#i have to rewatch nge so bad

[stefisdoingthings]

look at them gays from evangelion

[horse-girl-anthy]

essay on NGE (and RGU) under the cut

if I really wanted to oversimplify, I could say that NGE and RGU are essentially the same story. both are about whether it's worth it to go on living, to come to life, or if it's better to die, to stay half-living. they use their respective characters, genres, and symbolic systems in order to investigate this issue.

to approach the shows that way would of course be flattening, since they explore the themes they share in different ways. I find myself in a loop when I try to compare them: first, I'll think of a way they're similar, but the second I write down the commonality, I think of an exception. when I try to write about how they're different, I end up realizing they're the same.

rather than try to parse all of that out, I'd like to talk about what NGE and RGU have given me, respectively. I first watched the shows back to back when I was 16. RGU has occupied a lot of my headspace since I rewatched it in 2020, while NGE was more of a teenage interest. however, NGE is still important to me, because it does things for me that RGU doesn't (just as RGU does things for me that NGE doesn't). the two works compliment each other well, in my opinion.

in the 90s, Ikuhara and Anno were fairly close, and did a string of interviews together to promote Evangelion. the below quote is from an interview with Newtype which was conducted during NGE's production:

Kunihiko Ikuhara: Hmm, what I'm hoping for from Evangelion is that it will be a drama that shows us an embodiment, a concrete way to be happy. --Our Happiness: The Happiness Depicted by "Evangelion"

did Ikuhara get what he wanted out of Evangelion? "a concrete way to be happy"? I don't know. perhaps Ikuhara went on to make RGU because he didn't see what he wanted in Evangelion. RGU--all Ikuhara works--have some kind of relief in them. a moment of revelation, change, reconcilliation, transcendence. Evangelion points in similar directions, but it never truly resolves; it never relents.

but Ikuhara goes on to say:

Kunihiko Ikuhara: There are many young people who think that they will be happy if their current situation changes. They think that because the situation is bad, they can't be happy or do well. That's not true. What makes us happy is our ability to materialize - to give shape to our happiness.

this was something that the final episode of NGE communicated to me quite powerfully when I was a kid. first, the animation style changes, and the show depicts how material reality restrains freedom, but how total freedom would mean total disconnection, the inability to interact with the world. later, Shinji has visions of a sitcom version of Eva, where the story plays out like a bad anime. somehow, this is what leads into the revelation he has at the last moment of the episode. I couldn't have explained it at the time, but this ending worked very well for me. I think I've finally put my finger on why.

the voices of all the people Shinji knows give him a lecture, dispensing advice which could feel insulting or could be hard to take. I was struck by him being told, "you're the only one who can understand yourself, so take care of yourself." like many young people, I had the fantasy that I would meet someone who truly understood me, and that it would somehow free me from all bonds. I wanted to be helped and saved, and here was this show, telling me to my face, "it's actually your responsibility to do that for yourself." I didn't want to believe it, especially not that I would never be understood the way I wanted to be... but I couldn't ignore it either.

there's also a part where Shinji is told that "on rainy days, you feel glum, but on sunny days, you feel happy. but that's only a matter of your perception." this sounds like something a bad therapist would tell you: that you can just willpower your way out of suffering by changing how you look at a situation. but I think it's not quite that.

this goes back to the sitcom sequence. Shinji witnessed a different version of himself, one with normal problems, and he realized that the world is actually indifferent to him, the way that the world is indifferent to whether there's rain or sunshine. the whole show, he's been afraid of indifference, and he's been afraid that he's looked down on by others. he's judged himself, felt like absolute scum. but at the same time that he's forced to realize that he will never receive perfect acceptance and understanding from someone else, he also realizes that indifference is a great gift, because it means whether he is the "rainy" or "sunny" version of Shinji, he is still allowed to exist. he is a part of his world, a mirror of it, and so there's no reason to hate himself for his failings. it's a realization that he has a place in the world, and he's congratulated for it.

but Evangelion didn't stop there. I rejected End of Eva the first time I watched it, in part because I really disliked the live action shots (which I thought were pretentious) but also because the story was so depressing, especially after the relatively uplifting ending of the show.

the film does have moments of transcendence, but they're all of an existential, apocalyptic, and ecstatic-through-suffering kind. Yui tells Shinji, "as long as the sun, moon, and earth exist, everything will be alright," taking the idea that circumstances don't dictate happiness to the extreme. she becomes a monument to humanity, sacrificing herself and allowing the apocalypse in order to do so. is it beautiful, or horrible? are humans so afraid to be annihilated that we annihilate ourselves?

more unsettling, our main characters get what I'd like to call "anti-resolutions." Ritsuko fails to even get revenge on Gendo, betrayed by her mother til the end. Misato may be right that she's learned with every mistake she's made, but she dies the same person she always was, crying out to Kaji for reassurance. our young protagonists all have moments of self-actualization, but they are immediately cancelled, rendered void. Asuka regains her desire to live, only to be killed. Rei makes a choice--a crucial choice--but she hands the final decision over to Shinji, losing her individuality in the process (when she's always longed to be a discrete individual). then Shinji makes what seems to be the right choice, but is not rewarded for it.

I've always found it fascinating that people can watch NGE and come to the conclusion that Third Impact was a good thing and humans should have stayed tang. it's certainly the more peaceful option. everything would just be... over. no more strife caused by the fact that we cannot understand each other, that we cannot cross the divide of being and experience each others' experience.

in a triumphant moment, Shinji decides against living as fluid. he knows his feelings were real, and could only ever be real, in that other world, where people are separate, because not having any boundaries is the same as not existing.

the logic of fiction tells us that, since Shinji "did the right thing," there should be a good outcome as a result. but no, there isn't. when he's back in his body, the world is worse than it's ever been, and only Asuka is by his side. he has the ability to hurt people again. yes he can be caressed, but he can also be scorned, hated--and people can have good reasons to scorn and hate him.

this was an entirely new gift that End of Eva gave me, and it's stuck with me ever since. it was an acknowledgment of suffering that promised no respite or happy ending. if we are not to kill ourselves, we have to face the fact that life may offer no rewards. we may never get what we want, and there will certainly be pain along the way. relationships can fall apart, and we can let ourselves down.

although Ikuhara has said that he created RGU in the hope that it would help kids see an option other than suicide, I would say that NGE has done more for helping me live than RGU, for the reasons I outlined above. it was my sense as a teen that there was no way out of the pit. maybe it's true that people can't understand each other, but through the power of art, I felt understood by NGE. that went a long way.

RGU was something very different; it had a different gift to give, and I had to mature in order to accept it. I don't think RGU offered a "concrete way to be happy" either, but it did make concrete the process of liberation. RGU is about freedom, freedom from just about everything: illusions, dependence, time, the self, you name it. by dramatizing the process by which a community is turned inside out and changed irrevocably, the show proves that liberation is possible. Anthy comes to stand in for the repressed part of all women, and so her revolution is the revolution of womanhood. most affectingly, the show involves the audience in the story using a variety of means. by forcing the audience to see themselves as part of the narrative, getting them to examine their own perceptions and identify with the characters, RGU operates as a direct challenge to the viewer, asking them to revolutionize their own world as soon as possible.

to wrap this up, I see NGE and RGU as stories which I needed at different times in my life. I imagine I'll return to them for years to come, but it makes sense to me that NGE came first. I don't think I could have tried for freedom before I internalized the ideas that NGE offered me. in the long run, RGU has had more impact on my thinking and personality, but NGE paved the way for it, kindly playing the role of John the Baptist for me. it is the gospel for the new century after all.

[euporiavortex]

How much would u rate nge out of 10. Asking bcs u like berserk so by default u have good taste

NGE is an easy 10/10 from me bc it’s my favorite show of all time ever, which isn’t to say i think it’s flawless and perfect or anything because i do understand some of the issues someone may have w it. The most common thing people have a problem with are the last 2 episodes and i get it to some extent, but i just don’t agree that those episodes are bad. For me NGE is just personally very important and i think the only thing i can think of that makes me as emotional as NGE does is, well, Berserk LOL. It’s just really good and i always go back to rewatch it ^_^

[vitos-ordination-song]

I watched NGE and RGU back to back in junior year of high school. NGE was like a gut punch, it was mind expanding, introduced me to a lot of new ideas, and generally was exactly what I needed at the time. RGU, on the other hand, wasn’t something I could process—I shoved it to the back of my mind. I thought it was good, but I didn’t have the intellectual or emotional tools to really parse it.

I’m not sure exactly why there was a difference in my responses. Both works are challenging and untraditional. I guess it was that NGE operates on a very visceral level, while I’ve observed that Ikuhara works take multiple watches and quite a bit of time to incorporate into a narrative and emotional framework. Like, both throw a lot at you, but in NGE, that creates this battering ram against the psyche of the audience, whereas with RGU, you have to do a lot of mental work before the deeper emotional connections form.

It’s interesting because the works really are similar, and so this is mostly a matter of execution and aim. For instance, thinking back, it’s strange that I was fully able to connect to Misato’s narrative, while I pretty much zipped Nanami and Anthy’s stories away in some dark corner of my mind. I felt all the pain of having a deep childhood wound, but I just wanted that pain poked at. No one in NGE ever resolves anything, ultimately, though a couple breakthroughs and words of hope are given—mostly it’s just walking around in severe depression, self-hatred, trauma, abandonment issues, you name it. Misato dies with the exact same problems she started with. I was miserable and that’s what spoke to me. But RGU seems to have touched an even deeper place in me. In a weird way, maybe it’s because it was more restrained; so much isn’t said, so much more is implied than seen, and emotions build up quietly in the background. It felt like something getting under my skin. When I rewatched in 2020, I was surprised by how much of it I had avoided thinking about for years after watching it—specifically episodes 30-38. So many little moments unsettled me to the point where I didn’t want to think about them, like Nanami’s realizations about her relationship to Touga, Anthy handing over the “roses,” or Akio telling Utena that she’s just as bad as him for accepting his advances.

I’ll always love NGE for what it did for me. It helped me through times in my life when I felt horrible, suicidal, left out in the cold. NGE made me feel like I wasn’t alone. It was after i got over issues it helped me process that I was ready for RGU. RGU is a story which asks you to go farther, into adulthood, which NGE gestured at but never really reached (not a criticism, they’re just different stories). The final reason I think I had a harder time w RGU is that it’s about stripping away illusions. NGE was always kinda about depressed people psychoanalyzing themselves, but RGU starts on a more surface level and then goes deeper, demolishing the characters’ projected images. It showed me a vision of having what was most precious to me, what sustained me, ripped away. Ikuhara works are all about loss: loss of ideals, loss of relationships, loss of self-image. That was too much for me to take at age 16. But six years later, I was ready for it, and it blew me away. It gave me a vision of what comes after loss: what cannot be lost, a life of freedom and connection where one actively shapes one’s own future.

[thekaijudude]

Ultraman Blazar Episode 1 First Thoughts

Ok, I can definitely see why TsuPro, FIELDS and Bandai kept stressing that they're very cautious of this series. The former 2 even outright stated that they'll immediately return to the standard New Gen if it fails.

I myself was thinking that "It can be THAT bad". And boy was I surprised indeed

This was the WEIRDEST first episode I've ever seen

Especially Blazar's primitive nature and horrendous sounding grunts throughout the fight scene

Considering its Taguchi, I actually went it with the belief that the first episode would start off strong, like Decker. But while there were some reasonable nods to ShinU, Taguchi tried too hard to emulate Anno's characteristic cinematography of demonstrating the idiosyncratic aspects of characters, specifically the one about Gento formulating a plan in his head. It dosent feel the same ngl. But then again, Anno is an absolute master at this, especially since its literally one of the iconic techniques of his that he used both in NGE and in the Shin movies

(If yall recall, Taguchi implied in a recent interview that he'd incorporate some aspects of ShinU into Blazar for those that missed it)

It honestly felt like a cheap knockoff cause while it did have the action, the shots lacked the iconic close-up angles Anno used to add to the characters' depth and sense of perspective.

And yeah the fight scenes. Gosh.

I don't even remember when I've ever seen an episode when it all goes downhill when the Ultra appears

As a ultra grunt connoisseur, this is literally an absolute nightmare. I thought I'd only hear the weird sounding grunts in rare instances from the PV, not literally constantly throughout the fight scene. This is literally worst than the X movie when human characters won't shut up during the fight scene. This time is the Ultra himself wut.

But I shall still hold my opinions on Blazar's primitive nature cause I honestly hope it actually adds to the story. However, coupled with the horrible sounding grunts, this is overall, a very bad experience. It was constant cringe throughout the fight scenes.

This is a real sticking point since the fight scenes are always the highlight of any episode for me

Honestly, I feel that Blazar's amazing design is "wasted" on such a grunt and plot settings for now

Really hope Taguchi knows what he's doing and it gets more interesting to watch from here on out (hard to do worse than this imo, it's such a weird experience)

I really hope the grunt is just something I need to get used to. I'm gonna rewatch the fight scenes a few times to try to acclimate myself in the meantime

At the very least, Vol 2 of First Mission drops in a few hours so that'll be a good enough therapy for me to recover from this horrible experience

[shodansbabygirl]

Okay well fuckin 3.0+1.01 is like, the best movie sor far in that I'm an hour in and I don't want to beat Anno to death with a Rei figure but like. It was not worth watching 1.11 and 2.22 and 3.33. at all. Especially because I'm going to have to go and completely rewatch nge and EoE to fucking get the taste of it out of my mouth. I didn't even fucking like EoE. But I like EoE a hell of a lot better than fucking 1.11. fucking 1.11 pissed me off so fucking bad. 1.11 destroys so much internality and emotional motivation. Fucking ruins misato. AND CAN WE STOP LOVINGLY ANIMATING MARI'S TITS FOR TWO GOD DAMNED SECONDS

[coredrill]

the audacity of neon gelatin 3.0+1.0 to say it “broke the loop” when promare actually did that a hundred times better and two years prior:

[shockvalue]

☕ + Evangelion is an overrated trash fire but also a heavy psychological masterpiece

hmmmm. ok i wouldnt say its overrated but there are absolutely some shitty aspects to it. forever pissed at the way asuka was treated as fanservice even tho her character is otherwise imo a rlly realistic representation of a traumatized teenage girl . it just feels really contradictory . ALSO some of it just doesnt make any sense like i havent watched nge in a while so specific details are escaping me but you know what imean . anyway overall i do think evangelion is a very good show but i wouldnt call it either a masterpiece or a trash fire idk. some of the poor plot decisions were a result of running out of money (the last 2 episodes most famously, although honestly i didnt think they were that bad) but also some of them were just shitty writing ? maybe i am being cagey here idk . i have a lot of opinions abt nge that i could probably put into words better after a rewatch. tldr nge sucks but also i like it ^_^

[ilikemilkbread]

arguably tagged by @kyuuuketsuki . arguably.

1. Do you make your bed?

yes but messily. can barely be called making a bed. but all the layers are there. just not tucked etc etc

2. What’s your favorite number?

hm. 7? maybe. it always changed...

3. What’s your job?

i have two rn! one customer service at an electronics store the other is just stock/fronting at a grocery store lol

4. If you could, would you go back to school?

i kinda am! offer for compsci at a sydney uni, just need to enrol or defer my offer. will start either 2021 or 2022 either way

5. Can you parallel park?

yes but slowly. i will avoid doing it so hard

6. A job you had which would surprise people?

uh. none? i have not worked in anything interesting. i mean, i guess i had a work placement at a software firm for a bit before

7. Do you think aliens are real?

yes but in the way that i doubt wed ever meet them

8. Can you drive a manual car?

yea. super fun in country sucks in hilly cities. easier to just.. auto.

9. What’s your guilty pleasure?

nothing, i take all my pleasures without guilt

uh. hm. im secretly still into a lot of the old, kinda modernly trashy animes? like i intend to rewatch free! n stuff lol. and im simping for genshin characters, which is, a gacha game so thats.. kinda falling into what they Intend so maybe thats guilt worthy..

10. Tattoos?

i want some but i dont really have concrete ideas. i mean, i had a half sleeve idea that i wanted done by a specific tatoo artist but theyre in like fucking scotland so thats not happening

11. Favorite color?

green... specific green. deep forest green seems to be at least close to it? on google images?

12. Things people do that drive you crazy?

people who look away when they start talking to you. like, i dont care abt eye contact i mean when people fully turn around and then u cant hear them for shit lolrip. WHY

13. Any Phobias?

arguably spiders when i was younger (id cry sooooo bad if one was anywhere near me) but because im australian i had to like start stabbing big furry fuckers so i got used to it <3

14. Favorite childhood sport?

yall did sport? none of them. okay thats a moderate lie, i was good at and liked badminton

15. Do you talk to yourself?

all the fucking time. whether in little FUN NOISE!! ways or in long ass narrating what i do ways

16. What movie do you adore?

evangelion 3.0 you can (not) redo. because im a homosexual. and because i watched nge at 14. i cant explain it more than that. i rewatch it yearly with a desperate hope as though my want could change what has already happened

17. Do you like doing puzzles?

sometimes. sometimes i just get frustrated. it depends.

18. Favorite kind of music?

my favourite music type changes regularly... idk what genres even. because my ears dont work idk shit <3 i like hyperpop adjacent stuff n noise but i feel like ill be knifed if i call something the wrong genre. yameii online, food house, black dresses r my most listened to ppl rn

19. Tea or coffee?

theres like.. like a cycle of best here. hot tea is better than hot tea but iced coffee is better than hot tea and traditional iced teas, but the best thing ever is like boba tea

20. The first thing you remember you wanted to be when you grew up?

b-ballerina.. i was far too uncoordinated for it.. but my flexibility/hypermobility got me some distance in dance classes...

i tag anyone who reads this <3

[neni-has-ascended]

You Can(Not) UnGay Kaworu Nagisa - An Essay

This is a text-version of my video-essay on the recent Netflix/Evangelion translation controversy. To see the video version, please click here!

I make no secret of the fact that the linguistics involved in Anime and Game translation are one of my primary fields of interest as a Japanologist. Compared to translation between Germanic and Romanic Languages, as the west is used to it, translating from Japanese to English is filled with a plethora of pitfalls, the likes of which can be very difficult to imagine unless you’re fluent in both languages.  

It’s because of this that my interest in any given AniManga controversy immediately skyrockets as soon as the matter of translation issues is brought up. Which brings us to June 21st’s release of Netflix’ Redub of Studio Gainax’ internationally infamous existential creator meltdown disguised as a Mecha Anime, Neon Genesis Evangelion.

1.)    Neon Genesis ADVangelion

For those among you who haven’t yet heard of this inherently controversial work – what rock do you live under and does it still have vacancies? In all seriousness though, enough videos attempting to summarize the plot of NGE exist on the internet to make giving the rundown here an exercise in redundancy. All you need to know is that the protagonist’ name is Shinji and that he’s a mental-wreck with Daddy Issues who pilots a giant cyborg infused with the soul of his dead Mom to fight surrealist alien abominations and gains an increasingly screwed up social life doing so, all while his already fragile psyche gradually declines to world-ending consequences. For far less fatalistic takes on some of these concepts, please see RahXephon and Tengen Toppa Gurren Lagann. Good? Good. Let’s move on.

The original ADV Films dub of Neon Genesis Evangelion and its sequels and spin-offs is… not really flawless, to say the least, but it did a good job in introducing the series to a western audience while staying entirely true to the themes and intentions of the original version. This is definitely at least partially thanks to the fact that director and auteur of the series, Hideaki Anno, personally oversaw the translation and dubbing process, and while the guy in all honesty doesn’t really know the first thing about voice acting – his performance as Jiro in The Wind Rises is one of the reasons it’s my least favorite Ghibli movie – what he does understand is his own work, and what it should convey to the audience in order to be authentic to his vision. So while I do have my issues with the ADV dub, such as poor audio-quality and hopeless cases of overacting caused by poor voice direction in certain parts, the translated script of the series was as stellar as could be expected from something created with the original author’s input, and to the very end of the original 26 episodes run, one can definitely feel the deep, emotional investment every single member of the English cast had in these characters and their journey. (I mean. Just listen to Spike Spencer’s secret rant in the end of the last episode. The dude clearly cares about what happens to Shinji.) In any case, this is probably one of the most influential, iconic dubs to all of the English-speaking Anime Fandom.

Then Netflix decided to license NGE. Not the ADV Dub. Just the show.

People were not happy.

2.)    The Rebuild of Netflixgelion

Please do not mistake what I’m saying for pedantic. The iconic nature of the original ADV dub of NGE cannot be understated, and plays a huge role in the current lack of acceptance for the Redub, even though previous similar redubbing efforts, such as in the case of Bishoujo Senshi Sailor Moon, where welcomed by the community wholeheartedly. The new dub cast is absolutely stellar, including voice acting veterans such as Carrie Keranen and Erica Lindbeck, and Casey Mongillo’s amazing vocal range goes a long way to replicate and convey the emotional depth of Shinji Ikari in a way previously only seen in Megumi Ogata’s original Japanese performance.However, while the Netflix dub has a wonderful cast and voice direction, what it does not have is the original dub’s Hideaki Anno-approved script.

…Aaaaand, this is where the real troubles start.

To be totally clear, the redub always meant trouble. The original voice cast were reportedly never given a real chance to reprise their roles- despite efforts made by the main trio, Spike Spencer, Amanda Winn Lee and Tifanny Grant to at least be given a chance to audition – which is a surefire recipe for upsetting a lot of fans. However, this is a problem that could have at least been partially smoothed over after allowing the performances of the new cast to shine in their own right. I mean, even if it is incredibly scummy to not even inform the old cast of the auditions for the redub, if the new version proves to contain superior performances and direction in comparison to the, honestly badly-aged ADV dub, then Netflix’s decision to make an entirely new dub is entirely understandable, right?

No such arguments can be applied to the retranslation of the show’s script.

3.)    The End of Authorial Intent

I haven’t rewatched the entire show in the new dub, just two key episodes. That said, I wouldn’t dream of calling the new script ‘bad’. It’s, for the most part, natural and faithful to the original Japanese source text in much the same way the ADV dub was, to the point that some stray lines received identical translation in both versions. What gives the new script away as entirely unrelated to that of the ADV dub, however, are some rather…  baffling localization choices. 

All of those decisions are rooted in the original Japanese script. They’re not incorrect translations. If the Japanese were to be your only point of reference, there would be no reason to complain about these choices.

But we do have a point of reference. The ADV script. Which was overseen and approved by Hideaki Anno. The original director.

In the making of this video, I have since learned that Anno’s animation company, Khara, was most likely involved in the translation of the script for the Redub. However, as I can’t find any evidence that he himself was involved, the point I am about to make still stands:

Back in the 90s, very shortly after the show concluded its original run, Anno personally signed off on every single choice the ADV dub made. The respective pronunciations of Nerv, Seele and Gehirn, calling the EVA pilots by the correct singular “Child”, rather than the awkward Engrish singular “Children” the original Japanese featured, and referring to the enemies consistently as Angels, even in parts where the original Japanese mixed up the terminology for the sake of a pun with Kaworu’s name. 

So, all of the ADV localization changes are within the intent of the original author. They are part of how the show is meant to be consumed by a western audience. Not carrying over this terminology, despite it being faithful to the Japanese script, thus ironically makes the Netflix script LESS faithful to Anno’s authorial intent than the ADV dub. But those are only terminology changes, right? They’re not a big deal. They don’t alter the context of the narrative itself.

…

Kaworu Nagisa.

4.)    Kaworu Nagisa

Remember how I mentioned that I only really watched two episodes of the Netflix dub all the way through so far? Well, one of those two episodes happens to be one of the series’ most infamous, right after the two-part finale: Episode 24. “Knockin’ on Heaven’s Door”, or “The Final Messenger” – Let’s not get hung up on which it is, Evangelion has ALWAYS been weird with titles.

This Episode introduces Kaworu Nagisa, the fifth of the EVA pilots and long-time fangirl-favorite for not-so-subtle reasons. Kaworu appears as Shinji is at his lowest point, our main protagonist’s already pretty much non-existent self-esteem in shambles. The two boys bond immediately over… the fact that Kaworu can sing ‘Ode to Joy’? Yeah, let’s go with that – And the majority of the episode consists of showcasing the growing relationship between Kaworu and Shinji, beginning with simple conversations, but quickly progressing into some more… serious territory.

I won’t sugarcoat things, in terms of narrative structure, the episode is a mess, rushing from scene to scene with reckless abandon, attempting to successfully tell a story in under 25 minutes, that some Disney Movies don’t tell right in 90+ minutes. This is doubtlessly due to the overall mess that NGE’s production process had become at this point in its original run for reasons too complicated to talk about in this video, but let me assure you that there’s pretty solid evidence that Kaworu was definitely originally meant to appear for much more than a single episode. As it stands, however, he dies in the same episode he is introduced, begging Shinji to assist him in his suicide after revealing himself to him as the final Angel. His effect on Shinji, however, is profound and comparable to the effect Nia Teppelin of Tengen Toppa Gurren Lagann has on that show’s protagonist, Simon Giha. In that way, just as with Nia later, it is plain as day that Kaworu is intended to be one of Shinji’s love interests. And the episode is NOT subtle at all in portraying him as such.

A lot can be said about the exact nature of Kaworu’s affection for Shinji, from Kaworu clearly seeing Shinji as some sort of avatar for humanity as a whole on which he projects his admiration for the species, to Shinji seemingly falling victim to an idealized Oedipus Complex in regards to his perception of Kaworu, the fact remains that their interactions with one another in Episode 24 are in places obviously romantic to even sexual in not only the dialogue, but also the visuals. Even with Hideaki Anno’s profession that Shinji’s romantic feelings for Kaworu aren’t “carnal”, they’re still obviously there. Projected and skewed by their unusual psyches as aspects of it may be, the relationship between them is clearly portrayed in a way that transcends the platonic and becomes intimate more quickly than your seafood friends can start singing ‘kiss the guy’ on a romantic boat ride – It’s not subtext, you guys. Towards Shinji Ikari, Kaworu Nagisa acts and speaks quite openly like one would speak to a lover. And even if Kaworu and his ambiguous humanity are somehow not gay enough for you, well, resident violently blushing and stuttering smitten wreck Shinji Ikari will put your doubts to rest. The visual homosexual (homoromantic?) tension in these scenes is so tangible, you can cut it with a knife. The dialogue, at certain points, doesn’t even really matter. Kaworu could quite literally be reading off the grocery list, and these scenes would STILL be gay.

That doesn’t mean the dialogue is not important, and that one shouldn’t really, really pay attention to what’s on screen when translating.

5.)    The Final Angel is in the Detail

The translation of Kaworu’s words to Shinji in the Netflix dub is not wrong. But it ignores the context of the scene, as well as authorial intent. And that’s why I understand why people are angry at it.

The lines in question are these : 

(Scene 1)

Kaworu: そう、好意に値することよ。

Shinji: 好意？

Kaworu:「好き」ってこと、さ

(Scene 2)

Shinji: カヲル君が「好きだ」って言ってくれたんだ。僕のこと。初めて…初めて人から「好きだ」って言われたんだ。

In the ADV dub, these lines were translated like this: 

(Scene 1)

Kaworu: This is worth earning my empathy.

Shinji: Empathy?

Kaworu: I’m saying “I love you.”  

(Scene 2)

Shinji: Kaworu said that he loved me. I’ve never... felt such kindness before.

In the Netflix dub, however, they were translated like this: 

(Scene 1)

Kaworu: Yes, you’re worthy of my grace.

Shinji: Your grace?

Kaworu: I’m saying “I like you.”  

(Scene 2)

Shinji: Kaworu said I was worthy of his grace. That was the first time... someone told me they liked me.

Which one of these is right? The fact is… both are.

The Japanese term “ 好き ” doesn’t really have a direct equivalent in English. It holds a connotation that is meant to convey very personal, but broadly defined affection. It doesn’t simply mean “to like something”. It means to feel a strong, positive, emotional connection to that person of thing. For that reason, this term can be used to profess affection to your friends, your family, your favorite item… Or as a love-confession. 

In Japan, love-confessions using “ 好き ” are a lot, lot more common than the much, much stronger term “愛する”, let alone the implicitly sexual term “恋する”. In most romance Manga, “ 好き ” will be the term of choice the heroine uses to confess her love to her object of affection. And though, via character analysis, a strong argument can be made that when Kaworu uses “ 好き ” to express his affection for Shinji, he means general affection towards Shinji’s humanity more than personal, romantic affection, this is clearly not how Shinji takes Kaworu’s words. To Shinji, what Kaworu said in that moment, definitely sounded like a confession of romantic devotion, which becomes very, very clear when Shinji later tells Misato: 

Shinji: 初めて人から「好きだ」って言われたんだ。

With the line being translates as “I like you”, this statement of Shinji sounds like pure delusion, which wouldn’t be out of character for him, of course, but isn’t at all what the episode is trying to get across. Of course people have told Shinji before they ‘like’ something about him! That’s a big part of the reason he started defining himself through his status as pilot of EVA Unit 01; his efforts earned him praise from those around him. He had friends for most of the series, at least implicitly, these people have definitely expressed a ‘liking’ for him. So by translating “好き” as “like” in this context, a whole layer of the statement is lost, and Shinji professing that this was the first time anybody has ever said that they “like” him sounds less like a serious revelation about his character, and more like his typical, delusional whining about how the world hates him.

And I think that’s why Anno signed off on the ADV dub translating the line as “I love you” rather than “I like you”. Because the point of this line is not Shinji thinking that Kaworu is the only person who’s ever tolerated his presence. It’s that Shinji feels like Kaworu was the first person to ever have a genuine, emotional connection to him. Something he’s never allowed himself to have, due to the series’ often cited theme of Hedgehog’s Dilemma.

And, as correct as translating “ 好き ” as “like” is,  a whole dimension of Episode 24 of NGE is entirely lost if you choose to translate Kaworu’s lines that way. As much sense as it technically makes.

The Netflix dub of NGE, by all measures known to me, is a very well-acted, well-directed, well-translated version of a classic piece of Animation History. I am not telling anyone that it is in any way bad or even inferior to the original, and I am not telling anyone to avoid it.

All I am saying is, that if you, as a translator, have access to references regarding authorial intent you should probably use them.

[lumchan]

16 and 17 ?

16. When did you first watch NGE ( how old were you)? Was it dub or sub?

i think i was like 13/14 lmfao and it was subbed....shouldn’t have watched it! 

17. How have your opinions on NGE changed over time?

the first time i watched/read i was pretty young and didn’t really understand a whole lot so i just thought it was cool bc of the robots and stuff and i felt bad for shinji and co....now i’m almost 19 and did a rewatch recently and i have to say. i just thought it was cool bc of the robots and stuff and i felt bad for shinji and co :) 

[ckret2]

Are you going to watch nge?

for a second i was hella confused like “what prompted this, does nge stand for something other than neon genesis evangelion or are you asking if i have future plans to watch a 24-year-old show”

but i googled it and it looks like 3.0+1.0 is coming out next year, so i’m guessing that that’s what you’re referring to?? if not feel free to correct me.

Probably at some point, but it’s not a high priority. 3.0 really lost me with the whole “it’s been fourteen years! but everyone is the same age!” thing. like. the unnecessariness of it all pissed me off so bad i couldn’t actually enjoy the movie. I’m gonna complain about it for a paragraph.

Massive time gaps mean a jarring disjoint in continuity—it kicks you out of the groove of the story. To justify them—to make them work—you have to establish, 1) that enough has really gone on in these characters’ lives to actually fill out the amount of time that was skipped, and 2) that absolutely none of it was worth showing. In 3.0, not only has not enough gone on to really fill in that 14-year-gap—if they’d made their big fancy new machines a bit more ramshackle they could’ve claimed that everything Shinji missed happened within a single year—but also the only way to really make it feel like what they described was worth 14 years instead of 1 would be to show all their struggles, and also also they went out of their way to make it seem even more like the massive amount of time that passed had no significance or impact whatsoever by making sure none of their characters look at all different except for minor costume changes, which included coming up with a totally unnecessary justification for their teenage children to still be teenage children. If they’d let the children be 14 years older OR if they’d made the jump in time like, one year, I could’ve accepted it more easily. Instead it feels like “we’re going to pull out a random big year to paste on the illusion that a whole lot has been going on that Shinji missed even though uh it really doesn’t feel at all like all that; but we don’t want to commit to this time jump plot line quite enough to actually change our extremely-broadly-marketed character designs so we’ll also paste on a reason for them to look the same.”

And so that nonsense really soured the reboot continuity for me. Especially since I’d have to rewatch 3.0 to remember how it ended if I wanted to watch 3.0+1.0.

Buuut I’ve watched the whole anime, Death & Rebirth, End, and the first three of Rebuild, so I’ll probably watch 3.0+1.0 at some point. Most likely after it’s been out a while.

[and-the-chupacabra]

Ruslan Glinka; from Sotnikov to Babysitting Satans

PRA-REGISTRASI

Mood Ruslan pertama kali dateng pas saya habis rewatch Moonrise Kingdom, terus ketagihan dengerin Cuckoo-nya Britten. Saya inget dini hari mendadak bilang ke Ajeng macam, “Jeng, pernah dengerin Children’s Classic-nya Bernstein ini nggak?” (kayaknya sih waktu itu saya lagi ngerjain sesuatu, sementara Ajeng berada di zona waktu yang berbeda). Ternyata saya sama Ajeng selera musiknya lumayan satu frekuensi, akhirnya sampai fajar saling ngeshare lagu. Saat itu otak saya lagi turbo-turbonya. Moonrise Kingdom keputar lagi di benak saya, dan moodnya masih mengendap banget, dan berkali-kali saya recokin Ajeng, “Please, Jeng, dengerin Cuckoo sama Old Abram Brown.”

Gara-gara dua lagu itu, Cuckoo sama Old Abram Brown, saya langsung dapat gambaran kepingin nulis dengan mood kayak apa. Kenapa dua lagu itu? Apa ada hubungannya sama lirik? Nggak, nggak sama sekali. Kalau dengerin sesuatu, saya jarang notis liriknya ngomongin tentang apa malah (...) To be honest, I don’t know how to describe that feeling either.

Saya rasa macam ... saya dibayangi sama betapa sedihnya mood lagu tersebut, tapi juga inosen, dan langsung kebayang: This is how childhoods are—innocent and sweet and full of adventures, but things don’t always go the way you want it to be. Life is hard, but you’re a child, so you don’t have to worry about that—your parents will take care of everything. Or at least they’ll try their best.

REGISTRASI

Oke, saya males bahas detil riset. Langsung ke Ruslan Glinka aja. Jadi, Ruslan sepupu tirinya Polina Glinka (ya, karakternya Ajeng—if you’re new here, trust me you’ll hear that name a lot). Ajeng ngasih saya kebebasan mau dibikin gimana karakter ini. Karena saya nggak kepingin konsep yang muluk-muluk, konsep utamanya cuma begini:

Muggleborn. Ayahnya entah siapa, ibunya Vasilisa Potyomkin (iya, ini nama belakang asal comot banget dari Battleship Potyomkin #yha). Vasilisa ini stilyaga + anaknya simpatisan Bolshevik (...) ini bahasan untuk lain waktu mestinya, karena bisa panjang banget (dan saya udah lupa juga detil dari konsepnya Vasilisa).

Pindah ke London waktu usianya tujuh tahunan.

Terinspirasi dari Moonrise Kingdom, kepingin bikin Ruslan anak yang... apa ya... terampil? I’m not even sure if ‘terampil’ is even the right word. Dia sering bantu ayah atau ibunya di rumah, dan dia sering babysitting adiknya juga. Secara kepribadian atau karakterisasi nggak ada konsep, beneran, dan satu-satunya kegiatan fix yang paling saya bisa bayangkan dari Ruslan ini ya cuma mushroom hunting—this is the most Russian thing (that doesn’t necessarily sound too Russian) I can think of; akhirnya saya cari hutan/daerah pinggiran paling enak buat mushroom hunting di London di mana, buat deskrip kalau Ruslan sering mushroom hunting sama keluarganya di sana.

BEING SOTNIKOV

Ternyata, saya nggak perlu banyak post buat langsung ngeh Ruslan ini karakterisasinya kayak apa. Dia karakter biasa-biasa aja, nggak neko-neko. Dia cuma kepingin memastikan orang-orang di dekatnya tercukupi kebutuhannya. Not necessarily being a mom, tapi lebih semacam... dia kepingin bikin orang merasa nyaman. Soalnya kalau orang lain nyaman, dia nyaman. Akhirnya makin lama jadi makin kebayang kayak Sotnikov di The Ascent (1977) itu.

Sotnikov karakternya biasa-biasa aja. Sejenak kelihatan lemah, tapi di masa-masa sulit baru kelihatan kokohnya. He’s gentle, but he doesn’t necessarily look friendly. Bisa kebayang banget Ruslan kayak Sotnikov, meski Ruslan saya bikin lebih ramah. Sotnikov bukan karakter yang aksinya performatif banget, nggak kelihatan dominan pula, but he’s ready for anything; dia siap ambil keputusan dan menerima konsekuensi. Di situ saya juga bisa bayangin: oh, Ruslan makin ke sini makin gitu juga.

(SPOILER FILM!) Kayaknya bagian favorit saya, Sotnikov punya integritas di saat temennya (yang kelihatan keras banget itu) bisa gentar dan berkhianat. Di situ kelihatan banget silent anger-nya Sotnikov, kelihatan banget betapa dia pantang menyerah sama apa yang dia yakini. Dia bisa jaga rahasia, dia bisa dipercaya. That have to be the best thing about Ruslan, I thought; he won’t betray you. Atau persisnya, kalau dia punya janji, dia nggak bakal ingkar. Astaga ini spoiler film banget, tapi gimana ya... titik ini penting banget buat masuk esai chardev. Gapapalah lah ya nge-spoiler film 43 tahun lalu (...)

BABYSITTING SATANS

Setan-setan di sini dalam artian... angkatan gaib 1962, terutama Al dan Hanna. Betapa liarnya mereka, sementara Ruslan ini jinak banget. Berkat mereka, saya bisa menemukan sifat-sifat Ruslan yang saya belum ketahui sebelumnya. Beberapa di antaranya termasuk:

Loyal. Dia nggak bakal ninggalin temannya. Macam di topik waktu anak-anak 1962 menyerbu hutan terlarang malam-malam, Ruslan memastikan kalau temannya lengkap dan kalau bisa dia yang jalan paling belakang.

Konfrontatif. Alright, he’s not the stereotypical ‘baiklah kalau itu maumu aku nurut’ kind of loyal. Dia konfrontatif sama orang. Al manja waktu dia sudah berhasil ngajak anak-anak seangkatannya ke hutan? Ruslan ngingetin dan siap marahin kalau Al nggak tanggung jawab. Di sini saya agak nyayangin topik bareng Al dan Hanna yang belum sempat jalan. Kalau topik itu jalan, saya bisa bayangin Ruslan bakal marah dan dia bakal interogatif ke Al dan Hanna (meski belum memutuskan mau bersikap bagaimana ke Al sama Hanna ke depannya).

Ringan tangan, tapi lebih suka ngajarin. Dalam artian, kalau ada yang minta tolong, dia lebih condong ke “kamu kesulitan di mananya?” alih-alih “oke, sini kubantu” langsung.

Bisa marah, tapi nggak bisa ngakui kenapa dia marah. Dia bisa nunjuk dan bilang “that’s bad” atau “you shouldn’t do that”; dia bisa bilang “I don’t like this”, tapi dia nggak bisa benar-benar jelasin kenapa dia marah. Ya intinya, dia ngebatin banget sih anaknya (...)

BOTTOM LINE

Demi kolor Merlin, apa yang mau di-bottomline-in? Karakter ini masih dalam tahap perkembangan dan belum ada banyak perubahan atau twist dalam chardev-nya (...) bahkan belum tahu Ruslan di situasi-situasi yang bikin panik kayak apa, atau sexual orientation-nya apa, atau hobi-hobi lainnya apa. Masih mentah banget karakter ini.

[hamartian-cathexis]

Why would you do this to me.

tagged by @shousanki!!!!! o/ heylo my friendo

Rules: write your 10 favourite female characters from 10 different fandoms and tag 10 people (someone needs to rewrite the rules for these things. because “ten favorite female characters from 10 different fandoms” sounds like it means ten sets of ten characters, with each set from a different fandom... which amounts to 100 different female characters... instead of what it should be. which is 10 favorite female characters, each from a different fandom...and i WOULD just name 100 favorite characters but honestly most shows dont actually have 10 female characters to name...lame.)

Anyways I anticipate that this will be a long post, so the rest is under the cut. Even if I tagged you, you are absolutely in no way obligated to read everything I’m about to write here, lol. :^)

Bungou Stray Dogs: Yosano Akiko

Badass? Check.

She is beauty, she is grace,

please kick me in the face.

Slightly off-kilter, a bit trigger-happy except with knives (my FAVORITE), but with a strong personal philosophy and strength of character. Also she WRECKS perverted, misogynistic men. Sorry Naomi, sorry Kouyou... Gin...  BSD has a REALLY high number of amazing female characters, all of whom are BADASS AS FUCK and beautiful and deserve a place on this list, tbh, but I narrowed down the list because most of them have characters that are strongly linked to a male character through backstory or association, or have a male character as a love interest. It’s the same for a number of other characters on the list, but, well. It’s only one character per fandom, and there’s a reason why I put her first. (I’m super behind in the manga, but I know there is a loose connection between Yosano and Mori? But to me, out of all the BSD female characters, she’s still the most stand-out in terms of independence. Naomi came close because of her dominant personality but...Yosano... I want her to chop me to pieces... Ahem.)

Soul Eater: Medusa

Honestly? Probably hands down one of the best villains I can think of in all of anime.

(Also, she’s really hot.)

A bit of a controversial character in some (okay, a lot of) respects, but that just adds to her complexity. I don’t have to think she’s a good person to like her as a character. I, uh. Also. Usually don’t. Like the characters that are. Too Pure(tm). So.

PLUS, look at that character design, how fucking??? Badass?????? She’s also very mindfucky (MY FAVORIIIIITE SJDFSDL:FKSF:). Man, I gotta rewatch this show...

Durarara!!: Karisawa Erika

*cries because still has only seen the first season*

Okay this one should be obvious. Another slightly off-kilter, crazy, badass female. But also, WE SHARE THE SAME TASTE IN SHIPS. We’re basically already best friends. 

In addition: “If you make fiction just as valuable as reality, then any reality you don't need can be a delusion.”

“Reality is such a pain. And for those of us who get fed up with that kind of reality, we simply choose to make a new one. We create little walls, and separate the trash from the stuff we like, and when that's all done we keep the things we care about and kick the rest to the curb. You'd be amazed how well it works! A whole world made out of just moe, tsundere, and BL, it's the best discovery ever! If you ask me, that really is the best way to separate reality, from fiction.”

Durarara!! is an immensely quotable show, but Erika’s lines definitely...hit closest to home.

Pandora Hearts: Echo

...Incredibly underappreciated. And also. I can’t. Talk very much. About Pandora Hearts without spoiling everything. And breaking down. If you haven’t, read the manga (THE ANIME IS OFF-LIMITS with the exception of the soundtrack. The soundtrack is good.) Going into the many reasons why Echo is one of my favorites involves some meta, so...

Neon Genesis Evangelion: Akagi Ritsuko

Brilliant. Ambitious. Strong, but...okay, not that strong. But she puts up a really good front. As is to be expected of NGE, a really complex character. All of the characters in NGE are broken in some way and have a special place in my heart, but I chose Ritsuko because she’s...just, very tragic. In a way that I think not a lot of people see. 

I think if NGE came out more recently a lot of people would have issues with how her character was handled, but it’s because I have those same issues that I like her? It’s hard to explain. She was saddled with a really bad lot in life, but was also gifted and privileged? An impressive (heavy) legacy that she more than lived up to, but which came with a curse. She just deserved a lot better, and I think the story wanted to emphasize that with how badly they treated her while still showing off her talent. Her episode is definitely one of my favorites, if not my most favorite, in the show.

Shingeki no Kyojin: Hanji Zoe

The closest thing to kin that I can think of. Also, there’s definitely a trend here...a bit crazy, likes her blades (for slaying AND dissecting...). Also, she goes against the grain with her opinions, proves to have her moments of calm, turned what could’ve been something bad into an opportunity to explore and made THAT into a completely insane life goal and passion that no one else really understands... Yeah... I love Hanji a lot... Also SNK was my first actual fandom so, it needed to be here.

Fullmetal Alchemist (Brotherhood): Olivier Armstrong

This was frikkin hard as fuck because all of the FMA females could kick my ass into the next dimension. I almost went with Izumi Curtis, but...Olivier is just...so obvious. The obvious choice. When it comes to badass female characters, she’s the first one to come to mind, every time. Not much explanation needed here, honestly.

FLCL: Mamimi Samejima

I don’t really know how to explain why I like her so much. But then again, FLCL in general is...very hard to explain. She’s kind of the classic lonely, broken girl with a sad past, all wrapped up in the right kind of lost, streetside aesthetic. Her episode was my favorite, and all of the FLCL episodes are excellent. They gave her a hopeful ending, though, and it had nothing to do with Naota or really anyone else. She just came to her own conclusions in her own time. I like that. *crosses fingers and hopes the new season won’t fuck anything up*

Noragami: Nana

This one was hard, too. I ended up going with a minor character who was introduced relatively recently because...well...she won me over, really quickly. A really earnest, yet badass kid, who’s loyal and fierce and at peace with herself and her death. Destined to remain a minor character, forever, probably (even if Noragami is taken off hiatus), but being a minor character never stopped me from getting attached before, so...

Boku no Hero Academia: Toga Himiko

SHE’S JUST SO CUTE. AND SO CRAZY. AND STABBY. AND. AND. GOSH. I love soooo many of the bnha girls but. how could i not put down yandere murder princess? LOOK AT HER. If she stabbed me I’d thank her and cry because I’m not worthy.

Honorable Mentions

Naomi, Kouyou, Gin (Bungou Stray Dogs); Azusa, Eruka (Soul Eater); Haruhi, Renge (Ouran High School Host Club); Shion (Psycho Pass); Tsunade (Naruto); Hagakure Tooru, Yaoyorozu Momo, Hatsume Mei, Ryuuku, Asui Tsuyu (Boku no Hero Academia); Misato, Asuka, Rei (NGE); Faye Valentine (Cowboy Bebop); Lacie Baskerville (Pandora Hearts); Rue (Princess Tutu); Mezato (Mob Psycho 100); Haruko (FLCL); Mayaka (Hyouka); Yuzuki (Gekkan Shoujo Nozaki-kun); Ymir (SnK)

Tagging: @yatomochi @zokudarakuron @heyhaileyy13 @visceralluster @failbender @actualdevil @sonreiv @jdwicked @overh0e @mab-speaks but only if you feel like it, ofc haha.

[skeez-queen13]

hey skeez c: so i recently watched "your name" for the first time and i fell in love with it- the animation's absolutely stunning as is the emotion, and it got me wondering what your favourite anime films were? i know you've mentioned "the girl who leapt through time" and a few of studio ghiblis films, but are there any others that you love?

Ok, right off the bat- omg! Jealous~!!! ✨✨✨

I haven’t seen “Your Name” yet and I’m dying to watch it b/c I keep hearing how amazing it is~! ♥♥♥

And as for your question, hmmm, off the top of my head:

Anything by Satoshi Kon: Tokyo Godfathers, Paprika, Millennium Actress, and Perfect Blue. 

Anything by Mamoru Hosoda: The Girl Who Leapt Through Time, Summer Wars, Wolf Children, and The Boy and The Beast.

Pretty much anything by Studio Ghibli or Hayao Miyazaki: my faves include The Castle of Cagliostro, Ponyo, Spirited Away, Princess Mononoke, Howl’s Moving Castle, Porco Rosso, Kiki’s Delivery Service, Nausicaa of the Valley of the Wind, and The Cat Returns. TBH, there’s a still quite a few movies by them that I haven’t seen yet but I’m hoping to tick them off my list someday *haha. 

Oh yeah, and on a parting note in regards to Ghibli films, I’d suggest not watching “Grave of the Fireflies” if you’re having a bad day or not feeling well b/c that film is BRUTAL. Like, I rewatched it a few years ago and I still remember just how much it affected me afterwards. I mean, don’t get me wrong, it’s a great movie but it’s also about war and starvation and it’s just really incredibly sad. 

Cowboy Bebop The Movie: Knocking on Heaven’s Door. It’s pretty accessible even if you haven’t watched the entire series (in fact I saw this before I watched the actual anime), PLUS the bad guy Vincent is a total babe and you get to hear Techmo’s VO (Steven Blum) voice the main character Spike Spiegel /swoon/

Doukyuusei

Tekkon Kinkreet

Cat Soup

Galaxy Express 999

Akira

Ghost in the Shell (1995) 

Ghost in the Shell: Innocence

Little Nemo: Adventures in Slumberland

Sailor Moon S: Hearts in Ice: It’s been awhile since I’ve watched this (years in fact) but I remember it being pretty accessible even if you’re not familiar with the entire series. The Movie revolves around the cat Luna and how she falls for a human scientist. It also involves evil ice monsters from the moon *haha.

And honestly, Adolescence of Utena is also on my watch-list but I need to sit down and watch the entire series before I can properly watch that one so yeah, I mean, if you’re only into movies I’m not sure how you’d feel about that one.

The same goes for End of Evangelion, which is one of my favourite anime movies of all time but it makes A LOT more sense if you’ve seen the entire NGE series. 

And sometime next month I’m hoping to sit down and watch Yokohama Kaidashi Kikō (Yokohama Shopping Log). 

Aaaaannnd- that’s about it for my personal suggestions. I’m pretty sure there are tons of other movies out there and you can always look to google for more suggestions but anyway- thanks so much for the question~!!! *squee*

I hope that you can find something you like in here and happy watching~!!! ♥♥♥

[coredrill]

i love. gurren lagann