Theonik
Member
It's gonna be another one of those HAHA pulled out of my arse again twists isn't it...
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Winter of Anime 2013 |OT -6| How much lower can we go?!
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I forgo the individual episode impressions for fear of delivering a disingenuous analysis, what with so much of my previous writings being based around conjecture. This is all a preamble to saying that viewing it in hindsight, my opinion on it is markedly different.
Is this a ridiculously naval-gazing post about Evangelion? Yes. Is it an accurate assessment of the franchise as a whole? I have no idea. I tackled the this as an unknown. Which is part of the reason why I've been a little hesitant about even posting this to begin with. It seems everybody already has their opinion on Evangelion all figured out, so at least indulge me, as I scramble around for something.
And I'll be taking a cue from the example of others and doing away with the spoiler tags. Mainly for aesthetic reasons, as I doubt anyone would want to see a huge black field for the entirity of this post. Though I am aware of the sensitive nature of spoilers, I thought if I could make an exception anywhere, this would likely be it. If this is a problem, I'll make sure to amend it.
[End of Evangelion]
The End of Evangelion is a certainly a gratifying conclusion, as we finally get to see a lot of those earlier veiled details become clearer (well, as much as one could reasonably hope for). It also reminds us of some long-standing questions. Why do the Evangelion possess such a bizarre tendency to be ill-suited for battle? How do NERV’s continue to run unabated from governing bodies? What exactly is the mystery surrounding the origin of the Geofront? These were all broad strokes of why I felt unsatisfied by the original conclusion, and though I don’t expect every minor detail to be answered about such a multi-faceted world, I still feel these were questions pertinent enough to have been resolved in some fashion. Now I’m a little more aware of the troubled events leading up to that ending and it’s quite admirable that they managed to deliver something, despite the haphazard nature of those final two episodes.
It’s clear that End of Evangelion intends to underline the original series from the start, dropping us back at the critical juncture where episode 24 had left us. Even if one could feasibly state that we reach the same point after EOE, I’d argue that we inhabit a vastly different head-space by the time we reach it here. It’s not difficult to surmise what happens between the gaps left between the final two episodes, though everything is lent much more credence, now that we are left to witness the ramifications of what the entire series has been building towards. NERV headquarters is finally attacked by SEELE, and with this, we finally see the bloody climax. Now free to depict the attack in full detail, the opening half is certainly full of action and excess, though far from mindless, with only the most unflinching of viewers, likely to derive any sort of baseless pleasure from these scenes. The various lingering shots of deaths sit uncomfortably here, but nonetheless punctuate the finality of it all. As cold as the NERV headquarters is, it’s still disconcerting to see such a familiar setting being callously destroyed in a matter of minutes, along with everyone inside. The conflict has essentially existed as a faceless one; it’s a war being played out by the pawns, and here we see the severity first-hand.
Everything is crumbling, and so are the pilots. Shinji is in no fit state, evidenced by his own bemusement over his actions towards a comatose Asuka. It may be shocking, and his actions are far from admirable, but given the context, it’s hardly surprising. After all, his confidence had been built up; only to be meticulously broken the instant Kaworu reared his head. This compounded with his earlier apprehensions after Toji’s departure, and his various disingenuous relationships, leaves his mental state in tatters. He had begun the series with an overriding sense of hate and self-loathing; which had now given way to complete apathy. “I’m so fucked up” seems to ring more an acknowledgement, than it does a realization.
Like Shinji, Asuka too has succumbed to her trauma, but on a much more literal scale, being broken in both mind and body. They are two characters that are seemingly analogous to one another. But again, first appearances can be deceiving, as by the point of Asuka's introduction, we are already keenly aware of Shinji's nature. Meanwhile, Asuka is brash and outspoken, embracing her identity as a designated hero, rather than cowering behind it. How they choose to define themselves is different, but the underlying reasons are gradually revealed to quite similar. Both driven by an inherent self-loathing, we witness the pair at varying levels of despondency, though rarely at the same time. In fact, for as consistent as emotional turmoil is through NGE, it is rarely overt, leaving most characters to wallow in their own abject misery. Almost everything operates on a certain level on duplicity, some of which, admittedly, isn't apparent upon first viewing.
Rei is ostensibly disconnected from the very beginning, though that makes the act of attempting to interpret the character, quite difficult. Very little is revealed about her, and most of the development is concerned with what she is, rather than what she does. Her role is pivotal to the overall narrative, and the themes being explored, as she is, by design, a doll that emotes. Which I guess is where her appeal lies. The mystery intrinsic to the character is never completely done away with, even at the very end. And the case could be made if the third Rei incarnation is even the same character that we’d become accustomed to, as her eventual rejection of instrumentality is a stark contrast to the cold pragmatist that bookended the TV series.
All of which (in keeping with tradition), means the imminent attack is at the worst possible time, with each pilot being indisposed. The first big sequence, the NERV attack, is a veritable massacre. Everyone’s fates are conclusively played out, whilst the Evangelion become the focal point, 01 is promptly captured, whilst 02 (along with Asuka) is sunk to the bottom of the lake. This leaves Misato to attempt to galvanize an unstable Shinji. It’s kind of galling to see Shinji act so despondently in the face of her imminent death, though his selfishness probably obscures that fact until it’s too late. For me, Katsuragi is probably the most well-meaning of the entire cast, but tragically, is someone woefully inept of providing the emotional support that others around her need. Her own foils are clear to see, and although many of her problems are often emphasized for comic affect, she is still one of the few who straddles the line between her duties and profession life, perhaps the most convincingly. Like most other characters, she serves as juxtaposition to Shinji’s own conflict, and highlights how everyone is dealing with their own issues, just with varying levels of inadequacy. Her final actions echo her previous (failed) attempt at comforting Shinji, with her own loneliness giving way to fleeting intimacy.
Everything hits a crescendo once the Evangelion finally make their appearance, quite literally. Asuka awakens, and with it, her centrepiece battle takes place. I'm sure that it isn’t really something that I need to go into exacting detail about, because the following scene is enduring all by itself. Though it is notable as a culmination of the various elements all coming together, the music, the animation, the story. This is where EOE leverage's its theatrical status for all its worth, eschewing the patchwork TV ending in favour of something grander.
As previously mentioned, the actions scenes are often impressive and horrifying in equal measure, and there is probably no greater proof than here. Asuka’s death is certainly disturbing, and much of that is down to how they chose to portray that violence. For me, it recalled earlier moments, where the Eldritch Abomination status of the Evangelion had been evoked. These moments give the audience a brief pause for thought, where much is suggested of how horrifying their (The Evangelion) unshackled nature truly is. The unease which these moments produce, suggest that something is terribly untoward. Most of which is conveyed in how we (the audience) see others react, gleaning what we can from cutaway shots of onlookers recoiling in horror. If recollections of Unit O1’s previous ‘feast’ already served to perturb, then this surely toys with our imagination, yet further. We only see Unit 02 being devoured, and now knowing what we do about the distinctly human aspect of the Evangelion, the horror of Asuka's fate here now inhabits an altogether more unsettling space.
I made a quick reference to the original series ending after watching it, and although I did appreciate it, I was suitably invested to the point where the abrupt ending didn't wholly satisfy me. It was nice to see Shinji's own paradigm being settled, but I felt like it would have been more effective with a little more of that ambiguity stripped away. For as much as Evangelion likes to steep itself in duplicity, this is where it's felt like it was something of a compromise.
The inner turmoil was my key takeaway from the work as a whole; it forms the crux of every relationship, and dictates the course of every action. It’s a lonely show, something which if not apparent from the get-go, slowly permeates throughout the narrative. Shinji is an initially an awkward character to relate to, bumbling his way through his scenes, though much of this weak nature is revealed to be a product of his environment. The world in which this all takes place is irreparably damaged, and even if the true extent of the second impact isn't made expressly clear, it becomes quite apparent that humanity lives on in its own self-inflicted dystopia.
It is this inherent contradiction that defines nearly every relationship, as each is unwilling (or unable) to acknowledge their true feelings. It is ultimately a self-destructive existence for the likes of Shinji, who permeates multiple meanings to his interactions with people, the paradoxical nature of which is explored in the conflict that defines the multiple endings.
Shinji is our proxy, but even so, it can be difficult to empathize with him. A hero he may be, but it’s a role which he consistently questions, as he exhibits almost none of the values we typically associate with one. He ostensibly comes of age throughout the series, gradually gaining some semblance of self-worth, though it a precarious act as he constantly seeks assurance from his father, and later anyone (which becomes something that Asuka resents him for). No character is treated like a proverbial puppet more than Shinji. In fact, it is SEELE themselves, who objective turns out to ultimately “break” Shinji, rendering his ego to naught. For all intents and purposes, it could be argued that the whole world is literally against him, at least by his own perceptions. His relationship is Asuka is extremely strained, initially showing hints of affection, though their hilariously depressing kiss encapsulates this dichotomy. Neither the circumstances (nor the characters) allowing for anything to take place. Even the slight reprieve offered in the finale (Asuka’s acknowledgement) is obfuscated by the context in which it’s delivered.
Shinji’s journey dictates the ending, first in the original series, where his perspective colours the ambiguity, from which we see the fallout. Thematically this works (and I can see why some may prefer the agency it gives the audience), though I feel that the abstract nature of this ending, robs it of some emotional resonance. This conclusion is also hampered (at least for me) in how abrupt it is, with certain story threads left dangling. In my opinion, End of Evangelion gives a much more balanced and subjective conclusion, where we see first-hand “The Human Instrumentality Project” in effect. I was suitably invested to the point where I wished to see how the end was reached, and of course, see something that wasn't cobbled together with recycled animation! I can certainly appreciate the original ending as a companion piece, which serves as a more personal and intimate resolution. But the fact remains, a lot of the fascination surely lies with how incomplete this all feels, with each finale, seemingly answering as many questions as they raise.
That said, I find that both endings offer up a surprisingly optimistic message. The original may be more overtly upbeat, but I think that EOE’s is lent more credence by virtue of the horror that precedes it. The life affirming message is delivered in the most tragic of circumstances, and I perhaps find that most heartening of all. By no means does End of Evangelion end on a positive note, but I think it’s enough that it carries the promise of one. The somber sentiment may be more prevalent for some, though my rebuttal would point to the fact that, for as depraved and unethical the means may be, everyone ultimately wants to be happy. Daw!
There is something to be said about the apparent Theology that makes up a large part of Evangelion, and even if it has no real implication beyond the aesthetic (those initial warnings still rings true in my mind), I still feel that its prominence casts a large shadow over proceedings. If nothing else, it certainly lends a morbid atmosphere to the show. When one starts to take this apsect into closer consideration, it's easy to see why theory regarding Evangelion has become so prevalent.
One of the constants throughout is the titular Evangelion. Though they remain a focal part, their function, both narratively and thematically, are constantly shifting. Initially agents of change, they are presented as a mysterious, if helpful force. Gradually this is peeled back, as various allusions are made to what they actually are. Throughout, we see how their pilots are affected by their experiences in their cockpits. Shinji is continually drawn and repulsed by the idea of piloting his Evangelion, seeing it as a means to forge something meaningful, whilst at the time, also aware of how dependant he becomes of his new role. Rei is driven by a sense of twisted duty, one which routinely sees her sacrificing herself (needlessly) for the cause. And Asuka perceives her role as raison d'être to obfuscate her own past, which is both a strength and a weakness. For better or worse, the Evangelion define them, and as the story progresses, we see that this takes on altogether more sinister connotations.
When viewed as an allegory, I think Evangelion holds multiple meanings, depending on what part is being referred to, or indeed who is viewing it. My initial impressions were pretty much taking it at face-value, though I think the misdirection of the opening is a deliberate ploy for the most part. I've read that some take it as a deconstruction of the very genre it inhabits, though not having much experience with that myself, I choose to focus solely on the emotional aspects. Indeed, the psychological (and philosophical) strands become much more prominent as the series progresses, as it steadily veers into becoming a wholly oblique affair. Humanity may live on, but in spite of itself; something which is made abundantly clear, throughout.
In Summary:
Though its message initially seems quite muddled, I still feel it one that still manges to remain pertinent . I certainly can’t fault it for ambition. And there is something to be said about a piece of work that I simultaneously feel, is one of the most bleak and uplifting things I have witnessed, flawed or not.
I appreciate the themes that it chooses to explore. I like the characters, even in spite of everyone being contemptible in some glaring way. And in that respect, this series is nothing, if not a parade of characters struggling to deal with their emotions. But maybe that’s why I like it amidst all the abstract craziness; it retains a very human message.
Is this a ridiculously naval-gazing post about Evangelion? Yes. Is it an accurate assessment of the franchise as a whole? I have no idea. I tackled the this as an unknown. Which is part of the reason why I've been a little hesitant about even posting this to begin with. It seems everybody already has their opinion on Evangelion all figured out, so at least indulge me, as I scramble around for something.
And I'll be taking a cue from the example of others and doing away with the spoiler tags. Mainly for aesthetic reasons, as I doubt anyone would want to see a huge black field for the entirity of this post. Though I am aware of the sensitive nature of spoilers, I thought if I could make an exception anywhere, this would likely be it. If this is a problem, I'll make sure to amend it.
[End of Evangelion]
The End of Evangelion is a certainly a gratifying conclusion, as we finally get to see a lot of those earlier veiled details become clearer (well, as much as one could reasonably hope for). It also reminds us of some long-standing questions. Why do the Evangelion possess such a bizarre tendency to be ill-suited for battle? How do NERV’s continue to run unabated from governing bodies? What exactly is the mystery surrounding the origin of the Geofront? These were all broad strokes of why I felt unsatisfied by the original conclusion, and though I don’t expect every minor detail to be answered about such a multi-faceted world, I still feel these were questions pertinent enough to have been resolved in some fashion. Now I’m a little more aware of the troubled events leading up to that ending and it’s quite admirable that they managed to deliver something, despite the haphazard nature of those final two episodes.
It’s clear that End of Evangelion intends to underline the original series from the start, dropping us back at the critical juncture where episode 24 had left us. Even if one could feasibly state that we reach the same point after EOE, I’d argue that we inhabit a vastly different head-space by the time we reach it here. It’s not difficult to surmise what happens between the gaps left between the final two episodes, though everything is lent much more credence, now that we are left to witness the ramifications of what the entire series has been building towards. NERV headquarters is finally attacked by SEELE, and with this, we finally see the bloody climax. Now free to depict the attack in full detail, the opening half is certainly full of action and excess, though far from mindless, with only the most unflinching of viewers, likely to derive any sort of baseless pleasure from these scenes. The various lingering shots of deaths sit uncomfortably here, but nonetheless punctuate the finality of it all. As cold as the NERV headquarters is, it’s still disconcerting to see such a familiar setting being callously destroyed in a matter of minutes, along with everyone inside. The conflict has essentially existed as a faceless one; it’s a war being played out by the pawns, and here we see the severity first-hand.
Everything is crumbling, and so are the pilots. Shinji is in no fit state, evidenced by his own bemusement over his actions towards a comatose Asuka. It may be shocking, and his actions are far from admirable, but given the context, it’s hardly surprising. After all, his confidence had been built up; only to be meticulously broken the instant Kaworu reared his head. This compounded with his earlier apprehensions after Toji’s departure, and his various disingenuous relationships, leaves his mental state in tatters. He had begun the series with an overriding sense of hate and self-loathing; which had now given way to complete apathy. “I’m so fucked up” seems to ring more an acknowledgement, than it does a realization.
Like Shinji, Asuka too has succumbed to her trauma, but on a much more literal scale, being broken in both mind and body. They are two characters that are seemingly analogous to one another. But again, first appearances can be deceiving, as by the point of Asuka's introduction, we are already keenly aware of Shinji's nature. Meanwhile, Asuka is brash and outspoken, embracing her identity as a designated hero, rather than cowering behind it. How they choose to define themselves is different, but the underlying reasons are gradually revealed to quite similar. Both driven by an inherent self-loathing, we witness the pair at varying levels of despondency, though rarely at the same time. In fact, for as consistent as emotional turmoil is through NGE, it is rarely overt, leaving most characters to wallow in their own abject misery. Almost everything operates on a certain level on duplicity, some of which, admittedly, isn't apparent upon first viewing.
Rei is ostensibly disconnected from the very beginning, though that makes the act of attempting to interpret the character, quite difficult. Very little is revealed about her, and most of the development is concerned with what she is, rather than what she does. Her role is pivotal to the overall narrative, and the themes being explored, as she is, by design, a doll that emotes. Which I guess is where her appeal lies. The mystery intrinsic to the character is never completely done away with, even at the very end. And the case could be made if the third Rei incarnation is even the same character that we’d become accustomed to, as her eventual rejection of instrumentality is a stark contrast to the cold pragmatist that bookended the TV series.
All of which (in keeping with tradition), means the imminent attack is at the worst possible time, with each pilot being indisposed. The first big sequence, the NERV attack, is a veritable massacre. Everyone’s fates are conclusively played out, whilst the Evangelion become the focal point, 01 is promptly captured, whilst 02 (along with Asuka) is sunk to the bottom of the lake. This leaves Misato to attempt to galvanize an unstable Shinji. It’s kind of galling to see Shinji act so despondently in the face of her imminent death, though his selfishness probably obscures that fact until it’s too late. For me, Katsuragi is probably the most well-meaning of the entire cast, but tragically, is someone woefully inept of providing the emotional support that others around her need. Her own foils are clear to see, and although many of her problems are often emphasized for comic affect, she is still one of the few who straddles the line between her duties and profession life, perhaps the most convincingly. Like most other characters, she serves as juxtaposition to Shinji’s own conflict, and highlights how everyone is dealing with their own issues, just with varying levels of inadequacy. Her final actions echo her previous (failed) attempt at comforting Shinji, with her own loneliness giving way to fleeting intimacy.
Everything hits a crescendo once the Evangelion finally make their appearance, quite literally. Asuka awakens, and with it, her centrepiece battle takes place. I'm sure that it isn’t really something that I need to go into exacting detail about, because the following scene is enduring all by itself. Though it is notable as a culmination of the various elements all coming together, the music, the animation, the story. This is where EOE leverage's its theatrical status for all its worth, eschewing the patchwork TV ending in favour of something grander.
As previously mentioned, the actions scenes are often impressive and horrifying in equal measure, and there is probably no greater proof than here. Asuka’s death is certainly disturbing, and much of that is down to how they chose to portray that violence. For me, it recalled earlier moments, where the Eldritch Abomination status of the Evangelion had been evoked. These moments give the audience a brief pause for thought, where much is suggested of how horrifying their (The Evangelion) unshackled nature truly is. The unease which these moments produce, suggest that something is terribly untoward. Most of which is conveyed in how we (the audience) see others react, gleaning what we can from cutaway shots of onlookers recoiling in horror. If recollections of Unit O1’s previous ‘feast’ already served to perturb, then this surely toys with our imagination, yet further. We only see Unit 02 being devoured, and now knowing what we do about the distinctly human aspect of the Evangelion, the horror of Asuka's fate here now inhabits an altogether more unsettling space.
I made a quick reference to the original series ending after watching it, and although I did appreciate it, I was suitably invested to the point where the abrupt ending didn't wholly satisfy me. It was nice to see Shinji's own paradigm being settled, but I felt like it would have been more effective with a little more of that ambiguity stripped away. For as much as Evangelion likes to steep itself in duplicity, this is where it's felt like it was something of a compromise.
The inner turmoil was my key takeaway from the work as a whole; it forms the crux of every relationship, and dictates the course of every action. It’s a lonely show, something which if not apparent from the get-go, slowly permeates throughout the narrative. Shinji is an initially an awkward character to relate to, bumbling his way through his scenes, though much of this weak nature is revealed to be a product of his environment. The world in which this all takes place is irreparably damaged, and even if the true extent of the second impact isn't made expressly clear, it becomes quite apparent that humanity lives on in its own self-inflicted dystopia.
It is this inherent contradiction that defines nearly every relationship, as each is unwilling (or unable) to acknowledge their true feelings. It is ultimately a self-destructive existence for the likes of Shinji, who permeates multiple meanings to his interactions with people, the paradoxical nature of which is explored in the conflict that defines the multiple endings.
Shinji is our proxy, but even so, it can be difficult to empathize with him. A hero he may be, but it’s a role which he consistently questions, as he exhibits almost none of the values we typically associate with one. He ostensibly comes of age throughout the series, gradually gaining some semblance of self-worth, though it a precarious act as he constantly seeks assurance from his father, and later anyone (which becomes something that Asuka resents him for). No character is treated like a proverbial puppet more than Shinji. In fact, it is SEELE themselves, who objective turns out to ultimately “break” Shinji, rendering his ego to naught. For all intents and purposes, it could be argued that the whole world is literally against him, at least by his own perceptions. His relationship is Asuka is extremely strained, initially showing hints of affection, though their hilariously depressing kiss encapsulates this dichotomy. Neither the circumstances (nor the characters) allowing for anything to take place. Even the slight reprieve offered in the finale (Asuka’s acknowledgement) is obfuscated by the context in which it’s delivered.
Shinji’s journey dictates the ending, first in the original series, where his perspective colours the ambiguity, from which we see the fallout. Thematically this works (and I can see why some may prefer the agency it gives the audience), though I feel that the abstract nature of this ending, robs it of some emotional resonance. This conclusion is also hampered (at least for me) in how abrupt it is, with certain story threads left dangling. In my opinion, End of Evangelion gives a much more balanced and subjective conclusion, where we see first-hand “The Human Instrumentality Project” in effect. I was suitably invested to the point where I wished to see how the end was reached, and of course, see something that wasn't cobbled together with recycled animation! I can certainly appreciate the original ending as a companion piece, which serves as a more personal and intimate resolution. But the fact remains, a lot of the fascination surely lies with how incomplete this all feels, with each finale, seemingly answering as many questions as they raise.
That said, I find that both endings offer up a surprisingly optimistic message. The original may be more overtly upbeat, but I think that EOE’s is lent more credence by virtue of the horror that precedes it. The life affirming message is delivered in the most tragic of circumstances, and I perhaps find that most heartening of all. By no means does End of Evangelion end on a positive note, but I think it’s enough that it carries the promise of one. The somber sentiment may be more prevalent for some, though my rebuttal would point to the fact that, for as depraved and unethical the means may be, everyone ultimately wants to be happy. Daw!
There is something to be said about the apparent Theology that makes up a large part of Evangelion, and even if it has no real implication beyond the aesthetic (those initial warnings still rings true in my mind), I still feel that its prominence casts a large shadow over proceedings. If nothing else, it certainly lends a morbid atmosphere to the show. When one starts to take this apsect into closer consideration, it's easy to see why theory regarding Evangelion has become so prevalent.
One of the constants throughout is the titular Evangelion. Though they remain a focal part, their function, both narratively and thematically, are constantly shifting. Initially agents of change, they are presented as a mysterious, if helpful force. Gradually this is peeled back, as various allusions are made to what they actually are. Throughout, we see how their pilots are affected by their experiences in their cockpits. Shinji is continually drawn and repulsed by the idea of piloting his Evangelion, seeing it as a means to forge something meaningful, whilst at the time, also aware of how dependant he becomes of his new role. Rei is driven by a sense of twisted duty, one which routinely sees her sacrificing herself (needlessly) for the cause. And Asuka perceives her role as raison d'être to obfuscate her own past, which is both a strength and a weakness. For better or worse, the Evangelion define them, and as the story progresses, we see that this takes on altogether more sinister connotations.
When viewed as an allegory, I think Evangelion holds multiple meanings, depending on what part is being referred to, or indeed who is viewing it. My initial impressions were pretty much taking it at face-value, though I think the misdirection of the opening is a deliberate ploy for the most part. I've read that some take it as a deconstruction of the very genre it inhabits, though not having much experience with that myself, I choose to focus solely on the emotional aspects. Indeed, the psychological (and philosophical) strands become much more prominent as the series progresses, as it steadily veers into becoming a wholly oblique affair. Humanity may live on, but in spite of itself; something which is made abundantly clear, throughout.
In Summary:
Though its message initially seems quite muddled, I still feel it one that still manges to remain pertinent . I certainly can’t fault it for ambition. And there is something to be said about a piece of work that I simultaneously feel, is one of the most bleak and uplifting things I have witnessed, flawed or not.
I appreciate the themes that it chooses to explore. I like the characters, even in spite of everyone being contemptible in some glaring way. And in that respect, this series is nothing, if not a parade of characters struggling to deal with their emotions. But maybe that’s why I like it amidst all the abstract craziness; it retains a very human message.
A lot of viewers give shows crap for things that don't ultimately matter. In the end, entertainment should be able to elicit some sort of intentional emotional involvement, if it has a story, or a point. And I am starting to learn how to give a pass to things like suspension of disbelief, melodrama, and minor inconsistencies, if those things are there intentionally to support the story or the idea. Entertainment doesn't have to always be as believable as possible, but if it holds a strong narrative, asks thought-provoking questions, or excites us in unexpected ways then who the hell cares?
It's one of the better aspects of the third arc, really, that
Flit's son and grandson come to reject him
That their rejection does nothing to pull Flit's head out of his ass, but only Yurin's uh, forgiveness?
That and that they don't focus on it enough. If arc 3 had been about those relationships in particular, and Ezelcant's mustache twirling hadn't been so blatantly shoe-horned in at the last minute, it would've been much better. And even knowing what I now know about Mobile Suit Gundam, I'm prepared to insist that Ezelcant's mustache twirling was a horrible, unnecessary last minute addition to defend Flit.
Gundam AGE COULD have been a good show. Instead it became awful.
EDIT: I never saw Death and Rebirth. GAF told me I didn't need to.
Chet Rippo
Member
Hating on Chopper means hating on Pikachu and that's not cool in any book.
Pikachu sucks.
Sounds like a good episode, hype!
Gundam AGE 35
God damn at Kio taking Flit to the task too.
I'm anticipating the cursed treasure nonsense is where this all falls apart. Seems like it's going to undermine a technological arms race that's already been minimized by the AGE system's deus ex machina status.
Didn't even notice the slightly adjusted OP last ep. I'm a sucker for that shit.
Show looks so nice sometimes.
God damn at Kio taking Flit to the task too.
Nice touch to show Obright cleaning the deck by hand like the girl he liked, a stark contrast to Flit here.
I'm anticipating the cursed treasure nonsense is where this all falls apart. Seems like it's going to undermine a technological arms race that's already been minimized by the AGE system's deus ex machina status.
Dedication Through Light
Member
Straight Title Robot Anime 3
The second half of this anime is always the best part, the VAs seem to be having so much fun and I guess they are doing that thing where they have no lines and are just speaking on the spot or something, the stuff they say is so ridiculous sometimes and they even cant help themselves from laughing at it, lol.
Having the mechs do the spinning baseball bat thing before attacking made the battle simulation funny.
The second half of this anime is always the best part, the VAs seem to be having so much fun and I guess they are doing that thing where they have no lines and are just speaking on the spot or something, the stuff they say is so ridiculous sometimes and they even cant help themselves from laughing at it, lol.
Having the mechs do the spinning baseball bat thing before attacking made the battle simulation funny.
Regulus Tera
Romanes Eunt Domus
Dammit Watanabe now I want you to review the Utena movie. That was certainly worth the wait, as your essay of sorts touches on all the major themes I was expecting you to notice and not just "ooh pretty robot animation and apocalypse".
One little bit of nitpicking I want to point out because I'm obnoxious like that:
Pretty sure End of Eva was theatrically released.
Not you too. Have you checked out the Kuroko no Basket OVA yet? It's really good.
I should have said theatrical, but there you go! For as much as you like to check these things before hitting "post", you know something will invariably slip through!
And thanks. I certainly intend to watch Uteana at some point, it's just a matter of when!
Regulus Tera
Romanes Eunt Domus
Seriously though, that was fantastic. You have a way with words I've seen in very few posters, maybe just Poetic Prose. Don't let my nitpicking take away from the body of your writing.
Regulus Tera
Romanes Eunt Domus
What would we talk about? This season is horrendous.
ZachDeKoromaru
Banned
How horrendous it is?
So bad that even with the infinite backlog potential, we won't hit OT4.
RurouniZel
Asks questions so Ezalc doesn't have to
Smile Precure 15:
In this episode we learn Miyuki is forgetful and not very good at much except being happy... and making uncute necklaces.
Randomly, every time I see the Wolfrun I think I'm watching Slayers for some reason. He would totally fit into that universe.
In this episode we learn Miyuki is forgetful and not very good at much except being happy... and making uncute necklaces.
Randomly, every time I see the Wolfrun I think I'm watching Slayers for some reason. He would totally fit into that universe.
At the very least, the relatively slow and uneventful pace of this thread today has let me do a lot of work I've needed to do!
Chet Rippo
Member
Who cares about what you talking about, I just want to hear what you all sound like.
Seraphis Cain
bad gameplay lol
I feel like I'm not posting enough lately. :lol I've been spending so much time on my Japanese lessons that I haven't been doing much else, heh. Haven't even watched this week's Mondaiji yet. I should probably get to that.
On the upside, I've pretty much got hiragana down. So that's nice.
On the upside, I've pretty much got hiragana down. So that's nice.
some customers think I sound like a lady on the phone.
RurouniZel
Asks questions so Ezalc doesn't have to
I feel like I'm not posting enough lately. :lol I've been spending so much time on my Japanese lessons that I haven't been doing much else, heh. Haven't even watched this week's Mondaiji yet. I should probably get to that.
On the upside, I've pretty much got hiragana down. So that's nice.
がんばれ！　おうえんします！
ZachDeKoromaru
Banned
I feel like I'm not posting enough lately. :lol I've been spending so much time on my Japanese lessons that I haven't been doing much else, heh. Haven't even watched this week's Mondaiji yet. I should probably get to that.
On the upside, I've pretty much got hiragana down. So that's nice.
I've been playing Fire Emblem and writing an essay due Monday. Doing one thing certainly isn't helping the other!
Regulus Tera
Romanes Eunt Domus
If all you ever wanted was to hear my soothing voice you should have just PM'd me your Skype user name.
Chet Rippo
Member
I don't care for my voice. I sound hollow.
Arc 3 fell apart for me in the next couple episodes, I think. Once Kio
finds out what Ezelcant's plan is
Seraphis Cain
bad gameplay lol
ありがとうございます！
Dedication Through Light
Member
Maoyu 8
Fun times just relaxing Merchant/Yuusha, I liked that most when they were laying there. But otherwise just plain odd plot direction.
Fun times just relaxing Merchant/Yuusha, I liked that most when they were laying there. But otherwise just plain odd plot direction.
why run and hide just go and destroy their opponents and end the day, no point dragging it out for two months :/
Chet Rippo
Member
But I still want to hear it.
I feel like I'm not posting enough lately. :lol I've been spending so much time on my Japanese lessons that I haven't been doing much else, heh. Haven't even watched this week's Mondaiji yet. I should probably get to that.
On the upside, I've pretty much got hiragana down. So that's nice.
ばかいぬ！
(edit: redacted, if I can't find a non-condescending way to say something I shouldn't say it)
We'll never do a podcast because an unsustainable number of people will understandably want a piece of the pie and there's no point in the effort when there's not a significant audience beyond this thread. And laziness. Mostly laziness.
cosmicblizzard
Banned
JoJo's Bizarre Adventure 20
ANIMATION!
The way they handled this was fantastic. I forgot most of the lead up to the final battle, and I can't think of a better way to remind me than with an episode adapted so masterfully. I don't know if I'd go as far as say it's the best episode in the show, but damn was it badass/emotional/emotionass.
ANIMATION!
The way they handled this was fantastic. I forgot most of the lead up to the final battle, and I can't think of a better way to remind me than with an episode adapted so masterfully. I don't know if I'd go as far as say it's the best episode in the show, but damn was it badass/emotional/emotionass.
Regulus Tera
Romanes Eunt Domus
Stop being such an elitist and let them have their fun.
R_thanatos
Member
If we go by slayers try season , there are plenty of characters that can fit into the slayer universe ..
Still he can be as much as a running gag ennemy in slayers that he is in smile.
cosmicblizzard
Banned
You really think there's an audience beyond the toonami thread for them?
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