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.
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.
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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.
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'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.
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.
