While most of my analysis was fixated on the visuals, narrative, and recent oeuvre of its mangaka, Lynn Okamoto, and series director, Mamoru Kanbei, I did lay out a framework on why I consider it to be one of the most successful soundtracks ever produced for an anime. While I don’t find myself particularly nostalgic for any of the content on that channel, I’m actually kind of proud of that one in particular. Media exists in the present moment to be a salve for the postmodern hellscape we inhabit together.Īs an interesting sidebar, the most popular video on that channel - raking in just north of 10k views over its lifetime from 2011-2015, was a twelve minute video essay on the 1995 anime Elfen Lied, where I asserted that it was the ultimate expression of contemporary Japanese anti-modern rage. The world doesn’t need another Eisenstein-aligned Marxist analysis of Neon Genesis Evangelion - or, a 6-part series on using Lacanian techniques to develop a leftist praxis for Fate/Stay Night. I’ve long since cooled on “substantive” media critique anyway. While there was definitely a “moment” on the platform for a nineteen year-old cokehead film student in front of a MacBook webcam doing his best Slavoj Zizek impression, that moment has long since passed. In the interest of maintaining my personal ethics, posterity, and sanity I’ve long since deleted that channel.
Everyone but Funimation - a sad irony and perhaps telling about the nature of the dubbing industry that the studio with a serial rape problem and established casting couch was the only one to survive. From 2010-2013 - roughly corresponding with my first three years in university - I reviewed DVD releases from ADV, Manga Entertainment, Central Park Media, and Geneon - all the big players in Western anime releases at the time, all dead and gone now with the rise of streaming. Like many late millennials with artistic pretensions, I used to have an “Anituber” channel back in the wild west days of youtube.
0 kommentar(er)
