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- An anime treasure hunt event called “The Anime Seekers’ Quest” was conducted by the Manga and Anime Society Kharagpur (MASK) on 17th March 2024. The event was scheduled to begin at 3 PM at the premises of the Gymkhana building. Participants began to gather in front of the Gymkhana building at 03:04 PM and reached an equilibrium at 03:15 PM. We were quite delighted after seeing shinobi from all ninja villages among the participants (for non-chuunibyou readers, it means students of all years). At 03:20 PM, the participants were given instructions by Vidunram. Various other members, including the governors, team heads, and the subheads of WebD and Quiz, were on site to monitor the event, which speaks volumes about the event's importance to us. The event began around 03:30 PM. + An anime treasure hunt event called “The Anime Seekers’ Quest” was conducted by the Manga and Anime Society Kharagpur (MASK) on 17th March 2024. The event was scheduled to begin at 3 PM at the premises of the Gymkhana building. Participants began to gather in front of the Gymkhana building at 03:04 PM and reached an equilibrium at 03:15 PM. We were quite delighted after seeing shinobi from all ninja villages among the participants (for non-chuunibyou readers, it means students of all years). At 03:20 PM, the participants were given instructions by Goos. Various other members, including the governors, team heads, and the subheads of WebD and Quiz, were on site to monitor the event, which speaks volumes about the event's importance to us. The event began around 03:30 PM.

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As the sun set on 17th March, the event concluded with smiles, laughter, and memories to cherish. Truly, the real treasure was the friendships forged along the way. diff --git a/templates/newsletters/2025-11-1/01#tragedy-of-kratos.njk b/templates/newsletters/2025-11-1/01#tragedy-of-kratos.njk new file mode 100644 index 00000000..d4149d77 --- /dev/null +++ b/templates/newsletters/2025-11-1/01#tragedy-of-kratos.njk @@ -0,0 +1,37 @@ +{# Ready for review #} +
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The Tragedy of Kratos: The Ghost of Sparta

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Introduction

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   Kratos is the main character of the video game franchise God of War. He is also a demigod and one of the sons of Zeus. If anything, his journey is full of blood and betrayals, which we’ll talk about here.

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The Ghost of Sparta

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+    Ares orders Kratos to destroy the village where people worship Athena. Kratos obeys his orders and enters the temple and butchers everyone; however, Ares had secretly transferred Kratos’ wife and child to that place, and Kratos kills them while he is blinded by the power he was granted by Ares. Later, he regains his consciousness, and all he feels is regret. He killed the only two people who cared for him and loved him no matter what, and in return, he couldn’t even save them from himself. The village Oracle also curses him for his sins by making the ashes of his family stick to his body forever. With skin as pale as the moon, he gets the name Ghost of Sparta. Ares wants him to be an emotionless, ultimate warrior by removing emotional attachments. Ares succeeds in doing so as well, but Kratos leaves Ares and works for other Gods to get his revenge on Ares. We can see that Ares succeeded as he planned as he killed Ares himself. In the first game, it can be observed that Kratos questions his humanity but slowly embraces vengeance over time. +

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Zeus

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   During Kratos’ pursuit to find the Oracle of Athens, Zeus grants him the ability to use his thunderbolts. Later, he disguises himself as a grave digger, and Kratos finds him digging a grave at the temple of Athens. When asked, he says that he is digging the grave for Kratos. Later, when Kratos is taking Pandora’s box to Athens from Pandora’s temple, he gets impaled by a log thrown by Ares. Kratos falls to the underworld but rejects his death and tries to climb out of it. When he reaches the top, he finds a rope that takes him back to the grave dug by the grave digger. Kratos is unaware of the fact that it was Zeus who saved him from death to kill Ares.

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   When Athena tells Zeus about the rampage of Kratos, he disguises himself as an eagle and takes away as much power as he can from Kratos and transfers it to the Colossus of Rhodes. Kratos believes this is a work of Athena, and when Zeus sends the Blade of Olympus, the blade which he used to end the war between the Gods and Titans, Kratos trusts Zeus. He drains all his energy into the blade and destroys the Colossus. Again blinded by his power, Kratos mocks the Gods while getting hit by the palm of a falling Colossus and becoming powerless once again. Zeus takes the blade of Olympus and lets Kratos rot in the depths of Hades. Kratos, realizing that he had been used by the Gods once again, gives up until he is approached for help by ..

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Gaia

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   Gaia tells Kratos about the history of Zeus and the Titans. She tells him about the Sisters of Fate who have control over the Thread of Destiny. She guides Kratos to seek the sisters’ help if he wants his revenge on Zeus. Kratos goes through the island of Sisters, encountering many people who seek them as well. Cronos, the father of Zeus and the King of the Titans, gives the last of his magic to Kratos for his quest. Atlas also gives his power to Kratos.

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   When the sisters are defeated, Kratos travels back in time to the moment Zeus betrays him and challenges Zeus. He realises that he alone cannot defeat all of Olympus, so he goes back through time to get help from the Titans during the Great War. Kratos climbs Mount Olympus with the Titans and challenges the Gods once and for all. This time, Kratos stood no chance against the ruler of Olympus, Zeus threw Gaia and Kratos off the cliff. Gaia betrays Kratos and lets him fall to the underworld, telling him that this is not his battle, but it is the battle of the Titans. Later, when Kratos comes out of the underworld, he chops off Gaia’s arm and states that it is indeed his battle only, while she falls off the mountain. During the final fight between Zeus and Kratos, Gaia returns and swallows them both in the hopes of destroying them; however, Kratos kills Zeus as well as Gaia with the power he gets from Pandora’s box.

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Athena

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   At first, she promises to erase the traumatic visions Kratos suffers from, but later, when Kratos kills Ares, she just forgives him of the sins and doesn’t do anything about the visions. Betrayed by this, Kratos goes so far as to kill himself and jumps off the cliffs, but Athena doesn’t let him and tells him that he is the new God of War. This immense power takes complete control over Kratos; he was a human no more, he was the God of War. With this responsibility, he caused chaos and battles much fiercer than the ones that occurred during Ares’ reign. Due to this behavior of Kratos, Athena seeks Zeus to prevent Kratos from becoming like Ares or destroying the Gods.

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   Later, when Kratos defeats the Sisters of Fate and uses their powers to fight Zeus, Athena sacrifices herself to save Zeus. Athena told Kratos that without Zeus, Olympus will fall, and all of Olympus will try to protect Zeus for this. Late, Athena revealed that Kratos’ father was none other than Zeus in her final moments. Knowing that Kratos just killed her half-sister, who had helped him the most throughout his journey to end Ares, was too much for him to bear. However, it turned out that the sacrifice of Athena for Zeus brought her to a higher life form. She now had her own intentions to rule Olympus so she made a plan for Kratos to open the Pandora’s box again where she kept the good things of universe when Zeus had kept all the evils inside it, she guided Kratos the path to get those powers to kill Zeus, she planned to take those powers from Kratos after Zeus dies so she can be the ruler of Olympus. Skip to the part when Pandora's box is opened again, and it turns out that it’s empty. That means when Kratos opened the box to kill Ares, he got both the things sealed in it, but the power Athena had sealed in there wasn’t active until Pandora helped him and gave him Hope. With that, Kratos was finally able to kill Zeus, the ruler of Olympus. But seeing the condition of the world, the number of sins he committed, and no more purpose being left of him, he uses the Blade of Olympus and stabs himself, leaving Athena powerless and bringing an end to his suffering once and for all.

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Conclusion

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   Throughout his journey, Kratos has sought many beings for help, but the power they gave him ends up blinding him and rendering their plan useless, and while they try to help, Kratos kills them and gets his revenge. This tendency of Kratos to get blinded by power so easily is the reason he wins or loses the battles. But in the end, with the power of hope, he is blinded no more. Hehe says, “My vengeance ends now,” and proceeds to end himself accepting the fact that he was his greatest enemy all along.

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How the seasonal anime cycle is ruining anime pacing

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If you were to ask any otaku: “What anime is the best of them all?”, the answers you’ll get from someone who is just dabbling in anime are the mainstream answers: One Piece, Dragon Ball, Naruto, Bleach, Attack on Titan. An anime veteran who has watched more old anime might say Code Geass, Neon Genesis Evangelion, Monster, etc. Someone who has watched too much anime might suggest a Makoto Shinkai movie or something of a passion project, like “Uzumaki”; however, did you notice? Out of all the titles I mentioned, none are 12 episodes long.

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What is the seasonal anime cycle?

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The current anime release schedule follows a “cour” system. A “cour” is of 3 months, and there are 4 cours in a year. Incidentally, they align with the four major seasons observed in Japan: the winter season, from January onwards. Spring season, April onwards. Summer season, July onwards, and Fall season, October onwards. Modern anime airs 1 episode weekly in 1 or 2 cours. With a bit of math, we see there are 12 or 13 episodes in a cour. This system began around the turn of the millennium. Before that, anime used to air for year-long tenures. Which led to insane runtime hours of old anime. Let's not delve into how this system came to be; let’s examine how it has impacted modern anime.

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The formula that worked for old anime:

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Old anime had a simple concept. Hook the audience in the pilot episode or the first few episodes, and then take your time to deliver to build up towards a climactic fight. 2 examples that come to mind are Naruto and One Piece. The pilot episode for Naruto hits hard when Naruto saves Iruka sensei. Even after the pilot, the show does not pull punches, up until episode 13. The show then slows down to introduce more characters, create character developments for the main cast, and build up the climactic fights. Even the show’s first filler episode shows up at episode 20.

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Coming to One Piece, Eichiro Oda does not stop pulling punches until the 5 crewmates enter the Grand Line. Imagine 50 episodes, which would be a self-sufficient anime in itself. (In fact, Oda Sensei had worked on a one-shot manga called “Romance Dawn”, which was never serialised, but the entire East Blue Saga in a nutshell was Romance Dawn) However, after that, even One Piece fell victim to fillers, even when skipped led to the good-paced Alabasta saga and then the worst-paced Skypiea Saga..

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How did the seasonal anime cycle evolve?

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Modern anime often takes only a single episode or even half of it to hook the audience, and only 12 or 24 episodes to either complete a beautiful story, or complete a major arc of the story. Their pace is so fast that fillers are out of the question. But due to a lesser number of episodes, the quality of each episode skyrockets. Be it an action scene or cinematic drama, or a jaw-dropping landscape, you might just find all three in one episode. A recent example would be Chainsaw Man, exploring Denji’s grim outlook at the rather dazzling world with an insane fight scene and his interaction with Makima, all in a single episode.

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What did we gain from the seasonal anime cycle?

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Modern anime has almost zero filler episodes. To the point that fans ask Gege Akutami to add a few filler episodes to Jujutsu Kaisen just for beloved characters to get more screen time before they inevitably die.

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Pacing is not a parameter you control now; either you deliver fast or be banished to the obscure anime realm. Attack on Titan cannot take the gas off the pedal for even a single episode, or else a dinosaur that appears for 12 total frames in the opening seems like foreshadowing to something big about to happen.

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Long anime are now a thing of the past. You won’t find a single modern anime that crosses 200 episodes. Most of them do not even hit a century. But this did cause an abundance of anime titles that span almost every genre and niche that exists in media.

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As fans, keeping track of what anime comes out becomes a lot easier if you just know what season it will be airing in. You need not check your calendar for reminders every single day; just the day of the week suffices. Instead of frantically checking for a new episode everyday, I only to wait every Thursday during the summer 2025 season to catch the latest episode of Dr Stone.

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But we lost something very important:

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Well, not specifically ‘we’, but anime itself lost control over pace. The industry “standard” has formed the 12-episode mold, but not all stories fit in this mold. Some fall short, and some have a little extra content, not enough to pan out a 24-episode run time. Rather, most stories do not fit the mold. We saw the death of slow anime. Side characters do not get screen time unless they are going to influence the plot. It has become so bad to the point that IF you see even the slightest detail in the design of someone in the background not yet introduced, like a fancy necklace or something, you bet they are going to get a side story.

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Chainsaw Man was just about getting started when Denji took care of the Katana devil. But season 1 ended there. The sequel came out 3 years later in Chainsaw Man the Movie: The Reze Arc. It had to build its own hype and recap its own cast because everyone had forgotten. It could not use the hype season 1 received, and I blame the 12-episode limit. Chainsaw Man could have covered the Reze arc with 6 beautiful episodes and ended season 1 without being sudden.

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ReLIFE, a romance anime where the main character loses his job, but he takes a pill to age back 10 years, becomes a high schooler and gains high school experience for a year. The plot progresses normally, but we are left with a cliffhanger in episode 12. The main character's crush turns out to also be an adult who chose to age back, as well. At this point, the side characters had pretty much wrapped their arcs, so there wasn’t a lot of content for a season 2.Hence ReLIFE had to release 4 OVAs to wrap up the story, when a 16-episode season would have created fewer complications.

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Solo Leveling is also a victim of the pacing problem. It was insanely hyped for its action in the source material, but when it was translated to anime, it was just action. The pace of solo levelling was so fast, it was just one fight after another. You can literally not name a side character other than maybe Jinwoo’s sister in this show. This does an injustice to the world-building that comes with anime on the longer side.

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Is there a solution?

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“Oshi No Ko” had an interesting solution to this issue. It aired with a 90-minute episode 1. It was a hook like no other; the main characters were established, having already gone through a traumatic event, and a timeskip occurred. It made episode 2 feel like a sequel rather than a season. In the end, season 1 hit hard in its 12-episode runtime and ended satisfyingly. A clever solution to the mold issue.

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Another solution to this issue is to screw the seasonal cycle entirely and produce 14-15 episodes to correctly pace the show. An example would be Blue Lock season 2 with 14 episodes or Re:Zero season 3 with 16 episodes. However, this is unfeasible for any title without the hype to back the disruption.

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Conclusion:

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I could go on and on about different anime and their issues with pacing, or list off more anime like Oshi no Ko. But I think we need to address the fact that not all stories deserve 12 episodes; some deserve more or less to iron out their arcs. I mean, if Attack on Titan can get away with its final season, we can expect a change of heart or a change of way in presenting anime other than the mould. Or we can just binge another season of My Hero Academia!

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Should people be allowed to choose who protects them?

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Humanity is at its strongest in its unity. Humanity has developed and overcome challenges that once seemed like a tall wall through unity. First came the tools, then the fire, agriculture, the wheel, the printing press, and now came the smartphones and the internet. Each step along the way, the process of selection became lenient on humans, and as a result of this, today humanity stands tall with a population much larger than it started with.

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Naturally, as the number of people kept increasing, it became clear that many people cannot work on one thing harmoniously. Different people would have other thoughts, and because of that, the development path would become slow and jittery. This disharmony paved the way for leaders to take the lead and start representing people, protecting them, and upholding their ideals.

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In our world, one leader is not physically capable of protecting the lives of the millions they represent, but the power they hold because of the people's trust allows them to. Being selected by the people does give them the power to help and protect, but is this always the case?

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This question intrigued me, and there exist multiple possible answers for it. I found one of them in the anime To Be Hero X.

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To further delve into this answer, let me explain the world in which To Be Hero X(referred to as TBHX going forward) is set.

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To Be Hero X

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TBHX takes place in a world where the amount of trust a person has received from society can be measured by a numerical value known as the trust value.

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The higher a person’s trust value is, the stronger they become in reflection of the ideals of those who trust in the person. So if I were to believe in someone and think of them as someone who solves problems by force, then that person would become physically stronger to match my ideals of them. Similarly, if I were to believe in someone and think of them as someone who resolves problems without violence, they would grow stronger in that aspect.

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Essentially, TBHX is set in a world where people’s trust makes a person both figuratively and literally stronger. Due to such a scenario, one would expect people to trust others after a lot of consideration. However, that is not the case. Underhanded play runs rampant, everything is used as a showpiece to fool the masses and make one group stronger.

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Because of how the trust value works, the trusted individuals are treated like heroes and are responsible for protecting humanity and representing the people who believe in them.

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The story revolves around the top 10 heroes ranked by their trust in the 41st year after the establishment of the hero commission, unveiling the stories behind the making of these heroes.

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Aspects depicting where trust goes wrong

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The story begins with Lin Ling, a typical worker in an advertising company who works for the hero Nice. Nice is known to embody perfection in the public’s eye and thus is represented everywhere as such. After a series of unfortunate events, Lin Ling finds himself in front of his idol, Nice, who just walked off a building after Lin Ling saw him, committing suicide. Soon after, Lin Ling is made to impersonate Nice by the company responsible for Nice. Due to how similar the impersonation is, Lin Ling inherits all the trust value that Nice had and becomes Nice.

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After becoming Nice, Lin Ling learns that all the perfection that Nice embodied was a facade. He faked defeating villains and relationships to gain more people's trust.

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Just from the first episode, two very concerning issues are evident. Them being the ease with which identity was lost and reassigned, and the fraudulent nature of the hero industry.

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Later on, Lin Ling gets exposed for impersonating Nice, but the people accept him as a hero due to his dedication to being a hero and his virtue.

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Something even more ridiculous happens in the season finale, but I will leave that for you to explore and understand.

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In a world where trust is the most valuable thing, what integrity is maintained if people’s trust can be displaced so easily, without them even knowing? And if trust was gained through immoral and superficial means, can trust be something that should be allowed to make people powerful?

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In the arc following Lin Ling’s, we see how the current E-Soul became the 9th-ranked hero.It follows Yang Cheng, who acts in performances for children as E-Soul. His passion for the job and the work he puts into it garners him admirers. In a dire incident, he saves one of the kids, his passionate fan, from being kidnapped. His heroic behaviour in the incident becomes viral, and he gets heralded as the new E-Soul. Later on, challenges the old E-Soul. In which one of them meets their demise, and a new collective E-Soul is formed that inherits the trust value of both of them.

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Both of their fans allow such a ridiculous match to happen just to entertain them. This caused one hero to die, which would’ve helped protect the people.

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Clearly, the people know what the implications of their demands mean, yet they allow such losses to happen. The fans cannot confirm whether the E-Soul they supported is the one they are trusting in now, yet they go on with it. These ridiculous things occur when everything is left to the people’s beliefs.

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Even more ironically, all of this, from the ascension of the new E-Soul to the removal of one of the E-Souls, was all set up by the leader of the group that E-Soul was signed with.

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So, in a world where trust is everything, integrity is just a side object to the superficial showcase.

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As the show progresses, we see how the heroes make their way to the top despite not following a regime of protecting people. The prime examples are the rank seventh hero, Lucky Cyan, and the 4th hero, Ghostblade.

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Lucky Cyan started as a street singer and became popular because of her captivating music.As she became increasingly popular, she gained people who adored her and her music, so her trust value kept increasing. Eventually, a hero agency signed Lucky Cyan and started publicizing her as a hero rather than focusing on her musical strength. As time passed and things surrounding her image became clear, she became a top-ranked hero despite not working for it from the start, and the public even accepted her as a protector despite clearly preferring her a lot more as an artist. Even though she gains resolve to work as a hero, all of this happens just because the company she works for benefits from her being a hero and doesn’t mind misguiding the public and Cyan herself about their intentions.

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Before Ghostblade became a hero, he worked at his family’s butcher shop. A few clips of him at work got incredibly viral, leading to him coming under public spotlight. Due to more and more people viewing his clips, his trust value kept increasing. He got signed to a hero company and became known for his silent nature. Because of the trust gained in this manner, he lost his ability to speak but gained strength that made him incredibly deadly. He works as a hero but is often commissioned as an assassin by his hero company or the commission to deal with the things they cannot get their hands dirty with.

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Both of these cases are clear scenarios of trust being misdirected one way or the other.

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The people in the world of TBHX understand and know the implications of what their trust can do, yet they let their desires misguide them.

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At many points in the story, heroes get slandered for working more on their media image instead of doing their jobs. But all of this gets suppressed by another media stunt by the power of the companies or by lying to the people, yet again.

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Verdict

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While trust is not a literal metric in our world and other worlds, it is still a key factor in how society is built upon. Such a situation raises another question: Are people wrong to trust others, or is people’s trust not worth weighing?

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If people are wrong to trust others, society becomes self-centered, reclusive, and regressive, which in turn harms development.

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If people’s trust is not worth weighing, then whose opinion should matter? The opinion of a central body? If so, who decides whether the central body is correct or incorrect?

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The answer to each question is made available at the price of two new questions, and it is a process that will keep spiraling to nowhere.

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With all of this, I have told you, the reader, about the question that intrigues and bothers me so much.

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Thanks for Reading

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P.S.: This anime conducts polls amongst its viewers, where viewers can vote for one of the top heroes to increase their trust value. Queen, the hero ranked 2nd in the show, has the agenda of abolishing the trust system because it is unstable. If people in the TBHX world understood why this was important, they would greatly trust her. Well, that part aside, the viewers voted for the characters they liked, and because of it, Queen has fallen to 6th place now. The lapse of the popularity and trust system clearly shows and is very amusing.

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Interpretations of Heroism accross Anime

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Since the beginning, humanity has looked up to its heroes.

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In every age, they have stood as symbols shaped by longing, belief, and the restless need to find purpose in struggle. Some bore swords, some carried faith, others carried silence. But all of them were built from the same calling: the desire to see courage made real.

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History remembered them as conquerors, martyrs, saviors, each a reflection of what their world valued most. In their victories, civilizations found meaning; in their falls, warnings.

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Yet, time has altered how we look upon them. The pedestal has grown smaller, the scrutiny we put on them sharper.

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But, the dream continues.

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Humanity has never stopped imagining what it means to stand against the impossible. We continue to write tales about them.

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Every age invents its own answer, and every story rewrites the last.

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Today, that question lives on more vividly than ever before. Across the landscapes of modern storytelling, the idea of a “hero” no longer walks a single path.

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Giving birth to fascinating interpretations of what heroism is.

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Anime as a medium has become one of the most vivid interpretations of this enduring idea.Through its worlds and characters, the notion of heroism is retold countless times from different perspectives, each story offering its own reflection.

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Among these many interpretations, few are as poignant as those that explore the ideal of heroism being inherited. The hero’s will is not born from within but passed down, a dream, a burden, or a wound carried forward by someone else giving birth to a rather idealistic outlook on heroism.

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Two characters embody this phenomenon beautifully: Shirou Emiya from the Fate franchise and Izuku Midoriya from My Hero Academia. Though they come from different worlds, their lives echo the same question … what becomes of one who tries to live entirely for others? Both inherit a hopeless desire to save, shaped by deep admiration for a hero they wish to embody. Yet the nature of that admiration differs vastly in kind: Midoriya’s is born of faith, a belief that good can still triumph through effort and heart, while Shirou’s stems from tragedy; it's a twisted way to justify his own survival by devoting himself to the happiness of others.

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Their heroism is idealistic and self-destructive, a selfless fire that consumes as much as it illuminates the others around them. Both of them fight against the very limits of their own humanity to embody this ideal. While both of them end up successful in embodying their ideals however the end of their paths were vastly different, primarily because of the different interpretations their respective authors had of this idealistic heroism.

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The portrayal of Midoriya reflects a belief that even idealism, when tempered by empathy and growth, can coexist with happiness. Midoriya’s pain shapes him, but it doesn’t consume him; his selflessness leads not to erasure, but to fulfillment. In contrast, Kinoko Nasu’s vision of heroism is far more tragic and self-reflective. Through Shirou, Nasu portrays the futility of self-sacrifice as an ideal and how the pursuit of perfect altruism inevitably strips one of individuality and peace. In this portrayal the “ideal hero” is a paradox: one who saves everyone but is unable to save himself.

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In contrast, Saitama from One Punch Man represents a completely different expression of Heroism. He becomes a hero simply “for fun,” unbound by a figure to chase and embody. Unlike Shirou or Midoriya, his drive isn’t shaped by someone else’s ideals; it’s something entirely his own.

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And yet, despite the simplicity of his reason, Saitama stands as one of the clearest reflections of what an “ideal” hero can be. He saves people without hesitation, without reward, and without any need for recognition. His heroism lacks the emotional struggle that defines others, but in that very absence lies its purity, a quiet, effortless embodiment of what many believe a hero should be.

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However, what sets Saitama apart is that his sense of self isn’t dependent on being a hero. Being a hero for him is a simple choice he made. Even stripped of the title, he would remain the same man: unassuming, grounded, and content with who he is.

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It is a form of heroism that is fully autonomous, free of the wounds that create heroes in traditional stories. It suggests that courage and kindness do not need tragedy to exist; that strength, at its highest, may simply be peace.

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And yet, even that perfection carries its own emptiness. In achieving the absolute, Saitama loses the very tension that gives heroism its appeal with its human essence. His victories bring no joy, his unmatched power isolates him from the struggle that once gave his actions meaning. What remains is a man who can save everyone, but finds nothing left worth saving. It is, in its own way, tragic, but the author chooses to portray it as a satire of the ideal thematics usually associated with tales of heroes.

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While in another corner of anime’s vast landscape, Sailor Moon presents a return to classic heroism through a lens that is both intimate and transformative. Usagi Tsukino’s journey embraces imperfection as the foundation of courage. Her heroism is defined by emotion, love, friendship, and unyielding will.

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At first glance, Usagi appears far from the archetype of a savior. But it is precisely through these human flaws that her heroism takes shape. Where other portrayals of heroism tend to present it as a pedestal above common human nature, Usagi remains deeply human, choosing compassion even when it makes her weak.

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In Sailor Moon, heroism is portrayed as a collective and emotional force rather than an individual idea. Usagi’s greatest victories are never hers alone; they are shared with her friends, her loved ones, and even those she redeems. The series defines the “ideal hero” not as one who bears the world’s pain alone, but as one who connects with it and carries others through it alongside them.

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Through this, Naoko Takeuchi’s vision offers a quiet rebellion against the often masculine ideal of the self-sacrificing savior. Usagi’s heroism is not born from trauma or duty but from the simple, unpretentious desire to protect what she loves. It reminds us that the heart can be the truest vessel of courage and that sometimes, saving the world begins with the courage to remain kind.

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However, Tokyo Ghoul is the true opinion of many in the current age on heroism. Sui Ishida’s world does not separate heroes from monsters; it only shows people trying to live with what they’ve become.

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Kaneki Ken, at the center of this world, embodies that perfectly. He is, by all accounts, a figure of salvation, the one who bridges species, ends the century-old conflict. Yet Ishida never lets his story become that of a savior.

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The way it has been written, the story refuses to grant him the divine distance that most heroes are afforded; instead, it lets him drown in the same confusion, fear, and self-loathing that define those around him.

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What makes Tokyo Ghoul such a powerful antithesis to the portrayal and idea of a hero is how the narrative never allows a clean victory or a pure motive. Each character, friend, foe, or a stranger carries the same gray weight of survival, the same fractured sense of right and wrong.

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There are no grand ideological oppositions, no villains to be conquered for moral triumph. It feels less like watching a legend unfold and more like living through one before it ever came to existence.

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In that sense, Ishida writes as though he is chronicling the life of a hero before history turns him into a symbol. His prose lingers on the exhaustion between battles, the silence after violence, the small human gestures that never make it into legend. The result is a vision of heroism that feels achingly real, one where the act of surviving itself becomes an act of grace.

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Through this lens, Tokyo Ghoul perfectly achieves the idea of the “anti-hero,” capturing what might be called the exhaustion of modern heroism.

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This “exhaustion” gives rise to another way of storytelling, the realm of Isekai and power fantasy. These genres are often dismissed as shallow, repetitive, indulgent and a distortion to Heroism, but perhaps that criticism misses the point.

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They are not distortions of heroism; they are just tales that are a simple result of the world people see around them. It's perhaps because suffering in reality no longer feels noble and the world has grown too mechanical for miracles, the soul no longer seeks meaning through struggle but peace through renewal.

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Escapism has always been the beating heart of storytelling. Every myth, every legend, every novel, all of them are doors built to step away from the reality the author experiences.

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The only difference is that Isekai refuses to hide this truth. It wears escapism proudly. It accepts that the yearning to run away is, in itself, deeply human, an instinct to preserve hope when the world grows too heavy to carry.

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Yes, the path is often linear: ordinary human, otherworldly gift, endless rise, victory of good over evil. Yet within that predictability lies a quiet defiance. It insists that goodness, courage, and purpose may have meaning even if it's in a fabricated reality. The fantasy of power here is not vanity. It restores the sense of control stripped away by modern chaos, where most feel powerless before systems too vast to confront.

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In a strange way, these stories are heroes themselves. They save in the only way they can, by offering sanctuary. For a few chapters or episodes, they lift their audience from the noise of the real, letting them breathe in a world that still listens to will and consequence. They grant that rarest of mercies: the illusion of possibility.

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Escapism is what stories were born to do.These stories just remind us that imagination remains our oldest defense against despair. The hero of Isekai does not slay monsters for us; the story does. It battles the quiet fatigue of existing, the numbness of routine that gripes the modern man. And perhaps that’s the truest kind of heroism left, not the one that saves the world, but the one that saves our capacity to dream about it.

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Maybe that’s why the idea of a hero never truly disappears. The faces change, the weapons fade, the world grows stranger but the call remains. In all the noise we still want to believe that one will rise when the rest of us cannot.

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Every story of a hero is really a story born of that simple call that someone experienced. It burns in myth, in memory, in every retelling. It’s the echo that refuses to die.

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And so we keep writing them.

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We give them swords, wings, powers, burdens but the fundamentals of what we aspire from them never really change.

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Perhaps that is the truth of all the tales :that humanity, for all its flaws and endless grief, cannot help but reach for the idea of the hero again and again, no matter the age.

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Loneliness – You are not alone

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Loneliness is strange.

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It doesn’t always look sad. Sometimes it hides behind laughter, group photos, a face that says, “I’m fine.” But it’s still there, quiet, heavy, and patient. It sits beside you at night, watching as you scroll through your phone, listening to everyone’s voices but your own.

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Loneliness is not always empty. Sometimes it’s crowded with memories, what-ifs, unread messages, and voices.

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Anime understands that. It doesn’t rush to fix the pain. It sits beside it. As you stare at the ceiling at 2 A.M, anime stares along. It holds your hand without promising to make it better.

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Maybe that’s why we keep watching it. Sometimes anime feels like the only thing that understands us when we can’t explain what’s wrong.

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He disappeared when you first met Satō Tatsuhiro in Welcome to the N.H.K.. He still exists physically, but he’s fading from the world. His days blend into each other, his room becomes his world, and the world outside becomes his fear.

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You don’t realize when the show stops being about him and starts being about you. Your tendency to retreat and justify your isolation as “just being tired.” Satō believes in a conspiracy. Maybe that’s easier than believing he’s alone by choice and it's not an absurd idea once you feel that kind of isolation he faced. When your inner voice is louder than any visitor. That’s how anime sometimes portrays loneliness as a slow leak of connection, not as dramatic explosions. But loneliness in anime doesn’t wear the same mask every time. Sometimes it’s wrapped in laughter, in silence, hidden behind a bright smile.

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In Neon Genesis Evangelion, Shinji pilots a machine to save the world, but can’t save himself from the mirror. He wants someone to tell him, “You did well”. Not for fighting. Not for winning. Just for existing. But no one does. And that silence is louder than any explosion.

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Loneliness in anime is often depicted like a hero with no home to return to. A child who smiles because that’s all they were taught. A phone that lights up, but never rings.

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Your Lie in April whispers another kind of loneliness. This one was born after losing someone who made the world make sense. When Kaori enters Kousei’s gray life like a burst of sunlight, we learn that sometimes, the cure isn’t permanence but presence. Even if people leave, their warmth doesn’t.

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But loneliness isn’t always sad. In Mushishi, it’s quiet, Sacred. It’s the space between the wind and the leaves. A kind of solitude that doesn’t break you. It cleanses you because not every silence is empty; some are peaceful.

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What makes all these stories beautiful is how real they feel. They remind me that loneliness isn’t something to be ashamed of. It’s part of being human. It’s what happens when our hearts stretch too far in search of connection and don’t find it. And maybe that’s not failure, maybe it’s proof that we still care. The characters in these stories — Satō, Shinji, Shouya all feel lost, but somehow keep trying to reach out, even if it’s in small ways. And that’s what makes them human.

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Anime doesn’t exaggerate loneliness. It translates it into colors, pauses, and small details that say, You’re not the only one who feels like this. And that’s why it hurts so beautifully. Because it shows our lives. The unread texts. The “I’m okay” we never mean. The quiet wish for someone to understand without explanation.

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When you stop feeling lonely completely, you’ve stopped needing people. And I don’t think that’s peace. I think that’s emptiness.

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Anime doesn’t try to fix that emptiness. It just shares it. And sometimes that is enough. When I see Satō afraid to open his door, or Shinji trembling inside an Eva, I feel less strange about my own silences. I feel like maybe this loneliness that I carry isn’t just mine. Maybe it belongs to everyone, in different shapes.

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Anime doesn’t cure loneliness. But it keeps us company through it. It sits with us in the dark and says “You’re not the only one who feels this way.” And sometimes that is enough to hold us on.

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Lately, I’ve started seeing the same loneliness that anime talks about not on a screen but around me.

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Loneliness takes its real shape in IIT Kharagpur hostels, in the long, silent corridors at night. It hides behind GPAs, interviews, and half-hearted smiles. So many students carry invisible weights of expectations and comparison, and do not feel enough. And sometimes, that silence grows too heavy.

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When a life ends here, people ask why. But the truth is often painful and straightforward because they feel alone. Because they believed no one would understand. And maybe that’s what anime has told us: people don’t want solutions; they want to be seen, heard and held without judgment.

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Loneliness is real. It's in stories, hostels, classrooms, and us. But it doesn’t have to win. Talk to a friend, counselor, or anyone if you ever feel like it’s too heavy. Even one small conversation can be the thing that saves a life. Because in both anime and life, the truth is that you’re not truly alone. Someone, somewhere, understands.

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To everyone who is reading this, have a great day.

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diff --git a/templates/newsletters/2025-11-1/2025-11-1.njk b/templates/newsletters/2025-11-1/2025-11-1.njk new file mode 100644 index 00000000..b49abd23 --- /dev/null +++ b/templates/newsletters/2025-11-1/2025-11-1.njk @@ -0,0 +1,68 @@ +{% extends '_newsletter.njk' %} + +{% set pagetitle = 'November 2025 Issue' %} +{% set pagedesc = "To unmask the stories that linger after the credits roll, MASK’s latest newsletter is trading the punchlines for some serious reflection. We’ve curated a collection that dissects the tragedy of the Ghost of Sparta, questions the frantic pace of the anime industry, and redefines the weight of Heroism. From the ethics of power to the quiet reality of loneliness, this edition covers the full spectrum of emotion." %} + +{# {% set pagecount = 6 %} #} + +{% block lettercss %} + + + +{% endblock %} +