That's the vibes I got with watching Shoujo Kageki: Revue Starlight, truly a hidden gem, sleeper hit, AND a seriously underrated masterpiece that can compete with the likes of Your Lie In April, in terms of musical development (more on that later). Emboldened by the promise she made with Hikari to someday be stars together, Karen enters these mysterious battles in the hopes of making their dream a reality.ĭamn, does this series truly knows no bounds at knowing how to captivate its audience, by showing the weaknesses that breaks you and cultivating that into the strength that makes you better and more spirit-willed with confidence. Hosted by a talking giraffe, this arena serves as a battleground where her classmates participate in duels to determine who among them deserves the title of "Top Star," earning them the right to play one of the lead roles in Starlight. Through her old friend, Karen stumbles upon a secret elevator leading to a massive theater underneath the school. Her love for theater is further invigorated when her childhood friend Hikari Kagura transfers to Seishou Academy. One student is 16-year-old Karen Aijou, an easygoing girl who has dreamed of performing on stage since she was a child. Created to foster the next generation of theatrical talent, this girls' only school works to improve the singing, acting, and dancing skills of its students. The article explores this facing and forgetting of violence as part of what Sasakibara calls the "I-becoming-gaze." Read in contrast to seemingly similar offerings, Revue Starlight illuminates how moe media can contribute to cultivating an ethics of imaginary violence, as well as how that process can be limited and contained.As preparations begin for Seishou Music Academy's yearly Seishou Festival, the girls of the 99th class are gearing up to perform their very own rendition of Starlight, the tragic tale of two goddesses drawn together by the glow of the heavens but destined to be pulled apart, never to meet again. Revealing the dynamics of objectification and subsequent exploitation, the Revue Starlight anime internally critiques itself, but ultimately must forget its intervention in order to allow for business to continue as usual. In this sense, Revue Starlight is "moexploitation," which refers to exploitation of not just fans but also characters in moe media franchises. This decade was marked by the expansion and intensification of affective economics surrounding characters moe media such as Revue Starlight deploy characters to affect and move fans, who are sold a franchise and buy into it as they follow characters across media and material forms. It primarily focuses on Revue Starlight (Shōjo kageki revyū sutāraito), an anime series released in the final years of the 2010s. Following from Part 1, this article continues the discussion of objectification and its relation to sexual violence both imaginary and real. As in that first article, the central analysis builds on writing by Sasakibara Gō, an influential thinker and outspoken consumer of moe media. ![]() ![]() 52, 2017, 67–88), this article develops lines of critical inquiry into " moe media," or manga, anime, and related media and material forms featuring characters intended to trigger an affective response. Advancing an argument on the ethics of imaginary violence previously published in the U.S.– Japan Women's Journal (no.
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