of a broader trend of "animalization," or the fulfillment of small desires isolated from the context of a grand narrative. Azuma, therefore, simplifies Saitō's idea of moe into the idea of attaining signals of sexual excitement within an isolated environment, similar to the act of training an animal. In contrast, Tōru Honda argues against the idea that moe is simply "the act of arousal in response to signals, and thus animalization" and argues that this interpretation does not allow one to recall the essence of moe. Honda considers moe to be the act of remembering ideals among the background signals, an act of necessity that arose as the romance rejected by religion continued to be supported by materialism, and thus interprets it as a mental activity relevant to the contexts of mythology and religion. Furthermore, Honda asserts that this "animalization" phenomenon only arose after the "economic bubble" period of Japan, when people consumed real romance- and sex-like products, and says that since moe is commonly interpreted to be in competition with the act of searching for romance in real life, it is thus the antithesis of male-dominant machoism. Also, while Saitō doesn't distinguish moe from more violent types of sexual abnormalities and speaks of moe in the context of "sentō bishōjo" (beautiful fighting girl), Honda on the other hand treats moe as the polar opposite of the hunter-ish kind of sexuality featuring in more fiendish works like those by Henry Darger. Anime director Kazuya Tsurumaki defines moe to be "the act of filling in missing information about characters on one's own." Accepting this view, writer explains that characters are born from human instinct, which is the exact reason why one can be charmed by them much more than one could by real people. Toshio Okada says that while he himself has not fully understood moe, he defines it as not simply being stirred emotionally by beautiful girls, but also as the meta-viewpoint of seeing oneself falling into such a state. In The Moe Manifesto, anthropologist Patrick Galbraith defines moe as an affective response to fictional characters or representations of them. The applications of this definition are widespread to political, economic, and cultural discourses. For an example in practice, Matthew Brummer describes how Japan's Self Defense Force utilizes popular culture and the moe that it engenders to shape public perceptions of the military establishment: The Manga Military. See also .moe Amae