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ANNCast - Diabolical Ruh-minations

...No. Succinctly, the easy-to-understand meaning of the series was "life is really hard, but there's only one reality and we're kind of stuck with it, so work hard to make the most of it, and because its real it had value that fantasy can never have"

Like I said, I don't quite remember what Napier wrote, but she at least has it closer than you do, actually.

I refer you to approximately two straight episodes of textbook postmodern existentialist theory. The essential conclusions:

I find this all to be garbage, but that's just me.

If this is what passes for Eva analysis anymore, than we need a new ReVolution...

JesuOtaku wrote:

Like I said, I don't quite remember what Napier wrote, but she at least has it closer than you do, actually.

Well, you are arguing with the guy who jumps around in a V for Vendetta costume at anime conventions and yells about Evangelion.

You could also go down to Mann's Chinese Theater and get into a debate about ingrained subconscious misogyny in Marvel Comics with the guy wearing the top half of a Spiderman costume and blue sweatpants.

Because these statements present, to a first approximation, a theory of truth somewhat incompatible with those commonly found within the analytic tradition in which I am schooled, might I ask out of scholarly interest which textbooks you had in mind when providing this overview?

I encourage you to develop this further. Admittedly, the third point you summarise differs only slightly from notions to which I grant a degree of credence.

It's pomo existentialism, which kind of considers itself "higher" than humanistic branches of existentialism because it believes that reality sucks harder. I dunno, it's complicated. It's hardly as sophisticated as its few believers think considering it revolves around a singular contradiction: "There are no absolutes." (Except this absolute statement!)

KENSUKE:
But there is only one truth for you.
One made from your narrow perception of the world
and from information that was altered to protect yourself,
a warped truth.

TOJI:
Well, one person's perception of the world's bound to be tiny anyway.

HIKARI:
But people only have that tiny ruler to measure their surroundings with.

He has really come to terms with the assertions of the collective mind after Third Impact.

Shinji comes to terms with himself not because his life is worth living...honestly, all evidence suggests otherwise at this point, he has severe changes to make. Still, Shinji comes to terms with himself because "he wants to continue living in the world and be himself." Through that "truth," which he has created, he manifests a reality that is pleasing to him and can say "My life is worth living here," thus actualizing it and making it true. His life is not worth living because of some outside determiner of its value, but because of his essential ego, his will to live. If he says he is not worthless, then it will be so.

I find this all to be garbage, but that's just me.

Do you give everyone a raise, or do you come up with new projects to keep everyone employed and hopefully bring in more money?

Sometimes the animation studios are part of that committee, but usually only if the project is an original work.

And even then, they're seldom the sole source of funding -- their pockets aren't THAT deep, they've gotten outside help by bringing a distributor or other potential investors onboard.

Pierrot and Toei both do this, and it's most certainly helped them keep the lights on.

So even if it's work-for-hire, the animation studio would still be involved from day two, if not day one.

Nope, budgets for these projects are notoriously tight. The crap wages the animators get are the result of these tight budgets, the surplus of animators (supply vs demand), and years of "well, that's how it's done" thinking.

It's one of the problems with work for hire, because when there's not as much work, prices go down across the board, even over years, despite inflation.

I've stopped worrying so much about the other Asian countries aping Japan.

Mayoi Neko Overrun is supposed to be satire of the degradation of the genre, and in that respect, it is a work of genius. None of the critics here realized this. That is all.

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Sometimes the animation studios are part of that committee, but usually only if the project is an original work.

...maybe it's just me, but I don't think I've seen an original work in a very, very, very long time. Those which are original usually appear as very short OVAs and we all know how frequent those are today.