>the whole show was about NTR
And people here and all over the world praise gay-nax shitfaggotry, fucking hell.
I'm guessing he's talking about how Naota's big brother left town and got a new girlfriend.
Meanwhile Mamimi used Naota as a replacement for his brother.
He's just meme spouting
OP is claiming that the chick has some kind of thing going on with MC's older brother who is overseas or whatever, but does shit with MC because he's around. Therefore older brother is getting cucked.
Anyway, I definitely think FLCL is wildly misunderstood. I only ever thought of it as a technical study in direction. FLCL was really about Anno's protégé perfecting the style of direction that Anno had developed during Kare Kano. That's why the whole thing is about really ambiguous themes and wistful feelings and longings and shit. It really feels like the plot and the characters are sort of incidental. Like the whole thing is just a forum for experimentation that they also decided they were gonna release.
It's still Kazumiya's best work though. I mean, Diebuster was great but it did not surpass FLCL. On the other hand you can see he also had a lot of contribution to the Rebuilds, which is kind of a shame. His style totally doesn't fit Evangelion.
I'm texting a girl from work about her broken engagement right now. Having someone confide in you and trust you puts your ego on stilts. I know that if I wanted, I could probably exploit her trust and fuck her. Besides the obvious moral dilemma this opportunity presents, she also has a kid and a problem filled life.
I dunno about being a technical study but it's definitely Tsurumaki working in a post-Karekano mode. Except replace the shoujo aesthetics with Pillows and Robots and turn it up to 11.
The narrative isn't incidental though. It has to be well-written for the whole thing to work. They wouldn't have brought Enokido to write the script if the script was an afterthought.
Eh if her ex came back it wouldn't be the worst thing. He's not a bad guy. I'm also not interested in a relationship, it's just that the real possibility of being able to have sex with her is a very invasive thought.
I'm definitely not saying it's not well written, I'm just saying it's not strongly plotted. The whole thing is put together in a specific attempt to evoke a mood or a complex feeling, and all elements combine to achieve this. The characters and the dialog are certainly well written, but it's all more about designing a feeling than it is about telling a story. Which is why I say it's more or less all in service of the direction, that's what direction is all about, feeling and tone. And in that sense I think it's a soaring success. I don't think anybody has watched FLCL and come away with faults about the direction.
All that being said, a lot of people don't enjoy it because it doesn't have a strong story that goes somewhere. And they're right, it doesn't. That was never really the intent. I like it because direction goes a long way for me, there are lots of shows I've enjoyed just because the direction was so strong even though a ton of the other elements failed. FLCL is all about the direction, and some people will be able to enjoy it as such and others will not.
Don't worry about OP. OP is probably half trolling and half confused.
I know that, but bar girls are never who they are they're who you wish they were. It's complex. I know it's purely sexual but that can still be complex. It probably is too much of my ego mixed into the situation.
I'm gonna assume you're talking about Kazuya Tsurumaki.
>Diebuster was great but it did not surpass FLCL.
In terms of an exhibition of his skill as a director I'd certainly agree. FLCL is very single-minded and pure in its execution. It was basically just Tsurumaki doing whatever he wanted, with as little limitation as possible. It's more complete and better composed as a work of art. He obviously played it a little safer with Diebuster, which I think was definitely the right choice. The important thing with Diebuster is that he got it right, it was a fitting tribute to the legacy of Gunbuster. It wasn't the soaring, provocative exclamation that FLCL was, but that wasn't the goal. Diebuster was really good, and it fit the material well. It was lively and fun.
not really, bar girls are sex, and that's what they provide. life is more simple when you're drunk, which is why so many people drink, and which is why bars are a great place to get sex.