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More photos from my trip to Senganen, a lovely garden and estate in Kagoshima City. (Part 1 here.)

Kagoshima 2015 | The Lobster Dance 58

 

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In October, I had a chance to return to Japan, and I visited Kagoshima City in Kagoshima prefecture in Kyushu.

The garden of Senganen on the grounds of the Shimadzu estate is a lovely place for a stroll–very “country samurai.”

Kagoshima 2015 | The Lobster Dance 40

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Check out the (mostly spoiler free) review of Gone Home, an atmospheric feminist game on Steam, that I wrote for Comparative Geeks:

Gone_Home

When I joined Steam, the first game [my younger sister] sent me was Gone Home, a game about sisters. You’re Kaitlin “Katie” Greenbriar, the older sister, who arrives back in Oregon after a year abroad in Europe to discover the lights are on but nobody’s home at her parents’ house–and there’s a mysterious note from her younger sister on the door.

 

June 7, 1995. 1:15 AM.

You arrive home after a year abroad. You expect your family to greet you, but the house is empty. Something’s not right. Where is everyone? And what’s happened here?

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imagesWelcome, dear readers, to the 2015 edition of Feminist Halloween, 31 days of spooky media for those who love horror but hate the problematic elements in the genre. These recommendations come with content notes about the films, stories, books, and other media so you can make an informed decision about how you want to be scared!

I’m kicking off this year with Jennifer Kent’s horror film The Babadook, which was the scariest movie I saw in 2014, but not for the reasons  you might think.

“If it’s in a word, or it’s in a look, you can’t get rid of the Babadook.”

Spoiler Free Version

Widowed mother Amelia (Essie Davis), an underpaid careworker, experiences increasing behavioral problems with her precocious but “out of control” six-year-old son Samuel. One night, they read a pop-up book he finds on his bookshelf called Mister Babadook,which describes a monster of sorts who cannot be gotten rid of. Samuel is convinced the Babadook is trying to kill his mother, and he might be right.

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In this Gender Reader, the wage gap: international edition, masculinities in Chinese and Korean dramas, Ariana Miyamoto, and research on attitudes toward coming out in Japan.

[Image: Isetan ad featuring Italian Japanese model Saira Kunikida with text “This is Japan.”] Via Grits and Sushi.

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Chiho Aoshima. Moimoi and Kitty Leave for a Journey, 2009. Seattle Art Museum.

Chiho Aoshima. Moimoi and Kitty Leaving for a Journey, 2009. Seattle Asian Art Museum.

 

 
CHIHO AOSHIMA: REBIRTH OF THE WORLD
MAY 2 – OCT 4 2015
Seattle Asian Art Museum

http://www.seattleartmuseum.org/exhibitions/chiho

Here’s what I love about Chiho Aoshima’s show, in a nutshell: the repetition of the theme of the delicate sylph whose flatulence creates smoke clouds billowing from volcanos while Buddha and entourage look on.

Aoshima’s digital and hand drawns are in the superflat style, but whereas the tween-girl characters of Mr.’s show had cutesy moe details, like bandaids and pigtails, Aoshima’s figures reject that aesthetic. Her mural-size piece Rebirth and the video installation Takaamanohara have been compared to Hieronymus Bosch’s The Garden of Earthly Delights.

TO THE SEA, BEARING MOI MOI, 2009, CHIHO AOSHIMA, JAPANESE, B. 1974, COLOR ON JAPANESE RICE PAPER, 12 5/8 × 8 1/16 IN., ©2009 CHIHO AOSHIMA/KAIKAI KIKI CO., LTD. ALL RIGHTS RESERVED.

TO THE SEA, BEARING MOI MOI, 2009, CHIHO AOSHIMA, JAPANESE, B. 1974, COLOR ON JAPANESE RICE PAPER, 12 5/8 × 8 1/16 IN., ©2009 CHIHO AOSHIMA/KAIKAI KIKI CO., LTD. ALL RIGHTS RESERVED.

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In this gender reader: 10 years and no movement on the separate surnames bill in Japan, the feminist power of Sailor Moon nostalgia, feminization and slurs in Korean queer terminology, wrist-grabbing isn’t sexy, Teddy girls, and more!

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