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Not really; that's a dead-end for any further conversation. But hey, until next time, whenever that is.

>Why does that matter?
"I’m actually not the biggest fan of Satoshi Kon in terms of his works’ scripts"

I'm asking because you replied with that unless you just said that without thinking it through. I'm just asking you to name the one you're not the biggest fan of, you don't need to elaborate on the "why" behind it.

Let's rein it back in then. Which screenplay of his are you not the biggest fan of?

Yes, but in an audiovisual medium, it's hand-in-hand. Whether he's writing them or not, he has to marry what's written, storyboarded, and translate those elements on the screen. That's the "art" in this scenario, his talent. He stood apart for a reason.

"You can like the technical aspects in how fluid and expressive some animated cuts are, but not like the actual story writing quality associated with it."
Does this need to be said? Now you're preaching to the choir.

It's not worth it to me. I gain nothing from it. Edgy teens will use it as affirmation without any critical thought added, and lovers of the anime would wish I would die or give the classic "y u watch if u hate/u have no life" response. And of the few sensible, silent minority of people out there, my writing isn't needed beyond articulating feelings they may have difficulty expressing (positive or negative). The anime community chases people away from worthwhile discourse, which is why my output or presence on this platform has sharply decreased year after year.

This guy's writing style is very insulated and incestuous to anime/manga culture, something I dislike about a lot of creators in the space. I'm not sure what the rest of his stuff is like, but I'm not in any rush to find out. Kon's direction reflects his screenplay treatment; there's a symbiosis between the storyboarding, writing, and direction. So yeah, you are a fan of his scripts, even if you think you aren't lol Idk what Oshii has done lately in the same way I don't follow any anime in general. It will likely be months before I watch another one.

I was also interpreting it that way when it started unfolding, but after the "what-if" wraps up (which is nuts that it's half the anime's run), there's no delineation between the extended daydream and the reality after it's over. Her reaction 46 minutes in when the paper blows back from the other side, back into the dark, gloomy reality of her friend being dead and gone, where she acknowledges the panel, and then when she enters the room to see the missing panel, with the scotch tape still on the window with others still hanging up. It's a baffling misuse of literary devices, obfuscating metaphor from her reality, not in a way that shows an intuitive understanding of the two, but like that of someone unfamiliar with those literary and cinematic devices. They set up the dark, borderline monochromatic depressive state of her grieving reality with the contrasting washed-out, colorful daydream, yet slip-in paneling where the dead friend is illustrating her own rescue... it's so absurd and non-committal to oneiric logic that it becomes illogical on two fronts. If it's a metaphor and not an actual genre turn, why does that panel illustration exist within reality before and AFTER she cries it out and leaves the room? Either use it with confidence or don't use it at all. As is, it's "anime nonsense."

And so, if you interpret the rest of it as such, it exists as an exploitative fantasy empowerment if considering the real-life tragedy it's drawing inspiration from (Kyoto Animation attack, etc). The sappy, saccharine violin cords and piano keys, with extended flashbacks, because God forbid you don't understand the intent. But if you don't view it that way and see it as when the "reality" re-enters after she cries it out, remembering her friend, and leaves the room to head back to her drawing table, then it's just ill-advised. It's an amateur misuse of a storytelling aspect that I see too common in anime and even in some mainstream directors, like when Jordan Peele created a metaphysical setting in Us with its metaphorical showcase of "puppeted lives" by showing doppelgangers, then started treating the setting as literal in the 3rd act, as he shows the mimicry of the underground, and had the multitude of doubles surface to the top. That shortsighted decision undermined the entire film because, after that, you have to logistically make sense of how idiotic those mechanics would be. That there's a nationwide infrastructure underground where people pretend to board planes, ride roller coasters, drive, etc.

So when I chalk it up to anime nonsense, that's what I mean. A lot of anime creators fail the assignment. For every Satoshi Kon or Mamoru Oshii who knew how to do this, a dozen more trip over themselves.

"cause subjectivity of fiction and art is universally accepted, correct?" Correct, which is why my 1st response was so to-the-point. I've long outgrown the need to make these kinds of points on here with regard to content like this.

Brother, I'm just curious and I've a question for you. Have you ever met someone who watched more anime than you ?

"pursuing one’s dreams and motivating & supporting each other to reach those goals."
That aspect of it was exactly what was hooking me/keeping my interest for the 1st half or so of the film. Everything leading up to when Kyomoto realized that she needs to divorce herself from Fujino's social dominants in her life, that in order for her to grow as an individual, that codependency had to come to an end so she can gain self-confidence and develop as an individual; all of that I was onboard for. It's only after they pivoted from believable drama into anime nonsense, interjecting previously unestablished subgenres and concepts with the "incident" onward, that I found the entire thing to be irksome.

It's the kind of infantile decision-making that knee-caps so many anime that have the promise of being good (to me), and most of what I dislike about the medium is representative of that 2nd half. The kind of insulated, clumsy neurodivergent logic of making that plot twist in what's otherwise a compelling, comprehensive drama... ugh. It's the same kind of questionable narrative detour that derailed Samurai Flamenco, Psycho-Pass 2, Gundam Thunderbolt 2nd Season, and countless others. Why screenplay treatment is such an afterthought for so many of these shows is beyond me.

What's to disagree about the last part of what I said? It's an observation of an issue I've been discussing since 2014. You could say it's "not up my alley," but that's just pointing out the universally understood subjectivity of art. If that's the stance, there's no point for any discourse to understand the "why" behind someone's final impression of anything. A more fruitful follow-up would be: what about my sensibilities would make you think I would really enjoy Look Back in the first place?

I disliked it. It's pretty emblematic of what I dislike about anime and why I avoided it so much these past few years.

"If you have less than an average of 7 on My anime list you are very distressed" - Isaac Newton

Hello. Sensei
How are you??
I rly like ur favorite anime and characters.

bro are you good? never seen someone with over 5000+ watching days of anime and manga also i subbed ur channel

Are you hyped for Mahoyo? :)

Thanks for accepting! Nice to meet you! ^^