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Message: <blockquote data-quote="Geriatric hedgehog" data-source="post: 616929" data-attributes="member: 9364">As I watched this one not too long ago, and because I can't still tear myself away from ongoing Eva re-watches....(I just can't bring myself to say "bye bye all of Evangelion" yet * sob *) I'm unlikely to be able to re-watch Anthem as planned. So will just add a few thoughts from memory, on the back of other's comments here.Very apt and timely comparison here! Completely agree with your points on that. I always get the feeling that such parents are framed as such just to serve as plot devices to a certain extent, and therefore not sufficiently developed (as is unfortunately the case for a lot in anime, including the forever-at-work ones... Damned adults...poor kids can never catch a break!). But likely also a reflection of certain cultural variations. A lot of Asian and African cultures have significant emphasis on unquestioned submission and respect being afforded to elders (which in some cases could be anyone born even a second before you...). While I'm of the likely majority opinion that respect and etiquette be afforded to all as a baseline, especially elders, until they do something to lose that respect, such portrayals of gaslighting by elders in authority always break my heart to see the sad reality for those unable to stand up for themselves to those complete @r$eholes clearly not deserving of that respect. Likewise for me, though I did also quite enjoy the musical the class laid on in the end, particularly on my second watch. In general really liked the soundtrack, but not surprising as I am a fan of Masaru Yokoyama ever since his excellent work on Your Lie in April and Scum's Wish (actually the latter I think the latter may be also be agood one for a renegade simulwatch heh), and also more recently in Horimiya. Also agree with your take on the individual characters and not a bad job considering it's always difficult to develop sufficiently in the limited runtime of a movie. Had a thought remembering the curveball that is Daiki's confession - we are effectively in Jun's shoes at not seeing that one coming. Perhaps in terms of character development, the writing is consciously or subconsciously from Jun's perspective all along (as [USER=4379]@D1tchd1gger[/USER] mentioned about the autobiographical aspects in Okada's works), ie her interest mainly being in Takumi therefore he is the other character with a focus on development, Natsuki of lesser interest to Jun therefore less development especially the first half when she not seen as a love rival threat, and Jun viewing Daiki as a disruptive jock hence development focus on that aspect and none at all as a romantic interest as she only has eyes for Takumi. That's what I like about Okada's works, they do generally draw from her experiences and have an honesty to them as a result. Her directorial debut of Maquia was an ode to motherhood, and an older work of hers on that topic I believe, which I'm yet to watch, is Hanasaku Iroha.</blockquote>

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