I didnt know u are the grammar police, my bad. Im not jealous in the slightest with ur temporary life in this world. I mean im not guarantee to be straight into jannah but im working on it. I think u are the one who need to be jealous of me, although u dont realise now but u will know when the time comes. Of course, characters i liked are girls because im not gay and what so wrong bout it? U actually really weird like I thought we gonna have decent convo and turns out u just rude mofo lmao
So, kau banggang and bodoh atau pelik kot hahaha
No one wasting ur time, bro. Its not like u have anything to do lmao
What u mean excuses? So u telling me u dont have a charater u liked or enjoyed?
U dont care bout my existence yet u respond to me hahaha. What is that meant to be an insult?
U sure love to say that u are educated , i guess thats how u get ur parents attention since they dont give u any.
What so trash abt it? What theres no drama? Its not every romance genre need a drama in it. U claim this show is trash yet u havent watch an actual trash series.
liking something doesnt mean im worshipping them lmao
what do u mean by accidentally watched something good? all the anime that u and i watched are well known. That means u taste is trash simple.
I don't relate that much with NGE, but I can tell that the characters are very well written and there are a lot of people going through the same experience as those characters are. I don't mind annoying characters as long as they have a reason or a backstory to justify the way they act. I guess its useless to talk to someone who only uses subjective arguments to back his claims up. I don't need any more of your trash arguments
I see that you know how to copy from Google. That's just proves that you never finished school with decent grades, still incapable of expressing own opinion, just copy and paste. I give F for this reply. Rewrite it kid. I've explained why NGE is trash for virgins twice. I won't do it AGAIN. I see now why teachers gave up on you.
Yeah, it really shows the educated person here when one of them constantly uses personal attacks to justify his arguements
fam, we watch the same shows and we rate all the anime we watched abt the same rating.so what are u talking abt hahaha who are u calling me a kid lmao? so u telling me that u are bettter than me?
Comedy there is dumb and weak and only a kindergarten kid can enjoy that level of humor. - tell that to the million of people who have watched nichijou and liked it. You aren't explaining anything like you always do, instead you give attacks to people who like nichijou without any evidence nor argument to back it up. People don't change easily don't they?
the characters in NGE aren't meant to be pathetic because all of them have issues. People like you just want all characters in anime to be overpowered d*cks like kirito is.
Neon Genesis Evangelion was the vanguard for anime as an intellectually viable medium, for anime that take their audiences serious with challenging themes and ideas, and for the wave of anime merchandising that has been a staple of Japan for the last 20 years. These factors have left a lasting mark on both Japanese pop culture and Japanese culture as a whole.
A central hurdle in understanding the true significants of Neon Genesis Evangelion on Japanese culture (pop or otherwise) is that, as outsiders and as (most likely) individuals that were not active members of Japanese pop culture prior to 1995, we do not understand what Japanese pop culture was like in a world without Eva. To oversimplify the issue, every show since Eva has benefits from the feats Eva was able to pull off. It changed the game.
Back in 2010, I had the opportunity to study Japanese pop culture under Patrick W. Galbraith, one of today's leading scholars in the area. Here is an excerpt from the study guide he prepared for us for our final exam, setting up Hideaki Anno (Eva's director) and Studio GAINAX (Eva's production studio):
Anno Hideaki and Gainax:
Anno Hideakeki was the creator of the huge Neon Genesis – this series, released in the 1990s, marked the arrival of intellectually challenging anime that could be taken seriously for its cultural, philosophical, and social value.
Opposite direction of Ghibli (main stream)
Nerdy otaku stuff
Cut corners due to budget (did well)
A harem anime: a bunch of girls chasing after one guy.
Further shift from the demands of fans.
This sets the stage for Eva as a counter-cultural series. Evangelion went against the trends established by both anime in general (especially Ghibli hits like the light-hearted Pom Poko, Kiki's Delivery Service, and My Neighbor Totoro) and anime specifically in the mecha genre (like action oriented Macross or Gundam).
Additionally, our study guide went more in depth:
By the late seventies, anime in the cinema was also an important trend, although the films were usually tied in with long running television series. One example is the classic Space Battleship Yamato (Uchu senkan Yamato, 1973), a film based on a television series of the same name. The series was so popular that it inspired long lines outside the theaters the day before the film even opened. Since the early 1980s the OVA market has not only boosted sales at home but has also helped to increase the overseas sales prodigiously. By the end of the 1990s it was clear that anime was an important element of Japan’ s contemporary culture.
Also, by the 1990s intellectually sophisticated anime were increasingly appearing. The two most important of these were Anno Hideaki’s television series Neon Genesis Evangelion (Shinseiki Ebuangerion, 1996-1997) and Miyazaki Hayao’s film Princess Mononoke (Mononokehime, 1997). In each case the work’s enormous popularity was equaled by intellectually challenging themes and ideas that stimulated a plethora of scholarly articles, not only about the respective works but also about anime itself. It was clear that anime was finally being recognized, by Japanese commentators at least, as a cultural product genuinely worthy of intellectual study. One particularly interesting example of such a study is Minamida’s attempt to define the almost forty years since anime began in terms of a series of transitions of narrative, performative, and even intellectual styles. Working chronologically, he starts with what he calls the “dawn” of anime, treating relatively simple works, such as Astro Boy, which privilege black and white characterizations and adventure stories and which concern “love, courage, and friendship.” He ends in the 90s, discussing what he considers to be the almost overripe “maturity” that characterizes such complex philosophical works as Ghost in the Shell and Neon Genesis Evangelion, the profound existential concerns of which would be remarkable even in most live-action films.
(Bold emphasis made by me. Additionally, Dr. Galbraith ended this section with the comment, "They are all important. Ok?").
The take away point here is that Eva was a forerunner in anime series being constructed with intentionally intellectually challenging themes and ideas while also being very popular. Eva didn't compromise its narrative in order to appeal its audience, and Studio GAINAX trusted its audience to be able to handle Eva. Certainly Eva was not the first work of Japanese animation to be intellectually challenging or to take its audience seriously. However, it was the first to really succeed at captivating an audience and proving that its level of narrative structure was commercially viable.
(I would like to make a side argument: commercially viable =/= ran financially well. For one, anime production is very expensive. Additionally, GAINAX's finances were not run by a trained accountant and they had notorious financial issues involving running out of budget for Eva in the production stage, in addition to facing tax fraud charged later on).
The background of Studio GAINAX cannot be ignored in this discussion either. Eva by itself is a memorable show, but GAINAX did (and does) everything in their power to capitalize on that memory. Studio GAINAX was founded by a group of nerds (proto-Otaku really) that cut their teeth on making fan films and fan merchandise. Studio GAINAX's founders are arguably the reason Japan's merchandising market for anime, manga, and video games is so successful. They were responsible for General Products, the first successful store to sell licensed movie merchandise in Japan. They made vinyl toys and prop replicas, such as Godzillas and Kamen Rider masks. (For more on this, I highly recommend Yasuhiro Takeda's The Notenki Memoirs: Studio Gainax & the men who created Evangelion (2005)). To link more to how important their role was, these men also started the original Wonder Festival.
With this background, GAINAX was perfectly poised to capitalize on the popularity of Eva and on the emerging economical power of the otaku sub-culture. In Japan's stagnate economy, not a lot of people are willing to shell out their hard earned cash. That is, except for niche groups eager to obtain the objects of their obsessions. GAINAX capitalized economically on this by marketing goods to the otaku sub-culture that were so enamored with Eva, paving the way for every series since to do that same aggressive merchandising.
Now I couldn't imagine a Japan without readily available merchandise for popular shows or franchises (or even the less popular ones). A few months ago Lupin III characters were adorning canned coffee at 7/11, and now there is a whole Evangelion campaign going on. Merchandising of anime goods has spread into all aspects of Japanese life. Pokemon characters are in math textbooks for Elementary schools, everyone has some anime character on their cellphone strap or keychain, and Doraemon is an ambassador for Japan. I would argue that this all started with the success of Evangelion and its crack team of merchandisers.
Jumping back a second, Dr. Galbraith pointed out that Eva was also the vanguard in anime being taken seriously as an intellectual, philosophical, and socially valuable medium. I think this may be the crux of many arguments for Eva's cultural significants in Japanese culture. Whether you agree or not, Japanese scholars at the time saw Eva as a banner they could raise to argue that anime as a medium was just as academically valuable and socially significant as live-action films or literature. This moment was a true watershed for Japanese pop culture, much like the birth of film theory in the west. Eva elevated Japanese animation from a pass time for children and weird obsessed adults into an equal to the films of Kurosawa or the texts of Natsume Soseki. (I am not comparing Evangelion to Seven Samurai or Kokoro, I mean to highlight that now, thanks to Eva, anime could be discussed and valued in the same way).
All of this makes Neon Genesis Evangelion absolutely significant to Japanese Pop Culture and most definitely shows it has had an impact on Japanese culture as a whole.
great production values means great animation, sound design, and shot composition. Maybe you're the one who needs to take an english and film class for you to understand a concept as simple as production value
?????? What are u tlking abt lmao
To say i have bad taste in anime is so ignorant lol we have basically the same taste. U rate domestic gf a 9 so shut up hahahha
All Comments (27) Comments
So, kau banggang and bodoh atau pelik kot hahaha
What u mean excuses? So u telling me u dont have a charater u liked or enjoyed?
U dont care bout my existence yet u respond to me hahaha. What is that meant to be an insult?
U sure love to say that u are educated , i guess thats how u get ur parents attention since they dont give u any.
What so trash abt it? What theres no drama? Its not every romance genre need a drama in it. U claim this show is trash yet u havent watch an actual trash series.
what do u mean by accidentally watched something good? all the anime that u and i watched are well known. That means u taste is trash simple.
Yeah, it really shows the educated person here when one of them constantly uses personal attacks to justify his arguements
Neon Genesis Evangelion was the vanguard for anime as an intellectually viable medium, for anime that take their audiences serious with challenging themes and ideas, and for the wave of anime merchandising that has been a staple of Japan for the last 20 years. These factors have left a lasting mark on both Japanese pop culture and Japanese culture as a whole.
A central hurdle in understanding the true significants of Neon Genesis Evangelion on Japanese culture (pop or otherwise) is that, as outsiders and as (most likely) individuals that were not active members of Japanese pop culture prior to 1995, we do not understand what Japanese pop culture was like in a world without Eva. To oversimplify the issue, every show since Eva has benefits from the feats Eva was able to pull off. It changed the game.
Back in 2010, I had the opportunity to study Japanese pop culture under Patrick W. Galbraith, one of today's leading scholars in the area. Here is an excerpt from the study guide he prepared for us for our final exam, setting up Hideaki Anno (Eva's director) and Studio GAINAX (Eva's production studio):
Anno Hideaki and Gainax:
Anno Hideakeki was the creator of the huge Neon Genesis – this series, released in the 1990s, marked the arrival of intellectually challenging anime that could be taken seriously for its cultural, philosophical, and social value.
Opposite direction of Ghibli (main stream)
Nerdy otaku stuff
Cut corners due to budget (did well)
A harem anime: a bunch of girls chasing after one guy.
Further shift from the demands of fans.
This sets the stage for Eva as a counter-cultural series. Evangelion went against the trends established by both anime in general (especially Ghibli hits like the light-hearted Pom Poko, Kiki's Delivery Service, and My Neighbor Totoro) and anime specifically in the mecha genre (like action oriented Macross or Gundam).
Additionally, our study guide went more in depth:
By the late seventies, anime in the cinema was also an important trend, although the films were usually tied in with long running television series. One example is the classic Space Battleship Yamato (Uchu senkan Yamato, 1973), a film based on a television series of the same name. The series was so popular that it inspired long lines outside the theaters the day before the film even opened. Since the early 1980s the OVA market has not only boosted sales at home but has also helped to increase the overseas sales prodigiously. By the end of the 1990s it was clear that anime was an important element of Japan’ s contemporary culture.
Also, by the 1990s intellectually sophisticated anime were increasingly appearing. The two most important of these were Anno Hideaki’s television series Neon Genesis Evangelion (Shinseiki Ebuangerion, 1996-1997) and Miyazaki Hayao’s film Princess Mononoke (Mononokehime, 1997). In each case the work’s enormous popularity was equaled by intellectually challenging themes and ideas that stimulated a plethora of scholarly articles, not only about the respective works but also about anime itself. It was clear that anime was finally being recognized, by Japanese commentators at least, as a cultural product genuinely worthy of intellectual study. One particularly interesting example of such a study is Minamida’s attempt to define the almost forty years since anime began in terms of a series of transitions of narrative, performative, and even intellectual styles. Working chronologically, he starts with what he calls the “dawn” of anime, treating relatively simple works, such as Astro Boy, which privilege black and white characterizations and adventure stories and which concern “love, courage, and friendship.” He ends in the 90s, discussing what he considers to be the almost overripe “maturity” that characterizes such complex philosophical works as Ghost in the Shell and Neon Genesis Evangelion, the profound existential concerns of which would be remarkable even in most live-action films.
(Bold emphasis made by me. Additionally, Dr. Galbraith ended this section with the comment, "They are all important. Ok?").
The take away point here is that Eva was a forerunner in anime series being constructed with intentionally intellectually challenging themes and ideas while also being very popular. Eva didn't compromise its narrative in order to appeal its audience, and Studio GAINAX trusted its audience to be able to handle Eva. Certainly Eva was not the first work of Japanese animation to be intellectually challenging or to take its audience seriously. However, it was the first to really succeed at captivating an audience and proving that its level of narrative structure was commercially viable.
(I would like to make a side argument: commercially viable =/= ran financially well. For one, anime production is very expensive. Additionally, GAINAX's finances were not run by a trained accountant and they had notorious financial issues involving running out of budget for Eva in the production stage, in addition to facing tax fraud charged later on).
The background of Studio GAINAX cannot be ignored in this discussion either. Eva by itself is a memorable show, but GAINAX did (and does) everything in their power to capitalize on that memory. Studio GAINAX was founded by a group of nerds (proto-Otaku really) that cut their teeth on making fan films and fan merchandise. Studio GAINAX's founders are arguably the reason Japan's merchandising market for anime, manga, and video games is so successful. They were responsible for General Products, the first successful store to sell licensed movie merchandise in Japan. They made vinyl toys and prop replicas, such as Godzillas and Kamen Rider masks. (For more on this, I highly recommend Yasuhiro Takeda's The Notenki Memoirs: Studio Gainax & the men who created Evangelion (2005)). To link more to how important their role was, these men also started the original Wonder Festival.
With this background, GAINAX was perfectly poised to capitalize on the popularity of Eva and on the emerging economical power of the otaku sub-culture. In Japan's stagnate economy, not a lot of people are willing to shell out their hard earned cash. That is, except for niche groups eager to obtain the objects of their obsessions. GAINAX capitalized economically on this by marketing goods to the otaku sub-culture that were so enamored with Eva, paving the way for every series since to do that same aggressive merchandising.
Now I couldn't imagine a Japan without readily available merchandise for popular shows or franchises (or even the less popular ones). A few months ago Lupin III characters were adorning canned coffee at 7/11, and now there is a whole Evangelion campaign going on. Merchandising of anime goods has spread into all aspects of Japanese life. Pokemon characters are in math textbooks for Elementary schools, everyone has some anime character on their cellphone strap or keychain, and Doraemon is an ambassador for Japan. I would argue that this all started with the success of Evangelion and its crack team of merchandisers.
Jumping back a second, Dr. Galbraith pointed out that Eva was also the vanguard in anime being taken seriously as an intellectual, philosophical, and socially valuable medium. I think this may be the crux of many arguments for Eva's cultural significants in Japanese culture. Whether you agree or not, Japanese scholars at the time saw Eva as a banner they could raise to argue that anime as a medium was just as academically valuable and socially significant as live-action films or literature. This moment was a true watershed for Japanese pop culture, much like the birth of film theory in the west. Eva elevated Japanese animation from a pass time for children and weird obsessed adults into an equal to the films of Kurosawa or the texts of Natsume Soseki. (I am not comparing Evangelion to Seven Samurai or Kokoro, I mean to highlight that now, thanks to Eva, anime could be discussed and valued in the same way).
All of this makes Neon Genesis Evangelion absolutely significant to Japanese Pop Culture and most definitely shows it has had an impact on Japanese culture as a whole.
To say i have bad taste in anime is so ignorant lol we have basically the same taste. U rate domestic gf a 9 so shut up hahahha