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It's not that important to watch if you don't dig teen angst overlaid with pointless religious imagery.

 

Man, I wish I'd tried harder to stick with it the first time I started watching it in middle school. That was the time in my life when I totally did dig teen angst overlaid with pointless imagery (and I read a lot of comics to that effect). And yet... eva just felt annoying and tedious to watch.

 

I'm intrigued with eva for no other reason than it's a show that people (whose taste I respect) praise and dismiss in almost equal measure.

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Man I kinda just realized that everyone who I recommended Punpun to who also doesn't like teen angst and imagery in eva might not like Punpun. I still haven't seen eva so I have no way of knowing but Punpun has a lot of that.

But Punpun is also super smart, everything has a point to it, the angst actually develops in a way that's interesting, it doesn't exist just to exist, and there's no feeling of being navel gazy in the way I hear eva being. It's also has a wide view of adulthod, love and idealism that's not intended to be relatable or limiting. It's less Hamlet whining about death and more Horatio awkwardly stepping around him while quietly disapproving.

It's also told in a way that doesn't ever directly present the thoughts and feelings of anyone besides the main character, which even then are told in third person past tense by a directed narrator. If it makes it any better, the angst is more something you observe and recall rather than something you're intended to participate in or find sympathetic.

I dunno. Fucking read it.

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If the bad animation bothers you that much, watch the rebuild films, which are a retelling. Kinda. Although I doubt you'll get the same impact I experienced for the 2nd film, which is honestly the best anime film I've ever watched.

Well I should say limited animation doesn't bother me as much as if the frames are at least well drawn like say Ergo Proxy. But then the really well animated stuff is often simplified, it's so give and take.

 

I really just have a problem with the character designs more than anything else and maybe the stale backgrounds. The three mains are all the same body in face, except different hair and boobs. Their heads get bigger as it goes to the top and it looks bizarre, like they are all balloon face. Plus when they are drawn from the side it's like the anatomy collapsed in on itself.

As far as Punpun, I was more just interested in exploring the artist as a whole because Inio Asano draws well realized panels and refined to boot. From what I was seeing it was like a far less wacky Taiyo Matsumoto. All too many manga artists spend a lot of time just drawing the characters in blank space, well actually most comic artists across the globe, so it's always refreshing when I see an artist who might set up a scene more like a film with a background and camera angle.

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Episode 5 of Planetes: a couple discuss double suicide with the same tone and the same backing music as the wacky guy getting used to zero g three minutes earlier, all after straight up barfing up their backstory.

The worst.

So far all of the potentially good points and interesting themes have boiled down to shouting matches between characters with either extreme opinions or spur of the moment emotional swings. There's no nuance or poignancy to anything, which sucks because everything it seems to want to say begs for it. It just reads like a badly written sitcom soap opera that doesn't trust its audience at all and it's such a shame because it's IN SPACE. It's IN SPACE and the science isn't totally bullshit, and it sucks to find such a unique anime only to be be disappointed by writing that belongs in a shonen anime's boss battle arc in every episode.

I want it to be good which is why I'm still watching it, but Christ almightly.

One episode has a whole classism and adult fears thing that gets boiled down to a "snooty rich kid makes fun of poor people and has a naïve worldview" character who's at best a shitty caricature (at one point he actually just says "this is how the world works").

Edit: I got to the fucking space ninjas.

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Episode 5 of Planetes: a couple discuss double suicide with the same tone and the same backing music as the wacky guy getting used to zero g three minutes earlier, all after straight up barfing up their backstory.

The worst.

 

I had this same reaction to the first couple episodes of Planetes. It gets better. Like, an entirely different show.

 

If the bad animation bothers you that much, watch the rebuild films, which are a retelling. Kinda. Although I doubt you'll get the same impact I experienced for the 2nd film, which is honestly the best anime film I've ever watched.

 

2.22 was so good, it's the only rebuild film that I can actually remember parts of. 1.11 and 3.33 have completely washed away for me.

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2.22 was so good, it's the only rebuild film that I can actually remember parts of. 1.11 and 3.33 have completely washed away for me.

 

Although I think the craft is a bit more practiced, and therefore a bit less resonant with me, I think that Rebuild of Evangelion 2.22 is the high point of synergy between Evangelion's themes and its plotting. I love that it changes some things completely from the original series and yet the thematic outcome is the same. Furthermore, I like that the thematic outcome being the same, regardless of the things inciting it, intensifies said thematic outcome. I know, I'm being obscure to the point of circularity. I'll stop.

 

1.11 is literally just the first six episodes of the original series. Besides a cameo from Mari and a few missing pieces of foreshadowing, virtually nothing's changed. After more than a year of careful consideration, I think that 3.33 is basically this:

 

tumblr_mryqtxWJR31syf6uco1_500.gif

 

It's weird Kaworu piano seduction, all the way down. The timeskip, the schism in NERV, all of it is just to excuse the post-apocalyptic boy-love.

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Rebuild looks so much better in terms of character construction, animation, and overall quality of art, it's much more convincing as something worth watching. Didn't they add a bunch of fan service too for some reason?

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Didn't they add a bunch of fan service too for some reason?

 

A little bit? There's an Asuka nude scene in 2.22 that closely parallels the Shinji nude scene from the original show, plus more flattering angles regarding plugsuits, but otherwise I don't particularly think so.

 

Oh, right. Mari. Yeah, Mari's in there as fan service, definitely, but her scenes are so disjointed and unrelated to the movies proper, I barely even think of her. Anno started out saying that she would "destroy Eva," but after had three movies and countless rewrites, he still hasn't really built her into the plot. She's just kind of drifted into being a shitty meganekko Asuka who shows off her butt too much, suggesting that the "cool/confident/craven" triumvirate of character types in the original Evangelion is impossible to improve.

 

Honestly, if you ignore the two minutes total that Mari appears in them Rebuild of Evangelion 1.11 and 2.22 make a good duology. They aren't as dense or intricate as the original series plus End of Evangelion, but they stand well on their own without much explanation. I'm still not sure I'd recommend it, because they spoil (or one-up) a lot about the original series, so if you end up liking the series' universe from the Rebuild movies and want to go back, you're kind of screwed there.

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A small thing, but otaku came out in force earlier this month to counter a hate-speech demonstration in Akihabara. In response to signs and chants calling all foreigners "criminals" and urging the Japanese government to expel companies from overseas, otaku were carrying their own signs that said stuff like "Otaku have no borders."

 

Like I said, it's a small thing, but with #GamerGate closing out its ninth month, it's nice to see a similar subculture that has been infantilized and demonized in the past respond to that marginalization by embracing social responsibility and positive action. More photos here.

 

17779440005_058228dc0e_z.jpg

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I'm not sure I'd call it a small thing, isn't it rare to see a subculture actively protesting in public instead of with just hashtags and reblogs?

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This is a weird and personal thing to bring up now but I was talking to my friend about anime (the same one I talked to about moe and gender) and she brought up how waifu/otaku culture reminds her of a huge Oedipal phenomenon where victims of the paternalistic pressures of society retreat into and obsess over the maternal embrace of animated dolls that comfort and encourage and become more and more hostile toward daddy society. I feel like the exact wording is a stretch and that Freudian dynamics are overused and misunderstood but I feel like this puts into words why I feel so weird and uncomfortable about engaging with the culture surrounding anime and the works that emerge from its demand, or specifically the moe character trope. It feels like I'm participating in a huge creepy indulgence in subconscious insecurities that's beyond perpetuating gender stereotypes or otherwise promoting questionable social ideology. It just feels creepy because of the intended function of being a kind and motherly distraction from a harsh world, which because of the ubiquity of certain art styles and the format of TV episodes, is even largely independent of the actual "message" or content of the piece.

My friend then jumped to Eva and eagerly encouraged me to watch it. I really, really feel weird about it now

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I'm not sure I'd call it a small thing, isn't it rare to see a subculture actively protesting in public instead of with just hashtags and reblogs?

 

I'm not sure of the implications, mostly because I'm not particularly acquainted with the dynamics of Japanese internet usage, but in terms of what's common in the United States at least, it seems like a rare phenomenon. It's also interesting that most of the people in the pictures (except some, like the guy or girl holding the "anime creator" sign) are allowing themselves to be photographed, which is really uncommon at any event where a person could be identified as otaku for attending. People have lost their jobs for that exact thing, especially at Comiket.

 

This is a weird and personal thing to bring up now but I was talking to my friend about anime (the same one I talked to about moe and gender) and she brought up how waifu/otaku culture reminds her of a huge Oedipal phenomenon where victims of the paternalistic pressures of society retreat into and obsess over the maternal embrace of animated dolls that comfort and encourage and become more and more hostile toward daddy society. I feel like the exact wording is a stretch and that Freudian dynamics are overused and misunderstood but I feel like this puts into words why I feel so weird and uncomfortable about engaging with the culture surrounding anime and the works that emerge from its demand, or specifically the moe character trope. It feels like I'm participating in a huge creepy indulgence in subconscious insecurities that's beyond perpetuating gender stereotypes or otherwise promoting questionable social ideology. It just feels creepy because of the intended function of being a kind and motherly distraction from a harsh world, which because of the ubiquity of certain art styles and the format of TV episodes, is even largely independent of the actual "message" or content of the piece.

My friend then jumped to Eva and eagerly encouraged me to watch it. I really, really feel weird about it now

 

I mean, to reference the quotation of Baudrillard used by Simon Pegg in the Ethics & Journalistic Integrity thread, almost all fiction is a distraction. If it's not outright infantilizing its audience with childish things, it's encouraging introspection and contemplation instead of action. No book (or movie or show or game) actively begs you to put it down and go do something else. They all want you to sit still and keep consuming, even the greatest works of fiction.

 

But anyway, I do feel the dynamic on which you're focusing in anime, and it's something that bothered Anno enough that it dictates a large portion of the themes in Neon Genesis Evangelion. He felt (and probably still feels, I don't know) that being an otaku increasingly meant substituting relationships with media works for relationships with actual people, and that accordingly otaku had come to perceive flat characters as more human than actual humans. In addition to the other thematic elements to which they contribute, all of his characters are aggressive criticisms of different expectations for and by otaku in modern society. One of my friends, who is much more perceptive to interesting strains of thought in Evangelion, pointed out that the Children also represent the psychological problems of different generations (Rei is Taishou-era and early Shouwa-era passivity and receptivity to authoritarian control; Asuka is postwar positivism and obsession with success; Shinji is bubble-era anxiety, aimlessness, and anomie; Mari is... well, our generation, which means the poor man's Asuka) and I think that interpretation shows the flexibility and utility of Anno's cultural criticisms. Evangelion's just such a weird thing because Anno's deeply interested in criticizing a lot of the things that you've criticized, Blambo, but in the process of doing so, he kickstarted an even more vibrant phase of the moe trope's dominance, mostly because people just weren't interested in digesting his criticisms.

 

Also, can you bring Kenny Loggins back? I miss him.

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Isn't that more or less what Simon Pegg said about nerd culture in general? I really don't get it, isn't the point of a hobby and entertainment in general "escaping from the harsh world"? 

 

When a normal guy vegetates on the sofa watching TV he's just relaxing, but if you're a nerd... Oh, no! He's running away from reality! SHUN HIM! This is so dumb, this whole "escaping from reality", "infantilization" and such. What ISN'T "escaping reality"? All hobbies and ways to pass the time are "escaping from reality"! Reading books, drinking, sports, EVERYTHING.

 

Everybody talks about escaping reality and such, but they never say what facing reality is. Is it being informed? Being mature? Socializing with real people? Going outside? Nobody says it, but guess what, you can do ALL of these and still come home to watch an anime cat maid waifu show.

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Everybody talks about escaping reality and such, but they never say what facing reality is. Is it being informed? Being mature? Socializing with real people? Going outside? Nobody says it, but guess what, you can do ALL of these and still come home to watch an anime cat maid waifu show.

 

That's also a good point, Tanu. I consume an order of magnitude more anime than anyone I've ever met, but I'm also going to grad school (which, granted, a lot of people don't consider the "real world") and maintaining a circle of friends that isn't huge but is still more people than I can reasonably expect to spend quality time with over the course of a single month (even if I were to stop watching all anime). I don't think I've been infantilized or sheltered by the moe-type anime that I consume, any more than someone who plays an MMO in their spare time is being seduced from reality by the conveniently bite-sized challenges offered in the virtual realm. I don't think that's exactly what Blambo meant, though.

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Isn't that more or less what Simon Pegg said about nerd culture in general? I really don't get it, isn't the point of a hobby and entertainment in general "escaping from the harsh world"?

When a normal guy vegetates on the sofa watching TV he's just relaxing, but if you're a nerd... Oh, no! He's running away from reality! SHUN HIM! This is so dumb, this whole "escaping from reality", "infantilization" and such. What ISN'T "escaping reality"? All hobbies and ways to pass the time are "escaping from reality"! Reading books, drinking, sports, EVERYTHING.

Everybody talks about escaping reality and such, but they never say what facing reality is. Is it being informed? Being mature? Socializing with real people? Going outside? Nobody says it, but guess what, you can do ALL of these and still come home to watch an anime cat maid waifu show.

This is all true but it's also ignoring the possibility that some things are actually optimized to encourage closing yourself off from "normal" life and even being hostile toward it. I don't mean to normalize any aspect of life and I also don't want to say that nerd culture is inferior or fake, I just feel that anime in particular has features that capitalize on a sort of unconscious insecurity, probably not due to any malice on the part of the creators but due to the cycles of market demand and cultural exchange. I'm specifically referring to that dynamic of embracing some aspect of life and shunning another when both can be accessible. Maybe it's a stereotype of american anime nerd or whatever but I can see that being the case, judging from the way I see people engaging with anime and video games online. (This community notwithstanding)

But even detached from anime, don't you feel that this specific kind of relationship with media is limiting personal growth and exacerbating cultural stagnancy? It's not the inherent aspect of escapism in fiction that bothers me but how often audiences and authors optimize toward it, and how the product of such optimization can be used to enhance the existing psychological issues of people who do engage with media in a kind of unhealthy way, ie to cover up insecurities and never deal with them. I have a strong feeling that moe anime does this, but I'm not saying that it's impossible to enjoy it without having latent Freudian psychological issues.

I understand that fiction can be extremely cathartic and invoke self-reflection but to see past the presentational escapism layer requires a certain amount of focus and participation from the audience, and many creators cannot afford that risk while many audiences aren't willing to put up the effort. Showing what fiction is capable of doesn't excuse the aspects of it and the many exploitative works in it that work to its disadvantage, and I think that interpreting any criticism of escapism in media as criticism of the platonic ideal of escapism misses the point and skips over a lot of its nuance.

Anyway Kenny Loggins is no longer my waifu, Gorm.

Edit: Regarding my post I was mostly interested in exploring my friend's idea of the oedipal motherly role that escapism can take in defense of some oppressive father figure, whether it takes the form of Reality or Society or whatever. I got into anime recently because of a series of really shitty emotional events and sustained depression so this makes a lot of sense to me, haha. I thought it fit into the ongoing conversation of how otaku culture emerges from the pressures of Japanese society in the first place, but this is a huge topic and I definitely need to do more reading about it. I think it's worthy discussion though.

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I understand that fiction can be extremely cathartic and invoke self-reflection but to see past the presentational escapism layer requires a certain amount of focus and participation from the audience, and many creators cannot afford that risk while many audiences aren't willing to put up the effort. Showing what fiction is capable of doesn't excuse the aspects of it and the many exploitative works in it that work to its disadvantage, and I think that interpreting any criticism of escapism in media as criticism of the platonic ideal of escapism misses the point and skips over a lot of its nuance.

 

I mean, I think that's a survival strategy for most "true artists" in mainstream anime (and, thinking of games like Spec Ops: The Line, also probably in AAA video games). You have the surface layer of culturally-reduced escapism to sell the show to the people who will actually make it profitable, and then you have a deeper layer of actual meaning, which may or may not integrate the thematic and aesthetic elements of the surface layer, that is then assessed as successful or not based on the dissonance therein. I don't think anime is conspicuously more complicit in this dynamic than movies or video games, but because the added level of cultural difference promotes a degree of othering that's not present in homegrown media products, people are a lot less tolerant of it when it's not something they've been trained by modern media culture to expect (or want). There have been more than a couple people, almost always forum newbies, who've shown up in this thread to say that anime is childish entertainment for gross perverts, without blinking an eye at how much of the world still thinks that video games are childish entertainment for psychotic killers. Then again, that perception also exists in Japan, where cultural difference can't explain it, and it's existed since at least the late eighties, with the first "otaku murderer," so maybe that's just the typical obsession over the validity of a new medium, which tracks back to sixteenth-century German monks complaining that these newfangled "novels," which were read silently and alone instead of in public to an audience, were going to turn people into solipsistic obsessives trapped in a fantasy world. I don't know, they seem like two sides of the same coin to me, so I try not to worry about the KyoAni moe machine just like I try not to worry about Call of Duty. Like the Thumbs said a few weeks back, it's all about developing a palette that can recognize and appreciate the strengths of a given work beyond the requisite slather of violence or sex that basically everything mainstream is obligated to have, at least if it wants to be profitable. I think there's a lot to love in anime, but it does take work, because animeeeee (sung in the same way as "video gaaaaames").

 

In general, I don't waste much time or effort worrying about cultural stagnancy. Historically speaking, over several millennia, those concerns have almost never been timely or pressing, so long as artistic mediums remain the province of people and not institutions. I do worry about people on the other end with unhealthy patterns of media consumption, no matter the medium, but I think the vanguard there should be the social and cultural framework, especially how it talks about media in a way that's critical and also aspirational. That's a lot of what I try to do when I talk about anime.

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I mean, I think that's a survival strategy for most "true artists" in mainstream anime (and, thinking of games like Spec Ops: The Line, also probably in AAA video games). You have the surface layer of culturally-reduced escapism to sell the show to the people who will actually make it profitable, and then you have a deeper layer of actual meaning, which may or may not integrate the thematic and aesthetic elements of the surface layer, that is then assessed as successful or not based on the dissonance therein. I don't think anime is conspicuously more complicit in this dynamic than movies or video games, but because the added level of cultural difference promotes a degree of othering that's not present in homegrown media products, people are a lot less tolerant of it when it's not something they've been trained by modern media culture to expect (or want). There have been more than a couple people, almost always forum newbies, who've shown up in this thread to say that anime is childish entertainment for gross perverts, without blinking an eye at how much of the world still thinks that video games are childish entertainment for psychotic killers. Then again, that perception also exists in Japan, where cultural difference can't explain it, and it's existed since at least the late eighties, with the first "otaku murderer," so maybe that's just the typical obsession over the validity of a new medium, which tracks back to sixteenth-century German monks complaining that these newfangled "novels," which were read silently and alone instead of in public to an audience, were going to turn people into solipsistic obsessives trapped in a fantasy world. I don't know, they seem like two sides of the same coin to me, so I try not to worry about the KyoAni moe machine just like I try not to worry about Call of Duty. Like the Thumbs said a few weeks back, it's all about developing a palette that can recognize and appreciate the strengths of a given work beyond the requisite slather of violence or sex that basically everything mainstream is obligated to have, at least if it wants to be profitable. I think there's a lot to love in anime, but it does take work, because animeeeee (sung in the same way as "video gaaaaames").

In general, I don't waste much time or effort worrying about cultural stagnancy. Historically speaking, over several millennia, those concerns have almost never been timely or pressing, so long as artistic mediums remain the province of people and not institutions. I do worry about people on the other end with unhealthy patterns of media consumption, no matter the medium, but I think the vanguard there should be the social and cultural framework, especially how it talks about media in a way that's critical and also aspirational. That's a lot of what I try to do when I talk about anime.

I do recognize that there's a certain amount of cultural perspective that goes into my preferring anime to be the butt of my criticism, though that's kind of why I'm trying to dissect specific aspects of the medium so I can understand it as much as I understand something that's more home grown to me, ie video games. I guess I'm coming off too strong on solely criticizing anime because I don't mean to say that no other medium is a source of gross exploitation of a psychological or cultural issue, I'm focusing on anime because it's something I don't buy into or get as much as someone who grew up around it, and because I want to see people criticize and develop a palette for anime on the level that, say, the Thumbs do for video games. I cringe every time I read something that says "it's just entertainment" when referring to any medium, and whenever people just ignore repeated tropes and aesthetics because "that's just what anime is". Much of the criticism that's shaped like "video games turn people violent" is too crass but there's always room for understanding the psyche behind violence in video games just as much as there is for understanding the psyche behind fawning over animated high school girls. But I dunno, "substituting virtual love for real love" is not on the same level as "video games make you a violent killer". The better anime analogue is "liking moe makes you a pedophile", which is ridiculous. However that makes the original, less cartoonishly stupid criticism of anime worth talking about.

By the way I think this thread has achieved a lot in helping me develop a better understanding of the medium and how I interface with it, and much of it is due to your intelligence and engagement, Gorm.

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As you already pointed out, I think both "anime" and "moe" is way too broad to get any meaningful discussion than say, "violent video games".  So I think something more specific (which I think there are plenty of worth criticizing) is needed to get anything out of it.

 

Say like, do you have a series, character or merchandise in mind to analyze through your hypothesis?

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I subscribed to Funimation because I am weak of heart (and so I can stop downloading stuff...) and started watching Claymore on a whim.

 

Man it sure loves to go into exposition mode. Also that boy companion of hers sure is annoying. I should... probably stop watching it. I've heard the manga is better? I think I've heard that, anyway. Maybe I should read that instead.

 

I wish CR's manga selection actually ever improved. Seems like they get like five new things a year and it's never anything big.

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I do recognize that there's a certain amount of cultural perspective that goes into my preferring anime to be the butt of my criticism, though that's kind of why I'm trying to dissect specific aspects of the medium so I can understand it as much as I understand something that's more home grown to me, ie video games. I guess I'm coming off too strong on solely criticizing anime because I don't mean to say that no other medium is a source of gross exploitation of a psychological or cultural issue, I'm focusing on anime because it's something I don't buy into or get as much as someone who grew up around it, and because I want to see people criticize and develop a palette for anime on the level that, say, the Thumbs do for video games. I cringe every time I read something that says "it's just entertainment" when referring to any medium, and whenever people just ignore repeated tropes and aesthetics because "that's just what anime is". Much of the criticism that's shaped like "video games turn people violent" is too crass but there's always room for understanding the psyche behind violence in video games just as much as there is for understanding the psyche behind fawning over animated high school girls. But I dunno, "substituting virtual love for real love" is not on the same level as "video games make you a violent killer". The better anime analogue is "liking moe makes you a pedophile", which is ridiculous. However that makes the original, less cartoonishly stupid criticism of anime worth talking about.

By the way I think this thread has achieved a lot in helping me develop a better understanding of the medium and how I interface with it, and much of it is due to your intelligence and engagement, Gorm.

 

No problem! It doesn't really bother me that you're critical. I mean, there are few things that I care about more in this world than Neon Genesis Evangelion, and I mostly kept my cool. You saying that moe is gross doesn't really bug me. I just worry that you're forcing yourself to watch the wrong kind of anime out of a sense of obligation or out of bad curation. If you're persevering, never mind, and keep throwing whatever thoughts you have up here.

 

Man it sure loves to go into exposition mode. Also that boy companion of hers sure is annoying. I should... probably stop watching it. I've heard the manga is better? I think I've heard that, anyway. Maybe I should read that instead.

 

Yeah, I like Claymore, but fair warning that it takes a long time to go anywhere, and then it ends abruptly when they run out of manga. "Satisfaction" is definitely not part of the equation there.

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Cross-posting from the podcast thread, Key Frames, Episode 00 - Don't Feed the Dragon (Little Witch Academia)
 
Show notes are below.
 

Spotlight:
Little Witch Academia (1:07:57)
 
Discussed:
Rurouni Kenshin (manga) (5:47)
Kuroko's Basketball (11:02)
Shirobako (20:19)
Ore Monogatari (25:33)
Gintama (29:15)
Yuri Kuma Arashi (36:55)
Death Parade (52:43)
 
Mentioned:
Yu-Gi-Oh (2:07)
Dragonball Z (2:20)
Tenchi Muyo (2:22)
Sailor Moon (2:23)
Trigun (3:03)
Naruto (4:37)
FLCL (4:45)
One Piece (5:09)
Perfect Blue (5:32)
Akira (5:33)
Spirited Away (5:34)
Rurouni Kenshin: Trust & Betrayal (7:06)
Baki the Grappler (13:33)
Princess Jellyfish (16:28)
Genshiken (16:40)
Azumanga Daioh (17:48)
The Secret World of Arrietty (23:16)
Neon Genesis Evangelion (23:33)
School Rumble (26:13)
Cromartie High School (26:54)
Oh! Edo Rocket (31:23)
Sayonara, Zetsubou-Sensei (35:42)
Revolutionary Girl Utena (37:02)
Penguindrum (37:03)
Mobile Police Patlabor (41:38)
School Days (45:13)
Tokyo Ghoul (47:17)
Fullmetal Alchemist (49:17)
Fullmetal Alchemist: Brotherhood (49:26)
Black Lagoon (51:10)
The Tatami Galaxy (52:02)
Yowamushi Pedal (55:41)
Girls und Panzer (1:02:52)
Upotte!! (1:02:57)
Clannad (1:03:40)
K-On! (1:05:20)
Gurren Lagann (1:08:46)
KILL la KILL (1:08:48)
Inferno Cop (1:10:03)
Death Billiards (1:10:29)
Bleach (1:13:24)
Great Teacher Onizuka (1:13:27)
Hellsing (1:13:30)
Diebuster (1:18:33)
Magical Shopping Arcade Abenobashi (1:18:36)
Gunbuster (1:19:16)
Time of Eve (1:31:51)
Pale Cocoon (1:32:17)
Aquatic Language (1:32:23)
Inou Battle Within Everyday Life (1:36:44)
Akame ga Kill (1:39:28)
Blue Exorcist (1:39:43)
His & Her Circumstances (1:40:24)
Black Butler (1:41:38)
Log Horizon (1:42:23)
Hyouka (1:42:40)
The Melancholy of Haruhi Suzumiya (1:42:48)
The Disappearance of Yuki Nagato-chan (1:43:19)

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