Peer Review- Instant Anime/Lunaris

As someone who’s had a slight dabble with anime culture (in Digital Asia class), I was immediately interested in Kris’s project idea of creating short anime video reviews and analysis. His background in the area, which consists of JRPGS (Japanese Role Playing Games), writing anime reviews and anime art styles convinced me that he was knowledgeable enough to make this project work. When I asked Kris why he chose this idea, he told me that he had written anime reviews in the past and had received good feedback on them, which convinced him to translate into a video format.

Screen Shot 2018-10-15 at 1.02.06 pm

From his project pitch and beta, Kris identified that his Instant Anime project aimed to create relatively simple but interesting content that could engage an audience and adhere to the short and visual economy. Therefore, in the past few months, I have observed with real interest in the ways Kris has developed and modified Instant Anime, from his original prototype, all the way to its current iteration.


Kris’s methodology, in creating and iterating Instant Anime, can be separated into three different stages: Producing, Aggregating and Curating. Each of these three factors, but particularly the curating, were essential in helping Kris to constantly modify the iterations of his project.



The producing phase for Kris mostly consisted of anime media consumption, as well as the filming and editing of videos, which he originally aimed to make once to twice a week. In addition to producing and editing the videos themselves, Kris also spent a significant amount of time producing content for various social media accounts, including Twitter, Facebook and Instagram. The content produced for the social media accounts are generally memes relating back to the latest video, as well as shortened clips of the video itself. In doing this, Kris has made it easier for his content to be seen and therefore gain further traction.


The aggregation of Kris’s content has been a key step in forming different iterations of Instant Anime. With 8 videos on YouTube so far, and several more on the way, as well as regularly updated social media pages, which consists mostly of related memes and shortened clips of his videos, Kris has ended up creating new avenues through the frequency of his aggregation and also increased his viewership on his videos.


One of the best moves Kris has made for his project, particularly in regards to curating, is using several social media networks to share his work. Creating an Instant Anime profile on Twitter and Instagram, as well as frequently sharing anime-related sub-Reddits and Amino forums (which I wasn’t familiar with), Kris has managed to gain a fair amount of feedback from viewers. As a result of some the feedback he received, Kris actually decided to add some complexity to his videos, which he originally thought would be a hindrance to the audiences enjoyment.

Project Trajectory & Iterations

Throughout the semester, Instant Anime has gone through various iterations that have been influenced both through the feedback received, as well the sometimes lacking activity in regards to viewership

Iteration 1

In the first video which Kris showed the class in his project pitch, it was evident that he was still trying to adapt into the video review format. In agreement with the feedback he received on the video, I felt (and still feel) that Kris was speaking a little too quickly and his hand movements proved quite distracting. Additionally, due to Kris’s desire to make the video as short as possible, the discussion seemed to be slightly rushed and lacked a little bit of depth. However, for a first video, I found myself incredibly impressed by Kris’s editing, which usually is the hardest part of video producing. Unfortunately for Kris, the next few videos received little-to-no feedback or engagement, which made it harder for Kris to identify what he could improve.


Iteration 2

The second iteration of Instant Anime involved a major rebranding, i.e. changing the name to from Instant Reviews to Lunaris- Instant Anime, creating a new YouTube banner as well as creating more complex videos. The Instagram account also went through a major haul, with the incorporation of a rainbow coloured scheme and the use of bite-sized clips of the videos to drive traffic. These changes hugely benefited Kris, as his content began to gain some traction, particularly on YouTube. The sudden traction of his content is also definitely a result of his consistency in his sharing of videos on Reddit, Twitter, Amino and his revamped Instagram account.

IT 2 Youtube traction
Increase in Traction
Revamped Youtube Aesthetic IT 2
Revamped Youtube Logo


Iteration 3

For me, the most exciting and innovative change in Kris’s project was his decision to collaborate with other projects (Simulation Mindy). Kris’s 7th video, and my personal favourite, saw him talk to a simulated Sim called Mindy (designed by a fellow student) about anime and unsurprisingly things got weird. It’s a hilarious video which I also felt was the breakthrough video for Kris, as it revealed a potentially different direction for future content that could really take off. With another collaboration in the works, Kris has found a great way to further innovate his project and create more interesting content.

Screen Shot 2018-10-17 at 2.20.42 pm
Kris’ explain to me how the Simulation Mindy Collab came about

Next Iteration

For Kris’s next iteration, it appears that he’ll be more focused on maintaining momentum, rather than making huge changes. Having said that, in his project beta, Kris stated that he wants to start filming videos behind a more visually and content related background, such as a wall covered with anime-related posters and figurines. This makes a lot of sense, as this will allow Kris to share a little more of himself and makes for a better aesthetic.

Personal Feedback

 Keep Making Collaboration Videos

If the collaboration with Simulation Mindy has shown us anything, it is that Instant Anime has a lot of potential in terms of collaborative content. When I last spoke to Kris, he did confirm that another collaborative video was on the way.

Keep Producing Regularly

Although I know that it’s a lot of work to produce and edit videos regularly, it is incredibly important for Kris, particularly as he is still establishing his brand, to continue to post regularly. His last video was posted two weeks ago and although I know that a video is currently on its way, it’s essential that Kris posts around 1-2 a week, as he stated in his project pitch.





Doctor Who (2005-)

The latest review from my new blog, Should You Binge This. Please give my new blog a visit! Would love to hear your feedback 🙂

Should You Binge This


David Tennant, Peter Capaldi, Matt Smith, Christopher Eccelston, Jodie Whitaker, Billie Piper, Karen Gillan, Jenna Coleman, Freema Agyeman


Follows the adventures of the sole-remaining Time Lord, who changes appearance and gender through regeneration near death, and his/her human companions as they travel through time and space.


The Pros and Cons:

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Is it Bingeworthy:

Without a doubt!

However, as I previously stated, the episodic structure, as well as the quality, for me, dips significantly from season 5 onwards.

Recommended Episode Binge:

Since it’s a fairly light show, which can be easily digested, you could easily go through 4-5 episodes per day (depending on how busy you are of course).

Viewing Guide:

*disclosure: viewing guide consists entirely of episodes from the first 4 seasons. I gave up on the show early into season 5

Screen Shot 2018-08-15 at 1.10.35 pm.png Viewing Guide 

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Digital Artefact Idea- How’s the Binge

The way we consume media has changed drastically over the last few years.  With the emergence of streaming juggernauts such as Netflix and Amazon Prime, people no longer consume entertainment the same way. By that, I am, of course referring to the act of binge-watching.

During my mid-semester break, I spent most of my time, (when I wasn’t working) binge-watching Sons of Anarchy. One day, after finishing my 3rd or 4th episode of the day, I thought back to the way I watched the masterpiece that was Twin Peaks: The Return. Now, when watching that, I could only watch an episode per week, as the episodes were released weekly and although I found myself impatiently waiting for the next episode, I realized that it was not the binge-watching type of show, mainly due to its overwhelmingly cerebral nature.

sons of anarchyTwin Peaks


This leads me to my idea: a blog that evaluates the binge-worthiness of certain shows. People are always looking for new television shows to binge, and with so much content being released and created daily, it can be very overwhelming to know where to start. Therefore, I believe that is project would have a social utility.

Now, at this stage I am still unsure as to what platform I would use for the project, but at this stage it is more likely to be through a blog.

DA- Max Watches Anime!

Pt. 5 – Concluding Thoughts: Challenges of Autoethnographic Research

In the past three weeks, I have been conducting autoethnographic research (through my blog) into the world of anime, with the focus being on the anime show “Death Parade”. This research has really allowed me to delve deep down and evaluate my previous assumptions on anime. This blog series project also allowed me to further my personal understanding on autoethnography and what it entails. That being said, the autoethnographic research process presented me with many challenges, some of which I may not have properly overcome.

Inglo Winkler (2017, pg 12) acknowledges one of the biggest of the fore mentioned  challenges that I faced. Winkler states that ” autoethnographic research requires balancing the “auto” and the “ethno” to the extent

that there is sufficient emphasis on the cultural settings to enable a research or a text to pass as autoethnography”, which for me was the hardest aspect to get around. How do I successfully balance the ‘auto’ and ‘ethno’ aspects to a manner which can be considered both a personal reflection and a legitimate cultural evaluation. However, that is up to you, the reader, to decide.

Another problem, which I may have mentioned in Part Two of the series, was concerned over how to convey my honest preconceptions of anime, without being disrespectful. In order to do this, it is essential to be understanding of other cultures and the notion that what people perceive as ‘strange’  or ‘normal’ varies among cultures.

Yet, despite these challenges, I found the autoethnographic experience to be incredibly rewarding. I hope that you have enjoyed this five part blog series and, on a personal note, I highly recommend watching  the series “Death Parade”.


Winkler, I 2017, ‘Doing Autoethnography – Facing Challenges, Taking Choices, Accepting Responsibilities, Qualitative Inquiry, vol. 00, no. 0 ,pp.1-12, viewed 26th October 2017,

DA- Max Watches Anime!

Pt.4 – Death Parade: A Thematic Analysis

“Somewhere there exists a mysterious bar. When you arrive at it, you are forced to play a game against another person. It might be darts. It might be cards. If you win, you get to leave. If you lose, however, you die.” (Eisenbeis, 2015)

Now that I’ve discussed the technicalities of my autoethnographic research on anime, I have now arrived at, what is for me, the most important and exciting part of the research: the thematic analysis.

The first thing to say about “Death Parade” is that it is an incredibly hard show to describe. The basic plot revolves around a mysterious bar called Quindecim and the bartender Decim, whose role is to determine whether people go to heaven or hell. Decim uses a series of games to get people to compete against each other, and in doing so, they reveal their darkest secrets and true nature. It is incredibly convoluted, but in the best possible way.

Life and Death

The principal theme that the show explores is life and death. The show is incredibly existential and raises many questions about the purpose of living and what happens to us when we pass on. It’s fascinating to watch, particularly as someone whose not overly-religious and has little understanding into the various beliefs on reincarnation or rebirth. The show also questions whether the concept of death and the afterlife is part of the human experience and whether it influences us and our behaviour. That certainly seems to be the case…


In episode 9, one of the people being judged (Shimada) is told by Chiyuki (Decim’s assistant) that there is no heaven or hell, only reincarnation or ‘the void’. She does this in order to prevent Shimada from carrying out his darkest urge of inflicting pain on the other person, who he believes wronged him prior to his death.

This isn’t the clearest of examples, but it does illustrate the show’s existential exploration of the way humanity’s actions are influenced by the knowledge of death and the possibility of what follows.


The Darkness of Humanity

In addition to life and death, “Death Parade” is also incredibly interesting for its examination of humanity’s inherent darkness and flaws. The use of flashbacks is a key component to almost every single episode as it gives us (the viewer) insight into the actions of the individual prior to their death. This is where “Death Parade” really goes to some dark places. Sexual assault, vengeance, domestic violence and suicide are all represented in the various flashbacks, and these make for uncomfortable but essential moments.

A further issue, that is explored in the later episodes,  revolves around the question of whether individuals should be judged solely on the darker aspects of their lives.  At one point in episode 9, Chiyuki (Decim’s assistant) says to Decim in a moment of raw emotion that “there are as many emotions as there are people. The fragility of someone who lets their anger get the best of them… The strength to overcome fear because of love… You can’t comprehend anything about them.” It is an incredibly powerful moment, one that I had not expected to see in an anime and it is incredibly effective in highlighting the show’s evaluation of human beings and their flaws.


Through this thematic analysis, I was able to satisfactorily convey my thoughts on “Death Parade”, which surprised me in so many levels. Although I had no real expectations before starting this anime, I had in no way expected such an insightful, soulful and philosophical examination of life, death and human nature. I’m so glad I picked “Death Parade” as my first foray into the anime world.



Eisenbeis, R 2015, ‘Death Parade Is About Life, Death And The Darkness Of The Human Heart’, Kotaku, 20th May, viewed 22nd October 2017, <>

DA- Max Watches Anime!

Pt 3. The Binge

Everybody loves a good binge, right? Particularly a Netflix binge. However, my binge this week was a significant one for me. This week, I had my first ever anime binge and boy was it an experience.

As I’ve previously mentioned in my last two posts, my current autoethnographic project involves me delving into the realm of anime. The particular show I decided to watch, as part of my research, is the existential episodic show “Death Parade”. Although I didn’t manage to binge the entire season in one sitting, as I had intended, I did manage to set one day where I went through 4 episodes, which for me, satisfactorily replicated a bingeing experience.

The binge took place on the 19th October, whilst I was folding the pamphlets, which I deliver on weekends for money. For me, this was a more ideal way to binge-watch, than the traditional lying-in-bed or sitting -on-the sofa method. It prevented me from constantly checking stuff on my phone and therefore allowed me to focus on the themes and concepts of the show. However, because I was using the free version of Anime Lab (I’m a uni student after all), this meant that my binge was frequently interrupted by ads. Funnily enough though, they were all ads for other anime shows that were available on Anime Lab and surprisingly these frequent ads didn’t make me mad, like the ones on YouTube do. 

One thing I will say about binge watching “Death Parade” is that it really elicits an emotional response: one moment I would find myself laughing at the dry sense of humour and within 2 minutes of that I would then find myself trying to fight back tears. It really is a fascinating binging experience, although I do feel like binging the entire season in one sitting would be a bad idea. A lot of the concepts explored in the show, deserve to be thought over, and the show goes to some incredibly dark places (which shouldn’t be surprising considering the show is titled “Death Parade”).

Me, after episode 4 of Death Parade

The most rewarding moment of binge-watching “Death Parade”, however, came in the 4th episode, when I finally stopped watching the show as a cultural outsider and became emotionally invested. At this moment, I stopped being consciously aware that I was watching my first ever anime and this really enhanced the rest of my viewing.

DA- Max Watches Anime!

Pt. 2 – Understanding my role and preconceptions

As I write this, I find myself still striving to truly understanding the process of autoethnography. As  Wall (2008, pg.39) states “autoethnography offers a way of giving voice to personal experience to advance sociological understanding”, which is why it is so fundamental to my research of the 2015 anthology anime series “Death Parade”. Attempting to form a personal narrative out of my experiences of watching the show is proving much harder than expected. Pritchard (2017, pg 108) explains that the positioning of the author’s relation to the research is crucial in gaining the trust of the reader. So, with this in mind, the purpose of this post will be to determine my role and my preconceptions prior to watching “Death Parade”.

Who am I?

Wall (2008, pg. 39) remarks that autoethnography begins with a personal narrative. In my narrative, I am a 21 year-old French male, who has spent most of his life in English-speaking countries. Prior to “Death Parade”, my only encounters with anime were through the consumption of various Studio Ghibli films, which gained mainstream attention. Although I have has had encounters with individuals who are rooted in the anime culture, I was relatively unfamiliar with the anime culture. My research is my attempt to rectify that and to gain an insight into the world of anime.


Part of the challenge that comes with authoethnographic research, is the way one represents themselves and others. It’s therefore crucial that my preconceptions of the anime culture is written in a way that doesn’t appear as dismissive or ignorant and that I thoroughly analyse my own preconceptions, rather than fall into the trap of being overly-subjective.

My first encounter with anime culture occurred when I was around 6, when Pokemon trading cards were absolutely dominating youth culture. I was living in London at the time, and never fully understood the concept. Having thought about this led me to an epiphany:

My experience with Pokemon partly shaped my preconceived idea that the anime genre was tailored specifically for kids.

This conception simply stems from the fact that I had not been exposed to the adult-oriented anime programmes or films such as ‘Ghost in the Shell’ or ‘Akira’ and furthermore I was much too young to fully comprehend the more sophisticated ideas or themes that can sometimes be explored in children-orientated anime programmes.



Years later, when I was around 18 or 19, a friend of mine told me about an anime that he was watching, that had apparently taken the anime world by storm, called ‘Death Note’. When he described the plot to me, I was taken aback by its incredibly dark and rather strange concept. Of course, it is entirely possible that my  cultural upbringing was the reason for such a reaction.

Yet, this led me to another presumption about anime: anything could happen. With that in mind, I’m now off to binge-watch a season of “Death Parade”.

Until next time…


Pritchard, J 2017, ‘A Journey to the Centre of Self: Positioning the Researcher in Autoethnography’, Forum: Qualitative Social Research, vol. 18, no. 3, pp. 108-127.

Wall, S 2008, ‘Easier Said than Done: Writing an Autoethnography’, International Journal of Qualitative Methods, vol. 7, no. 1, pp. 38-53.

DA- Max Watches Anime! A Blog Series

Pt.1- Introduction (Picking an Anime Series)

For a longtime, in my early days of uni, I was determined to introduce myself to the phenomenon that is anime. Is that okay to say? Phenomenon? Anyway, the problem was I had NO IDEA where to start. Instead of doing further research, I just veered into J-Horror instead (which is fantastic by the way!) Now, a few years have passed, and I have the chance to explore the anime sensation and I get to claim it’s for research (which it is)! But again, the question was: where do I start?


Me, browsing the different genres of anime

So I did what anyone would do these days: go to reddit. It was then I realized I was truly spoilt for choice and that maybe reddit may not be the right way to approach this. I finally decided to just pick the anime that looks the most interesting. Which is what I should really have done from the start. The anime, that I have chosen, is the 2015 anthology series “Death Parade”.

Image result for where do i start gif








So, for my digital artifact, I will be writing a series of blog posts that will act as an autoethnographic account of my experience watching “Death Parade”.  By experience, I am not only talking about the act of watching the show, but also my preconceptions of what the show would be and also my interpretation of the show after watching it.

I very much look forward to  delving into my autoethnographic research and also becoming  more familiar with anime. I must leave you now, dear reader, as I embark on my first anime binge.


South Korean Horror- An Autoethnographic perspective (Part One)

My post on South Korean horror and A Tale of Two Sisters

Digital Asia

If you read my last blog post about autoethnography, you’ll be aware that I had the intention of using J-Horror as the topic for my autoethnographic research. However, as I was browsing the research done by previous Digital Asia students, I noticed that J-Horror had been covered extensively, which led me to consider other possible topics. Although I have been exposed to South Korean horror,  through films such as the excellent Train to Busan (dir. Sang-ho Yeun, 2016) and The Wailing (dir. Hong-jin Na, 2016), I am much less knowledgable on South Korean horror than I am on J-Horror, which therefore influenced me into changing research topics. So, in forming this autoethnographic research, I decided to watch the psychological horror film A Tale of Two Sisters(dir. Jee-woon Kim, 2003). My autoethnographic response to the film will be split in two parts:

This week’s post will describe, in detail…

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