超煞笔的漫画——二十世纪少年|『动漫主题讨论区』 - 『漫游』酷论坛

最初由莫菲斯发布

啧，原来所谓“成熟的大人”面对人身攻击的处理方式就是划清界限“我不和你们这群小孩子玩了”啊。
已经大学毕业2年的社会人受教了。
想当年的三八线可怀念了，自从上了初中以后就没有再和同桌划过三八线了呢……

另外今天是周末，既然lz有女友的话周末当然应该和女友过嘛……上2d论坛论坛钓宅腐有毛意思啊！

还是说lz其实是寂寞了？:)昨天晚上我看见这个帖子还以为是是个钓鱼贴所以就没有回……今天一看居然如此娱乐，233

最初由 kamui520 发布
睡睡你不淡定了，人家楼主是寂寞了，你也寂寞了吗？:D

最初由 Lolicon 发布

我还是不太懂你们说的钓鱼是什么意思？

最初由 Lolicon 发布
这本漫画最大的问题是，作者的积累太浅，根本驾驭不了太大的题材，写点小故事可能还行，写到后面摊子一扑开，人生经历浅薄的弊端一下就暴露出来了。他能想到的东西都太幼稚，而且故事性太浅薄，结果只好往里面填一些装B元素，比如摇滚，比如嬉皮，比如基督教。

这个故事根本就是在讲邪教，我就不明白这三个元素除了填充页面之外对故事有任何帮助没有，摇滚跟邪教有什么关系？用摇滚对抗邪教？基督教也是一样，说到底教宗出场到底是在做什么？

前面几位同学估计是人生阅历比较浅，看到个woodstock就觉得很崇拜，我90年代就开始玩摇滚，我可以负责任地说，作者根本不懂他作品里的一切元素，无非就是凑在一起装B，顺便填坑罢了。

最初由无名之死者发布

这个故事根本就是在讲邪教

哈哈哈哈哈哈~~~~

估计人给你一个寓言故事，你的理解力也会说这个寓言故事的根本就是表面那层皮。

已经了无热情的一群大叔在与邪教对抗中努力从过去抛出真相，重燃往日的理想主义，虽然作品中描绘的那种年代记忆与我们不能说有多少交集但有些东西是放之哪里也能引起共鸣。至于摇滚？在朋友营造的那个表面安乐太平的犬儒社会里，文艺作品只能声色犬马画个漫画都给丢到牢里去的年代里，你说摇滚是一种什么样的存在？

Q: Where did you first hear of J.A.Seazer, and why did you choose to use that style of "choral rock" for Utena?
A: I was a teenager when I first heard of J.A. Seazer. Just like in the U.S. in the late 1960's there was a student movement in Japan. And J.A. Seazer was a charismatic idol of the student activists in the late 1960's. By that time, I found about J.A. Seazer when the student movement in Japan was over. But his music still carried all the energy from the times of the student movement. And that was the scream wanting to change the world. I was strongly attracted to his music. I was just a high school student when I found out about J.A. Seazer in my teens, but I decided that I wanted to work with him someday. And the Revolutionary Girl Utena got the go ahead. I knew that J.A. Seazer's music would be the one to match the theme of the show. So I visited J.A. Seazer with the project proposal sheet of Utena... And he was able to relate to the theme of Utena. It was a wonderful experience. I was able to fulfill the dream I had from my teenage years. That was to be able to work with the idol I had in my teenage years. And as I expected, Utena's music was received in Japan as a sensation. A lot of people have forgotton his music since the 60's. So by working with Utena, J.A. Seazer was able to return to the mainstream in Japan. And that's something I'm proud of.

- Interview with Utena creator Kunihiko Ikuhara