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Post by The Great Klaid on Sept 22, 2016 21:21:52 GMT -5
I can tell you why I hate it. MUGEN. And trying to make a girl happy.
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Post by lurker on Sept 29, 2016 13:15:55 GMT -5
Still can't believe that the Shiji Ikari Detective Agency was a thing.
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Post by edmonddantes on Oct 5, 2016 9:11:01 GMT -5
By the way, this should be shown to enemies of escapist media.
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Post by Woody Alien on Oct 16, 2016 5:25:02 GMT -5
On another note, I can't remember why I ever liked Madoka Magica. What caused you to change idea? I'm not judging, just curious. For me, I think it's a very well-made series (but I never saw any supplementary material outside of the three films).
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Post by vivianjames on Oct 16, 2016 5:40:30 GMT -5
I think the critics of escapist media just wants to use the popularity of that media to spread ideology/propaganda.
For example, there's a lot of video games that have female protagonists, however people preaching the idea that there's not enough female protagonists deliberately ignore or won't acknowledge the existence of the many games with good female protagonists.
What they want is to put prominent representation of women or whatever to the most popular games. The games that will sell millions and will have cultural impact. They don't want existing media or new ones, they want the biggest and most popular to get taken over, as a statement that the landscape, audience, etc. of that media has changed.
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Post by Échalote on Oct 16, 2016 6:44:39 GMT -5
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Post by Elvin Atombender on Oct 16, 2016 7:32:31 GMT -5
I thought this was Hardcore Gaming 101, not Infowars.
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Deleted
Deleted Member
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Post by Deleted on Oct 27, 2016 4:51:10 GMT -5
On another note, I can't remember why I ever liked Madoka Magica. What caused you to change idea? I'm not judging, just curious. For me, I think it's a very well-made series (but I never saw any supplementary material outside of the three films). URK. Pardon the belated response: A) I felt like it tried to stack on grim twist after grim twist and shock after shock rather than trying to extract a sufficient amount of meaningful drama from *ONE* twist. B) I don't like what I have heard about Rebellion. Hearing Homura went from grimly determined to a possessive asshat is bad enough, hearing she went unsubtly EEEEEVIL even in appearance just strikes me as...I dunno, style over substance? C) Urobutcher made comments once comparing magical girls to the-terrorists-formerly-known-as-Al-Qaeda so he strikes me as an edgy teenager in an adult's body.
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Post by Woody Alien on Oct 31, 2016 16:37:56 GMT -5
URK. Pardon the belated response: A) I felt like it tried to stack on grim twist after grim twist and shock after shock rather than trying to extract a sufficient amount of meaningful drama from *ONE* twist. B) I don't like what I have heard about Rebellion. Hearing Homura went from grimly determined to a possessive asshat is bad enough, hearing she went unsubtly EEEEEVIL even in appearance just strikes me as...I dunno, style over substance? C) Urobutcher made comments once comparing magical girls to the-terrorists-formerly-known-as-Al-Qaeda so he strikes me as an edgy teenager in an adult's body. If you put it that way I can understand why you're tired of the franchise, maybe after years have passed and looking at it in a more objective way it will be remembered as a good series but not as the masterpiece many hailed it. I didn't know about that comment from Urobutcher and yes, it does sound pretty stupid and forced. If it makes you feel better, that fantasy anime that he and other famous names in anime made by adapting their roleplaying sessions sucked and basically nobody remembers it (I don't even recall the title). As for point B... well it's so very controversial. I watched the film and honestly I can say that both the parties (those who say the film shat on the whole series and those who say that it was the only way it could have ended) are right in their opinions. Sorry for the spoilers but the film is 3 years old at this point: basically Homura becomes the Satanic archetype to Madoka's Messianic archetype, because at that point after all the time loops Homura's love for Madoka became a consuming obsession, and when the latter became an intangible force of nature she snapped and with her powers forced her to give up her goddess status... also making Kyubey her bitch in the meantime. So its right to say it's a forced bad ending, but it's also right to say that such a dark series couldn't offer any happy ending and to be fair there were some hints in Homura's behaviour. What I didn't like is that the very final scene of the TV series' ending remains totally unresolved this way. Still, I do enjoy the series for what it is, without thinking too much about symbolism and all the forced crap. MAMI MOGU MOGU-
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Post by edmonddantes on Nov 7, 2016 18:28:20 GMT -5
I have never seen this Madoka Magica thing. I almost dunno if I want to. When things get big fanbases these days, I tend to have two (not always simultaneously) default expectations:
1. It's actually stupid and appeals for a superficial reason, such as being just the right kind of "sexy" or "cute" that somehow appeals to men rather than alienate them (see the Brony phenomenon)
2. It's some pretentious artsy thing being judged by people who are too young or inexperienced with art and thus take its overtures of artness at face-value.
Of course, "it could actually be good" is a distant third possibility. But people tend to conveniently forget all the things that were wildly popular but actually sucked (and there are MANY).
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Post by boomer on Nov 29, 2016 9:34:40 GMT -5
I kind of love EVA more with age as I get more involved in writing about art and stories, because while it's a sloppy mess in many respects, the sheer ambition and how much of the staff's soul was put into it becomes harder to ignore the more you learn. Gainax almost went under trying to make this show work after the budget bottomed out, and Anno was in the middle of a very serious mental breakdown. I respect the ending of the series more because of how positivie it was when made in such a dark time, and I kind of adore End in many respects because it repeated much of the same messages, but tossed out positivity and instead showed a mirror to the more troubling audience members. Shinji's more awful behavior in the later half is outright parroting of some of the grosser thoughts and views in a lot of otaku circles, even to this day (and especially with the sexism). The world ends because someone who can't love themselves can only hate everyone else, and he failed to be any sort of savior. He became the audience that rejected the heartfelt message of the first show, the audience that didn't care about the themes and haunting ideas, only explosions and self-inserting to the point where personal satisfaction was all he could think about (thus Asuka reappearing at the end). Because things didn't go his way, he lashed out like an idiot and people suffered for it. Contempt or disdain for their audience seems to be a rather common thing for a lot of writers. Something similar manifested itself in Vagabond, where halfway through the manga we suddenly have future Matahachi-turned-hobo telling the tales of Miyamoto Musashi to a crowd of people, except the crowd only wants to hear about 'that time Musashi muslashed a bunch of dudes' whereas Matahichi instead focuses on Musashi's slower-paced journeys of self-insight (unless everyone gives Matahachi enough money, could this possibly mean something?). Even the scanlator blurbs want Musashi to quit brooding and get to killing stuff already. Even though Musashi spent several chapters killing around 70 people by himself at once, the murder-free Farm arc seems to bore many to tears. I'd be quite disappointed too if I spent a lot of time and effort into writing and drawing a detailed story which everyone only likes for the tits, and any attempts at trying to redirect their attention to the parts I want them to focus on go unnoticed.
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Post by toei on Dec 1, 2016 16:13:31 GMT -5
I kind of love EVA more with age as I get more involved in writing about art and stories, because while it's a sloppy mess in many respects, the sheer ambition and how much of the staff's soul was put into it becomes harder to ignore the more you learn. Gainax almost went under trying to make this show work after the budget bottomed out, and Anno was in the middle of a very serious mental breakdown. I respect the ending of the series more because of how positivie it was when made in such a dark time, and I kind of adore End in many respects because it repeated much of the same messages, but tossed out positivity and instead showed a mirror to the more troubling audience members. Shinji's more awful behavior in the later half is outright parroting of some of the grosser thoughts and views in a lot of otaku circles, even to this day (and especially with the sexism). The world ends because someone who can't love themselves can only hate everyone else, and he failed to be any sort of savior. He became the audience that rejected the heartfelt message of the first show, the audience that didn't care about the themes and haunting ideas, only explosions and self-inserting to the point where personal satisfaction was all he could think about (thus Asuka reappearing at the end). Because things didn't go his way, he lashed out like an idiot and people suffered for it. Contempt or disdain for their audience seems to be a rather common thing for a lot of writers. Something similar manifested itself in Vagabond, where halfway through the manga we suddenly have future Matahachi-turned-hobo telling the tales of Miyamoto Musashi to a crowd of people, except the crowd only wants to hear about 'that time Musashi muslashed a bunch of dudes' whereas Matahichi instead focuses on Musashi's slower-paced journeys of self-insight (unless everyone gives Matahachi enough money, could this possibly mean something?). Even the scanlator blurbs want Musashi to quit brooding and get to killing stuff already. Even though Musashi spent several chapters killing around 70 people by himself at once, the murder-free Farm arc seems to bore many to tears. I'd be quite disappointed too if I spent a lot of time and effort into writing and drawing a detailed story which everyone only likes for the tits, and any attempts at trying to redirect their attention to the parts I want them to focus on go unnoticed. A lot of scanlators are like that. You get a chapter with actual story or character development and the release post is like "just some useless filler this time around. Don't worry, there's an epic 3-volume fight coming up lolz" Much of manga/anime fandom has the mental age of a 12-year old. Of course authors get mad.
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Post by edmonddantes on Dec 5, 2016 13:39:09 GMT -5
I'm now reminded of how Osamu Tezuka felt that the only reason people liked Astro Boy was for the fight scenes. He later on basically came to hate his own series (and most of his own output, in fact).
Sadly its not just anime/manga, pretty much all visual medium (sorry) seems to have those kinds of fans. I'm still mad about the backlash MGS2: Sons of Liberty got. How DARE a game actually try a compelling plot and not give us boobies!
Christopher Tolkien has also claimed that this is what the movies did to his father's books, something I'm tempted to agree with.
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