Emi Ibarazaki and Social Penetration Theory:

Emi and Social Penetration Theory

Intro: As mentioned earlier, Emi aligns with Social Penetration Theory, which asserts that as relationships develop, communication moves from superficial topics toward increasingly intimate disclosure. Interaction gradually penetrates the communicators’ public personas to reach their core sense of self.

EMI (SOCIAL PENETRATION THEORY):

If Shizune’s route is structured around influence, Emi’s is structured around layers.

Social Penetration Theory visualizes personality as layered:

• Outer layer: surface traits, routines, public persona
• Middle layer: emotional patterns, guarded vulnerability
• Core: trauma, identity, unresolved grief

Emi’s route maps almost directly onto this model.

Outer Layer: Energy, Routine, Accessibility

“I like running. It’s what I do.”

“You’re coming running with me tomorrow, right?”

Her communication is playful, energetic, routine-based, and forward-looking. Morning runs become the foundation of their relationship. They share time, jokes, and light teasing.

This reflects high breadth but low depth. They talk often. They spend time together. But the conversation avoids emotional gravity.

“They’re just legs. It’s not a big deal.”

Even when discussing her prosthetics, she keeps it surface-level. The statement minimizes depth and redirects focus away from trauma and toward functionality.

Emi’s outer layer is transparent but controlled.

Middle Layer: Selective Vulnerability

As intimacy increases, emotional friction appears. Hisao begins asking questions about her accident and her father. Emi responds with deflection:

“Why does it matter?”

“It was a long time ago. I’m fine.”

These are penetration barriers. She is not hostile; she is protective.

Social Penetration Theory emphasizes reciprocity. Hisao opens up about his heart condition and allows emotional depth. Emi does not fully reciprocate.

“Running helps me not think about stuff.”

This line is pivotal. It acknowledges “stuff” without naming it. The middle layer is partially visible but sealed.

Physical Intimacy and Emotional Asymmetry

Physical intimacy develops before full emotional disclosure. Emi allows closeness physically, yet resists emotional excavation.

“Don’t make this into something it’s not.”

This reveals asymmetrical penetration:

• Physical layer: accessible
• Emotional trauma layer: restricted

Intimacy does not progress evenly across all dimensions. Emi controls the rate and direction of access.

Core Layer: Grief and Emotional Avoidance

The emotional climax forces confrontation with her core. When Hisao pushes too forcefully, conflict emerges. The core contains her father’s death, the accident, and fear of stagnation.

“If I stop moving, I have to think about it.”

Running is not just athleticism. It is emotional containment. Greater intimacy requires risk. For Emi, that risk is reliving loss.

The Rift: Premature Penetration

In the negative trajectory, Hisao presses too hard. Emi withdraws emotionally. Penetration without consent produces retreat. Depth must be mutual.

Resolution: Voluntary Core Disclosure (Good Ending)

In the good ending, disclosure becomes voluntary rather than extracted.

“I don’t want to keep running away.”

This marks full-layer access. She allows Hisao to witness her grief without deflection.

The communication dynamic shifts from activity-based connection to emotion-based transparency. Disclosure becomes reciprocal rather than forced.

Summary

Within Katawa Shoujo, Emi’s route exemplifies Social Penetration Theory through:

• High-breadth, low-depth beginnings
• Controlled vulnerability
• Conflict caused by premature emotional pressure
• Resolution through voluntary, reciprocal core sharing

Emi does not resist intimacy itself. She resists losing control over how intimacy unfolds.

Shizune / Misha and Social Influence Theory (2026):

Intro: As established earlier, Shizune and Misha align with Social Influence Theory, which argues that relationships develop as a result of change in belief, attitude, or behavior caused by another person’s actions. Power is the potential to produce that change.

SHIZUNE / MISHA (SOCIAL INFLUENCE THEORY):

Shizune represents coercive and structural force.
Misha represents legitimacy and normative reinforcement.

On Festivals / Life (Misha translating for Shizune):

"Human beings evolve with each new generation! The ideals and beliefs behind a festival will inevitably change with time! Now, it's about delicious fried food and amusing little games that you play to win prizes! Hahahaha!"

This statement reframes tradition as adaptive behavior. Festivals are not sacred constants; they are evolving systems shaped by participation.

That mirrors Shizune’s approach to relationships and institutions:

• Meaning follows engagement.
• Structure sustains participation.
• Ideals shift, but activity remains.

Misha’s enthusiastic delivery normalizes the philosophy. Shizune supplies the framework; Misha supplies social accessibility.

On Decision Making (Shizune):

"We are going to play for it... The oldest game known to man, upon which the fate of nations has been known to rest: Rock, Paper, Scissors."

For Shizune, decisions are rarely casual. Even minor disagreements are formalized into competitive systems.

Rock, Paper, Scissors functions as:

• A procedural equalizer
• A depersonalized method of conflict resolution
• A ritualized distribution of power

This preference for structured competition extends beyond isolated scenes.

Shizune:

• Has mastered snapping loudly despite being deaf; an intentional physical assertion of presence and control over attention. She has one of the “loudest” characters act as voice (Misha).
• Prefers strategic board games such as Risk, where territorial dominance and calculated expansion determine success.
• Turns even leisure activities, like a fishing trip, into competitive metrics of performance.

Competition is not incidental to her personality; it is her communication mode. Rather than negotiate emotionally, she negotiates through systems. Influence becomes measurable: who wins, who adapts, who participates.

In Social Power terms, this reflects:

• Legitimate power (Student Council authority)
• Coercive power (pressure through structured expectation)
• Reward power (approval, inclusion, status)

The snapping is particularly notable. Despite being deaf, she ensures auditory impact. That act demonstrates that influence is not diminished by disability. She asserts control over the communicative environment in ways that compensate rather than retreat.

On Friendship (Shizune):

"I forgot that the whole time, Misha was there, opening up to me, and giving a hundred percent everyday. I missed what I was looking for, because it was in plain sight."

This line identifies the limits of influence when it is overly systematized.

Misha’s role is relational reinforcement:

• She softens directives.
• She amplifies enthusiasm.
• She legitimizes participation socially.

Where Shizune creates structure, Misha creates atmosphere.

From a Social Influence perspective, Misha embodies referent power, which is compliance gained through warmth and identification. Her legitimacy makes Shizune’s more coercive directives sustainable.

When Shizune overlooks that relational labor, it highlights a distinction:
Influencing behavior is not the same as recognizing contribution (participation; creating a rift).

On Friendship (General):

"The world would be a different place without you or me but who else would realize it?"

This line reinforces a central concept of Social Influence Theory: influence is often incremental and unnoticed in real time.

Daily behavioral adjustments accumulate:

• Schedules change.
• Habits shift.
• Expectations recalibrate.

In the good ending, we have increased participation and contribution from Shizune and Misha through Hisao.

Shizune alters environments and structures.
Misha alters tone and perception.

COMMUNICATION THEORY IN KATAWA SHOUJO (2015):

COMMUNICATION THEORY IN KATAWA SHOUJO (2015):

Intro: I originally had bunch of Comm. notes after I 100%'d Katawa Shoujo back in 2015. These are just some of the "raw" notes I took. Without essay form. The essay can be found here, as can my other Katawa Shoujo analyses.

COMMUNICATION THEORY IN KATAWA SHOUJO:

Rin (Redefinition Theory): States that in communication with ablebodied persons and among themselves, disabled persons engage in a process whereby they critique the prevailing stereotypes held by the ablebodied and create new definitions.

Emi (Social Penetration Theory): Asserts that as relationships develop, persons’ communication changes from superficial to deeply personal topics, slowing penetrating the communicators' public persona to reach their core personality or sense of self.

Shizune / Misha (Social Influence Theory: Argues that relationships develop as a result of 'change in the belief, attitude, or behavior of a person (the target of influence), which results from the action of another person (an influencing agent)', and social power as the potential for such influence. (Update: I should probably write more on this and how Shizune represents coercive force/Misha represents legitimacy. More on this later.)

Hanako (Uncertainty Reduction Theory): Posits that when interacting, people need information about the other party in order to reduce their uncertainty. In gaining this information people are able to predict the other's behavior and resulting actions, all of which according to the theory is crucial in the development of any relationship.

Lilly (Principled Negotiation Theory): Argues that a good agreement is one which is wise and efficient, and which improves the parties' relationship. Wise agreements satisfy the parties' interests and are fair and lasting. The goal is to develop a method for reaching good agreements.

Hisao Represents The Stages of Culture Shock:

CH. 1:

Preliminary Phase

Marked by rising sense of anticipation tempered by regret of leaving.

Spectator Phase

Passive but alert spectator, marked by intensity of emotion that careens erratically; ends when passive stance is no longer possible

CH. 2: (Story/adaptation theory chosen)

Increasing Participation Phase.

Greatest variation from persons to person; after (characteristically) clash of values, questions arise: Are values arbitrary? A fabrication? Natural to one’s own culture?

CH. 3: (Bad endings stop here.)

Shock Phase.

Strikes people who have had some success in first efforts at adaptation; manifests as paranoia, fear, self-consciousness, intense judgments of others based on ethnocentric criteria; could precipitate departure.

CH. 4: (If good/neutral ending)

Adaptation Phase.

Sense of being foreign no longer exists; language and thinking are simultaneous—being both in and out of the culture at the same time.

Update: So, one can apply communication models to everyday circumstances, even in games/narratives where they might not be as explicit, but reveal themselves through cultural patterns and actions. I hope you've enjoyed these notes as much as I enjoyed writing them back then.

Communication Theories in Katawa Shoujo:

Communication Theories in Katawa Shoujo:

Katawa Shoujo is a visual novel game about a high school boy named Hisao Nakai in Japan. After developing a heart condition (arrhythmia), he’s transferred to Yamaku Academy, a school for students with disabilities. As he adjusts to his new life, Hisao meets five girls, each with their own experiences of disability and unique way of communicating. Through these relationships, Hisao not only explores romance but also learns to adapt to disability culture — and each girl’s story represents a different communication theory that helps him do so. The player also meets Kenji, a paranoid, legally blind student who lives across the hall. Though his over-the-top conspiracy theories and isolation from the rest of Yamaku make him an unforgettable character, his story ends early and doesn’t follow the same structure as the others. Because of that, while he deserves a mention, he won’t be discussed in detail here.

The game’s story structure follows a pattern of culture shock. Hisao leaves behind his old way of life and enters disability culture at Yamaku. “Only after I stand in front of the haughty main building, I surprise myself by realizing why the gate bothered me: it was my last chance to turn back, even if I had no life I could ever return to.”

Dr. Igor Klyukanov outlines five stages of culture shock in Principles of Intercultural Communication, which we can see reflected in Katawa Shoujo:

1. Preliminary and Spectator Phase – Hisao’s early days at Yamaku, where he passively observes the new environment but doesn’t yet understand it. He wonders if he will ever have a “normal” life again.

2. Increasing Participation Phase – As he interacts with the students, he starts questioning his old perspectives. He wonders, “Will I ever get used to sights such as this?” and, “Is this what passes for normal around here?”

3. Shock Phase – A turning point in Hisao’s journey, depending on the route taken. This is the emotional crisis where he must either accept his new reality or struggle against it.

4. Adaptation Phase – If he successfully navigates the shock, he reaches a point where disability is no longer foreign. He is able to exist in and out of the culture at the same time, accepting both his past and present selves.

Each girl Hisao meets serves as a guide, embodying a different communication theory that helps him through this adaptation process.

Shizune and Misha – Social Influence Theory

Shizune, a strong-willed deaf student and class representative, communicates through her interpreter, Misha. Misha’s loud, bubbly personality contrasts with Shizune’s serious and competitive nature, creating a comedic yet dynamic relationship between the three. Their story aligns with Social Influence Theory (French and Raven, 1959), which suggests that relationships develop through shifts in power, influence, and persuasion. From the start, Shizune wants to draw Hisao into her world, challenging him through student council work and games. She believes: “The mark of great people is that they are daring and can follow through.” She wants to make Hisao stronger by encouraging him to take on leadership roles. In her good ending, Hisao embraces this influence, realizing that Shizune was never trying to control him—she just wanted to connect. In her bad ending, the power dynamic collapses. When Hisao and Misha’s hidden relationship is exposed, Shizune loses trust in both, and Hisao becomes isolated. Since Shizune views love and life as all-or-nothing competitions, there is no neutral ending.

Hanako – Uncertainty Reduction Theory

Hanako, a shy burn victim who avoids attention, struggles with social anxiety and self-worth. Her story follows Uncertainty Reduction Theory (Berger and Calabrese, 1975), which states that as people interact, they seek to reduce uncertainty about one another. When successful, this leads to increased intimacy and trust. At first, Hanako barely speaks to Hisao, often relying on her best friend, Lilly, for comfort. But as Hisao shares his own struggles, she begins reciprocating. “I-I have to,” she says when explaining her past, indicating her need to balance the information she’s given and received. In her good ending, she fully opens up, allowing Hisao to see her scars and returning his affection. In her neutral ending, they remain stagnant, both agreeing to “stay the same,” preventing further connection. In her bad ending, she retreats completely, rejecting Hisao in a final outburst: “I hate Lilly! I hate you most of all! I know I’m broken!”—a full breakdown in uncertainty reduction.

Lilly – Principled Negotiation Theory

Lilly, a blind and kind-hearted girl, navigates relationships with a sense of fairness and compromise, making her story fit Principled Negotiation Theory (Ury and Fisher, 1981). This theory emphasizes agreements that satisfy both parties’ interests in a balanced, lasting way. Unlike Shizune, who views conflict as a challenge, Lilly avoids unnecessary confrontation, focusing on harmony. She even accommodates Shizune, her rival, saying, “Please, Hisao, it’s alright,” when he tries to defend her. In her good ending, Lilly stays in Japan, choosing her relationship with Hisao over moving to Scotland. The agreement is fair and mutual. In her neutral ending, she leaves, but encourages Hisao to follow his own dreams, showing wisdom but forfeiting their relationship. Because she has an older sister to care for her, she has no bad ending.

Rin – Redefinition Theory

Rin, an eccentric painter born without arms, often struggles to express herself. Her story follows Redefinition Theory (Braithwaite, 1990), which argues that people with disabilities challenge societal definitions and create new identities for themselves. Rin doesn’t see herself as limited: “I don’t think I’m that disabled. I mean, I do pretty much everything differently. But it’s not that hard. I can always practice.” She adapts effortlessly, seeing disability as a part of her identity rather than a restriction. Hisao, however, initially struggles to understand her. When he tries to “fix” her or make sense of her abstract thoughts, their relationship fractures. “I think in the end, I’m not really happy with who I am, either. But that doesn’t mean that I regret being who I am. That’s the thing that’s wrong with you, Hisao.” In her good ending, Hisao accepts that Rin doesn’t need fixing, and their relationship becomes one of mutual understanding. In her neutral and bad endings, he fails to see her as she is, causing her to withdraw completely.

Conclusion

Katawa Shoujo is more than just a dating sim. It’s ultimately about Hisao’s journey of adaptation and self-discovery within disability culture. Each girl represents a communication theory that helps him move through the phases of culture shock, from uncertainty to acceptance. Through these experiences, Hisao—and by extension, the player—comes to see disability not as an obstacle, but simply another way of being.

Bibliography

Berger, C.R., and Calabrese, R.J. (1975). Some explorations in initial interaction and beyond: Toward a developmental theory of interpersonal communication. Human Communication Research, 1(2), 99-112.

Braithwaite, D.O. (1990). From the Margins to the Center: An Intercultural Redefinition of Disability. Text and Performance Quarterly, 10(1), 7-21.

French, J.R.P., and Raven, B. (1959). The bases of social power. In Cartwright, D. (Ed.), Studies in Social Power. Ann Arbor, MI: Institute for Social Research.

Klyukanov, I. (2005). Principles of Intercultural Communication. Boston: Pearson.

Ury, W., and Fisher, R. (1981). Getting to Yes: Negotiating Agreement Without Giving In. New York: Penguin Books.

Katawa Shoujo: Summer's Clover (2014):

Katawa Shoujo: Summer's Clover (2014):

“The non-canon scenario of Miura Miki starting shortly before she meets the new transfer student Nakai Hisao.”

Summer's Clover is a non-canon side-story to Katawa Shoujo. You play as Miki. Miki is adjusting to life after an accident took her hand. She's a side character in the original game, alongside Emi and the track team. Here, she has two suitors to choose from: Hisao and Suzu.

Hisao is the main character from the original Katawa Shoujo. He bumps into Miki, and in this version, they can hit it off and become boyfriend and girlfriend, or just stay friends. I focused on Suzu's branch, because, well, that's my preference. Even if you choose Suzu, Hisao tags along for the story. He's still a main character.

Suzu has narcolepsy. A condition which brings on extreme drowsiness and loss of muscle tone during sudden extreme emotions. Suzu also likes women, it is revealed. So, that opens up her path as well. Essentially you have Hisao or Suzu as paths to choose from, with multiple endings for either character.

Since I only played Suzu's path, I know it's about Miki discovering her interest in women, and also getting Suzu's family to accept their relationship. Suzu also is an introvert who reads manga. (Comics.) As Miki helps her come out of her shell, they spend a lot of time together on the beach and in bedrooms for summer vacation. (Hey! Summer's Clover!) But, everyone but Suzu's cool older sister hates Miki and Suzu as a couple.

Honestly, this isn't a bad game. Only a few things give away that it's non-canon, but it was worked on by an Australian member of Four Leaf Studios. One thing is the characters constantly use Australian slang like “crikey!” and “blimey!” Another thing is some of the new characters look odd in shape and size, because they aren't re-used art from the original game, which is a little jarring, but fine.

Overall, it's a good side-story, with original art in addition to the original game. But, I can understand why it wasn't a fully polished game. It's one Australian guy from Four Leaf Studios working off notes and anime sketches. With Four Leaf Studios now basically gone, it may never get an official release. This might be all there is. But, it should be enough if you're a Katawa Shoujo fan, and want more Katawa Shoujo. Check it out.

Katawa Shoujo (2012)

Katawa Shoujo is the visual novel which began my love of visual novels. Hisao (The main character.) transfers to a high school for disabled people, Yamaku Academy. There's a blind girl, a burnt girl, a girl with no legs, a deaf girl, and a girl with no arms. The path you take depends on the girl you pick, and each girl has 3 possible endings. As a disabled person, I liked it, and there's a lot of replay value to get every ending.

>

Bubble (2022):

Bubble (2022):

“Hibiki plummets into the sea but is saved by a girl with mysterious powers.”

Hibiki belongs to a parkour team in post-apocalyptic Tokyo after Tokyo becomes filled with bubbles and cut off from the rest of the world. His team is called the Blue Blazes, or BB. They battle other teams like the Under Takers, or The Mad Lobsters in this Capture The Flag parkour sport. One day, Hibiki falls into the ocean water while playing, and swears he sees a mermaid.

This mermaid is actually a feral girl who he names Uta, with a strange secret. She acts like a cat, and has a strange attraction to vortex patterns and The Little Mermaid fairytale. Stranger still, when she hums a tune, the bubbles react to her harmony. Later, she joins the parkour team and helps them defeat a technologically advanced team, The Under Takers, by using the bubbles as stepping stones.

The Under Takers want revenge, and so kidnap Makoto, one of the team members, and challenge BB to a death match. Just then, Uta starts to come apart literally. She's made of bubbles! The team and the morticians have to come find her as the world around them is ripped apart by a vortex of angry bubbles. And soon, Hibiki discovers Uta dissolving into seafoam, just like the mermaid in the story.

Bubble is a very peculiar anime. On one hand, it's a sports drama in post-apocalyptic Tokyo. On the other it's a romantic fairytale bursting at the seams with poetry about the transitory nature of existence, and how all things return back to their source: stars, water, plants, bodies, seashells. The vortex pattern is everywhere.

In particular, I liked that Bubble had good disability representation. Hibiki is shown as having some form of audio sensitivity. But, despite this, he can hear the song of the bubbles. In addition, his friend and mentor Shin has a prosthetic leg, which plays further into the theme of the body as transitory. But, does it add up to anything? Well, I suppose it depends if you like romance. If you do, I recommend this one. For me, personally, I say give it a watch on Netflix. If not for romance, then sci-fi sports action!

Paprika (2006):

"When a machine that allows therapists to enter their patients' dreams is stolen, all hell breaks loose. Only a young female therapist, Paprika, can stop it."

This magical tale centers on a revolutionary machine that allows scientists to enter and record a subject’s dream. After being stolen, a detective and brilliant therapist join forces to recover the device — before it falls into the hands of a “dream terrorist”. It really needs to be seen to be believed. There's a beautiful contrast here between dreams and mundane reality. Plus, many secrets the characters have are only expressed in dreams.

As the movie goes on, the dreams become darker and more surreal. People start talking nonsense and killing themselves. And eventually the nightmare visions infect reality. Only Paprika, who appears to be a happy-go-lucky therapist can stop them. Paprika's early scenes have a great sense of limitlessness and flight, in contrast to drab waking life, highlighting the theme of magical realism. Check it out, whenever you can!

Mac and Me (1988):

Mac and Me (1988):

"An alien trying to escape from NASA is befriended by a wheelchair-bound boy."

Here is a strange flick! While it's blatantly a McDonalds tie-in with Mac. the alien as a faux-E.T., there's a lot of weirdness going on here. The aliens discover they can drink Coca-Cola through their fingers, and the police shoot at them, further injuring Eric. (The wheelchair-bound boy.)

Then, they go to McDonald's and all dance together! Everything's fine! The day is saved by McDonald's and Coca-Cola! It's free on PlutoTV. It's good for a laugh, but don't expect E.T.!

X-MEN: DAYS OF FUTURE PAST (2014) Review:

                                

X-MEN: DAYS OF FUTURE PAST (2014) Review:

                                                              (Colossus vs. a sentinel!)                                                

(The sentinels!)

Future Professor X: “Just because someone stumbles and loses their path, doesn't mean they can't be saved.”  

   So, as a fan of Professor X, I have to talk about X-men: Days of Future Past. There are even two Professor Xs in this one. Specifically, I liked the dystopian Terminator feel, which loosely matched the dystopian Terminator feel of the comics. It was basically Terminator with the X-men in it, but I like both those things! Everyone uses their powers, so if that’s what you wanna see, you’re in luck. Wolverine really stabs people, guys!

In fact, one of the angles about superpowers that I liked about this movie was that even though there are two Prof Xs and one (The younger version.) walks, when he walks, he can’t use his telepathy. I thought that was cool. He needs his disability. Now, there’s a lot of people complaining that this time travel stuff and the time doubles erase the current continuity, blah blah blah…I don’t care. The wonderful thing about fiction is you can choose which parts happened. If you like the old trilogy, you can say it happened. Personally, I like this one!

This timeline starts in the 1960s and goes through the 1970s…but there are giant robots in it, and an assassination attempt on Bolivar Trask…the creator of them. Mystique is the would- be assassin. Also, I think Peter Dinkelage is a great Bolivar Trask. He’s not pure evil. He thinks he’s protecting humanity from the mutants. His fault is he doesn’t see them as humans, which they are. And there’s a nice little lesson in there about not judging people based on fear. Future Professor X is a lot more optimistic than the past one!

But, Future Professor X needs to contact past Professor X to move forward, with the help of Magneto. Personally, I think all he’d have to say is “Don’t worry! You get my sweet hover chair in the future!” But, it takes a lot longer than that and they have a big showdown with giant robots, and Wolverine and Professor X have to stop him. Good stuff!

Overall, a good action movie that establishes a neat new continuity. I’d give it 4/5 stars. It’s a little weird to cover the sentinels in just one movie, as in the 90s cartoon and comics they lasted many years. They definitely upped the action. And I like how every movie covers a different era. I predict next will be the 80s. It keeps getting bigger and better. Mutant battles, robots, and good disability messages. What’s not to love? Go see it.  

                                               (Mutants face extinction in an apocalyptic future.)

(Beast, Wolverine, Prof X: 1970s.)

iPad Game Accessibility Review: Punch Quest (2012)

iPad Game Accessibility Review: Punch Quest 

Hi there, gamers! Do you want a fun game on the iPad that isn’t a huge, ad-ridden money trap? Try Punch Quest. Punch Quest is a fun combination of endless runner/beat-em-up. So, it’s all about how far you can get punching through zombies, skeletons, monsters, and demons! Tapping the right side of the screen keeps your player punching and running. But, also, tapping the left side of the screen does a little flying uppercut move. Another tap pounds the ground in a sort of combo.

Those aren’t the only moves in your arsenal! Along the way in your punching frenzy, you’ll get power-ups like grillin’ fists,(They shoot fireballs!) and iron fists that protect you from harm for a bit, and make you stronger! And finally, there’s a raptor that shoots lasers out of it’s mouth. You read that right. If that doesn’t make you excited to play this game, you must be dead inside. A laser-shooting dinosaur!

Yes, Punch Quest sounds like something a hyperactive five-year-old dreamed up. But, that’s fine by me. It’s fast-paced, fun, and unapologetically wacky. As far as I know, the only thing that would make this game inaccessible is the speed. But, the speed is also good for racking up points. If you punch out two or more guys, it leads to a combo. Combos multiply your points.

Points can unlock new techniques and armor. Luckily, this uses app in-game points only to buy things. Not real money! So, if you’re looking for a quick bit of fun, download it. And enjoy! There are boss fights, but since it’s an endless runner, the only thing that really counts is how long you hold out, and the points you score. It’s very replayable. Radical! With its simplicity, speed, breezy controls, and fun, it’s certainly worth a download.

And it’s cheap! There are so few good accessible games that Punch Quest certainly punches its way to the top of my list. Oh, and I haven’t even unlocked new techniques yet. But, I have beaten one boss…a flying skull! How cool is that? Go download it for all of $0.99! (When I got it, it was free. But, the price seems to have gone up!) Punch your way to greater and greater glory! All in all, this is one gnarly iPad game. 5/5 stars!

FINAL GRADE: A

ACCESSIBILITY GRADE: A+ (You control the entire game just by tapping sides.)

FORGIVENESS FACTOR: A (It‘s very fun, and replayable. See how long you can hold out!)

TOUCHSCREEN CONTROL: A- (Kind of fast, but still incredibly easy to play, and fun!)

Final Fantasy VII: Advent Children (2005) Review:

Final Fantasy VII: Advent Children (2005) Review:

Cloud: Stay where you belong... in my memories.

Sephiroth: I will... never be a memory.

Again, if you haven’t played the game, this won’t make much sense…I’m sorry. I am more of a Final Fantasy III guy, anyway. The film starts off with a little girl narrating the events of Final Fantasy VII, the videogame. Ex: The evil SHINRA Corporation tried to suck power from the Earth and guarded itself with soldiers who just happened to have the same DNA as an alien who recently wanted to destroy the planet. Easy to follow, right?

So, now one of the ex-soldiers who saved the planet (Cloud) from another who realized he wanted to destroy the planet (Sephiroth) is being mopey about killing a girl. Everyone who’s played the game knows who that is. It was supposedly a big event in gaming. But, I’m not gonna get into that.

The moping is what I hated about the game, and what I hate about the movie, too. So, Cloud starts off being chased by a gang of thugs led by Kadaj; who is actually Sephiroth in vitro…you can tell by…oh, he looks exactly like Sephiroth, never mind. You can tell. So, Kadaj and his gang are hunting after Cloud, and keep asking him about “mother”. The alien.

The battle scenes and animation are awesome. When Tifa fights Loz in the church, it’s awesome. It even makes a funny reference to the game. Loz’s cell phone ringtone is the Final Fantasy victory music, which makes you think Tifa has defeated him. The motorcycle battles are fast-paced, explosion-filled and amazing. I don’t want anyone to think that I think this is a bad film. It’s just too loaded with fan references.

The battle scene in the city before Sephiroth “awakens” is basically one big fan show. First Barrett shows up, then Cid, then Vincent…here’s the thing, though. They don’t really need to be there. It’s just for the fans. Cloud could’ve fought Sephiroth basically on his own. Okay, Cid has an airship. But, none of that battle takes place in the airship. He just rescues Cloud once.

I apologize if the above paragraph makes no sense. But, that’s just the way the movie is. It just throws out fan references. The only battle that really matters (Although I can’t stress enough, all the battles look good!) is the final showdown when Sephiroth’s theme starts playing and he’s awakened, and storm clouds move in, and they fight it out. That was epic!

Okay, I should also mention the President Rufus Shinra is in a wheelchair. (Supposedly due to SHINRA exploding in the game.) and a bunch of kids have a sickness called geostigma, because the planet is angry. I have to protest here, because after Rufus tosses “mother”, he’s able to stand, and the kids are cured at the finale with holy water from the church Tifa keeps going back to. It sort of takes on a “love heals everything” tone. As a philosopher of disability, I find this ridiculous and ham-fisted. Terrible way to end! It never really drops the preachy tone (And of course, disabilities aren‘t allowed in happy endings.), either, and Cloud keeps moping about “Are sins ever forgiven?” like he forgot he’s a mutant super soldier with a huge sword.
   
Look, I know her (I’m not gonna say her name; everyone knows who it is, and if you don’t, you won’t get the “tragedy”! Heck, I don’t! And I was there!) death was supposed to be traumatic, but Cloud dealt with death ALL through the game. Really? And then, you wanna get preachy on me? Don’t even try. I was over her before she even stepped on screen. Years ago!

But, see, that’s the big problem with this movie. I mean, between the flashy battles and fan references, the characters don’t grow any, nor do they have sufficient reasons to be involved. They’re involved because they saved the day last time. (When Street Fighter did it…they fought because it’s a fighting game!) Maybe role-playing games are just too nuanced to be 2 hour movies.

 So you see, it’s essentially a fan-made train wreck full of exploding eye-candy. And yet, it’s so eye-catching I couldn’t look away! 2/5 stars from me. Handled with a big grain of salt, and nostalgia for a videogame from 1997! Cloud echoes my sentiments exactly: “Stay where you belong (Final Fantasy VII!)... in my memories.” Sorry, I couldn’t find the English clip of Cloud vs. Sephiroth. My DVD actually had options for Japanese or English!

 

BATGIRL VOL. 2: KNIGHTFALL DESCENDS (2012) REVIEW:

"Are you seriously going to complain that you can walk again? You think you’re the only person who’s ever regained mobility?”

- Black Canary to Batgirl

Oddly, with Batgirl Vol. 2, Gail Simone goes back to Batgirl’s past rather than immediate recovery after The Killing Joke. It begins with the day she became Batgirl and puts on a bat suit while trapped in the GCPD. This volume deals more with the psychological damage caused by the Joker, instead of her physical frailty. More to the point, it incorporates The Court of Owls and even a Bane-type character in a gang. I get that it all connects her to Batman’s history, but frankly it feels a little recycled.

Batgirl faces three enemies: An epicure in a devil mask named Grotesque who can channel electricity. Now, I liked this part of the story, but mainly because there’s a brief cameo from Black Canary who trains with Batgirl and reminds her she never complained before when she was in a wheelchair. (As Oracle, leader of The Birds of Prey.)

From there, there’s a weird subplot about a young girl, (Ms. Carnes.) whose home was invaded by a mass murderer, and she now tortures evildoers for revenge! And now James Jr. is a psychopath working with The Court of Owls. Ew. Too many good-guy-turned-evil twists. But, I guess comics just work that way.

That’s not the Bane girl. Her name is Bonebreaker, her gang member. Their leader is the young girl…who’s name is Knightfall. But, as Batgirl is tracking Grotesque, the Owls take over Gotham. This is clearly meant to overlap with The Court of Owls storyline, which was running at the same time. Fair enough. I just don’t see why James Jr. had to be brought in. We’ve established that the histories are intertwined. Leave Batgirl’s family alone.

Also, her estranged mother comes and leaves again. And it’s established that Joker is tracking her a la The Killing Joke near the end. Poor Batgirl just can’t get a break with the family issues. Although I guess it follows the same logic as Court of Owls Vol. 2, where it’s revealed that Batman’s long-lost brother is leading the owls.  Not a lot I liked about this one, with it’s constant interwoven plot twists.

 One part I did like though, was when she mistakenly battles Batwoman in a police detective’s apartment, believing her to be an undercover agent of Knightfall’s gang. (Yeesh. What a corny name: Knightfall. Even the name Knightfall recalls Bane‘s entry title!) So in the end, she’s able to track Knightfall and work with Batwoman to free the prisoners. She gets the prisoners to hold Ms. Carnes back so she can fight her. The end of the novel seems to suggest a volume 3, with all Batgirl’s former villians being freed, (Mirror, Grotesque, and Gretel.)

Overall, I feel like Volume 2 kind of sacrificed the originality of exploring her recovery in favor of getting her back into action. This is okay, since action is what heroes and heroines do, but I was more upset by the co-opting of The Court of Owls and Bane-type plotlines. Surely, Batgirl can survive with an original rogue gallery rather than cheap Batman knock-offs. And not to dwell on the training scene with Black Canary, (My favorite part!) but that one scolding scene is basically all we get from the recovery angle so richly explored in the first volume.

So in conclusion, the action was fun, and I really enjoyed the first half, until The Court of Owls and a Bane clone were brought in. I don’t think Batgirl should be a Batman clone. She’s got her own individual origin (Explored in this volume!), rogue gallery, and set of issues to deal with…such as being paralyzed by Joker.

Now, some might say she can’t dwell on it forever, but I maintain that without her own set of issues, Batgirl becomes a Batman clone…and she’s capable of more than that. In sum, I knew they’d drop the recovery angle, but I guess I…was still disappointed by how quickly it was dropped. By the way, for the original characters in the first half, I give this 3 stars, but the Owl/Bane parallels are groan worthy.

Ohayocon 2014

Yesterday I went to Ohayocon. My friends took me directly to the comic store. I bought an Iron Man graphic novel for $5. Sundays are the cheapest because they’re trying to sell everything. I saw some strange toys. Who wants to play as Whirlwind in an Iron Man set? Collectors, I suppose. The funniest toy I saw was an Invisible Woman action figure. I guess if you wanted to play as her without powers. Anyway, a friend bought Japanese chocolates and then we headed out.

Once we were on the main floor, I of course took time to take in the costumes. I’m growing used to the sight of big animal costumes, and the sheer  number of Doctor Whos. I was lucky enough to be recognized by all of these groups. And of course, I always see some cat girls who have wheelchairs, which is nice. I mean, the accessibility is nice. And the costumes. And before I left some girl told me: “I just have to say…your outfit…is amazing!” Which is always nice. It’s part of why I go. To share in the fandom.

Granted, I ran over two people accidentally, but its really crowded on those dealer floors. I couldn’t (or rather my friends and I…) couldn’t find any artists doing superhero prints. I got a Full Metal Alchemist wall scroll though, which looks really nice, and that’s one of my favorite animes. All the rest of the artists seemed to do more girly animes, or zombies. But, I still got my wall scroll! A friend said he could swend me some DVDs later, so I didn’t have to worry about my budget…still kind of disappointed to get no superhero prints, though. But, my friend also gave me a 3D-printed Green Lantern ring as a parting gift: win-win!

That’s why I like cons. Such nice people, and such weird stuff to see! Where else can you see two dudes just hanging out in Kryptonian armor, and eat Japanese chocolate? (Well, Japan maybe…but not both at once.) And as I went dressed as the 4th Doctor, I never got tired of hearing “Hello, Doctor!” or “Hey, look, it’s The Doctor!” There were dozens of Doctors, so that was really special when someone pointed me out of all of them. I love going to cons because I don’t feel disabled when I go…and I think I’m getting the hang of coordinating these trips with friends. Just stay with the group…try not to run people over. But, hey, it happens.

Really, the only thing I didn’t like about the con was the crowdedness. But, that really can’t be helped. Also, even though I went on a day when things were cheap, things like DVDs and prints were still relatively expensive. But, I kept a reasonable budget. My friend Eric said he saw a man who came with thousands of dollars who bought out an entire booth of DVDs! Such was the craziness of Ohayocon 2014. But, I had a blast, and everyone was friendly!

I recommend going to Ohayocon especially for anyone with disabilities, because it’s such a positive experience to be around people who see you for the you…you want to be! And also, this trip wouldn’t have been possible had I not planned it out with my friends. So, I’m grateful that we went! I had a blast. I always do when I go to these things and see all this stuff I never would’ve otherwise. Great company! Good times! More pictures forthcoming!

UPDATES, PLUS DISABILITIES AND SUPERPOWERS

UPDATES, PLUS DISABILITIES AND SUPERPOWERS:

Hey everybody! Long time no see! Here are some updates! I had another paper published, enjoyed the Doctor Who 50th, and had my own birthday on 11/22. With conventions coming up (notably Ohayocon!) you can be sure I’ll have some anime reviews, and possibly a review of Ohayocon 2014! Stay tuned! For now, here’s  a copy of the article that was published in HireGround. ( From Opportunities for Ohioans with Disabilities.) It’s called  “Disabilities And Superpowers”.

Disabilities and Superpowers
By Chris Bowsman

Editor’s note: Chris Bowsman, age 28, has a B.A. in German, M.A. in Intercultural Communication

If you enjoy Chris’ writing, look him up on the VSA website at http://www.vsao.org/, or follow his personal blog “Through Alien Eyes” at http://www.christopherbowsman.blogspot.com/ (Chris’s Note: Hey, that’s here!)

  I’ve always loved superheroes. When I was a kid I wanted nothing more than to be like Professor X, leader of the X-men. I didn’t have his superpower of telepathy, but hey, I was in a wheelchair, like him, so that was a good start, right? Or at least, that was the reality I lived on the inside.

But on the outside, much of my daily existence was just an exercise in willpower forged from dealing with my dependencies. It still is. Nobody saw my mental Professor X; what they saw was a kid rolling around or occasionally being pushed, often demanding extra attention and struggling to articulate words that were often hard for them to understand, limbs sometimes jerking in unexpected directions.

This was the overlay I grew up with. It’s the titanic clash between the multitudes of disabilities people see on the outside, versus what those of us experiencing a whole different world within can create mentally. One of my favorite poets laid it out this way: (Walt Whitman, "Song of Myself")

Do I contradict myself?

Very well then I contradict myself,

(I am large, I contain multitudes.)

I am accustomed to people making assumptions about my intelligence and capabilities based on what it looks like I can do, so that really isn’t even a big deal anymore. What I want to say, however, is that my super strength is just determination. My telepathy is called listening. The strengths that I possess are really strengths that anyone can have if used correctly. It is our choices that make us who we are, far more than our abilities … listening and the power to keep fighting, are far better, far more real than telepathy or being able to punch someone into atoms!

If superhero stories tell us anything, it is that people have hidden talents beyond what others can see. Charles Xavier is not just a professor, but the world’s most powerful telepath. Mild-mannered Clark Kent is Superman. Of course, no one looking on from the outside could see these powers of the great superheroes, either. But the invisible (Much more human) lessons we can learn from them involve determination, empathy, and wisdom…just to name a few.

You see, everyone tries to make meaning out of their abilities; what they can and can’t do. I’m still trying to make meaning out of mine. I’ve come a long way from just wanting to be Professor X, to traveling abroad, obtaining my degrees in German and Intercultural Communication!

Two of the most dangerous things you can do, in my opinion, are assuming that physical differences are bad, or pretending that we’re the same as you if you don’t have a disability. Above all, a body must be lived in, and all of us embody a little different view of the truth. Remember the Walt Whitman quote above? And as Professor X said: “We’re not dangerous…we are different.” Don’t be afraid to learn from these differences. Embrace them! Understand them! You may be surprised.

   In sum, I don’t have telepathy; but I have empathy. I don’t have super strength; I have my spirit. To me, superheroes are just about simple human abilities that I have, and how to use them. Each one of us has some amazing abilities if we try to discover them. Who knows? That mild-mannered reporter could be Superman. Yes, even that guy in the wheelchair could be Professor X!

My Left Foot: The Story of Christy Brown (1989)

My Left Foot: The Story of Christy Brown (1989)

Christy Brown: I need a light.

Mary Carr: Don’t go thinking I’m your mother now, just ‘cause I’m takin’ care of ya.

Christy Brown: I don’t need a [expletive] psychology lesson. Just get me a [expletive] light.

    I’ve gotten several requests to review this film, and I wasn’t disappointed! My Left Foot: The Story of Christy Brown is the story of the Irish painter Christy Brown, who has CP (Cerebral palsy.) It covers from his birth in a crowded Irish family to the opening of his own exhibition. As someone who has a more moderate form of CP (Christy grabs everything with his left foot. I also don’t have Christy’s speech problems as severely.) I really have to give credit to Daniel Day Lewis’s method acting. I can almost feel his muscle twitches, spasms, and the battle he must’ve had to create within himself to perform the role.

    Daniel Day Lewis plays Christy Brown as a man who is held together by his sheer will to survive.  Early on, when his mother has a heart attack Christy drops down from the bed where he was placed by his mom, scrapes his way down the stairs and bangs on the door with his left foot. This tenacity endures all throughout the film, into his later adult life, when he’s played by Daniel Day Lewis. Even though throughout his childhood he’s called a dunce and a burden by adults. Surprisingly, like me, he gets along well with able-bodied children, enjoys football, and even for a time rides in a cart for lack of a wheelchair until his 18th birthday.
   
Obviously, as a person with CP myself, I identified with much in this film. I never took speech therapy, but little things like Christy’s artistic impulses I deeply identified with, as well as his search for intimacy. I suppose sometimes I’m even difficult to understand due to my slight tongue thrust. I suppose what I’m getting at is I don’t agree with the idea that able-bodied actors shouldn’t play disabled characters. If I can’t tell the difference, I don’t see how anyone else could.

    Indeed, one of the things I really like about this movie is that it’s not played for sympathy. From the moment he grabs a piece of chalk in his left foot as a child, Christy displays a stubbornness that allows him to overcome his disability as well as  display a deep intelligence behind the stubbornness. Later, he enters speech therapy (At first, so that he can impress his good-looking therapist…) but they fall out when…in a powerful scene…she announces she’s  getting married. He doesn’t handle this well.

    You see, Christy Brown seems to have inherited his father’s love of drink as a coping mechanism, and does not take this very lightly. While they were supposed to be celebrating opening his exhibition, Christy instead launches a tirade against platonic love. The only love he’s ever gotten. Also, his family tries to build him a new art studio, in the hopes that he’ll become motivated to paint again and come out of his depression. Which ultimately culminates in a bar fight, and of course the opening of the exhibition where he meets Mary, who we are later informed Christy married in 1972.

     Daniel Day Lewis’s portrayal of the adult Christy really makes this a good “disability” movie. Christy always aims to prove people wrong about his limits, even if it is to spite them. He first tells his therapist to “[expletive] off!” but she tells him that with therapy he could learn to say it more clearly. But, I think also, his rhetoric and art reveal a deep striving and human understanding which lie beneath his stubbornness. Christy always had to prove people wrong…he also strove to connect with them…though not always successfully.

    Overall, it’s a great film. It is inspiring, but not in a way that inspires pity…which is what I suspect is what most people mean when nowadays people say “I’m not here to inspire you.” in connection with the disability rights movement. Of course, I’m here to inspire people. I’m just not here to be pitied. We as humans must continually strive to inspire ourselves to keep living; to make life meaningful. Which is I think what Christy Brown does in this movie…both with his painting, and continual self-improvement.

I mean, he learns to crawl with his foot, then to grab things, then to speak…this is a story of continual overcoming, but a realistic one…full of rejection and hope deferred. 5/5 stars from me! I fully support able-bodied actors playing disabled characters! (And think the modern controversy…is to be blunt…ridiculous.)  I don’t think you could’ve gotten a better Christy Brown. I think all disability advocates should see this! Or if you just like great movies!

     

ReelAbilities Columbus 2013:

ReelAbilities Columbus 2013:

When I went to Reelabilities 2013 this weekend, the first movie I saw was “Aphasia”, in the McConnell Arts Center. It’s an American film (2011) about Carl McIntyre, an actor and salesman who has a stroke, and suffers from aphasia, the inability to read, write, or understand spoken language. The film follows his year and a half trying to regain these skills. It’s a very comedic film, but not without it’s touching moments, such as when Carl first suffers the stroke, his kids jump on him and his wife yells at him to get up and stop messing around.
   
Also, the film shows Carl’s frustration of having to learn words again. Oddly, the first words he seems to learn quickly are curse words, which is sometimes played for comedic effect. (They must be stored in a different part of the brain…or linked to his frustration.) Such as when he goes to a fast food joint and tries to order a “Frozee”, but ends up seeming to order…something else! He also has trouble distinguishing between yes and no at first, which means he ends up with much larger orders sometimes and says yes when he means no.

    In his therapy,  he begins to show “cognitive flexibility” which is why he can relearn words by getting around to them in his brain. For example to say “when” Carl at first has to say “Chicken” which surprises his therapist. “Chicken?” she asks. Then, Carl says “Chicken! Eggs! Hen! Www-when!” The surprising thing for me was how much I empathized with Carl’s aphasia. Having learnt another language (And sometimes having difficulty with my own…but haven‘t we all had those?), it’s frustrating when you can’t convey what you want, and embarrassing when you say something completely different.

     This is a short film, 40 minutes long, that embraces the entire gambit of human emotions, and the human struggle to adapt to worlds which we don’t understand. Ultimately, Carl realizes when he’s watching himself on TV that: “There are two mes. The then and the now. And the now me is the only version of me this little boy [his son] will ever know.” And spoiler alert: He does finally get that Frozee!

   This is a great film for anyone who has struggled to communicate. Or likes to laugh. Funny story: as I came into the theater, people there must’ve thought I was with the Dancing Wheels, a disabled dance group that was there earlier that evening. They showed me into the theater, and then I got on this big metal lift, and I almost ended up on stage. I didn’t know! I thought it was just really good handicapped seating! But, then I told them I wasn’t a dancer, and they took me back down into the audience. Communication breakdown even between non-aphasiacs!

     The second day was when I saw “Renn Wenn Du Kannst” and “Yo Tambien” in the Wexner Center. These were the two films I’d planned to see originally. “Yo Tambien” (Me too.) is about a man called Daniel with Down Syndrome who falls in love with his able-bodied coworker Laura in Seville’s Department of Disability Services. Daniel is wonderfully arrticulate, and discusses philosophy, and art, and his disability with her. Laura is more of a “wild child” who has a dislike for rules, and is new in town, so Daniel is her first connection.

     However, just as Daniel is Laura’s first connection as a friend, Laura is taught how to love again by Daniel’s example. There are hints that Laura was abused as a child, and is estranged by her family. Likewise, Daniel’s mother can be a little to overprotective of him, and thinks he’s somehow being taken advantage of. Daniel also has a friend, Pedro, a dancer, who falls in love with a woman with Down Syndrome in his dance class. This serves to show how the concept of normative relationships doesn’t always function correctly.

    In both cases, it is the able-bodied people who do not approve of the relationships. But, they don’t want or need their approval. In Daniel’s case, people think he’s being bamboozled. In Pedro’s case, people think: He has Down Syndrome, how can he know what love (or sex!) is? These are the kind of presumptions the disability community has to work against! It’s not able-bodied vs. disabled. We need more stories like this that show us that. Also, it did remind me a lot of my trip to Spain, as I suspected it would. The fast, colorful language, the classical architecture and wild countryside, and Daniel’s family was always drinking wine. What a great Spanish presentation of the Independent Living and Disability Rights movements!  

    Now on to Renn Wenn Du Kannst (Run If You Can)! This film is from Germany, and follows Ben, a quadraplegic about to complete his MA (Boy, I’ve been there!) who falls for one of his assistants friends, a woman who plays cello, but has crippling stage fright to where she can only perform solo. Now, here’s what I thought was cool: In the opening scene, Ben in ordering his assistant around and cleaning up his apartment, but the moment his aide leaves, his thesis which he just PRINTED, flies out the window. I nearly cursed at loud as Ben does!

    You see, when Annika (His aide/Ben’s love interest, in a sort of love triangle!) has stage fright, she can run away, as she does many times during performances in the movie. Ben can’t run away from his fear which is that he will no longer be able to maintain relationships after his accident. Indeed, in the course of the movie, Ben kind of laughs off the notion that Annika could possibly love him. But, then of course, she does, but neither find that they can perform sexually under the weight of their traumas.

    Ben’s story is that he was in an auto accident that killed his disabled girlfriend as well as left him quadriplegic. Since then, he has developing a joking attitude (He calls his attendant Christian…Nurse Christiane!) and stays away from people, since he can’t run from his fear. As Ben jokes with Christian: “I was not put on Earth to have sex with women. I was put here to look at their backsides.” I must admit, I often take myself out of the game so to speak, before I even know if I’ll succeed. For many of the same reasons; and the fact that it was in German made it hit home closer for me.

    The film wonderfully juxtaposes the need for order (Classical music; cleaning the apartment; the Master’s thesis.) against fear and non-logical impulses. Though all three in the end remain friends, it is left unclear whether they will go their own separate ways. There is a small scene where Ben’s mom comes to visit, and she starts cleaning and Ben tells her to get out! That to me was pretty powerful, as a cultural analyst. This is Ben’s territory! Only he and his aides can order it!

     And hey, as a non-native German-speaker I learned a few new slang words! As usual the European scenery was great…but in a different way than Spain’s. The city of Bottrop, as presented here is large and modern, dominated by high-rises and steel. Actually, Ben climbs the Bottrop Tetrahedron and sits on top of it. Something he told “Christiane” was his “unattainable dream”. A wonderful film dealing with interability relationships…but certainly not as afraid to dive into pain as Yo Tambien. Yo Tambien was more colorful; more Spanish…for lack of a better adjective!

     Afterwards, a speaker read her academic paper on the presence of able-bodied/disabled actors in the media. And even gave some cursory background into the disability rights movement in Germany…by commenting that Germany’s movement is based on “self-determination” (Which she never called by the German Selbstbestimmung.)

   The trouble is, in the USA, it seems to be based on “Independence”. So, whatever differences both movements have based on those words are (to me.) completely rhetorical. I don’t get the difference…but the main argument seemed to be that media presence within the “community” is growing. This year was the opposite of last year’s for me: I came prepared to speak this time, but never quite got the opportunity to ask questions!
 
   All in all, a good ReelAbilities Festival, with some great intercultural discourse on inter-and-intraability relationships. And I got to see one more film than I originally thought! (“Aphasia”) I’m glad VSA Ohio invited me to take part. Each film dealt with the same issues, more or less. But each had a different cultural lens which with to examine our common humanity through stories about disability! ReelAbilities 2013 was a very fun, and very educational time!