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Nausicaa: Difference between revisions
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If you forget about the Seven Days of Fire, Miyazaki's story pretty much fits as a distant sequel to Oni, along the lines of [[Hasegawa]]'s plan as interpreted by [[Mai]]. It is also compelling to introduce some of the more elaborate aspects of Miyazaki's storytelling into Oni's universe, be it general literary wisdom or more specific concepts. | If you forget about the Seven Days of Fire, Miyazaki's story pretty much fits as a distant sequel to Oni, along the lines of [[Hasegawa]]'s plan as interpreted by [[Mai]]. It is also compelling to introduce some of the more elaborate aspects of Miyazaki's storytelling into Oni's universe, be it general literary wisdom or more specific concepts. | ||
==Lack of an '''E'''nemy== | ==Lack of an '''E'''nemy== | ||
Miyazaki's story is remarkable for its lifelike complexity and the absence of well-defined antagonists, which is not a common thing in war/fantasy stories. Even the most ruthless characters are redeemed by a credible set of beliefs and motivations, and character roles evolve a lot as the story progresses. Such a story might be confusing and even frustrating to readers, as it is at odds with popular storytelling canons: it's actually more characteristic of "belles lettres" literature, or sophisticated science-fiction such as [[Stanislaw Lem]]'s. More than anything, Miyazaki's story is a reflection on the nature of man with its intrinsic imperfections and weaknesses, and an anthological one at that. The dialectical handling of technology and its role in the evolution of Mankind is a sort of "sound pessimism" akin to that which permeates | Miyazaki's story is remarkable for its lifelike complexity and the absence of well-defined antagonists, which is not a common thing in war/fantasy stories. Even the most ruthless characters are redeemed by a credible set of beliefs and motivations, and character roles evolve a lot as the story progresses. Such a story might be confusing and even frustrating to readers, as it is at odds with popular storytelling canons: it's actually more characteristic of "belles lettres" literature, or sophisticated science-fiction such as [[wikipedia:Stanislaw Lem|Stanislaw Lem]]'s. More than anything, Miyazaki's story is a reflection on the nature of man with its intrinsic imperfections and weaknesses, and an anthological one at that. The dialectical handling of technology and its role in the evolution of Mankind is a sort of "sound pessimism" akin to that which permeates Stanislaw Lem's stories (and more notably the essay [[wikipedia:Summa Technologiae|Summa Technologiae]]). | ||
It is interesting to develop Oni in an enemy-less way. In what way is Muro evil? and his Strikers? | It is interesting to develop Oni in an enemy-less way. In what way is Muro evil? and his Strikers? | ||