for the program’s juvenile audience to promote comprehension. Heitmiller (2015) explains that because children are still in the process of mastering their own native language, using children’s television to improve second language fluency is effective because it encourages viewers to ‘think’ in the foreign language by “listening and forming connections using a visual platform.” I found Heitmiller’s explanation of ‘thinking’ in the language you are learning to be particularly interesting and beneficial. I realised that when I was not relying on subtitles to understand the content of the program, I actually didn’t translate the Japanese to English in my head. Rather, I completely bypassed this cognitive process and thought and (mostly) understood, in Japanese alone.


分かる – I understand (2017)

My surprise that the structure and content of Doraemon was very similar to other children’s television programs I had watched as a child was also significant. After researching children’s television as a genre, I discovered that most children’s television programs incorporate three key educative elements to aide children’s socialisation and development. These include:

  • Problem solving (eg. cause-and-effect and critical thinking)
  • General foundational concepts (eg. colours, numbers, shapes and time)
  • World knowledge (eg. cultural traditions, weather and history)
    (Cahill & Bigheart 2016)

I like to think that by now, I have a pretty good understanding of these concepts after years of religiously viewing Sesame Street, Play School and Arthur. All of these components were apparent in Doraemon, however the one that caught my attention the most was the ‘cultural tradition’ of mothers performing a tea ceremony at home in traditional Japanese dress.

Screen Shot 2017-09-06 at 3.02.26 pm

Screencap from Doraemon (DoraNobi Eng subtitles 1979)

This particular element stood out to me because up until this point, Doraemon was, in the words of Iwabuchi (2002, p. 94) “culturally odourless,” meaning that the content did not appear to be ‘distinctly Japanese.’ When I reflect on how I understand the phrase ‘distinctly Japanese’ I immediately picture kimono, sumo, calligraphy and sushi. I find this interesting because even though I know Japan and ‘Japaneseness’ is comprised of so much more than just these cultural artefacts, my socialisation in a Western country has led me to immediately conjure these iconic ‘Japanese’ images when I think about Japan. In saying this, Doraemon has since been localised for foreign audiences as its appearance, storyline and morals are universal enough for children from almost any culture to enjoy and understand.


Doraemon Season 2 aired on Disney XD in 2015 (Green 2015)

The main function of children’s television that interested me particularly was the potential for vocabulary development through viewing. Admittedly, I only remember one word from Doraemon, which is slang for ‘to grin’ (niyaniya – ニヤニヤ), however it is important to note that my viewing habits are different to that of young children. Firstly, accessing Doraemon is slightly difficult as I had to search for the episode for quite a while on YouTube before I found it. Unlike a child, my parents do not choose the shows I watch, and I am also not terribly keen on watching the same episode of a show over and over again. Despite my reservations about repeat viewing, Skouteris and Kelly (2006) emphasise the importance of repeat viewing in a child’s vocabulary development, stating that the higher the number of repeat viewings, the more a child understands the content of the video. My adult ‘intelligence’ has actually failed me in this respect, as I find it difficult to focus on a video that I have watched multiple times as the story becomes predictable and uninteresting. I’ve found that keeping a diary of new vocabulary and grammar structures whilst watching Doraemon has helped to keep me engaged, but I am going to have to seek out some more episodes to keep myself motivated.

(Doraemon rainbow 2015) 

Another important element of viewing children’s television I did not initially think of is the process of co-viewing. When young children watch television, they are often accompanied by an adult who actively mediate the child’s viewing (Dorr, Kovaric & Doubleday 1989). This mediation can take the form of asking the child questions about the show, singing along to songs and choosing what the child watches and when (ibid). Moeller (1996) explains that co-viewing can actually facilitate comprehension of plot and the acquisition new vocabulary, so as a person who loves nothing more than a good family viewing session of Game of Thrones, I decided that next time when I watch Doraemon, I’ll watch it with my boyfriend, James. Like myself, James is currently trying to improve his Japanese, and I figure if I can watch Doraemon with someone who has similar viewing and learning objectives, I may actually retain more Japanese if I can discuss what I have learnt with another person.

I’ll keep everybody posted about my viewing session and am determined to nail down some new vocabulary and grammar structures.

Until next time, じゃね!


Reference List

Cahill, M & Bigheart, J 2016, ‘What can librarians learn from Elmo, Sid and Dora? Applying the principles of educational television to storytime’, Knowledge Quest, vol. 44, no. 3, pp. 49-57.

Doraemon rainbow 2015, image, Kai-You Pop Portal Culture Media, viewed 14 September 2017, <;

DoraNobi Eng subtitles 1979, Doraemon Screencap, image, viewed 8 September 2017, <;

Dorr, A, Kovaric, P & Doubleday, C 1989, ‘Parent-child co-viewing of television’, Journal of Broadcasting & Electronic Media, vol. 33, no. 1, pp. 35-51.

Green, S 2015, Doraemon on Disney XD, image, Crunchroll, viewed 14 September 2017, <;

Heitmiller, A 2015, ‘Watching children’s TV is a language learning tool’, Liden & Denz Intercultural Institute of Languages, 20 January, viewed 6 September 2017, <;

Iwabuchi, K 2002, Recentering Globalization: Popular Culture and Japanese Transnationalism, Duke University Press, United States, p. 94.

Moeller, B 1996, ‘Learning from television: a research review’, Centre for Children and Technology, no. 11, pp. 1-37.

Skouteris, H & Kelly, L 2006, ‘Repeated viewing and co-viewing of an animated video: an examination of factors that impact on young children’s comprehension of video content’, Australian Jounral of Early Childhood, vol. 31 no. 3, pp. 22-30.

分かる – I understand 2017, image, Material.Miyazaki, viewed 8 September 2017, <;


Femininity in Japanese Anime.

Growing up I had always had an interest in Asian culture, specifically anime.
In other words, I am this kid:

Not really, but I understand his enthusiasm. 

Just like any child my age I loved watching cartoons and the way each character had its own individual style and personality.
In fact, I remember favouring certain cartoons over others based on their aesthetic quality e.g. ‘Courage the Cowardly Dog‘ > ‘Cow and Chicken‘.
I remember eagerly anticipating Cartoon Cartoon Fridays with my siblings. On a few occasions we spent the whole day in our pyjamas, eyes glued to the TV.
Disgusting, I know.

When I was around 11 I started watching anime that would appear on TV such as Sailor Moon and Mew Mew Power.
Prior to them the only cartoon I had ever watched that was relatively ‘Asian’ was ‘Samurai Jack‘ which is for starters, an American animated television series.
The difference in styles between these animations was pretty distinct; the Japanese animations were beautiful and noticeably more detailed and seemed carefully thought out, where each character had their own unique theme that distinguished them from the others. The animations I was used to were more simplified and were often not depicted in a fantasy world. 


One night, when I was 12, Hayao Miyazaki’s animated movie ‘Spirited Away’ (2001) came on TV. Immediately I was captivated. Everything from the music to the clothing, the architecture, the way the people were depicted and the food, it was all so unfamiliar to me, and that was why I loved it so much.
For me, they were the most lifelike cartoons I had ever seen. Compared to the anime TV shows I had previously watched, Miyazaki’s characters did not have the typical ‘big-eyed, anime look‘. I remember thinking how mysterious and brooding, yet feminine, the character Haku was (in my 12 year old, pre-pubescent mind I would have probably described him differently). I also really liked the character Lin (Rin) who is cold and unmotherly to the main character, Chihiro, at first but then eventually warms up to her. I thought that was unusual of a female character to be that way to a young girl, but I liked it as it taught Chihiro to be independent and strong. 

After viewing these Japanese animations I was intrigued by them.

Looking back on the films I grew up watching as a child, the disparity between Disney films and Studio Ghibli films was noticeable, particularly in relation to the portrayal of femininity. 

Out of the studio Ghibli productions I have only watched ‘Princess Mononoke’ (1997), ‘Spirited Away’ (2001) and ‘Howls Moving Castle’ (2004). However, despite my limited exposure to Miyazaki’s films, I noticed the portrayal of strong, powerful female characters whose actions would either result in the demise or triumph of their male counterparts e.g. Chihiro and Haku, No-Face and Chihiro, Sophie and Howl. They are ‘complicated, flawed and independent figures.’ Prior to this, the majority of animated films I watched were quite different, with the male typically rescuing the female from her seemingly doomed existence e.g. Cinderalla, Sleeping Beauty, Snow White, Rapunzel etc. I think this is because such films revolve primarily around romance and the prospect of marriage, especially the older Disney films. Studio Ghibli seems to portray the lead male and female characters as equals with a mutual respect for one another.

In Miyazaki’s films, the female leads  have separate stories from the male leads, stories that usually highlight their independence, power and intelligence. After recently watching ‘Princess Mononoke’ and reflecting on ‘Spirited Away’ and ‘Howls Moving Castle’, the female villains (Lady Eboshi, Yubaba and Witch of the Waste) are portrayed as powerful and intimidating characters. However, their story lines are explored and, consequently, reveal them as complex characters with understandable reasons behind their actions. So what does this do to traditional notions of femininity? It expands them, and creates characters with more dimension and less stereotypes attached to them.

I am also really interested in the notion of cosplay and I additionally want to explore femininity in cosplay and how participants choose to interpret a character in a certain way through their costumes; does it make them feel empowered and confident? What made them decide to cosplay this particular anime? Do they admire these characters?
I am attending the Sydney Comic Con this year in September so I hope to answer these questions there.
I also want to visit the ‘anime station‘ and ‘artist alley‘ to look at how femininity is represented.

For this reason, I am interested in pursuing an independent research project in the form of an essay based on notions of femininity in anime; from films and art to how these animations are translated to real-life scenarios through cosplay.
Contacting online fan clubs to initiate discussion on this topic would also be beneficial and interesting to my research.
To provide more background on my research I may also look at the historical depictions of females in Japanese styles of art and literature.


Shinto traditions portrayed through modern anime films


I have always had a fascination with Japanese shrines and temples. It always intrigued me as to how Japanese faith and Christian faith could be so different, yet had the same principals such as prayer, reflection and spirituality.

I wanted to explore a topic such as religion with the focus on spirituality as I had an unusual spiritual journey throughout my own life.

Born to one parent who was of Greek Orthodox faith and one who was Catholic, it was a difficult choice to baptise me in the Catholic church. My family has always had a contentious relationship with the Greek Church as my mother is not Greek but my father is. To compromise, their first child would be baptised into the Greek church. However, not without one last act of defiance, in which I was not baptised into the Greek church properly.

christening-photographer-sydney-G1Greek Orthodox Church in Sydney. Source

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Love Live! – Autoethnographic

hey all!

Better late than never, this week I walked through my time playing Love Live! The podcast goes for a bit longer than recommended due to some technical difficulties with editing but I hope you’ll forgive me.

But over all, while playing this game it was definitely confusing. There wasn’t an auto-matic tutorial or anything! I was lost while recording this whole thing.

I found some tutorials though, in case anyone is interested in giving it a go:

Hope you enjoy it, I definitely recommend it!

My lost [Japanese] childhood: Using Doraemon to improve my Japanese fluency

“So, are you fluent in Japanese yet?” A small part of myself withers and dies inside whenever I am asked that question. Yes, I have continuously studied Japanese for five years. Yes, I like to think that I am relatively good at the Japanese I know. However, we’re talking about a whole language here. Learning a language is an immense and ongoing pursuit. Sure, I can hold a good conversation in Japanese, I can even read and write hiragana, katakana and a couple of hundred kanji. But it pains me to admit that I am definitely not yet fluent.


Practice, practice, practice….(Francisco 2013)

This session, I’ve decided to get a bit creative with my Japanese language learning and ditch the textbooks (sorry Genki, you’ve been a great friend to me). I’m aiming to improve my fluency in Japanese through watching the Japanese children’s television program, Doraemon, without subtitles. Now yes, for those of us who love our subbed anime, watching an anime without subtitles is akin to going to a social gathering where you know nobody and attempting to join a conversation, occasionally making an effort to join in but feeling fundamentally lost and excluded. However, I’m on a mission to overcome the uncomfortable and ultimately not feel like a deer in the headlights when using complex Japanese.

oh no

Accurate depiction of my entire life (Norris 2016)

To provide everyone with a bit of background, Doraemon is a classic Japanese television program aimed at young children. The plot revolves around Nobita, a young boy (who is actually a bit of a dweeb) and his relationship with Doraemon, a magical robotic cat who was sent to help him navigate the difficult territory of his childhood. I found it extremely difficult to locate the raw, unsubbed original Japanese episode of Doraemon, so I had to settle for an English subbed version I found on YouTube and tried to avoid reading the subtitles. This was actually a lot more difficult to do than I anticipated. As a person who consumes a lot of subbed anime, I am used to switching rapidly between the English translations and the visuals. It took a lot of self control not to sneak a peek at the subtitles when I was having difficulty understanding what the characters were saying.


Me trying not to read subtitles and rely solely on the audio (Know Your Meme 2010)

I’d like to take this opportunity to personally call out my sneaky eyes that were trying to undermine my language learning for the entire episode. Training myself to focus entirely on the audio and visuals rather than the subtitles will be an ongoing task that will require discipline and practice.

I was also interested to discover that plot-wise, Doraemon is very similar to the TV shows I watched as a child, namely Sesame Street, or Clifford the Big Red Dog. Each episode is short and ends with a moral or message aimed to educate and socialise young children. Having never watch a television program aimed at young Japanese children before, I must say that I was surprised that the depiction of childhood in Doraemon was almost identical to that of the American children’s TV programs I grew up with. I was actually expecting Doraemon to feel a lot more Japanese than it actually did, however it was certainly interesting to see the universality of the notion of childhood.


Doraemon (n.d.)

I was relieved that I chose to study a children’s show rather than watch an anime aimed at adults as the characters’ simple lexicon and short episode length enabled me to keep up with the plot and not become overwhelmed and lost by the language.

There were instances when I was not 100% certain about what a character said, or I may have misheard or complete missed a word. However, I attempted to address this by isolating the phrase or vocabulary item that was troubling me, thinking about the context in which is was said and then making inferences about what possibly could have been said based on the accompanying visuals. Using this method, even if I didn’t understand everything, I was able to follow the plot of Doraemon without feeling like the awkward person at a party I mentioned before (it’s happened to me more times than I care to admit, okay?)


(Doraemon reading 2017)

After the episode had finished, I watched it again with subtitles and was pleasantly surprised. Although there were some parts of the show I had completely misinterpreted, I was surprised at how much I was actually able to understand without relying on subtitles. Whilst there is definitely a large margin for improvement, I really enjoyed watching Doraemon and actually gained quite an interesting insight into the television programs Japanese people grew up with. I’m keen to keep watching Doraemon to continue improving my fluency, and I think keeping a journal of commonly used phrases and vocabulary items will help me do this.

Until next time DIGC330, じゃね!



Doraemon n.d., image, ProProfs Quizmaker, viewed 25 August 2017, <;

Doraemon reading 2017, image, TV Asahi, viewed 25 August 2017, <;

Francisco, F 2013, Practice, practice, practice…, image, Tofugu, viewed 25 August 2017, <;

Know Your Meme 2010, Derp, image, Know Your Meme, viewed 25 August 2017, <;

Norris, A 2016, Conversation, image, Twitter, viewed 25 August 2017, <;

Akira (1988)


Watching the 1988 Japanese film, Akira, was actually my very first time watching a full-length anime movie. It was also the first time I had heard about the film. Prior to this screening my only experience with anime has been watching the television shows Pokémon and One Piece, as a child. This limited experience with Asian culture has a lot to do with my Australian up-bringing where my perspective is majority western.
However, my views have been expanded in the past through my 2010 trip to Japan where I was given a sense of Japanese food, fashion, street life and traditions. In saying this, my trip was a while back and only brief, so my experience with Asia is still very lacking.


Akira was a perfect introduction to a popular side of Asian culture I have never before experienced. Instantly I found details that differed to the movies I’ve grown up with. One of the biggest things that stuck out was the use of multiple themes and genres. It included romance, violence, comedy, war, politics, fantasy, supernatural, death, nudity, education, street racing. Akira had something for everyone and I believe that’s something rarely found in one film. It brought up so many topics within such a short amount of time and I think that comes down to the genius creativity and imagination involved in the making of the movie. It’s why I believe the film, and anime itself, is so successful across so many different cultures. There is a quote I found online from a long-term anime lover taken from her response regarding the popularity of anime:

“Anime has something for just about everyone. It’s full of cute things, scary things, and pretty things. It pulls you into the story and sometimes makes you sleep with the light on, or will put you in a bad mood for the rest of the day. But it is also full of humor and fun. That extreme change in thought can happen all in a single series.”
– Celia Mitchell

Her reaction as a long term watcher is similar to the one I received just from my first taste of anime films. Akira was a great introduction to a side of Asian culture that I have never experienced before.

Comprehending autoethnography through playing dress up


Having meaningful experiences in life relate to your physical, mental, social and political contexts. Your past actions and decisions influence how you will take on changes, challenges and new experiences in the future.

This is what we describe as an auto-ethnographic relationship between one’s self and texts according to Carolyn Ellis, Tony E. Adams and Arthur P. Bochner. This paradigm of research and writing seeks to comprehensively construe and analyse social, political and cultural impacts in relation to an individual’s experience. The main purpose of this form of research/writing is to identify personal biases and prejudices and relate them to the understanding of a new culture. This may be through the route of text, technology, industry, subcultures, digital media platforms or even practice. It is through these avenues of research that epiphanies are born, creating a new direction of critical thinking or research for an individual. This methodology creates…

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Experiencing Godzilla in 2017

Sitting in a university classroom in 2017, with my phone in my hand and my tablet on the table, I can definitely say that my interaction with the first Godzilla film, Gojira was infinitely different to that of the original audience in 1954.

Being a 20-year-old woman that has lived in Australia her whole life, how I interpreted Godzilla would have also been different to those original Japanese viewers in the 50s. For one I had to experience the dialogue of the film through subtitles, and as accurate as they can be, there are always certain emotions, ideas, and expressions that simply get lost in translation.

Not to mention that I was on my phone the entire time.

The livetweeting of Godzilla by dozens of young university students must be a novel idea of @CL_Moore. This added yet another layer that distanced us from the original experience of Godzilla. It meant that I was busy trying to keep up with my fellow students’ hilarious tweets, rather than be submersed within the cinematic experience of the film.

This meant that I missed parts of dialogue of the film, and so had to rely on my own understanding of the film and its possible conventions to figure out what was happening.

However, as an Australian in 2017, I’m obviously lacking some of the cultural understandings that the original Japanese audience would have had access to in 1954.

I have watched a few black and white films in my time, but none were ever in a language other than English. I’ve also watched a few Godzilla films, but mostly modern ones that focus on action, and generally lack the overarching moral lesson that this original Godzilla was focused on.

I also fairly regularly watch subtitled animes, but even this cultural experience did not lend me any insight into what I was missing in those moments of dialogue.

So, due to my fairly large consumption of modern Japanese animated shows and films, I can simultaneously sit on my phone and watch a subbed anime, because I can easily comprehend the conventions and predictable patterns present in this medium.

But due to my lack of exposure to 1950s Japanese films conventions, I could not draw upon my own cultural or personal framework to comprehend what I was missing in those moments when I was looking at my phone and not the film.

Overall, watching the original Godzilla gave me the opportunity to reflect on where my personal framework lacks, and how I can continue to build my cultural experiences.