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ANNCast - Giant-Size Double Feature ANNCast

My point is I don't think this was ever purposefully meant to be active propaganda, just that the writers have a set of prejudices/opinions that seep through in the story and they never stopped three seconds to consider all the implications of the setting they created.

2) Eva Clones in no order of Mediocrity - as mention RahXephon, Dual Parallel Trouble Adventure (Hybrid tenchi/eva plays up the Harem aspects more), Blue Gender (Plays up more on the humanity being the engine of its own destruction / Less Mecha), Capitain Earth (Instead of biblical references it's Shakespeare), E7.

I'd also parse that it's a lot of metaphors and visual-narrative callbacks to other shows for the sake of style, and they never stopped to think if the substance-content of those metaphors had any internal coherency when they put them all together.

And does Serial Experiments Lain count as an Eva clone? It doesn't have any mechs, but Lain sort of looks and acts like Rei, and there's a heavy theme of alienation going on, as well as trying to make the series sound deep by not telling you much.

arromdee wrote:

And does Serial Experiments Lain count as an Eva clone? It doesn't have any mechs, but Lain sort of looks and acts like Rei, and there's a heavy theme of alienation going on, as well as trying to make the series sound deep by not telling you much.

Eva itself would be a Devilman clone, given it was hugely based on it and even Anno admits he copies things from Nagai's series. The whole notion of 'show clones' seems like it gives people an excuse to act really flippant about established tropes and themes from groundbreaking series.

CrowLia wrote:

My point is I don't think this was ever purposefully meant to be active propaganda, just that the writers have a set of prejudices/opinions that seep through in the story and they never stopped three seconds to consider all the implications of the setting they created.

He did literally say that in the last podcast, though.

“Japan lost the war to the Americans,” he explains, seeming interested in his own words for the first time during our interview. “Since that time, the education we received is not one that creates adults. Even for us, people in their 40s, and for the generation older than me, in their 50s and 60s, there’s no reasonable model of what an adult should be like.” The theory that Japan’s defeat stripped the country of its independence and led to the creation of a nation of permanent children, weaklings forced to live under the protection of the American Big Daddy, is widely shared by artists and intellectuals in Japan. It is also a staple of popular cartoons, many of which feature a well-meaning government that turns out to be a facade concealing sinister and more powerful forces.

Anno pauses for a moment, and gives a dark-browed stare out the window. “I don’t see any adults here in Japan,” he says, with a shrug. “The fact that you see salarymen reading manga and pornography on the trains and being unafraid, unashamed or anything, is something you wouldn’t have seen 30 years ago, with people who grew up under a different system of government. They would have been far too embarrassed to open a book of cartoons or dirty pictures on a train. But that’s what we have now in Japan. We are a country of children.”