Why is anime better than western media?

Gornostay

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bigotry of low expectations :smug:
I don't know what the fuck you're saying and don't care enough to click back through five back and forth quoted paragraphs in long posts for context. When this kind of exchange is happening it's best to present your thoughts in context rather than relying on the quote chain. "x is the bigotry of low expectations". I don't care enough to reverse engineer this pithy comment and get it to make sense.

really? it seems like we're nearly incapable of doing anything else over here.
We make things that already exist again because our consumer class is retarded and afraid of both new and old things. The answer our wise community elders such as Sphere Hunter have landed on is that all of our most advanced resources of media production should be spent making things that already exist again but superficially new so that we can all pretend to be excited and act like we have a new thing but not actually encounter anything we haven't seen before. Perfect. The whole energies of our media industries spent comforting people who are afraid to go on magipack or experience something by themselves without a video essay that came out last week telling them what to think.

That and apparently we made a fourth Minions movie. I don't think that's comparable to Kamen Rider: Black Sun or Godzilla Minus One.

let's talk about haruhi suzumiya in particular, then. the world and "lore" are extremely underdeveloped. this is not a Dwarf Fortress situation -- i would be surprised if Tanigawa sits down to write more than once a month or so. the latest light novel was released in 2020. in the Afterword, Tanigawa writes:
[...]
all of these authors, with their freedom, are choosing to NEET it up until they die. the story arcs are quaint little things they come up with while taking a geriatric NEET bath. i have some hope for nishio ishin because of Katanagatari, which had an extremely bold and unusual ending for anime/LNs. he's also relatively young, although it seems like a lot of japanese people randomly die young due to Weak Body Disease.
The fact you and so many others care about what are considered frivolous genre works by their creators obviously suggests something overwhelmingly superior in this culture. Beyond that you can call this behaviour a problem, but it's a problem you have, not one they have.

You can't suggest that they would be better if they treated their work as a completely different class of activity. The attitude and process that produced Haruhi is the same one that means it'll probably never end. When you ask for a purposeful drive toward an ending in such a working you're asking for it to be what it is but also not.


"humans" as a whole are into tiktok and disney star wars.
These people can't meaningfully care about anything. The people who matter become bigger fans of Japan the higher up the human family you look.
i watched seasonal anime for years because i was addicted to /a/. i forced myself to stop because i felt like my experience as a human was being impoverished by my poor media diet, which consisted largely of throwaway harem series where you pick "best girl" and then watch as none of the girls "win" in the end because that would actually end the series conclusively.
Imagine if you had spent that time watching The Office. It could be so much worse. You are incidentally touching upon far better things while staring at Japan's lowest stuff.

occupying yourself with the entire history of media rather than social-media-media is universally superior regardless of the medium.
I can try to make a kind of sense of this. You're saying it's better to go back and look through anything that could be potentially interesting rather than things you can only appreciate as you engage with them alongside others in a frivolous and passing fashion? Yes, that's the problem I described above.

i am lamenting, because i slowly lost interest in following seasonal anime over time. i simply do not feel that my time is best spent with this medium anymore. i'm much more interested in visual novels and other things. i would be happy to change my ways and realize that actually, anime is in a Renaissance era and i'm missing out on this by not picking 4 random series to follow every season. but i don't think that what i want is what mass audiences want, and people in the industry who want to tell stories like Gen Urobuchi are not normal.
Seasonal anime is still television. An inherently low format that will only be good for so much. The fact we can even consider there could be something of interest there in one country's niche of animated television is remarkable. Did your declining interest in anime coincide with it getting worse, or did you just develop broader interests and watch most of the older stuff that interested you?

Everyone loves Frieren now. I read the manga. I think it's very interesting and compelling stuff for a work obviously made for this kind of passing popular format. It's very cool that this is still possible. Was there ever a period where 4 random series would be amazing every season and something has fundamentally changed since then? Or is this "season" format for the entertainment of a certain class of person in a certain place in life, which no longer includes you?
 

SowiesoGroyp

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I don't know what the fuck you're saying and don't care enough to click back through five back and forth quoted paragraphs in long posts for context. When this kind of exchange is happening it's best to present your thoughts in context rather than relying on the quote chain. "x is the bigotry of low expectations". I don't care enough to reverse engineer this pithy comment and get it to make sense.
you told me to "shut the fuck up." it was a "pithy comment" (a joke) because i was attempting to maintain... rapport?
We make things that already exist again because our consumer class is retarded and afraid of both new and old things. The answer our wise community elders such as Sphere Hunter have landed on is that all of our most advanced resources of media production should be spent making things that already exist again but superficially new so that we can all pretend to be excited and act like we have a new thing but not actually encounter anything we haven't seen before. Perfect. The whole energies of our media industries spent comforting people who are afraid to go on magipack or experience something by themselves without a video essay that came out last week telling them what to think.

That and apparently we made a fourth Minions movie. I don't think that's comparable to Kamen Rider: Black Sun or Godzilla Minus One.
i haven't seen either of those movies, but i don't doubt that you can make good media in the perennial character (or "shared universe") genre. i would just like to see much, much less of it. the thought of anything i actually like and feel attached to being "remade" makes me cringe -- and being "extended" or "built upon" by different authors sounds even worse.
The fact you and so many others care about what are considered frivolous genre works by their creators obviously suggests something overwhelmingly superior in this culture. Beyond that you can call this behaviour a problem, but it's a problem you have, not one they have.

You can't suggest that they would be better if they treated their work as a completely different class of activity. The attitude and process that produced Haruhi is the same one that means it'll probably never end. When you ask for a purposeful drive toward an ending in such a working you're asking for it to be what it is but also not.
i don't think lackadaisicalness and insecurity created Haruhi and Bakemonogatari (which, since i didn't state this before, are two of my favorite anime). they are mostly good because the characters are excellent and the anime studios which adapted them (KyoAni and SHAFT) are excellent and took many creative liberties. (in Monogatari's case, the writing is also excellent, which is also why it's better than Haruhi).

when Haruhi has been more "dramatic," this has generally been enjoyed by everyone -- who would complain if the entire series was more like The Disappearance of Haruhi Suzumiya?

review-The-Disappearance-of-Haruhi-Suzumiya.jpg


i am not asking for K-On to become Code Geass. what i am asking for frustrates me because it wouldn't actually take that much of a change. it would really just take a bit more confidence by its creators, the confidence that led nishio ishin to decide to kill togame. Bakemonogatari is better than Nisemonogatari because Nisemonogatari is more lackadaisical. Kizumonogatari is possibly better than both. artistic confidence is always good.
These people can't meaningfully care about anything. The people who matter become bigger fans of Japan the higher up the human family you look.
i agree with you -- to an extent. people who are "really into anime" generally have poor taste; people who are actual weeaboos in the sense that they think the same thing is better if it's japanese instead of american, people who would buy a japanese chair instead of an american chair that looks exactly the same -- generally have superior taste.
Imagine if you had spent that time watching The Office. It could be so much worse. You are incidentally touching upon far better things while staring at Japan's lowest stuff.
more likely, i would have spent that time playing video games on xbox live. i started watching anime because i saw an advertisement for Strike Witches on some xbox 360 module, felt aroused, googled it, and found an anime streaming website which put ongoing series (seasonal anime) on the front page. anime is why i have never really played new vegas, skyrim, fortnite, or (gasp) minecraft. i have mixed feelings about this.
I can try to make a kind of sense of this. You're saying it's better to go back and look through anything that could be potentially interesting rather than things you can only appreciate as you engage with them alongside others in a frivolous and passing fashion? Yes, that's the problem I described above.
that is what i meant, yes. i think watching each episode of Madoka "with /a/" was a valuable experience, and it would take a lot for me to trade it away. but most of the time i was watching things like Infinite Stratos and Mayo Chiki.
Seasonal anime is still television. An inherently low format that will only be good for so much.
i don't think Breaking Bad would've been as good as a movie. the advantage of television is feeling more attached to the characters, feeling more like you "know" them and have "spent time with" them. this is a huge draw for anime in particular...

there is much potential to be realized.
The fact we can even consider there could be something of interest there in one country's niche of animated television is remarkable. Did your declining interest in anime coincide with it getting worse, or did you just develop broader interests and watch most of the older stuff that interested you?
i don't know. i was feeling suffocated in life generally. i made a conscious effort to "branch out." this is also when i began to "develop taste" in music and attempt to read books. for a while, i continued to follow anime, but i ended up dropping (or putting "On Hold") almost every series i tried to watch.
Everyone loves Frieren now. I read the manga. I think it's very interesting and compelling stuff for a work obviously made for this kind of passing popular format. It's very cool that this is still possible. Was there ever a period where 4 random series would be amazing every season and something has fundamentally changed since then? Or is this "season" format for the entertainment of a certain class of person in a certain place in life, which no longer includes you?
when there's something worth watching, like Frieren, i'll hear about it without ever browsing an anime website or discussion board, without following anime -- without "being into" anime. the same is true of current-year cinema. i go about my life ignoring it most of the time.

i used to be into anime, i used to watch it every day; i used to feel like i was wasting time when i was doing anything other than watching anime. back then, at the height of my enjoyment and optimism, i would've posted something like the OP. but now it's just another form of media -- subject to the "90% is shit" rule. i guess, to be charitable, anime might be more like 70% shit. if you compare that to the turd world, where media is subject to the "100% is shit" rule, anime looks really, really good -- there has never been a single good movie to come out of "bollywood." but why would you do that?
 

AHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

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-Intellectually stimulating debating-
I like your contribution in contrast to DonDonPatch, but if you could add a post to this thread detailing why Japanese media is appealing to intelligent young white men, not in contrast but as a complete idea, I think it would be elucidating.
 

Gornostay

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i haven't seen either of those movies, but i don't doubt that you can make good media in the perennial character (or "shared universe") genre. i would just like to see much, much less of it. the thought of anything i actually like and feel attached to being "remade" makes me cringe -- and being "extended" or "built upon" by different authors sounds even worse.
I'm not going to go imposing rules on anybody who has something that's working for them. Or even really people who things aren't working for. Lifers love rules, not logic. There's nothing axiomatically wrong with a lot of things people think must be the source of our woes. There are some very nice extensions out there.

Devilman: Crybaby seems to break every warehouseman ellipsesfaggot "Japan is FINISHED" sighnigger rule of decline almost wilfully, and it's amazing. After decades of Devilman media it's somehow the first complete adaptation of the original story, and it's also an update which moves the setting to the 21st century and incorporates iconic key elements of successor works into the original story. You can watch it as a serious Devilman fan and know that these people get it and are paying homage to everything Devilman has become since the start, and you can watch it with no familiarity and it works perfectly as a self contained work. Its style feels extremely new, no normalfaggot will be put off by it being "old", but the bones of the story are the same and timeless.



i don't think lackadaisicalness and insecurity created Haruhi and Bakemonogatari (which, since i didn't state this before, are two of my favorite anime). they are mostly good because the characters are excellent and the anime studios which adapted them (KyoAni and SHAFT) are excellent and took many creative liberties. (in Monogatari's case, the writing is also excellent, which is also why it's better than Haruhi).
I don't know what you mean about insecurity. I wasn't suggesting that.

when Haruhi has been more "dramatic," this has generally been enjoyed by everyone -- who would complain if the entire series was more like The Disappearance of Haruhi Suzumiya?

review-The-Disappearance-of-Haruhi-Suzumiya.jpg


i am not asking for K-On to become Code Geass. what i am asking for frustrates me because it wouldn't actually take that much of a change. it would really just take a bit more confidence by its creators, the confidence that led nishio ishin to decide to kill togame. Bakemonogatari is better than Nisemonogatari because Nisemonogatari is more lackadaisical. Kizumonogatari is possibly better than both. artistic confidence is always good.
"Confidence" isn't the word. I think there's a kind of nerd who just kind of has these spasms of brilliance if given a kind of life tenure as an artist. "Drive" might be a more appropriate term for what you would want. But then, I do believe that a lackadaisical nature is a factor in the genesis of certain works.

Again, we can't really speculate here. These works are products of what they're products of. We can't really meaningfully talk about what they'd be if a completely different mind produced them. That's not possible. You can say that the mind that produced them should be whipped and given deadlines and more editorial pressure. And maybe you'd be right in certain cases.


more likely, i would have spent that time playing video games on xbox live. i started watching anime because i saw an advertisement for Strike Witches on some xbox 360 module, felt aroused, googled it, and found an anime streaming website which put ongoing series (seasonal anime) on the front page. anime is why i have never really played new vegas, skyrim, fortnite, or (gasp) minecraft. i have mixed feelings about this.
Japan may be the reason your penis is still attached to your body.

that is what i meant, yes. i think watching each episode of Madoka "with /a/" was a valuable experience, and it would take a lot for me to trade it away. but most of the time i was watching things like Infinite Stratos and Mayo Chiki.

i don't think Breaking Bad would've been as good as a movie. the advantage of television is feeling more attached to the characters, feeling more like you "know" them and have "spent time with" them. this is a huge draw for anime in particular...

there is much potential to be realized.
Yes, I think television can offer very interesting and good experiences as television. It's a shame the halfway interesting or worthwhile ones are such exceptions at the moment. And it seems more likely tv dies than improves with the current state of things. And the internet will take up the mantle of tv in the worst senses possible.

i don't know. i was feeling suffocated in life generally. i made a conscious effort to "branch out." this is also when i began to "develop taste" in music and attempt to read books. for a while, i continued to follow anime, but i ended up dropping (or putting "On Hold") almost every series i tried to watch.
I also don't watch seasonal anime, or anything that's a really big time investment. This is very understandable. I think keeping up with television is suited to a kind of relaxed, rhythmic, comfortable engagement with life. Which is probably a large source of why Japan can keep up a relatively healthy tv culture, and also make things like 200 hour JRPGs. NEETs on one hand, and people comfortably locked into day to day life on the other. I'm a NEET, but I don't really feel comfortable just day in checking the up with a cycle of stuff. I go for more particular and complete things too. That's not a failing on the part of the things that fall outside of that broad category.

when there's something worth watching, like Frieren, i'll hear about it without ever browsing an anime website or discussion board, without following anime -- without "being into" anime. the same is true of current-year cinema. i go about my life ignoring it most of the time.
That's sort of how I am. I'll take any individual interesting looking thing as it comes to me. I won't engage with anime because it's anime, or go to "the movies" just because I like "movies". Last thing I saw at a kinoplex was 'Eyes Wide Shut'.

i used to be into anime, i used to watch it every day; i used to feel like i was wasting time when i was doing anything other than watching anime. back then, at the height of my enjoyment and optimism, i would've posted something like the OP. but now it's just another form of media -- subject to the "90% is shit" rule. i guess, to be charitable, anime might be more like 70% shit. if you compare that to the turd world, where media is subject to the "100% is shit" rule, anime looks really, really good -- there has never been a single good movie to come out of "bollywood." but why would you do that?
People I consider serious and in possession of excellent taste have told me that there are Indian films of real interest. Not many, but something at least.

What I see as the particular strengths of anime are something I could really go into at length in another post, as requested by

I like your contribution in contrast to DonDonPatch, but if you could add a post to this thread detailing why Japanese media is appealing to intelligent young white men, not in contrast but as a complete idea, I think it would be elucidating.
Not right now. But I'll get to that at some point.
 

SowiesoGroyp

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I'm not going to go imposing rules on anybody who has something that's working for them. Or even really people who things aren't working for. Lifers love rules, not logic. There's nothing axiomatically wrong with a lot of things people think must be the source of our woes. There are some very nice extensions out there.

Devilman: Crybaby seems to break every warehouseman ellipsesfaggot "Japan is FINISHED" sighnigger rule of decline almost wilfully, and it's amazing. After decades of Devilman media it's somehow the first complete adaptation of the original story, and it's also an update which moves the setting to the 21st century and incorporates iconic key elements of successor works into the original story. You can watch it as a serious Devilman fan and know that these people get it and are paying homage to everything Devilman has become since the start, and you can watch it with no familiarity and it works perfectly as a self contained work. Its style feels extremely new, no normalfaggot will be put off by it being "old", but the bones of the story are the same and timeless.


devilman crybaby was directed by Masaaki Yuasa, who also directed the tatami galaxy, kaiba, and kemonozume. he's probably one of the most original and "artistically confident" people in the entire anime industry, and it's why the things he directs feel distinct from everything else. he is a genius. if the anime industry was generating things like the tatami galaxy and kaiba every season, or every other season, no one would be allowed to complain about the state of the industry without marking themselves as subhuman.
I don't know what you mean about insecurity. I wasn't suggesting that.
the author was professing his own insecurity, putting self-deprecating thoughts in his Afterword, including the statement that he had written "no important societal themes or even any particularly complex portraits of the human experience" in his latest volume, which took him nine years to write. (volume 11 was published in 2011, then volume 12 in 2020).

i don't know if he's depressed or something. he certainly lives like a NEET. he's also said "今でも自分が作家なのか何なのか、よくわかっていません" -- what is that other than insecurity? basically, i am not willing to accept what he's doing as meeting his full potential. he is a creative person. he does write things that show "complex portraits of the human experience," as soy as that sounds. Haruhi has had beautiful and compelling moments. that's why it stands out as a legendary series.

"Confidence" isn't the word. I think there's a kind of nerd who just kind of has these spasms of brilliance if given a kind of life tenure as an artist. "Drive" might be a more appropriate term for what you would want. But then, I do believe that a lackadaisical nature is a factor in the genesis of certain works.

Again, we can't really speculate here. These works are products of what they're products of. We can't really meaningfully talk about what they'd be if a completely different mind produced them. That's not possible. You can say that the mind that produced them should be whipped and given deadlines and more editorial pressure. And maybe you'd be right in certain cases.
i think that artists who have confidence or drive would be more common if this was properly incentivized. more Yuasas and Urobuchis, less languishing harem series that release 1 new volume of edging per decade after their initial bout of success. no one really seems to care when series like Haruhi, which is extremely popular and culturally important, just wither away. you could probably force out endings through limited publishing contracts (e.g., "you must submit a novel every X months for a total of X novels"), but then i think you'd just end up with cliffhanger pseudo-endings, with authors hoping to be re-contracted for another set of novels. there's no way to force someone to have vigor, will, or vision.
Yes, I think television can offer very interesting and good experiences as television. It's a shame the halfway interesting or worthwhile ones are such exceptions at the moment. And it seems more likely tv dies than improves with the current state of things. And the internet will take up the mantle of tv in the worst senses possible.
by the internet, do you mean those amazon-exclusive series? i'm not sure how the incentive and financial structure of amazon series differs significantly from HBO. if you told me the man in the high castle was an HBO thing and the last of us was an amazon thing, i would believe that.
I also don't watch seasonal anime, or anything that's a really big time investment. This is very understandable. I think keeping up with television is suited to a kind of relaxed, rhythmic, comfortable engagement with life. Which is probably a large source of why Japan can keep up a relatively healthy tv culture, and also make things like 200 hour JRPGs. NEETs on one hand, and people comfortably locked into day to day life on the other. I'm a NEET, but I don't really feel comfortable just day in checking the up with a cycle of stuff. I go for more particular and complete things too. That's not a failing on the part of the things that fall outside of that broad category.
i'm getting the impression that we would both appreciate and enjoy similar trends in serialized japanese popular entertainment, but i am jaded because i feel like i've wasted hundreds of hours watching directionless and inconclusive harem/romance anime during my youth. i don't think anime is worse now, but i don't think it's better, either. it is significantly elevated by oddball auteurs, while the bulk of the industry is oriented to appeal to people who simply want to be distracted from daily life, and so once-popular series trailing off into nothingness is not actually a problem for the popular consumer.
That's sort of how I am. I'll take any individual interesting looking thing as it comes to me. I won't engage with anime because it's anime, or go to "the movies" just because I like "movies". Last thing I saw at a kinoplex was 'Eyes Wide Shut'.
i almost never go to the theatre, but i did go to rewatch The End of Evangelion somewhat recently...
People I consider serious and in possession of excellent taste have told me that there are Indian films of real interest. Not many, but something at least.
i said "bollywood" to exclude this. i would be surprised if "bollywood" and "worthwhile" were not mutually exclusive descriptors.
 

Gornostay

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devilman crybaby was directed by Masaaki Yuasa, who also directed the tatami galaxy, kaiba, and kemonozume. he's probably one of the most original and "artistically confident" people in the entire anime industry, and it's why the things he directs feel distinct from everything else. he is a genius. if the anime industry was generating things like the tatami galaxy and kaiba every season, or every other season, no one would be allowed to complain about the state of the industry without marking themselves as subhuman.
Yes even if it takes a genius the point stands that there's nothing particularly wrong with iterative work. It can be great.

the author was professing his own insecurity, putting self-deprecating thoughts in his Afterword, including the statement that he had written "no important societal themes or even any particularly complex portraits of the human experience" in his latest volume, which took him nine years to write. (volume 11 was published in 2011, then volume 12 in 2020).

i don't know if he's depressed or something. he certainly lives like a NEET. he's also said "今でも自分が作家なのか何なのか、よくわかっていません" -- what is that other than insecurity? basically, i am not willing to accept what he's doing as meeting his full potential. he is a creative person. he does write things that show "complex portraits of the human experience," as soy as that sounds. Haruhi has had beautiful and compelling moments. that's why it stands out as a legendary series.


i think that artists who have confidence or drive would be more common if this was properly incentivized. more Yuasas and Urobuchis, less languishing harem series that release 1 new volume of edging per decade after their initial bout of success. no one really seems to care when series like Haruhi, which is extremely popular and culturally important, just wither away. you could probably force out endings through limited publishing contracts (e.g., "you must submit a novel every X months for a total of X novels"), but then i think you'd just end up with cliffhanger pseudo-endings, with authors hoping to be re-contracted for another set of novels. there's no way to force someone to have vigor, will, or vision.
Your examples of confident and driven artists are coming from the same culture. What specifically might you change for John Haruhiman?

by the internet, do you mean those amazon-exclusive series? i'm not sure how the incentive and financial structure of amazon series differs significantly from HBO. if you told me the man in the high castle was an HBO thing and the last of us was an amazon thing, i would believe that.
No, I don't consider streaming "internet" culture. I mean stuff like youtube. Incentivises stupid captive audience garbage, like tv. I don't know what more I was saying here and don't really care right now.

i'm getting the impression that we would both appreciate and enjoy similar trends in serialized japanese popular entertainment, but i am jaded because i feel like i've wasted hundreds of hours watching directionless and inconclusive harem/romance anime during my youth.
Whose fault is that?
i don't think anime is worse now, but i don't think it's better, either. it is significantly elevated by oddball auteurs, while the bulk of the industry is oriented to appeal to people who simply want to be distracted from daily life, and so once-popular series trailing off into nothingness is not actually a problem for the popular consumer.

i almost never go to the theatre, but i did go to rewatch The End of Evangelion somewhat recently...

i said "bollywood" to exclude this. i would be surprised if "bollywood" and "worthwhile" were not mutually exclusive descriptors.
The oddball auteurs are not a random chance happening. The industry is built to empower them better than any other.
 

SowiesoGroyp

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Yes even if it takes a genius the point stands that there's nothing particularly wrong with iterative work. It can be great.
there is nothing inherently wrong with movies about superheroes, either. we're talking about broad cultural trends.
Your examples of confident and driven artists are coming from the same culture.
yuasa is from the culture, but not of it. that's the only type of person who can push a culture in a different direction.
I always enjoy making films but I must confess that I’d like to find more supporters and sympathizers and to make a commercial success. I really want to catch up with what people really want, but it is rather tough for me to try to achieve that. [...] Orthodox narratives attract more moviegoers. Innovative ones might not necessarily appeal to them. But I always dream of something that is both innovative and appealing to people.


What specifically might you change for John Haruhiman?
as i said, you can't force someone to have vigor, will, or vision. i don't know what the anime journalism industry looks like in japan, but maybe if there were prominent critics with taste, they could tell him that he has a responsibility to mankind.
No, I don't consider streaming "internet" culture. I mean stuff like youtube. Incentivises stupid captive audience garbage, like tv. I don't know what more I was saying here and don't really care right now.
i don't think anything from youtube is going to eat into the HBO/amazon/netflix/television market share any time soon.
Whose fault is that?
mine -- for engaging with anime in the way actual japanese otaku do instead of engaging with anime as a Western tourist does.
The oddball auteurs are not a random chance happening. The industry is built to empower them better than any other.
if the industry didn't empower them to some extent, these works we've discussed wouldn't exist at all.
how does the anime industry empower auteurs more than the film industry? we can compare japan to japan to avoid confounding factors.
 

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Niggerball Z is the only good anime.

wat is japan's answer to spongebob? they don't have one. not since mickey mouse (another Aryan creation) has a character achieved such global cultural significance. whites run the cartoon business, nigger.

i think it's also relevant to mention 3D animation here, and all the iconic movies made by Pixar which are without equal. only a White man could have the ambition to produce something like Finding Nemo. +
 

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WATCHED 1 EPISODE OF ONE PIECE LMAO NICE TRY FAGOTS THIS SHIT IS SO FUCKING GAY

THE WORST EPISODE OF SPONGEBOB (SEASONS 1-3) IS GREATER THAN NEON GENESIS AND U MADDDDDDDDDDDD :SMUG:
 
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