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Thread: Why did Shinji masturbate over Asuka in the movie?

  1. #51
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    I think Evangelion is an anime that goes deep inside in its characters' mind, and what shinji did, was something that was always in his mind, frstly, because he's an adolescent, a that's normal, then, because he's always been pursueded (is ti well written?) by women and lastly I think that he needed that, he saw her and couldn't help it...

  2. #52
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    First of all, he's a teenager. When teenagers need to relieve stress, that what most of them do. 99% of males have masturbated before their 15th birthday, we know you've done it. Secondly, he's gone through a LOT of trauma, a lot of it possibly caused by Asuka. No matter how close Evangelion goes into their minds, you can still only speculate.

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    Its not mean't to make sense, that is way they made the original last two episode into the movie and made new episodes that made much more sense, I've seen every single episode of Eva and i even went so far as too buy the dvd box set, The new final ending is just stupid, it is rather lame compared to the original endings, i don't know why he did it, go ask the creators.



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    Quote Originally Posted by Saracin View Post
    Do you really need to find the meaning behind something though to enjoy it? Sometimes a story is just a story. The creator could say anything, he could make things up to give meaning to something that to him just looked cool so he used it.

    I bet it irks you to no end watching people discuss the why of something and you know all the answers and yet no one seems to learn. Or maybe the answer is that they would rather find their own motives out of a characters actions. Its not always about what the artist meant when he made something, its about what people gain from it.
    You're first argument is null and void, because this isn't a generic anime director, who are almost always talentless hacks, but Hideaki Anno, who is notable for not being a talentless hack. As I mentioned earlier, no hack director would have put such a painful scene in the movie unless he was trying to communicate something. It should be obvious it wasn't freaking fan service.

    It doesn't really "irk" me because I expect large numbers of people to be stupid. However, what I do find disturbing is the fact that too many people in this thread are too lazy to even think about analyzing fiction. If they take it at face value, they gain nothing.

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  5. #55
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    ((I apologize for being persistent but this is a topic I happen to have been thinking a lot about recently. Feh, indulge me.))

    However, what I do find disturbing is the fact that too many people in this thread are too lazy to even think about analyzing fiction. If they take it at face value, they gain nothing.
    I believe it was a school of German literary critics who defined poetry as "a systematic violence on language". If we treat NGE as a postmodern work of fiction, we could say it is a systematic violence on our senses (namely sight), however the use of violence is rarely meant to be productive. You don't walk away from a French nouveau roman feeling like a fuller person than you were before like you would after, say, reading a bildungsroman by Thomas Mann.

    If what you mean by analysis is to decipher symbols and hidden meanings within the text, I am inclined to disagree. Once we allow that, we'll be flooded with different methods of interpretations, each as valid as the last, from the structural methodology interpolated in Northrop Frye's "Anatomy of Criticism" (Tragic, Comic, Thematic), to Barthes' "S/Z" (Hermeneutic, Semic, Proairetic, Symbolic, Cultural) and so on. Like I said, I'm deeply wary in principle of critical literary analysis for just this reason. It all very intellectually stimulating, of course, and in that sense I understand what you mean by "gaining" from the experience (critical scholarship on NGE is actually immense in Japan and it makes for a fun read, I assure you) but it doesn't seem to get us anywhere.

    To return to my original point, violence in itself is an meaningless act. However, to enter a movie theatre and be subjected to such an act of volence is an entirely unique experience. My basic argument is that it would not be beyond the director of NGE to insert the scene in question for just that precise effect, not because of some cheap underlying meaning.
    Last edited by Datenshi; 04-25-2008 at 11:05 AM.
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  6. #56
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    Quote Originally Posted by Datenshi View Post
    ((I apologize for being persistent but this is a topic I happen to have been thinking a lot about recently. Feh, indulge me.))



    I believe it was a school of German literary critics who defined poetry as "a systematic violence on language". If we treat NGE as a postmodern work of fiction, we could say it is a systematic violence on our senses (namely sight), however the use of violence is rarely meant to be productive. You don't walk away from a French nouveau roman feeling like a fuller person than you were before like you would after, say, reading a bildungsroman by Thomas Mann.

    If what you mean by analysis is to decipher symbols and hidden meanings within the text, I am inclined to disagree. Once we allow that, we'll be flooded with different methods of interpretations, each as valid as the last, from the structural methodology interpolated in Northrop Frye's "Anatomy of Criticism" (Tragic, Comic, Thematic), to Barthes' "S/Z" (Hermeneutic, Semic, Proairetic, Symbolic, Cultural) and so on. Like I said, I'm deeply wary in principle of critical literary analysis for just this reason. It all very intellectually stimulating, of course, and in that sense I understand what you mean by "gaining" from the experience (critical scholarship on NGE is actually immense in Japan and it makes for a fun read, I assure you) but it doesn't seem to get us anywhere.

    To return to my original point, violence in itself is an meaningless act. However, to enter a movie theatre and be subjected to such an act of volence is an entirely unique experience. My basic argument is that it would not be beyond the director of NGE to insert the scene in question for just that precise effect, not because of some cheap underlying meaning.
    My point isn't that they should come to any set meaning, much less the meaning I derived from it, but that they should quit viewing movies from a strictly in-universe view. Your interpretation of the scene is fine, and to a certain extent I agree, but people who can watch that scene and observe nothing more then a boy faping to a girl without questioning WHY the director would put such a scene in there drive me batty. It's like the goons who go to the Louvre and look at nothing but the Mona Lisa.
    Ehhh, I dunno if I'll stick around. We'll see.

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  7. #57
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    Quote Originally Posted by omniking3 View Post
    First of all, he's a teenager. When teenagers need to relieve stress, that what most of them do. 99% of males have masturbated before their 15th birthday, we know you've done it. Secondly, he's gone through a LOT of trauma, a lot of it possibly caused by Asuka. No matter how close Evangelion goes into their minds, you can still only speculate.
    i agree 100% with omniking3.

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    You know, I seem to remember there was some displeasure voiced by many fans that didn't understand the ending of the series, and that End of Evangelion was basically giving those fans the ending they wanted. In addition to the various meanings that can be gleaned from such a scene, I can't help but wonder if there's an insult in there to those fans, sort of a "Here's Asuka's boobs, and now this is what you wanted to do, right? Well enjoy."
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  9. #59
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    He did it cause he was gay like most people say.
    He also did it so Otaku's go crazy.
    His ****ed up hand is like dead Kaworu.
    He did it because he liked how Asuka looks like, and he always wanted to do that, but he couldn't stand Asuka. So he only aproaches her when she's sleeping, cause she's peacefull then thats why its hilarious for me. Imagine Shinji trying to sleep with Asuka but he can't when she's awake, because he thinks that she hates him Contra of it, she wants of him to do something, but he is kimochi warui...
    So he was a sneaky selfish coward that always gets what he wants... reminds me of my self when I was a kid.
    Kaworu and angels are dead, Rei and father are busy, everyone are afk. I'm all alone, and Asuka is naked on the bed, lets see.. what should I do?

  10. #60
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    I think it was because of sexual tension. Both Shinji and Asuka are attracted to each other but neither of them are able to express their feelings properly. Asuka often flirts with Shinji only to turn around and yell and insult him. Shinji does stick up for himself once in a while but eventually stops trying and actually tries to avoid Asuka as the insults become worse. Asuka finds this behavior insulting and disgusting, as she is trying to get his attention and affection, and continues to verbally abuse Shinji, not realizing that she is making the situation much worse!!!

    So, when Shinji eventually saw the object of his "affection" naked, that built up sexual tension finally, pardon the pun, exploded.
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  11. #61
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    clean and simple:
    Guys have needs and urges and fantasies

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    YUP!!
    Straight up.
    Almost all guys masturbate.
    It's not like we're all pervs, we're just built different, most of us experience erections all day without even meaning to. It's just the way we function :/
    Do all of us like it? NO! It can lead to embarrassing situations >.<
    But it happens and we can't help it..so don't call us pervs..just call us dudes :P

  13. #63
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    Just ask youselves this.
    "If you were directing a film and you made one of the adolescent males masturbate over one of his close female friends..why would you decide to make him do it?"

    Personally if I were the director I would have made Shinji do this to show his young age and how desperate he is as an individual and also that sometimes males can get a bit ..horney over nothing as a teenager. I would have also done it for comedy reasons and to show that he is close to Asuka and that he has some interest in her.

    It is not weird for a teenager to masturbate. In fact it would worry me if a teenager did not masturbate. It is perfectly normal and something we all basically go through.
    That which is; is the truth.

  14. #64
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    Mental issues.He was in a stressful situation.
    Last edited by Diocletian; 10-24-2008 at 12:01 PM.

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    Last couple episodes were pretty deep at least a lot more indepth about the Character's vs the rest of the Series, But I found the movie to help put a better ending on it since the series didn't really do it for me.
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    I read some pretty deep opinions in this page. It's interesting how philosophy can be implemented to the actions that are portrayed in any animated film. In the end, I guess it would be left to the interpretation of the viewers and the questionnings of why GAINAX decided for Shinji to do what he did.

    I would think that Shinji was just simply aroused by what he was seeing...Teens and young men are experiencing the first insights of sexuality and any erotic image can arouse that curiosity.

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    Quote Originally Posted by AniAsker View Post
    In "End of Evengelion" Shinji masturbates over Asuka's comatose body. Is there any meaning to this, why he does it?

    as asuka always say shinji is IDIOT..weak

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    Shinji masturbates OVER her body?! I didn't know he was into that kind of stuff.

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    I have had many discussions on the deeper meanings of Eva, so no, I am not ignorant of the existence of other meanings. That being said, I think it is fairly arrogant to basically call people morons for accepting his actions at face value. More than that, I would say that it is naive to not understand exactly why they are capable of doing so.

    The reason why is "realism". In storytelling/writing it is fairly important, even in an extremely fictitious world, that you keep your characters "in character". Character development can occur over the course of a series, after major events or trauma, or through intellectual conflict, and be completely acceptable. If, for no apparent reason, a character begins acting contrary to the expectations the audience has for that character, then there is a good possibility that the audience will lose interest because the character is no longer believable (regardless of the believabilty of the premise). A good director or writer (the storytellers) would not let that happen, regardless of any artistic philosophy they espouse, and any producer interested in seeing a return on their investment would not allow a director to get away with it if they did.

    Without enjoyment there won't be an audience. The storyteller becomes just someone talking to themself, their message is not communicated, and those that would be the audience have gained nothing. So, no matter what message they are trying to express beneath the facade of their art, the storyteller must create an enjoyable facade, a story that draws in the audience so that the audience can be exposed to their message.

    In the particular example that's been discussed in this thread, Shinji's actions are part of a long string of scenes examining the relationship between Shinji and Asuka. Within this string, there is a progression of greater sexual tension between them (of course, this tension is only one aspect of their relationship, and that relationship is only one of many that each character deals with). The masturbation scene is a logical and realistic step in the progression, given Shinji's personality (Asuka's personality is irrelavent in the scene as she is unconscious). The scene is acceptable as realistic because we accept: 1) that Shinji has developed sexual interest in Asuka, 2) that Shinji has great difficulty dealing with personal relationships, 3) that Shinji desperately seeks acceptance and goes to self-abusive lengths to avoid rejection and 4) that, when conscious, Asuka would vehemently and sadistically reject Shinji's uncertain advances. If we didn't believe the first point then we would not accept Shinji's actions as realistic, there would be no cause. If we did not know the second we could not excuse Shinji's actions, there would be no empathy. If we did not believe the third and fourth we could not understand the timing, there would be no sense of urgency or opportunity.

    While there very well may be another underlying meaning to the scene, what must also be recognized is that our understanding of all of these things, as well as our acceptance of them as realistic, is because we have been led step-by-step to this acceptance by the storyteller, the artist. And that the preponderance of the artist's efforts at this point have not been in creating the underlying message or meaning, but in the creation of the facade.

    We are then left with several questions. Was each step insignificant and devoid of meaning because they were only meant to lead us to this "significant" point which was meant to be analyzed? How are we so certain that this is a "significant" point rather than one more step to a greater more significant point? Is it not possible to find significance within the development of the relationship, or entire themes, rather than dissecting it and judging whether certain points are significant or insignificant? Also, if we assume that a sculptor starts with a message and creates a statue, a painter starts with the same message and creates
    a painting, and a storyteller starts with the same message and creates a story, then wouldn't it be logical to say that the art is not in the message but in the crafting of the facade to present the message because the message is not intrinsically linked to one medium and it is in the crafting that the artist devotes their time and technique to perfecting?

    Within the framework of realism, a character's actions do not need to be analyzed to be understood and it is not apathetic or lazy to accept that reality. As stated before, this needs to be one of the goals of a good storyteller. What's more, realistic character actions outside of the audience's experiences have inherent value, they are exposing, for better or worse, a different view of the world, a mindset other than the audience's own. The audience is capable of making their own value judgments regarding that mindset (for example the posters on this thread who have said things akin to "that's how boys are" or "that's disgusting" or, in Shinji's own words, "I am so f***ed up").

    If there is no enjoyment and no meaning to be found in the facade of the art, if appreciation can only be found after painstaking analysis and background research, then what is the purpose of the facade? That would be akin to painting over Starry Night, The Scream, or Mona Lisa with whitewash and claiming that it is not important to actually see and enjoy the paintings, it is only important to understand what the paintings were trying to express.

    That is a narrow, sad, and unrealistic view of art.

    Realistically, I don't think that anyone actually believes that view, they only claim to believe it because they do not really understand what they are claiming. They also like to inflate their ego and claim superiority by degrading those who have not spent quite as much time with art history books.

    In other words, they are masturbating over their understanding of art, which is laying unconscious in front of them.

  20. #70
    Senior Member Sanosuke23 has a reputation beyond repute Sanosuke23 has a reputation beyond repute Sanosuke23 has a reputation beyond repute Sanosuke23 has a reputation beyond repute Sanosuke23 has a reputation beyond repute Sanosuke23 has a reputation beyond repute Sanosuke23 has a reputation beyond repute Sanosuke23 has a reputation beyond repute Sanosuke23 has a reputation beyond repute Sanosuke23 has a reputation beyond repute Sanosuke23 has a reputation beyond repute Sanosuke23's Avatar
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    Quote Originally Posted by Ridana View Post
    How are we so certain that this is a "significant" point rather than one more step to a greater more significant point? Is it not possible to find significance within the development of the relationship, or entire themes, rather than dissecting it and judging whether certain points are significant or insignificant?
    It's entirely possible to find the relationship as a whole the part to analyze, but in the event that you're looking to explore that you'll need to dissect the significant points in the relationship.

    Think of it like a war. The relationship is the war. The masturbation scene, the kissing scene, Asuka falling asleep in Shinji's bed, and the scene where he chokes her are all major battles in said war(I'm sure I'm forgetting some, I haven't seen Eva in quite a while). Yes you look at the war, the reasons behind it, the buildup, the conclusion, but if you really want to explore the intricacies of the event you need to look at smaller events that changed the momentum or mark a distinctive point in the war. In the relationship, you have these events within the bigger event that mark some kind of checkpoint.

    For instance, we can say with some certainty that while Asuka has a crush on Kaji, she also has an interest in Shinji. The difference being that Kaji is her superior while Shinji is her equal, and so she reacts to them differently. While she's not much more than a needy little girl around Kaji because he's already above her, she instinctively throws up walls and pushes Shinji down to reaffirm her own control over the situation. Otherwise, she fears he'll rise above her and she'll be thrown away again, much like her mother did. For Shinji's part he's naturally insecure and shy, so this works well.

    However, as her interest grows she goes from offhanded flirtatious comments to attempting to kiss him. That, I think, is when Shinji stops seeing her as a nuisance and starts reciprocating that interest, at least internally. When she falls asleep next to him, he moves to kiss her because for the first time since they've met she's as vulnerable as he is, but when she says "Mama" he becomes annoyed at the fact that she chides him for being a kid when deep down she's no better.

    Fast forward to the scene this is about. Shinji's developed feelings that went from annoyance to somewhat "pure" interest, and this scene shows that it's now definitely sexual. However, he has a great deal of self-loathing because not only did he take advantage of his love interest's unconsciousness, but that seems to be the only time he can act on his feelings. He loves her, he hates her, he lusts after her, and the only time he can do anything about any of it is when she's comatose.

    Then there's the choking, but that's after the subject matter of this thread, and I've got somewhere to be, so I'll leave that alone for the time being.
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  21. #71
    Senior Member Ridana has a reputation beyond repute Ridana has a reputation beyond repute Ridana has a reputation beyond repute Ridana has a reputation beyond repute Ridana has a reputation beyond repute Ridana has a reputation beyond repute Ridana has a reputation beyond repute Ridana has a reputation beyond repute Ridana has a reputation beyond repute Ridana has a reputation beyond repute Ridana has a reputation beyond repute Ridana's Avatar
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    Actually, the portion that you quoted above was in reference to a statement that someone else made regarding the director's decision to "leave in" the scene. Their statement inferred that by its mere inclusion the scene must have great and singular significance. My point was less about the particular scene than the logical methodology they used to reach that conclusion, and the flaws of logic it contained.
    I knew that there were additional scenes that reference that incident, and purposefully did not mention them, assuming that anyone who had seen EoE would remember them. That is the very fact that nullifies the argument that the scene is singularly significant. Shinji could have done any number of more reprehensible acts in that hospital room or have done nothing, and the EXACT same arguments could be put forth (the scene's innate significance vs. contextual significance).
    But even as you point out, the scene has significance in relation to prior events and events which are to come, and can be analyzed as a part of that whole. However, had this scene hit the cutting room floor (as we can assume some scenes did), it would not have prevented us from making an analysis of Shinji and Asuka's relationship and coming to the same conclusions, just as those scenes that were edited into oblivion have not prevented us from finding meaning in what remained.
    And again, all of that is secondary to my argument that just having a good story has inheirent meaning, and believing that less in-depth analysis of Eva does not mean that someone is "lazy".

  22. #72
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    Quote Originally Posted by Ridana View Post
    Actually, the portion that you quoted above was in reference to a statement that someone else made regarding the director's decision to "leave in" the scene. Their statement inferred that by its mere inclusion the scene must have great and singular significance. My point was less about the particular scene than the logical methodology they used to reach that conclusion, and the flaws of logic it contained.
    I knew that there were additional scenes that reference that incident, and purposefully did not mention them, assuming that anyone who had seen EoE would remember them. That is the very fact that nullifies the argument that the scene is singularly significant. Shinji could have done any number of more reprehensible acts in that hospital room or have done nothing, and the EXACT same arguments could be put forth (the scene's innate significance vs. contextual significance).
    But even as you point out, the scene has significance in relation to prior events and events which are to come, and can be analyzed as a part of that whole. However, had this scene hit the cutting room floor (as we can assume some scenes did), it would not have prevented us from making an analysis of Shinji and Asuka's relationship and coming to the same conclusions, just as those scenes that were edited into oblivion have not prevented us from finding meaning in what remained.
    And again, all of that is secondary to my argument that just having a good story has inheirent meaning, and believing that less in-depth analysis of Eva does not mean that someone is "lazy".
    Eh, I was building on your points more than countering them, and I only quoted that piece because quite frankly I couldn't have explained the rest of that point of view better myself.
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    I think that it was his way of at least trying to broaden his emotional and physical horizons, during a time in his life where things were more than just a slight bit turbulent.

    That and the fact that like anyone on Earth (Eunuchs excluded), there comes a point where the body must utilize certain genetic predispositions in order to feel some kind of release, in order to feel at least on some level alive.
    The mind is its own place, and in it self
    Can make a Heaven of Hell, a Hell of Heaven.
    Better to reign in Hell, then serve in Heaven.

    Satan - John Milton's Paradise Lost

  24. #74
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    Quote Originally Posted by Ridana View Post
    I have had many discussions on the deeper meanings of Eva, so no, I am not ignorant of the existence of other meanings. That being said, I think it is fairly arrogant to basically call people morons for accepting his actions at face value. More than that, I would say that it is naive to not understand exactly why they are capable of doing so.

    The reason why is "realism". In storytelling/writing it is fairly important, even in an extremely fictitious world, that you keep your characters "in character". Character development can occur over the course of a series, after major events or trauma, or through intellectual conflict, and be completely acceptable. If, for no apparent reason, a character begins acting contrary to the expectations the audience has for that character, then there is a good possibility that the audience will lose interest because the character is no longer believable (regardless of the believabilty of the premise). A good director or writer (the storytellers) would not let that happen, regardless of any artistic philosophy they espouse, and any producer interested in seeing a return on their investment would not allow a director to get away with it if they did.

    Without enjoyment there won't be an audience. The storyteller becomes just someone talking to themself, their message is not communicated, and those that would be the audience have gained nothing. So, no matter what message they are trying to express beneath the facade of their art, the storyteller must create an enjoyable facade, a story that draws in the audience so that the audience can be exposed to their message.

    In the particular example that's been discussed in this thread, Shinji's actions are part of a long string of scenes examining the relationship between Shinji and Asuka. Within this string, there is a progression of greater sexual tension between them (of course, this tension is only one aspect of their relationship, and that relationship is only one of many that each character deals with). The masturbation scene is a logical and realistic step in the progression, given Shinji's personality (Asuka's personality is irrelavent in the scene as she is unconscious). The scene is acceptable as realistic because we accept: 1) that Shinji has developed sexual interest in Asuka, 2) that Shinji has great difficulty dealing with personal relationships, 3) that Shinji desperately seeks acceptance and goes to self-abusive lengths to avoid rejection and 4) that, when conscious, Asuka would vehemently and sadistically reject Shinji's uncertain advances. If we didn't believe the first point then we would not accept Shinji's actions as realistic, there would be no cause. If we did not know the second we could not excuse Shinji's actions, there would be no empathy. If we did not believe the third and fourth we could not understand the timing, there would be no sense of urgency or opportunity.

    While there very well may be another underlying meaning to the scene, what must also be recognized is that our understanding of all of these things, as well as our acceptance of them as realistic, is because we have been led step-by-step to this acceptance by the storyteller, the artist. And that the preponderance of the artist's efforts at this point have not been in creating the underlying message or meaning, but in the creation of the facade.

    We are then left with several questions. Was each step insignificant and devoid of meaning because they were only meant to lead us to this "significant" point which was meant to be analyzed? How are we so certain that this is a "significant" point rather than one more step to a greater more significant point? Is it not possible to find significance within the development of the relationship, or entire themes, rather than dissecting it and judging whether certain points are significant or insignificant? Also, if we assume that a sculptor starts with a message and creates a statue, a painter starts with the same message and creates
    a painting, and a storyteller starts with the same message and creates a story, then wouldn't it be logical to say that the art is not in the message but in the crafting of the facade to present the message because the message is not intrinsically linked to one medium and it is in the crafting that the artist devotes their time and technique to perfecting?

    Within the framework of realism, a character's actions do not need to be analyzed to be understood and it is not apathetic or lazy to accept that reality. As stated before, this needs to be one of the goals of a good storyteller. What's more, realistic character actions outside of the audience's experiences have inherent value, they are exposing, for better or worse, a different view of the world, a mindset other than the audience's own. The audience is capable of making their own value judgments regarding that mindset (for example the posters on this thread who have said things akin to "that's how boys are" or "that's disgusting" or, in Shinji's own words, "I am so f***ed up").

    If there is no enjoyment and no meaning to be found in the facade of the art, if appreciation can only be found after painstaking analysis and background research, then what is the purpose of the facade? That would be akin to painting over Starry Night, The Scream, or Mona Lisa with whitewash and claiming that it is not important to actually see and enjoy the paintings, it is only important to understand what the paintings were trying to express.

    That is a narrow, sad, and unrealistic view of art.

    Realistically, I don't think that anyone actually believes that view, they only claim to believe it because they do not really understand what they are claiming. They also like to inflate their ego and claim superiority by degrading those who have not spent quite as much time with art history books.

    In other words, they are masturbating over their understanding of art, which is laying unconscious in front of them.
    Sorry, I rarely visit this forum.

    Protip: Movie is Postmodern. Ergo, you should interpret it like a postmodern movie. That's the entire point.

    And let's be fair, I'm not saying you can't go into the character interactions and find some enjoyment, I'm saying that the majority of the people in this thread aren't even doing that.

    The average post in this thread is: Dude + Half naked loli = Profit

    They aren't questioning WHY Shinji would fap to an unconscious Asuka, they are justifying why a stereotypical teen would fap to a half naked coma chick. And they certainly aren't thinking about the scene as having any significance outside of the realm of fan service.
    Ehhh, I dunno if I'll stick around. We'll see.

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  25. #75
    Lady Shaorin's Soulmate Tasuke has a reputation beyond repute Tasuke has a reputation beyond repute Tasuke has a reputation beyond repute Tasuke has a reputation beyond repute Tasuke has a reputation beyond repute Tasuke has a reputation beyond repute Tasuke has a reputation beyond repute Tasuke has a reputation beyond repute Tasuke has a reputation beyond repute Tasuke has a reputation beyond repute Tasuke has a reputation beyond repute Tasuke's Avatar
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    in my fifteen years of Anime fandom, i've never once seen anything about EVANGELION that has ever piqued my interest in the slightest. all this only reaffirms my resolution; too much thought and introspection upon things will drive one to madness. Anime to me is a happy-fluffy fantasy world, and i am happy to keep it that way. i get enough challenging stimuli out of the real world, thank you very much...
    ♥Mikuru Asahina's Soulmate♥

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