/anime/ - Anime

>>681
I thoroughly disliked it. for the life of me, I couldn't see anything redeemable.

>>684
Loser otaku got character development and got a few "friends" while remaining awkward, loser otaku fanbase can no longer self-insert.

>>690
>a ton of friends
lol she got a handful of friends, why do 4chan brains always exaggerate everything

>she didn't earn
bruh she finally got friends after over 70 chapters

>and all the humor dried up
why do 4chan brains always exaggerate everything (x2)

>>5575
>loser otaku fanbase can no longer self-insert
Pure projection on your part. You want her to have friends because it makes you feel better about yourself, good writing or logical consistency be damned. Look in the mirror anon.

Nope, that would be Shinsekai Yori.

A friendly reminder that Squealer did nothing wrong.

>>957
>>956
>>958

>>>/hobby/19338
post

>>>/anime/9855
>>>/anime/9854
>>>/anime/9856

This show's conclusion still baffles me.

Organize the Lux proletariat against the Class before it's too late.

Does anyone have a Marxist or Deleuzian analysis of this. Am I going insane or is the city called Lukács, the two groups (body without)Organ and Lacan? Constant reference to The Spectacle? The Class? Everyone is losing body parts to technology? Something about will to power?

There seems to be something there but I'm not quite grasping it and all I can find directly about the show are reddit teenagers saying nihilism = meaningless.

https://miguelcabrera.org/2009/06/04/will-to-power-on-deleuze%C2%B4s-thought/#:~:text=To%20interpret%20will%20to%20power,drives%20are%20to%20be%20understood.
> In paragraph 13 of Beyond Good and Evil (1973), he remarks that we should beware of superfluous teleological principles such as the drive to self-preservation. His own principle is more general, encompassing the drive to self-preservation but also the drive to self-destruction or self-overcoming: A living thing desires above all to vent its strength—life as such is will to power—self-preservation is only one of the indirect and most frequent consequences of it’

>Deleuze comments that ‘Nietzsche criticises Darwin for interpreting evolution and chance within evolution in an entirely reactive way. He admires Lamarck because Lamarck foretold the existence of a truly active plastic force, primary in relation to adaptations: a force of metamorphosis

https://go.gale.com/ps/anonymous?id=GALE%7CA287182730&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=15225321&p=LitRC&sw=w
>Roughly forty-five years after this compelling, if heavy-handed, Marxist critique, Deleuze and Guattari appropriate a crucial concept from Worringer's life-philosophically inflected writing, namely, "inorganic life," in order to theorize the resistance to global capitalism. Through a close reading of Worringer, I pose the following critical question: How can a concept that was once condemned from a Marxist perspective as an ideologically suspect "flight from realiPost too long. Click here to view the full text.

>>427
Have Yoshi survive and succeed in starting a civil war, which ends with a faction winning and holding complete control over the city. In order to maintain power and prevent another war, they keep a powerful military force, which is what they will use to defend against the Class and eventually invande and settle the surface. The revitalized people of Lux replace the stagnant people of the surface (who will probably upload themselves into a virtual world or something as a response) and civilization resumes its evolution. From watching this show twice, this is what I gather Yoshi's ultimate plan was, given that he knew the conditions of the surface people, the Class and Lux.

As the ending of the show stands, the robot-tree-people might or might not evolve into full cyborgs and eventually go to the surface. The blue-haired guy was crazy and seemed to have only intended to destroy everything, but then why make the robots and his own feet grow roots when the fighting was over? Maybe he really wanted throw the fate of humanity wholly to evolution, whatever evolution might look like for robots with human heads and roots.

Kaiju No.8 is pretty awesome. It's really fun so fr

I wanna read Hard Boiled Cop and Dolphin, but it's only available on Viz and I'm not paying for that.

>>2153
>Kumo Desu ga, Nani Ka?
&ltReincarnated as a Spider
Ooooh it's that one. LOL

>>1846
This shit is Black Dynamite tier. Some of Japan's contenet feels like its stuck in the 80s, I swear.

>senpai ga uzai kouhai no hanashi
>introduce shota
>pair him with best girl
Insane power move. Not even interested in the main premise but I'll keep an eye out for these two and see where they go. Helps that it's only a light 4 pages. The collective pearl clutching of horrified non-sickos is a freebie.

Frieren is pretty comfy

>>421
Patlabor 2 was essentially a rough draft for Ghost in the Shell. It's a very good film on its own right, but it's not reflective of the franchise as a whole.
>>423
I disagree. While GITS is certainly a classic, it's kind of overrated as far as what you can glean from it nowadays. Innocence however is highly underrated.

>>424

1. Gotta disagree re: GitS1. I've always seen it as one of the best animated examples of less-is-more storytelling. It's barely 80 minutes long, but honestly, it manages to impart so much information about its characters and setting in its short runtime just through subtle visual cues and framing. The example that sticks out in memory off the top of my head is the short scene with Aramaki and the diplomat in the elevator near the beginning. Framing, dialogue, colors, everything tells you exactly what you need to know about these two.

2. Innocence is good, has parts that are great, but I think is weakened by A. some datedly ambitious CG, and B. the second half honestly just feels "off" in terms of pacing and tone. We go to the big cyberpunk slum, we have the obligatory Oshii montage and then we enter corpse guy's magical mansion of practical jokes, and then all of a sudden it's the climax, which honestly feels overblown given the stakes. Then Motoko shows up, gets a sad "goodbye" moment after she decides to peace out back to go play minecraft with skynet and wintermute, and the scene's attempt at pathos falls flat - the audience at this point, in the time frame of both movies, hasn't spent enough time with the movie timeline's version of Motoko to really give any more than a shrug once you get to the shot of the deactivated fuckdoll with the folk choir belting out one last line. It feels like they just sort of banked on people watching SAC and going "OHHHH MMMMYYY GGGOOOODDD IT'S MAJOR TITS."

3. Interesting you bring up the point about Patlabor 2, because there's an interview on the old limited edition set in which Oshii explicitly states that he saw GitS and P2 as companion pieces

>>844

And just to elaborate, that's the thing about Innocence - yeah, I get that it's a film of ideas, and I get that a major component of the movie's emotional arc is Batou grieving now that the Major is basically a minor cyber-deity and has to funnel all his affection into his dog just to cope, but again, this isn't a version of the Major the audience really has spent that much time with to get that kind of invested in. We see her for the duration of the first movie, in which she's very much depicted at arm's length compared to the manga and the show (which is fine, because GitS is a very cold movie by design, as Oshii often do), but Innocence's attempts to heighten the emotional stakes while building off of that foundation comes off as odd - not to mention, like I said earlier, the climax feels weirdly miscalculated. The ultimate stakes aren't much different from a random filler episode of the show, and yet Kenji Kawai's score is going absolutely apeshit as if Batou were about to get into a kickboxing match with the anti-christ or something. And yes, I get the movie is doing some weird meta thing where it's trying to explicitly tie its narrative arc to the progression of its themes and ideas, but honestly, that's something Oshii himself has done better elsewhere

>>844
Sure, Ghost in the Shell did a lot to emulate cinematic convention and certainly helped "elevate" animation as a medium for film (as if it ever needed to be), but as far as I'm concerned Mamoru Oshii has always been rather ambivalent to that kind of perception of his work. You might recall his qualms with Studio Ghibli when they really started to brand themselves as such at the height of Hayao Miyazaki's initial international success in the late 1990s and early 2000s, criticizing them for distancing themselves from the word "anime" and its associated adult-oriented, not-so-cinematic connotations. A lot of Japanese animators at the time were contemplating what exactly made animation distinct from film, when in actuality, and as Oshii once put it: "all film is becoming animation." I think it's tragic that so much of the "bad" CG composited anime from this period have yet to receive blu-ray releases. In my opinion, visually, they've aged much better than people think. It would be interesting to compare them all with the slew of cel-shaded anime we got in the 2010s but that's a different discussion.
>>962
Where would you say Oshii has done better? Urusei Yatsura 2: Beautiful Dreamer was my first thought, but that was twenty years ago up until that point. When it comes to Innocence, I think the Donna Haraway cameo that occurs fifteen minutes in should tell you everything you need to know about the film from thereon. That is to say, Innocence was never meant to be a direct sequel. In fact, it's much easier (and more interesting!) to talk about it as a standalone feature situated in the GITS franchise than one explicitly connected to the original 1995 film.

Lol, they weren't even depicted as good cops in the show. Still love them though.

Is this some fresh release? I saw people talking about it on the fedi.

>>426
Yeah it just came out on either Hulu or Netflicks last week.

Seems to be interestin.

Also the SERIES is prob one of the best in the world

>>344
Do we even know what he really wants?

>>343
This is one of the first anime I watched when it aired and I regularly rewatch it even though I keep telling myself its just edgy stuff for normies. It has a charm that I haven't really found in other anime.

I't's also interesting because it kinda switches genres regularly. Going from soldiers fighting monsters to political coups to wide-scale wars.

Hange is insanely hot.