I just finished the series and EOE. How am I supposed to feel? I'm kinda underwhelmed. How did everyone else feel when they first finished NGE? I guess I'll get started on those other movies.
From what i've gethered:
TV series: gay shit idc
Movie: shinji leaves the lcl into the world he destroyed, and asuka happened to come along, the shittiest person and they have a good/bad thing going on, but it doesnt matter because earth shit the bed. help me get it
Did they fug?
ITT girls that deserve to be mind broken
Tokyo Ghoul Re 138 spoilers: Who shot him?
What is their best show and why is it Phantom World?
How much do you like Hisoka from Hunter x Hunter?
a lot, it's always entertaining to see the inner workings of his mind when he fights. the versatility of his abilities also increase the enjoyment factor when watching him fight.
I'm going to post this everyday until you like it.
Why did the new DN Movie make Light the exact opposite of who he is?
Because this kind of characters don't work in American settings
Model students are believed to grow up to be nerds who only know how to take orders and probably will end up as white collars because the school system is shit
Attractive or fit people are not associated with being actually smart or choose "smart people" careers
You have left the normal poeple who don't stand out and the social outcasts, who are a roulette. You either get a misunderstood genius, a complete idiot normie or a special snowflake.
Kill those who dare lay a finger on mumi.
Principal Usami a cute.
Where did the City come from?
(From “Eureka” September 2017 special issue Ikuhara Kunihiko: “Revolutionary Girl Utena”, “Mawaru Penguindrum”, “Yuri Kuma Arashi”… Our Revolution and Survival Strategy)
Interview with Nasu Kinoko / Interviewer: Aoyagi Mihoko
THE LINGERING SCARS OF “REVOLUTIONARY GIRL UTENA”
—How did you first encounter Ikuhara’s work?
Nasu: My first Ikuhara work was “Revolutionary Girl Utena”. As a creator in my forties, the media I experienced from my teens to my twenties has left permanent scars on me. The first shock I experienced was “Neon Genesis Evangelion”. It had everything that appealed to me, so I naturally took both damage and influence from it. While I was still reeling from “Eva”, along came “Martian Successor Nadesico”, and then “Utena”. I was assaulted by a barrage of brilliant, highly charismatic anime in those days.
—What was your impression of the first episode?
Nasu: My friends (all men, naturally) kind of reflexively rejected it: “What the hell’s with this artstyle?!” I was used to shoujo manga, so my first impression was “I like these character designs. But I guess it’s true that they’re a bit too aesthetic for anime…” I wasn’t too resistant to it probably because I loved Takemiya Keiko’s “Toward the Terra”.
But once I actually watched it, it wasn’t the artstyle but the subject matter itself that was in a completely different cultural field, and I couldn’t wrap my head around it. And yet I couldn’t help but watch it again and again. Behind the aesthetic and abstract world it presented at first glance was something very sensitive and allegorical. From its very first episode, “Utena” boldly opted to take things that normally the viewers would demand to have explained to them and express them while remaining abstract.
—”Express them while remaining abstract.”
Nasu: Yes. “Utena”, “Mawaru Penguindrum”, and “Yuri Kuma Arashi” all have something definitive at their core, and it’d be possible to definitively state “this means such-and-such”. But once you say that, it’s all over. If you turn to someone who’s struggling with something “abstract” and tell them your own subjective conclusion, all you’ve done is push someone else’s viewpoint on them. It’s very difficult to convey an image while keeping it as-is. Communicating abstract concepts while keeping them as such is something Director Ikuhara has been doing since back then.
“Utena”‘s dialogue was sensitive and abstract, but the direction and art were all so vivid. The imagery of the shell representing the world was so powerful, it was like I’d seen an amazing work of art—that may be an exaggeration, but that feeling overcame me when I watched the first episode, and it got me hook line and sinker. The “Zettai Unmei Mokushiroku” stock sequence played, there was a battle, the ending theme played, and I thought with certainty, “This is a masterpiece. But it’d probably be impossible to explain how amazing it is to ten people and have all ten of them understand.” I think now that the people who hold this work in their heart forever are either the female viewers who likely share the same gender-related hardships, or the people who think “I want to create something, I want to express something”. Once you’ve been shown something like this, you can’t ignore it. It felt like peeping on someone’s secrets, like I’d seen something I shouldn’t have.
—Are there any specific episodes that left an impression on you?
Nasu: I love the “Black Rose arc”. It fits the whole kishotenketsu structure into one episode. Professor Nemuro (Mikage Souji) says “The path before you has been prepared”, there’s a fight scene, Utena wins, the coffin falls into the incinerator… Those repeating scenes were a lot of fun. Once I began writing scripts for anime, I understood even more clearly how amazing that structure was.
The stock sequences and the Black Rose arc’s structure arose from the creators having constraints on what they were able to do. Ikuhara-san may say that he just felt like if they had to use stock sequences he might as well make them fun to watch, but how many people do you know of who could actually pull that off? Today’s anime industry is so advanced that you can make a 22-minute episode without any stock sequences. Back then there were fewer people, very few digital tools, and it wasn’t like you could just Google for resources. It’s astounding that he was able to create something so perfect in that environment. He’s superhuman, no joke. While I’m sure this is the case in all the arts, the people from the previous generation must have gone through twice as much hardship as us. The creativity that arises from a lack of resources produces something with such density, it’s beyond our wildest imaginings.
THE VILLAINS OF IKUHARA’S WORK ARE “COMPLETELY EVIL, YET THE MOST PITIFUL”
Prove he is a hack in one post
How come people either really love Madoka Magica or really hate it? I have never heard someone on /a/ say it was "just ok"
There are those who recognize it as a great and entertaining show. There are the contrarians who hate on it because it's popular.
And there are those who don't care and thus won't talk about it.
That's it, really.
Is the current anime and manga industry structurally flawed to punish artistic innovation? What would an alternate model be which could allow for greater individual autonomy and creativity
There is nothing wrong with trying to save the universe. We are less than ants, our happiness is irrelevant when weighed against the greater good of the cosmos.