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Why is anime better than western media?
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<blockquote data-quote="kino" data-source="post: 17507" data-attributes="member: 335"><p>I think having to compare the entire corpus of Western film, an artform with contributors across multiple continents and across a century, with anime, which has been around as a serious form for ~50 years and is local to one country, in order to put it down proves anime's superiority, rather than any inferiority. Obviously OP made the comparison initially, but the fact it wasn't laughed off; quite impressive.</p><p></p><p></p><p>I think you're overly hung up on the idea that a story must be composed of a full plot. The purpose of Nisioisin in writing Monogatari wasn't to have a fulfilling overarching plot (the series is essentially monster-of-the-book), it's to examine the various moral systems of eccentric characters in their wholes. The reason why he keeps extending it is because he wants to keep exploring these characters and their ideas. Owari is basically an ending to the essential story of Monogatari (Araragi learning to love himself (yes it's hackneyed, it's kino anyways)), and the rest is just Nisioisin wondering how these characters would grow up. Haruhi is similarly monster-of-the-week oriented, it's stuck in an eternal present without conclusion.</p><p></p><p>Maybe you can say "I don't like this", but this isn't some kind of evil thing that the audience despises, it's the natural orientation of the form. It's notable that Nisioisin has made stories with overarching plots which were popular (Medaka Box, Zaregoto), so Monogatari's extension is not because he's being constrained. </p><p></p><p></p><p>It's notable that Disappearance is made by Yasuhiro Takemoto (RIP), who you probably know from making Lucky Star, Hyouka and Kobayashi's Dragon Maid. Again, he's made the conscious decision to create mostly light-hearted works. These people aren't being constrained by any industry. They're choosing to make less serious works, and they're succeeding. Lucky Star is more popular in Japan now than Haruhi. Both the Japanese public and the authors of these works want to make less serious works. What I'm trying to say is that your desire for "confidence" (hello, Hachiman-san) in media is shared neither by the artists of Japan nor by their audience. Why should it be taken seriously?</p></blockquote><p></p>
[QUOTE="kino, post: 17507, member: 335"] I think having to compare the entire corpus of Western film, an artform with contributors across multiple continents and across a century, with anime, which has been around as a serious form for ~50 years and is local to one country, in order to put it down proves anime's superiority, rather than any inferiority. Obviously OP made the comparison initially, but the fact it wasn't laughed off; quite impressive. I think you're overly hung up on the idea that a story must be composed of a full plot. The purpose of Nisioisin in writing Monogatari wasn't to have a fulfilling overarching plot (the series is essentially monster-of-the-book), it's to examine the various moral systems of eccentric characters in their wholes. The reason why he keeps extending it is because he wants to keep exploring these characters and their ideas. Owari is basically an ending to the essential story of Monogatari (Araragi learning to love himself (yes it's hackneyed, it's kino anyways)), and the rest is just Nisioisin wondering how these characters would grow up. Haruhi is similarly monster-of-the-week oriented, it's stuck in an eternal present without conclusion. Maybe you can say "I don't like this", but this isn't some kind of evil thing that the audience despises, it's the natural orientation of the form. It's notable that Nisioisin has made stories with overarching plots which were popular (Medaka Box, Zaregoto), so Monogatari's extension is not because he's being constrained. It's notable that Disappearance is made by Yasuhiro Takemoto (RIP), who you probably know from making Lucky Star, Hyouka and Kobayashi's Dragon Maid. Again, he's made the conscious decision to create mostly light-hearted works. These people aren't being constrained by any industry. They're choosing to make less serious works, and they're succeeding. Lucky Star is more popular in Japan now than Haruhi. Both the Japanese public and the authors of these works want to make less serious works. What I'm trying to say is that your desire for "confidence" (hello, Hachiman-san) in media is shared neither by the artists of Japan nor by their audience. Why should it be taken seriously? [/QUOTE]
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