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Interview: Gen Urobuchi


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Zac
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Joined: 05 Jan 2002
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PostPosted: Thu Sep 18, 2014 3:05 pm Reply with quote
Animerican14 wrote:

I'm getting the feeling that she hasn't at all raised or really changed her overall estimate of the film from when she first reviewed.


Why would it? The review didn't hinge on Urobuchi's attitude toward the ending.

Quote:

Even after all the discussion in the review thread, I don't recall there big changes in people's attitudes toward the film from what their first impression of it was.


All of this only makes sense if you're operating under the idea that 1. everyone hated it (they didn't; Hope didn't hate it at all and neither did I) and 2. their opinions SHOULD have changed at some point.

Quote:

When I asked Zac some weeks ago if there was ever going to be a podcast over the film, like I thought there was going to be, I think he said something along the lines of 'I think Hope said all that needed to be said about the film.' (Can't find that twitter exchange at the moment, sadly).


I said "I think it's been talked to death at this point". You asked me that shortly after the review went up and the discussion was vigorous enough to where I thought a podcast about it was dead-horse-beating overkill. Had nothing to do with Hope's opinion.

Quote:
but that communicated to me an almost dismissive attitude towards opinions that were, in any way, meaningfully contrary to the original review piece, no matter how calm or articulate they may have been.


Well you misremembered the exchange and then used that to I guess accuse me of being so close-minded I won't listen to anyone's opinion but my own and also blindly defending Hope's take on it (she and I actually disagree on the film but neither of us disliked it, believe it or not!). So yes you are misguided.

If you're that unsure of what was said, what it meant and what context it was provided in maybe don't use it as a basis to fling accusations at me.
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MarshalBanana



Joined: 31 Aug 2014
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PostPosted: Thu Sep 18, 2014 4:13 pm Reply with quote
I hope he makes that Steampunk Anime he was saying he wanted to make.
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Animerican14



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PostPosted: Thu Sep 18, 2014 4:24 pm Reply with quote
Thank you for taking the time to reply to my (mis?)conceptions of the whole "issue," Zac. Though admittedly, those weren't "accusations" that I just decided to "fling"-- suppositions I went ahead to wildly-make, without thought or reason or meditation (which is what "fling" denotes to me). I'm mostly reporting on a feeling that's simmered some in the background, and I took this as good a time as any to more eloquently post about it on a forum, giving plenty of disclaimers as to how my assessment ain't perfect, rather than with a string of more easily disposable tweets. Admittedly, these feelings aren't completely refined, so even now they're a bit rough around the edges. If you took tremendous offense I'm sorry if I still sounded so offensive, even though my "accusations" were offered together with as many sincere disclaimers as could be reasonably expected-- how many more hoops must I go through, how many qualifiers of "I think" or "I feel" or "maybe I'm wrong" or "forgive me if I'm wrong"'s must I offer?

That being said... I'd like to address some things. I hope that is okay to do this.

Zac wrote:
Why would it? The review didn't hinge on Urobuchi's attitude toward the ending.

I don't think I, or Juno016 for that matter, thought Hope's review hinged on that attitude. However, I don't believe that negates the possibility that a fan translation of what Urobuchi said in the film brochure-- possibly this one by feral-phoenix, which I believe was linked to in the forums and on twitter a number of times-- might have colored her perceptions while she was putting her review together. Which, if true, is fine, but then, in light of how more expository materials on the production of Rebellion have come out since the film's theatrical release, I think it's fair to wonder if Hope would let those color her views today.

Quote:
I said "I think it's been talked to death at this point". You asked me that shortly after the review went up and the discussion was vigorous enough to where I thought a podcast about it was dead-horse-beating overkill. Had nothing to do with Hope's opinion.

Actually, I was referring to a twitter exchange more recent than that-- an exchange shortly after the BD version was released, with the LE translation booklet and all. Ended up doing a little bit of twitter digging into my own account after your post, which took shorter than I expected, and this is what you said: "Eh I feel like Hope's review on the site nailed that movie". So it did sound like to me it had to do with Hope's opinion. My somewhat self-serving paraphrase of 'I think Hope said all that needed to be said about the film' might've exaggerated the meaning to what you were trying to say, though.

I know there wasn't any overall dislike of the film Hope's part, but I do remember sensing much ambivalence, if not pessimism, towards the ending and discussions on how that ending might have been reached in the review and through the Rebellion threads. And hey, I sympathize-- for as fun and shockingly crazy the film was on my first time through, all the more so because it was on a huge theater screen, it's not necessarily easy to digest after having enjoyed the original ending to the TV series so much! Even now, with the benefit of hindsight and more perspectives on it, it's kind of hard to come to terms with! Still, I was most curious if there's been any re-evaluation on the film now that it's come to BD and there are more supplementary materials out there. I'm not saying there *needs* to be re-evaluations-- right to subjective opinions of art and all-- but it'd be fun and interesting to see them for the sake of discussion at least.

Do I have more of a basis for a potential conversation now, here, or elsewhere?
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JacobC
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PostPosted: Thu Sep 18, 2014 4:52 pm Reply with quote
Animerican14 wrote:

I don't think I, or Juno016 for that matter, thought Hope's review hinged on that attitude. However, I don't believe that negates the possibility that a fan translation of what Urobuchi said in the film brochure-- possibly this one by feral-phoenix, which I believe was linked to in the forums and on twitter a number of times-- might have colored her perceptions while she was putting her review together


I saw the movie and wrote most of the review waaaaay before reading that. It changed how I felt about what I saw, but it's notably not mentioned or referenced in the review at all, because it really didn't change what I had to say about the content from a critical standpoint.

In fact I think I read that interview like the day before the review went up and the only edits I was making at that point were structural/grammatical ones. Anyway, it obviously didn't make much difference to what I had to say about how well the movie worked, (for the most part: well) or how necessary it felt (entirely unnecessary, even the "twist" on Homura's character felt like it belonged in a different story.)

I gave the movie a fair shake and for the most part, I liked it. It's a good transparent cashgrab. I think that's a fair way to look at it, not biased by anything, because that's how I felt leaving the theater, and the only thing that changed after reading that interview was my knowledge of how that might have come about.
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kotomikun



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PostPosted: Thu Sep 18, 2014 7:16 pm Reply with quote
Well... I mean, in one sense it was probably impossible for Rebellion to not be (seen as) a cash-grab, because with the existing conclusive ending, everyone was already expecting it to be one, and the series was so popular that the movie was bound to collect truckloads of cash. On the other hand, it seems weird to call it that when they went with a crazily controversial ending that they fully expected to create a schism in the fanbase... that doesn't seem to me like something you do when you just want to crank more money out of a franchise.

In any case, it was more than sufficiently complex and interesting for me to not feel like it was a waste of time, so even if it was a cash-grab, I'd say they earned it. As for the potential spinoffs "written by people other than Gen Urobuchi" that they keep talking about... we'll have to see how that goes.

MarshalBanana wrote:
I hope he makes that Steampunk Anime he was saying he wanted to make.


An Urobutchering of steampunk sounds interesting; but come to think of it, that's really more of an aesthetic than a genre (or is it?) so I can't even guess what that would be like, or what it might try to deconstruct. Hm...
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Juno016



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PostPosted: Thu Sep 18, 2014 8:35 pm Reply with quote
Thank you, Animerican14, JesuOtaku, and even Zac for responding, directly or indirectly, to the discussion brought about by my post. I don't have too much more to say in response, but I'm glad to see JesuOtaku's perspective on the entire issue.

On the matter of the sequel film being "necessary" or "unnecessary", and in the same light, whether or not it was a "cashgrab", it's really hard to judge that one. Madoka's original series was just as much of a cashgrab as Rebellion, but it took a lot longer to make and was much quieter because SHAFT's business priorities were on existing successes rather than an original series. When the original series was successful, Rebellion was conceived in order to follow its success, so the fact that it was a cashgrab became much more apparent to the audience. Thus, I feel that criticizing Rebellion for being a blatant cashgrab is... kind of misguided. Both were still very creative and deep pieces of work. The productions of both involved heavy marketing tactics. No one on the creative production team was thinking, "How do we make more money out of this" when they were actually producing the film. They cared about making a good story, just like the original series, and it shows when you look at the sheer amount of supplementary material. Whether or not they were successful on that is really up to us and them, respectively.
And when we talk about terms like "necessary" and "unnecessary", we're discussing causal precedence. That is, when two related things happen, was the first of those things needed to cause the latter of those things? The problem with using words like "necessary" and "unnecessary" to talk about the sequel film is that we are treating the film as the causal object, and yet, we're not specifying the product. Thus, anyone can fill in that product with any aspect of the franchise and make their own claims of "necessity" without being wrong.

The way I see it, the film sequel wasn't "necessary" to conclude or improve upon the original series. The original series was made as a standalone, and though there are a few things that we'd all have liked it to address, it was still a very solid story from beginning to end. Thus, no sequel is truly necessary. However, according to several of those who worked on the creation of the story and characters in the sequel, the first series was still questionable in how it treated Homura herself. She was a main cast member and we got to see her change from a weak-minded person into a strong person who takes control of her surroundings, but when Madoka leaves, we see no direct transition for Homura's character into something better. She is stuck dealing with a world without Madoka, so she simply overcomes it and deals with it in order to do what she can for Madoka. The transition is simply "because she can't save Madoka anymore, the least she can do is protect the objects of Madoka's sacrifice." It's sufficient for the series, but upon conscious review, it really does seem strange that Homura would've agreed with Madoka's decision, especially if she never thought Madoka was strong enough to handle it throughout the entire series. Rebellion, as unnecessary as it is to make the original series extremely solid, expands upon that question. Thus, we can see Rebellion as "necessary" to understanding Homura at the end of the series. Sure, it raises even more questions (which was one of their intentions because it was also meant to give the series potential for more stuff), but it doesn't just raise questions. It truly adds substance to the original series.

It's all about what matters most to you, the individual, I think.
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TarsTarkas



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PostPosted: Fri Sep 19, 2014 10:30 am Reply with quote
Or Homura simply accepted Madoka's decision on the matter, as friends usually do. After all Madoka is her own person.

I didn't like Homura's transition to evil in Rebellion, for it is out of character. The only explanation is the evil Kyubey's. I blame it all on them.
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Polycell



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PostPosted: Fri Sep 19, 2014 12:46 pm Reply with quote
I wouldn't say Homura really accepted Madoka's decision(her telling Kyubey everything doesn't make much sense in character, unless she's still trying to come to terms with it), but at that point she didn't really have much of a say. Either way, the girl had spent god knows how many years trying to save her; Rebellion shows us the hard way she knocked a screw loose and went from trying to save her friend to being obsessed with controlling Kaname Madoka("Don't ever try to change").
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Actar



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PostPosted: Fri Sep 19, 2014 2:42 pm Reply with quote
Kaioshin_Sama wrote:
I've always found his contempt for altruism and justice to be one of the stupidest things I've ever heard from a writer. It just feels very childish somehow and like he's trying to appeal to teens in their rebellious phase or something that feel they have to answer to nothing. I also have never really bought that he feels like putting good and evil on the same ground, it's more like he just refuses to have conclusive resolutions to the conflicts of good and evil entities.


As opposed to having every ending be "good guys win and everyone lived happily ever after"? How is that not even more childish? Also, if there is any lack of resolution to conflict, don't you think it's deliberately done so the viewer can come to a conclusion themselves?

configspace wrote:
Besides, there's no such thing as true altruism anyways since everyone who wants to consciously do something, always does it in exchange for something else (and I don't mean money). There's always a selfish motivation for any supposed altruistic act; the exchange is of perceived spiritual value, or to satiate your own desires to "do good". And often, that pursuit of what they think of as doing good is what forms their own vision of justice, which would surely conflict with someone's else vision as well.


Wow, this is the first time I've seen someone else realize this as well. Brilliant. Do you give to charity to actually help out or do you do it to feel better about yourself and to gain a higher moral standing over your peers? Humans are hedonistic by nature and many try to fool themselves into believing otherwise.
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Zac
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PostPosted: Fri Sep 19, 2014 3:04 pm Reply with quote
Actar wrote:


Wow, this is the first time I've seen someone else realize this as well. Brilliant. Do you give to charity to actually help out or do you do it to feel better about yourself and to gain a higher moral standing over your peers? Humans are hedonistic by nature and many try to fool themselves into believing otherwise.


Why is that an "or" situation?

When you give to charity you're helping out AND you can feel good about it. AND, not "or" and feeling good about it doesn't make it an inherently bad or selfish act.

Don't let me interrupt your edgy cynical take on us foolish humans, though.
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kpk



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PostPosted: Fri Sep 19, 2014 6:40 pm Reply with quote
The guy's said he wanted to make a shounen ai at some point.

Too bad you didn't ask him about that.
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TarsTarkas



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PostPosted: Fri Sep 19, 2014 7:16 pm Reply with quote
Homura spent all those years (TV series) trying to save Madoka, because that is what Madoka asked her to and Madoka was her friend.

In the end, Madoka saved Homura, gave her something else to fight for, and gave her hope at the end for an eventual reunion. The TV series also showed, that indeed there was an afterlife. Rebellion also showed that near the end also.

We all already know why Homura changed so much out of character, because the writers needed an antagonist, and they picked Homura.

So they brute forced her into evil, pure and simple. The plot device was quite simple. Homura is trapped by the evil Kyubeys, and left to stew inside of her own mind, for god knows how long, as a quasi witch. Forever denied heaven and reunion with her friend.

The final crux of the matter for Rebellion is the final battle in Homura's mind. Homura would rather be trapped in her own mind 'forever' than let the Kyubeys win to trap Madoka. I find it almost unbelievable that Homura who would do that for Madoka, would almost immediately turn on her, taking all choice and freedom from Madoka.

In the end the writer's brute forced what they wanted, and the fatalists in us, must simple blame it all on the Kyubeys, because that is what the plot says.
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Juno016



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PostPosted: Fri Sep 19, 2014 9:27 pm Reply with quote
TarsTarkas wrote:
Homura spent all those years (TV series) trying to save Madoka, because that is what Madoka asked her to and Madoka was her friend.

In the end, Madoka saved Homura, gave her something else to fight for, and gave her hope at the end for an eventual reunion. The TV series also showed, that indeed there was an afterlife. Rebellion also showed that near the end also.

We all already know why Homura changed so much out of character, because the writers needed an antagonist, and they picked Homura.

So they brute forced her into evil, pure and simple. The plot device was quite simple. Homura is trapped by the evil Kyubeys, and left to stew inside of her own mind, for god knows how long, as a quasi witch. Forever denied heaven and reunion with her friend.

The final crux of the matter for Rebellion is the final battle in Homura's mind. Homura would rather be trapped in her own mind 'forever' than let the Kyubeys win to trap Madoka. I find it almost unbelievable that Homura who would do that for Madoka, would almost immediately turn on her, taking all choice and freedom from Madoka.

In the end the writer's brute forced what they wanted, and the fatalists in us, must simple blame it all on the Kyubeys, because that is what the plot says.


I'm not going to claim stupidity or ignorance on your part. The film is quite intentionally misleading, but perhaps it's far too misleading for its own good. I find its subtle subversion of spoiler[Homura's state of "evil"] to be potentially TOO subtle, and that has led a lot of people to misinterpret spoiler[her as some kind of actual "evil" or as having gone bonkers (I mean, did they really need to add bags under her eyes and have her dance awkwardly at the end?).] It's both one of the film's greatest assets and one of its biggest potential downfalls. Much like the original series, it truly takes multiple viewings for most people to actually understand what was going on inside the characters' minds at any given time. I don't want to spoil a second viewing (assuming you ever decide to have one), but as a suggestion, pay attention to spoiler[Homura's lines throughout the film, all of her interactions with Madoka (especially the famous flower field scene), her line when she transforms into "Akuma Homura", and her line when she's speaking to Sayaka about "evil." All of them include both verbal and visual contrasts to suggest that not everything is as it seems. The visual symbolism during the "evil" line is one of the most blatant hints, but it's easy to miss because it requires some (admittedly common) real-world trivia to get the meaning behind it. And even when you make the ocnnection to the real-world symbol, it can sometimes take a thorough understanding of the scene itself, and maybe even the Japanese, to connect it to its purpose as a symbol in that instance.]

As for Homura's character's consistency, I'm going to have to disagree with you entirely, but give you credit for being considerate enough to care about her as a character. Homura's acceptance of Madoka's sacrifice at the end of the TV series is still never truly clear, but I cannot deny that they had her smile in the epilogue when supposedly hearing Madoka's voice, as if suggesting she was fine with her decision. I cannot deny that she had, willingly or not, come to terms with the world after Madoka's sacrifice. She pretty much says she did in that case. However, to suggest that Rebellion spoiler[reversed that just to create a new plot, and then subsequently destroyed Homura's character in the name of shocking twists...] That sounds far too over-simplified to make any sense in the context of something like Madoka. YOU'RE NOT WRONG, THOUGH. Rather, you're convincing yourself that they did it ONLY to "create a new plot" because the original series ended pretty solid and they didn't have anything else to go off of. You're suggesting that they chose it because they couldn't think of anything better, and that's not what happened at all. Supplementary material (we're talking not about the show itself, but about the creation of the show, so supplementary material IS important in this case) has given us the reasoning behind the change: spoiler[The question was brought up about whether or not Madoka could truly be happy with her decision. Subsequently, that followed with questions about Homura's stance on Madoka's sacrifice. Sure, the original series made each of these questions somewhat clear by the end, but Rebellion brings the original show's clarification up with suspicion. There IS room in the original series open for interpretation and I saw plenty of arguments from fans suggesting that, at the very least, Homura still wasn't happy with Madoka's decision. Hints were given that she accepted it, and she said that she was going to keep fighting on in support of Madoka's decision at the end, but the original series never gave any blatant lead into that thought process. We all interpreted it for ourselves. And because of that, the questions brought up to the staff and Urobuchi when they discussed what to do with a sequel happened to involve this critique of Madoka and Homura's wills. Thus, Rebellion was conceived not to reverse anything in the original series, but to question it. And considering how Rebellion goes about this, I'd say it does so successfully. In the end, we don't get the same Homura we get from the end of the series, but having resolved her original worries, she has become a far more complete character.]

Whether you like that decision or not, that's how it is.
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Animerican14



Joined: 19 Aug 2006
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PostPosted: Sat Sep 20, 2014 2:39 am Reply with quote
JesuOtaku wrote:


I saw the movie and wrote most of the review waaaaay before reading that. It changed how I felt about what I saw, but it's notably not mentioned or referenced in the review at all, because it really didn't change what I had to say about the content from a critical standpoint.

In fact I think I read that interview like the day before the review went up and the only edits I was making at that point were structural/grammatical ones. Anyway, it obviously didn't make much difference to what I had to say about how well the movie worked, (for the most part: well) or how necessary it felt (entirely unnecessary, even the "twist" on Homura's character felt like it belonged in a different story.)

I gave the movie a fair shake and for the most part, I liked it. It's a good transparent cashgrab. I think that's a fair way to look at it, not biased by anything, because that's how I felt leaving the theater, and the only thing that changed after reading that interview was my knowledge of how that might have come about.


Ah, I see. I guess that the supplementary material didn't have much of a bearing on your original review as much as I thought. Thanks for your reply! Still, there's something that I'm curious about-- something that, admittedly, I edited into my prior post a bit too late, only after you started composing your response to me-- and that is whether or not you'd care to read more on the composition of Rebellion "in light of how more expository materials on the production of Rebellion have come out since the film's theatrical release." Though the linked-to translation of the interview didn't have much bearing on the writing of the review itself, I believe that the translation-- which may have been the most widely disseminated and perhaps only 'Word of God" on the writing of Rebellion itself at the time of Rebellion's theatrical release-- may have reinforced perceptions of it being an "unnecessary cash-grab." Such claims, even if counterbalanced some by calling it a "good" cash-grab, are classifications I find reductive and maybe even unfair, especially in lieu of the newer supplementary materials that have further expounded upon the creative developmental process behind Rebellion's making. I think Juno016 responded to such claims in his post after yours better than I'd have been able to manage.

TL;DR, I don't think it's out-of-line for me to assume that you, JesuOtaku, are as interested in the creative processes and personalities behind fiction as much as (if not more than) I am. Thus I (stubbornly, I know! Anime hyper) remain curious if you have read or desire to read anymore materials that have come out in the months since Rebellion's premiere, and have reached (or be open to reaching) any further conclusions or analyses yourself. Don't worry about any snarling and biting from me here.

Zac wrote:
Actar wrote:


Wow, this is the first time I've seen someone else realize this as well. Brilliant. Do you give to charity to actually help out or do you do it to feel better about yourself and to gain a higher moral standing over your peers? Humans are hedonistic by nature and many try to fool themselves into believing otherwise.


Why is that an "or" situation?

When you give to charity you're helping out AND you can feel good about it. AND, not "or" and feeling good about it doesn't make it an inherently bad or selfish act.

Don't let me interrupt your edgy cynical take on us foolish humans, though.


While I think the views, those you take issue with here, are indeed tinged with a bit too much cynicism regarding human nature, Zac... are you disagreeing with the notion that there at least can exist a selfish/unselfish dichotomy in the statement of "do you give to charity to actually help out" (which I think can be construed as the desire to help out from the bottom of one's own heart) or do you do it to feel better about yourself and to gain a higher moral standing over your peers?", especially with consideration to that italicized segment? I'm not sure whether you are completely ruling that notion out or not, but in any case.... I mean, some people can think they can "earn" pseudo-spiritual or social "salvation," and try to make themselves feel better than others, by doing good works, right? Precedence for this can be shown as far back as (if not further than) The New Testament, and surely Urobuchi has hit upon this hypocrisy with some of his character writing.

-----------------

Speaking of Urobuchi himself, with more consideration to the content of the interview itself (GASP)... I definitely have appreciation, from a storytelling perspective anyway, for his view that "Good and evil need to be on even ground, so that there is the real possibility that either could be the victor." His stories wouldn't be as interesting or critically praised were it not for his examinations of both "sides" and the sides' complexities, which are usually anything but monochromatic. And yet... surely, even from his storytelling perspective.... at the opposing ends of this seemingly never-ending gradient of grays that constitute his universe, as well as ours... surely there exists such things, if only forces and not so much characters, as "absolute good" and "absolute evil," correct? Just look at Fate/Zero's Caster and Uryuu, whom I don't think I'm misunderstanding-- can't, even from Urobuchi's vantage point, "sheer evil" at least comprise a significant part of their personas, which no amount of "sympathetic" backstory or circumstances can outright change, and can the atrocities that they commit together not be called "sheer evil" as well? I had just recently finished the "Cubs in Toyland" story arc in Bill Willingham's FABLES series, and when reading this insightful (and necessarily spoiler-ific!) interview with him over it while still reeling from the shock of it all, he has this (among other things) to say when discussing a certain character's descent into savagery.
Quote:
Evil is another step entirely. Depending on any two people you ask, you'll get two different, three different, four different definitions of what evil is or could be, including the notion popular these days, possibly for the first time since the dawn of civilization, which is that evil doesn't exist. Which I think is a silly notion. There is just too much evidence to the contrary

It may not seem or even be a particularly deep statement, yet I find it to be a salient point all the same amid what might be a sea of never-ending, wishy-washy grays. I would personally like to think, or hope, or even be reminded lest I have forgotten, that Urobuchi still acknowledges the existence of a sheer black and a sheer white at the bookends of the many grays that he explores.
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SquadmemberRitsu



Joined: 26 Jan 2012
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PostPosted: Sat Sep 20, 2014 11:23 pm Reply with quote
To anyone who still thinks Homura's actions are out of character despite all the evidence to the contrary, you might want to read this.

http://i.imgur.com/ifFieQs.gif
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