So one day Jun Maeda decided to watch the Apu Trilogy by Satyajit Ray.
He decided that Indians in the Jungle were too anti-moe, and so he replaced the Jungle with a high school setting and put 10+ hours of SoL magical romcom in front of it.
This secret ploy of being influenced by global art cinema worked - and Clannad After Story became one of the coolest and swankiest anime to hit the feelz.
This anime almost created a working-class revolt due to its pure depiction of working class suffering in the tight bureaucracy of Japan. It got the government to rethink how they should approach the problem of an M shaped society.
This anime helped reduce the rate of delinquency when high school kids were shown After Story as a part of youth counseling and they realized that they could be living the Nagisa moe moe lifestyle if they stopped acting like douchebags.
The Dango Song topped the charts for its minimalist simplicity and its homage to Chopin.
Buddhist cults were built around After Story after being inspired by its message about the search for elusive happiness in a destitute world. Their rituals involve re-enacting the weird robot-little girl play as a method of aligning themselves with the cosmic forces.
Kotomi's scream in Season 1 led to Shinzo Abe's re-election in 2014 when he used it in ad campaigns against the opposition.
After Story is a tour de force monument of history precursor to contemporary strains of magical realism social commentary exquisite aesthetical masterpiece.
Even detractors (Who are obviously wrong) like Critic Alex Sheremet had this to say:
"Clannad After Story- obviously a cheap ‘romance’ anime with terrible humor and really bad writing- had a scene or two I thought was really well-written and excellently shot"
Roger Ebert, before he died, left this quote from a secret review hidden on his hard drive:
"I am not sure there can be an answer to these questions. The end sequence plays like music, not drama: It completes the story on an emotional, not a literal, level. We end not on carnage but on redemption, which is the goal of so many of Maeda's characters. They despise themselves, they live in sin, they occupy mean streets, but they want to be forgiven and admired. Whether Tomoya gains that status in reality or only in his mind is not the point; throughout the film, his mental state has shaped his reality, and at last, in some way, it has brought him a kind of peace."
10/10 Must Experience Once In Lifetime