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Movie Review: Tokyo Godfathers
So this is what happens when a woman is allowed in the writers room for a Satoshi Kon-directed film.
I am so happy that I watched Tokyo Godfathers last. Millennium Actress, Perfect Blue, and Paprika share so many qualities that there is an undeniable fun that comes from watching them back-to-back as you begin to see the similarities across the films. Yet, they are distinct enough in themes, animation, and time period that they are standalone worth watching. Tokyo Godfathers doesn’t rely on the many shared themes of Satoshi Kon’s other works, this film is linear, paced slowly so that you can feel the world, it’s human, and in many ways simple in that our lives are common, yet often spectacular. Based on how poorly women are written and represented in his other films, I was particularly on guard with a drag queen/transsexual character, but I think they pulled it off. The scenes of the drag club and Hana’s interactions with her drag mother were very resonant and felt authentic. The way they acknowledge the terror in Chiyoko’s story, but also have an easy understanding that these are real things that happen more often than anyone would like to admit. The dynamic between the three main characters is excellent. Each character has excellent motivations and core flaws that play out in believable and meaningful ways, of note is when Gin meets his daughter and Hana tells him off, only to speak movingly about love to Miyuki. Humanity, and love, is messy. It’s a pendulum that’s constantly swinging as we rise above ourselves, only to cast ourselves back into our depths once more. It’s about transgression and redemption. Each character has these moments, yet I never hated or praised any of the characters.
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