DEBATE: Is Miyazaki Overvalued?

[@winterx2348]

Will Chihiro evER FINISH EATING

[@ahegaoaccountthatactuallyg7053]

I feel like E-kon has a serious case of what I'm gonna call "film school syndrome". He's judging things not by how much he enjoys them but rather how well they fill out the checklist of elements that good movies are "supposed" to have. Movies need character arcs. Movies need a story. Movies need a resolution. Stories need to be laid out in this particular way. That's what people like, that's how movies are made. Oh you like a movie that doesn't do those things? You're just an outlier, you don't matter, people REALLY want movies to be like this. I feel like this way of looking at media is really lifeless and boring, like you can't actually enjoy anything and are just keeping tally of how many boxes it ticks off. Digi's approach makes much more sense to me; it's just about whether he likes the thing or not rather than how closely it sticks to the way movies "should" be. When a movie or show or game does something completely out of the ordinary is what makes them interesting. Refer to Digi's Bathos video for more on the benefits of abnormal storytelling.

[@ichigo5612]

Ahegao Account That Actually Gives Source Digibro does the same thing with anime on a vastly subjective scale

[@LostCentury91]

His criticisms are the shit I hated the most when I was studying film.

[@LeoSkyro]

Also he seems to get into an argument with very few actual set points. I kept hearing him suddenly defend points just for the sake of connecting them to something else, or to justify another point, when those first points were either completely shaky or straight up felt like the opposite he would say

[@etherealsky7078]

Ahegao Account That Actually Gives Source It’s funny you call that “film school syndrome” because, from my experience, people who crap on films for not having traditional storytelling/characters/entertainment value are usually also the ones who shit on film students...

[@krocuss17]

Repent of all sins in the name of Jesus Christ before it’s too late! 444prophecynews.com

[@jamesneeson5751]

E-kon starts every argument with "people like" and "stories need to be like this" while digi starts his points with "I like", or "I want stories to be like this". Digi's points are more interesting and more persuasive because I'm learning more about him through his points. All I know about E-kon is he took a high school course in English and he know anime history.

[@TaylorTano98]

I completely agree with Digi at 39:00 that change and development is not essential for the character to be interesting. Sometimes the entire fucking point of a character IS that they remain static. A static character isn't automatically a badly written character, which is a view I've seen becoming more and more prevalent in media criticism. This is a weird example, but I'm an English Major so stick with me, but the character Okonkwo in Chinua Achebe's novel "Things Fall Apart" revolves around the idea that he doesn't change throughout the entire story. That's the entire point! And you can still relate and empathize with him regardless because you understand why he won't change.

[@paddyscott2328]

ITT man criticises a visually focused director for his stories for 100 minutes >all stories need to have character arcs >all stories need to have characters >films need to have conflict >films need to have stories When will these memes die? E-Kon, go watch some art films. Go watch Brakhage. Educate yourself on film, narrative and art before making these harebrained erroneous claims about what good writing is or should be.

[@soulus98]

>i'm not a pedophile >i'm not either, for boys woo digi you did it again

[@27TheMunchkin]

I was open to what E-Kon was saying until he said all characters need to have character arcs to be interesting/good & that stories w/o them are barely movies, then for the remainder of the discussion I was just shaking my head almost every time he talked.

[@maxmustermann9058]

Porco Rosso did not already "do what the Wind Rises did", it is a movie about the hero dealing with ptsd and survivors guilt. Unlike the Wind Rises protagonist he refuses to work with the fascist and is even chased by them, probably being some kind of communist pig. He defeats kidnapping pirates without killing, does not produce weapons, there is not nearly the moral dilemma or responsibility as in Wind Rises, nothing about being an artist, he just flies a plane. E-kon seems super close-minded.

[@Duck-re3tm]

I searched for this comment Exactly right bro (I don't think porco rosso is anywhere near a communist but ... yaeh)

[@maxmustermann9058]

@@Duck-re3tm There is definitively no conclusive evidence but it works with him being a political dissident, with the pun and his plane being bright red, plus back then Miyazaki himself was a marxist. I think it is more likely than not.

[@UTU]

The fact that this discussion made both of you say that Miyazaki is at the same time conventional and alien proves that he is a true master, more-so than anything else that was said during this discussion.

[@Krisenaa]

According to K. M. Weiland, the "flat character arc" where a character doesn't change is a whole own category of story: The Last of the Mohicans, Gladiator, Sense & Sensibility, Captain America, True Grit, Batman Begins, The Hunger Games, Chicken Run to name some examples.

[@jmiquelmb]

Kristian Bjerke Dalen Well, I'm not here to argue against your main point, but I wouldn't use Gladiator as an example. Characters in this movie are kinda cliche and bland in my opinion. People liked Phoenix in that movie because they wanted the most hateable villain ever. But I think we can all agree that he's as unidimensional as it can get

[@joxerrrrr]

Ok after 1 hour and 10 minutes i cant take it anymore. E-kon not every damn story needs fucking character development in order to be considered a good story. Its not a basic thing like pacing where every story needs to have one. Its a TOOL of storytelling a good one but that doesnt mean its a must for every story, especially if its used badly and this is the case often actually. It doesnt always makes the story better and it can make a story worse especially when its obvious that a storyteller used it just to use it like oh my story its pretty mediocre but look my protagonist now doesnt say the same stuff he said in the beginning.Yeah so revolutionary.Stop giving praise to stories that happens to have it and try to use your head to understand how its used.Thats all.

[@Spyderist]

JohnH X I think he's too entrenched in screenplay 101 bullshit

[@danielwilson5450]

JohnH X "It's not a basic thing like pacing where every story needs to have one." Are you serious? Pacing is a necessity, but not strong characters? So you'd rather watch a well paced film about boring husks that resemble the shape of humans, than a not-so-well paced film about interesting and fleshed-out people?

[@SilvarusLupus]

E-kon is so hung up on characters having or not having arcs it's driving me up the wall.

[@gg.no.re.]

E-kon: Miyazaki doesn't deserve the praise because [insert reason] Digi: Ok give me an example? E-kon: *rambles and dances around the question while trying to flex knowledge that was googled to reaffirm his belief* Digi: Ok here is why you are wrong E-kon: says nonsense/interrupts Digi while he is talking. *autism intensifies* Digi: .... ok but how abou- E-kon: *scoffs or makes some other rude noise*

[@Pacal_II]

I think he's just not as used to podcasts as Digi. It's also possible that he mostly argues through writing not speaking. But after a while he did improve in the discussion. You can disagree with him, but when he was talking about Ponyo or Wind Rises he was definitely on point and wasn't "dancing around".

[@whataboutthings]

@E-kon Ok, so you wanted criticism, here is some. I'm not going to be talking about your anime knowledge or such. Because i do not think i can actually tell you anything there you do not already understand better yourself. But i can talk about podcasting, speaking and such. I believe you have fundamental issues with speaking unscripted on a podcast like this. You repeatedly start an argument by stalling, clearly not having thought out what you want to say yet, blabbering a bunch without content to your speach before you either figure out what to say, or don't. This leads to either you knowing you wasted too much time and spouting you your entire idea way too fast without any structure to your speach or, when you don't figure out an example or how to communicate your point, your blabbering and stalling moves you to start a new topic out of nowhere or Digi jumping in and breaking you of with you having said nothing. You need to slow down, stop jumping into others speach all the time, and just practis. If you listen to Digi talking here he constantly has these clear, short and effective phrases he uses to very accurately communicate what he is thinking. This does not make him more right, but it makes you look messy and like you don't know what you want to say, while Digi comes of with a strong throughline and steady logic to his whole rant. Finishing this, i think you got better as it went on, but you never really hit a level of speaking where i felt i was comfortably able to get the clear image you were trying to communicate sent to me. Everything becomes jumbled and skippy. Also you share a fault i have myself... and that we both need to work on. You laugh way too much at your own jokes, even when Digi clearly is not joining in. I feel your pain here man, i do this all the time, but it makes you look really obnoxious.

[@stealthmissionpath]

1:18:01 Digi: "What about Sosuke from Ponyo? He's Great!" E-kon: "I know you like him but I'm not a pedophile." Digi: "I'm not either....for boys." (Awkward laughter) Digi (in head): "Well...I was so drunk, I exposed myself. The FBI's gonna be here any minute now." Cop: "This is him. After him!" 🚔🚔🚔🚔🚔 2 weeks later: **"Self Proclaimed Gonzo Journalist Arrested for Loli Collection"**

[@hypercortical7772]

thanks you for this

[@joseppi4381]

Seriously though, he was joking right? Right?

[@superwild1]

BustedGoat lolnope

[@drawingstuff6660]

BustedGoat irl yes , anime no

[@Henry-fq8fz]

Haha! Digi is so relatable

[@CatheterTubeParadise]

Really interesting debate, y'all! I understand your perspectives much better now. I especially empathize with his animosity towards the deification of Miyazaki, that certainly hasn't had a great impact on the public perception of anime. I also see a kindred spirit, though, in your love for anime where nothing at all happens besides feelings and spectacle. Thanks for the good work.

[@mausklick1635]

Ekon comes over as being contrarian for the sake of it. The whole "debate" is severely lacking in actual reasoning.

[@Hejhouyou]

Execution > Originality Story > Visuals

[@malcolmlamb2191]

E-kon's comment about character's having an arc as necessary makes so sense at all. Cowboy Bebop anyone? He's confusing character progression with character development. Progression isn't necessary for a character to be well developed. Digi FTW

[@KyikoKyubii]

Malcolm Lamb There’s a difference between progression and development? I thought they were the same thing :o

[@half-hazard8903]

This.

[@malcolmlamb2191]

Yeah. Granted, character development and character progression are not mutually exclusive. You can have both, but both are not necessary to have a good character or story. Character progression is usually associated with "dynamic characters." These characters undergo some kind of arc and change throughout a story. "Static characters" do no undergo an arc or any progression but can still be well developed. Examples of this include essentially the entire cast of Cowboy Bebop, none of whom go through a definite arc but all of whom are very well developed. They may not change, but the audience is nonetheless well acquainted with their personalities, motivations, etc... In this way, we see that a character can be well developed without progressing at all in a story.

[@dragohstelath1725]

they all get progression,they all change,the end of the series is the direct effect of spike's progression,same thing when jet re-encounter his wife... fey's reaction to spike's decision in the end shows a progression of her character in relation to his character,same thing about fey's weird cult episode...

[@malcolmlamb2191]

My point with the original comment was simply to point out that E-kon's obsession with character arcs as intrinsic to good storytelling is strange considering that static characters are a core literary device and more than capable of carrying a story without going through any kind of arc given they are utilized well enough. Ex. Indiana Jones/Rorschach from Watchment/Aragorn from Lord of the Rings (the movies invented his character arc. This doesn't exist in the books)/Dumbledore (though we continually learn about him and our perception of him changes, who he is does not change over the course of 7 books). I feel that Miyazaki has so much other stuff going on in his films that the fact that most of his characters are static isn't to their detriment. For the most part, they are interesting enough as is without having to undergo any major changes.

[@ddddddddddd516]

¨Frozen is a better film than the Wind Rises¨ that´s where you lost me lol, not only talking about animation, which is Wind rise´s is wayyy better, but also it has passion and love unlike Frozen who is the most cold hearted disney film of the two thousands

[@ddddddddddd516]

Half-Hazard I'm not saying it doesn't have love at all, just saying that the idea and the way it was done was with the public's money on mind, not with the passion of creating a great story, I'm not saying that the ones who made it were loveless and cold animating machines, but the ones who marketed it and came up with the idea just wanted to sell a product, unlike Miyazaki, his last film is probably gonna cost much more than it's gonna sell, but he doesn't care, he just wants to create something that he and others could enjoy, Disney has made passionate projects on the past, like treasure planet, the ones who did it had a lot of love for the project and had been developing it before even knowing that Disney would greenlight the film, and you can really tell how passionate the film is just by watching it

[@Giorno.]

Disney is just a corporation that makes simplistic entertainment for popular consumption. Wind Rises is an auteur film about serious themes. Comparing the two is like comparing Britney Spears (Frozen) with Beethoven (Miyazaki).

[@sp_powerbind]

i loved siding with you on this digi, so many things you said were so right and fun to hear- especially when you and e-kon started talking about ponyo

[@Ubiquitial1]

My opinion on these comment sections are opposite Digi's, but as he left them open for once, I will take this advantage to clarify some things I said. This was my first podcast, I was a bit nervous and should have probably explained myself better. The biggest objection I see people raise is with me saying "A story needs dynamic character development to be good." Which is certainly far-fetched, I agree. In this age of post-modernist sensibilities such sweeping generalizations probably don't sit well with people. Characters that change over time are in no way necessary for a good story. Many fantastic works, from Camus to Kafka to Sophocles of antiquity feature static characters and are some of the greatest pieces of fiction ever written. What makes a work "good," or really, well executed, since how "good" something is can be very subjective for people, is ultimately how cohesive it is and how well it meets some particular goal. Jorge Luis Borges writes on the subject, saying all art "are trying to tell us something, or have told us something we should not have missed, or are about to tell us something; that imminence of a revelation that is not produced is, perhaps, the aesthetic reality." With that in mind, a better way to phrase the point I had intended is that "considering the common goals of Miyazaki movies, their lack of character arcs is a definite flaw." That I stand by. When you look at these stories that break the mold, be your Kafkas or Wallaces or whatever, they're not very fun stories. They're tremendously unsatisfying, tragic, sad affairs - and designed expertly to be that way! The omittance of things like character arcs and development is not an oversight, but a deliberate choice! These are stories meant to challenge. To disturb. To make you feel uncomfortable. And by refusing to put in things like character arcs, like traditional tropes, that throughout endless millennia of stories passed down have been shown to make characters more likable and the audiences more sympathetic, these writers can enhance the suffering. That's all well and fine, but Miyazaki isn't trying to make Texhnolyze here. He's not trying to create unsympathetic, uncomfortable characters and story. As a result, even though some other stories get along fine without character arcs, Miyazaki's goals are not the same as those of Dostoevsky or Ted Hughes. People who aim to make tortuous, sadistic art designed to enlighten or to intrigue. Simply because a technique, or the lack of one, is alright in some stories doesn't make it universally acceptable. And as about 99% of all art being produced is generally designed to make you feel warm inside, for you to enjoy vicariously and have good fun, rules of storytelling are generally taken for granted. I suppose it's my bad to assume that people would understand that intuitively, and I should have clarified. In the future, I hope to do better. That said, look at this fucking wall of text. Holy shit, what am I, Joe? Jesus Christ why the fuck did I reference all this shit. Does anyone even know who Borges is? Why do I have to be such a goddamn pretentious twat. God I hate myself. I mean, I should've done some explaining, but look at this shit. How the hell are you supposed to get this in a podcast, anyways? I'd bore the listeners to death. Oh, and I haven't gotten into flat character arcs yet. By god that's even more shit.

[@laumaelinful]

Digi definitely had the upper hand in this debate, his side of the argument being the more popular one, and this being his channel :p But in my opinion your arguments were mostly better explained than Digis, and gave me something new to think of of Miyazaki films.

[@SenseiAgot]

I do know who Borges is... you're still very wrong about Miyazaki. Yes, he's not a perfect director, but HE IS currently the best anime director.

[@dragunkiller360]

I don't really agree with a lot of E-kon's opinions, but I love hearing you two argue about this kind of stuff and would love even more for you two to delve into the rabbit hole that is the Sakuga community and storyboarding.

[@JJHB]

Spirited Away isn't the only anime to have won an oscar though. The second anime to have won an Academy Award is a short film called The House of Small Cubes which did so a couple of years ago for "Best Animated Short Film". I'm honestly suprised so many people have never heard of this news. While stuff like Your Name got all the attention and was getting hyped to be the next Oscar anime it didn't even get nominated, and an anime that DID achieve this accolade never got any attention. It's on Netflix for those who want to see it and I recommend it to everyone cause it's great.

[@mrivera6975]

Josué Hernández I loved that one actually. Totally had forgotten about it til just now

[@Nothing-ce8uv]

i remember seeing it win the oscar on tv. the short blew me away. didn’t resemble anime in a conventional sense tho and there wasn’t any dialogue either. just that it was created by a japanese guy, which i wouldn’t use as a criteria for defining anime.

[@JJHB]

Nothing An anime that doesn't resemble other anime doesn't make it less of an anime, it only makes it different and stand out from the pool of anime that are basically the same. It has broader appeal I'll give you that, but so does Ghibli films and we don't really question the "anime" out of those. Also, I think it's kinda hard to define what "defines" anime in a conventional way. Anime is such a broad thing that I believe the most accurate way to define what is one is to point out that it was in fact made mostly by the Japanese. If the Japanese as a role in its origin, then to me that's what makes something "anime".

[@JJHB]

AMzone CZ I agree 100% that the Oscars should not be used as an objective means to determine quality, especially when talking about animation. Still, it is the only "thing" we have to validate film and cinematography on some way. Even though the way Oscars do things is cheap and biased to the point of unfairness, it is the Oscars after all. If there was some other Award at the same caliber as the Academy Awards that would validate filmmaking in a better way then that would be perfect, but in the world we live in when the Oscars is the WrestleMania or Superbowl of filmmaking then unfortunately it is a big deal. Anime fans should learn not to take the injustice that happens with anime seriously. Still, I honestly think the Oscars are not overrated because, well it is the Oscars. There is no greatest accolade a Film, actors or staff can achieve but the Oscars so it is a big deal and it is justifiable to think of it as such.

[@Nothing-ce8uv]

Josué Hernández yea, i just mentioned the ‘resembling other anime’ part to say why i think a lot of others might not have considered it up till now. The Japanese can be involved in the production of a show to varying degree. whether it be how many of the staff are japanese, whether their parents are of the same nationality, how long they’ve lived there, are all variables that would make defining anime through its place of origin a very gray and convoluted process. Given there isn’t an official way, i personally think the best method is to look at its primary audience. ghibli films were originally made in the japanese language and target japanese speaking audiences. even shows like space dandy which was made with both japanese and western audiences in mind had to have been written in one language first, then translated to the other. House of small cubes doesn’t specifically appeal to the japanese demographic, nor does it need to be translated into another language to be understood. ps sorry u have to go thru all these long ass replies tho :P

[@Stevem]

Miyazaki and Takahata made a huge impact to the anime world as early as the 60s If you could see the difference of what kind of stories were made in Japanese Animation before their rise in Toei, especially after 1968 Hols Prince of the Sun. It's night and day, I see Miyazaki as a Spielberg figure in the anime world, his films being some of the biggest blockbusters of the anime world and most likely inspired several generations of Animators.

[@aocchii]

omg so true

[@HeyimGrump9001]

Please do more of these I love E-kon

[@silverspawn8017]

In summary: nope.

[@rayagancheva1927]

I'd love to hear Digi's view on "Only Yesterday" by Isao Takahata and "Whisper of the Heart" by Yoshifumi Kondo and Miyazaki. Though they are not as popular as other Ghibli productions, they both consist of very small, yet incredibly heartwarming stories. If anyone else would also like to see him review these movies, please like.

[@Porifera-Jaymen]

1. In princess Mononoke, power dynamics shift, but I'm not sure anyone changes for an arc after they're introduced. 2. E-Kon looks smart as he takes time to clearly outline his argumentative focus. Overated and flawed, with hints that idolizing Miyazaki can be wrong. Wind Rises is a wonderful point of contention. Flaws were sorta discussed. Points to E-Kon for focusing on Miyazaki's weak writing, however he glosses over nuances Miyazaki offers in favour of the execution E-Kon wants. He wants a character arc, but refuses what else is given. Also, E-Kon almost suggests that the Wind Rises didn't meet its creators expectations, but better elaborates against Ponyo, specifying flaws with diminishing returns based on the impact of its themes. It's neat. Other talents were passed by for comparison (generally none of which hold so many back to back, profitable, recognizable & heavy credits). Ex: I bought Assault Girls, not knowing what it was, and would not give Mamoru Oshii the same "pick anything, the man's a genius" reputation that Miyazaki has, even though this Oshii fella probably is a genius. Later on a Tezuka (?) is mentioned, looking forward to opening that can of worms, thanks. I see no issues with idolizing Miyazaki from this video. He is Ghibli's backbone & his focus and creative short-hands crush Isao Takahata, pound for pound. Isao is also probably a genius and has, to my loose knowledge, been a radical creator at Ghibli. Ex: Yamadas. As for comments against how Miyazaki manages his staffs' talents, in this podcast, Miyazaki sounds no different than a boss. Specially after the Spirited Away example; at times word for word no different than my worst nights not meeting my chef's expectations. The limitations and freedoms under a boss reinforce respect, craft, and the desire to fuck off and nail it your way. There are freedoms in limitations. 3. E-Kon tries to address negative aspects of periods given to Miyazaki. His work before the 90s holding large amounts of influence from Future Boy Conan, although a downside to that in itself isn't explored, and thusly crushed when Mononoke comes up. At worst, Miyazaki is predictable, not as if that's a problem for Grave... 90s through Spirited Away seem untouched. And Howl's & onward is scoffed at... Didn't Ghibli make a 3 part tech demo around then... 4. Both hardly acknowledge how many Miyazaki films are expected to be his last. The hype is real, as are its implications. 5. E-Kon sounds nervously bad trying to force the Bayhem comparison. He seemed to be trying to stick to his notes for pacing and less for bullet points. Ekon is a brave bastard for taking up his side of this debate. 6. Does Miyazaki need to innovate further if he's an outlier among anime creators? Arbitrary points abound to y'all for making this brain candy. Pom Poko is a heavy flick and I was caught off guard with how it was refered to here. Thank you.

[@Ronin11111111]

I feel like E-kon is not post-modern enough.

[@Robersora]

Ekon is either embarrassingly bad at conveying his points or suffers from a deep misconception of what Miyazaki strives for and does with his art.

[@Robersora]

His dogmatic stance on stories needing conflict is so close-minded, it blows my mind.

[@JJMomoida]

I wish I had time to watch these videos. There’s been quite a few times when I see the title and think “well that looks pretty interes- TWO HOURS??”

[@RamenSploosh]

Carlos Hernandez it's the kinda thing that you can just play in the background while cleaning and shit though

[@Hejhouyou]

Hayao Miyazaki: A Genius Hack Filmmaker

[@tdfern1]

The Genius Animator it should say.

[@Hejhouyou]

Yes, and a bad writer.

[@crazymaner2003]

He is anything but a hack. He is the definition of an auteur.

[@KyokoProStudios]

I'm not exactly sure what the point of this debate even was... I don't think anyone who frequents this channel is going to think Miyazaki is absolutely perfect. And E-Kon sounds nervous almost the entire time when, really, it doesn't even sound like Digi truly disagrees with his major point; Digi just seems to be disagreeing with *why* E-Kon thinks the way that he does.

[@ckb1137]

Miyazaki is overrated only relative to his contemporaries. It's not that he gets more praise than he deserves it's that many others deserve far more than they get. The solution to this is not to break down miyazaki as an artist but rather uplift the appreciation of other talented artists. The end goal of any anime fan should be to facilitate the growth of anime to the mainstream so it can be appreciated for what it can do by as many people as possible. Breaking down Miyazaki, whom more than anyone else has brought anime to the mainstream, is counterproductive to achieving this goal. That is why among the anime community you rarely hear people talking about him because they are trying to call attention to other artists whom don't get as much of the spotlight but still deserve it. Btw 21:19 Spielberg is a populist hack and Orson Wells is grotesquely overrated. Frankly you have weak taste in film. By the way the ways in which Spielberg changed film was not for the better, he can be attributed with the ruin of film as an artistic medium (yes I mean that). You say that the ability of an artist to change their medium is a marker of success, I say look at Aristotle. He changed the way in which people approach understanding and logic in fundamental ways, these beliefs also held back scientific advancement for almost 1,000 years. Change is not innately valuable. Modern music replaced classical composition, that isn't progress that's just change. New does not equal good.

[@cometcourse381]

The Boy and the Beast is legitimately one of the worst anime films ever made.

[@Manganization]

You must have a really tiny library to think Bakemono no ko is one of the worst. It's not even close to bad either.

[@SoshiNine9]

I've seen worse but it definitely wasn't good. Definitely not something I'd watch again.

[@lemondere]

People copying Miyazaki badly is a weak reasoning for his lack of influence because creators shouldn't have to be imitating the whole of Miyazaki; NGE's influence can be found in disparate elements, like characters who look like Ayanami, or sekai-kei plots. There aren't a lot of anime doing environmentalism and copying Ghibli character designs.

[@Roggoll]

When I said that Howl's moving castle's story is nonsense and badly written someone legitimately tried to tell me its because I didn't understand the nuances and differences in Japanese storytelling. Never wanted to flip a table so bad.

[@half-hazard8903]

This.

[@rogueleader302]

Howl's Moving Castle is anti-war propaganda in response to the US invasion of Iraq. The movie sucks because he made propaganda, then found a story with a war in it and haphazardly made a movie.

[@pj2345-v4x]

Kenneth Williams nobody cares why it sucked, they care how it sucked. It could have been pro naziism, all that matters is if it sucked ass or not. And Miyazaki has a ton of writing issues with his films, even though they are undoubtably amazing and entertaining through them. Howls was far and away not the only film to suffer from these issues, so creating a link between it being propaganda and it’s uninspired plot or rushed narrative is just painting a target around a cluster of random bullets.

[@lunali7209]

its one of the best anime movies

[@johnelkoury6808]

It's probably my favorite movie of all time. The fantasy world is stunning and the characters and their interactions are so charming and likable.

[@curse103]

This was a great podcast! E-kon clearly knows his shit and it was fun to hear you guys bounce off of each other. Probably could have prepared a bit more on both sides (at least write out an intro paragraph explaining your overall argument) but I would love to see more E-kon arguments here

[@Mcfly5ful]

ekon go home.

[@BacoLouco]

"stories are all the same" is literally what kills creativity and expression. because people like E-Kon have this really stiff perspective on what a movie should be.

[@Craftsworldsocial]

Lol did that dude just say Porco Rosso had better animation than akira ?? Seriously? Akira was animated on 1’s, akira had moving building tracking shots before 3d, akira is the highest produced animation yet omfg

[@phothewin6019]

I like how he says "overvalued" instead of "overrated".

[@chloepechlaner7806]

The point I disagree most with is the idea that stories need conflict. I mean, there are a wealth of authors who are incredibly famous, considered the authors of classics, that wrote stories without conflict. My favorite example would be Steinbeck's Cannery Row, which literally is just about a few days of the lives of normal (ablit impoverished) men. No conflict, no resolution- just a window into another world or life. If anything, we should get more of that.

[@chloepechlaner7806]

Stories are no different than paintings, pictures, or other arts- they are flexible and can take so many forms. To limit them to such a defined structure is only a disservice to a medium, and anime is no different in that. It doesnt cease being anime if it becomes some arthouse collage of images, just like Un Chien Andalou is still cinema- and good cinema, great cinema, revolutionary cinema. For someone who says that Miyazaki didnt innovate or develop to turn around and limit what the medium can be is absurd and would be hilarious if it didn't hold the medium back,

[@thepunisher4356]

DEBATE: Is Digibro Overvalued?

[@GiffyMcgee]

Yes

[@haldir108]

Both overvalued, and overhated.

[@Kei-im9yh]

Very underrated.

[@Porifera-Jaymen]

Hardly, even on youtube. Do you think making upwards of 60 000 a year after at least a decade long career is a sign of overvalue? Aside from that, the man lives among niches. His influence extends to a humble sized audience looking to sap from his source. If Digi was over valued, and this podcast was found trending beyond all other casts, shoulder to shoulder with... Last Week Tonight, some hot wings challenge, a cat vid, and some dramatic news-like violence of national or global concern, then yeah, I'd argue otherwise. I would do so because at that stage, a large amount of his material doesn't want the weight of that exposure.

[@Porifera-Jaymen]

Bøø9 Hell ya! I can't help but feel as if his creative peers have worse averages, specially when we wonder how "hated" they can be.

[@Pacal_II]

Does anyone know if the statue in Digi's banner to the right of the moniitor with Casshern represents a specific character? I mean the woman with the long hair, crown and a sword?

[@danielthrasher1738]

Digi, have you ever given the films of David Lynch a try? Many, especially the later ones, such as Mulholland Drive or Inland Empire feel alien in a way you might appreciate.

[@danielthrasher1738]

As well as Eraserhead.

[@austinwyant2928]

I was dumb enough to think this was a written and edited video. Lol

[@89ji76]

I'd be down to clown with a Digi vs E-kon monthly podcast for sure.

[@deadgavin4218]

And now we have a monthly e-kon digi podcast

[@drinks_menu]

E-kon seems like he just argues to argue, I only agreed with like 1 of his points the entire podcast.

[@modalisk]

Got through 45 minutes... E-Kon is just being a clickbait-y contrarian. His arguments don't really make sense and he's mostly just calling society dumb for worshipping Miyazaki rather than actually proving that Miyazaki doesn't deserve it. Obviously Miyazaki is the most famous anime-related person. Of course E-Kon is going to want to spend 2 hours making circular arguments about why the most-beloved thing is bad

[@tomhardy6605]

You guys should make podcasts like this more often. I mean, please. This podcast reminds me of Digi vs Gigguk video. For this time Digi was gigguk and Ekon was digi.

[@Whisky31CZE]

40:00 no characters dont need to change eg Gummo film isnt theater (and even that has overcome some of the traditional dramatic structural conditions) and story and narrative isnt the same as plot - you could tell a story with a single picture though there isnt a progression in time. Think of it as the impressionist story. and hell no stories dont need conflicts per se, its just the easiest way to tell a story

[@WhatsUpFella]

The Answer is NO!

[@CecilyRenns]

1:18:01 i love how they keep laughing even after "anyway."

[@JuiceDrank]

Whaaaaa intent? 32:20 when you start talking about intent the argument gets weak you opened yourself failure this way. Intent could be: wispy movie about dreams that incorporates the fact that I love planes and dreams and Caucasian’s. That could have been his intent... or maybe it wasn’t. Maybe he wanted to recreate a dream he had within a dream.. its alll duuuummmb when you start talking about intent. It’s what yoooooou are taking from the art that’s staining your lens in your retrospective.

[@Harmony242]

I don't care for his movies much. I've only seen Spirited Away, Howls' Moving Castle and Ponyo, but his movies always give me the same feeling of "I don't really care about anything that's happening". I think it comes down to often not relating or agreeing with the characters in his movies, and that he often doesn't explain much and leaves it up to interpretation (which is a style I heavily dislike with his kind of movies). As a result, the emotional scenes in his movies just don't resonate with me at all and I don't care about anything, and I found other Ghibli films like When Marnie Was There much more enjoyable movies.

[@TrevRockOne]

Miyazaki's themes can get tiresome and preachy, but beyond that, there's just so much charm in everything that he's undeniable

[@sirravixfourhorn7681]

I rather enjoy his themes more than the lame and unrealistic 'kill the villain and evil will be vanquished' Disney crap which only insults the audience.

[@etherealsky7078]

TrevRockOne TBH I dislike how people throw “preachy” as an accusation for no reasons... What’s “preachy” about Miyazaki’s messages? For what I’ve seen, whenever a movie (or an artist in general) has strong messages, there will always be some people to call them preachy...

[@WalkingGirlKoi]

Hmm... Miyazaki being overrated, huh? I never really thought about it in too much in detail, although I would like to see people bring up other directors in discussions. Even Satoshi Kon, a guy's work I value very highly, isn't brought up in circles I frequent as much unless the person is more knowledgeable about anime. While Spirited is a favorite of mine, I've gravitated more towards eccentric directors in anime (love me some Ikuhara) and even have thought that not all of his movies may not hold up as well, like Howl's Moving Castle. I'll give it another go, but I had trouble having emotioal investment in it as of lately.

[@SoshiNine9]

Problem with bringing up Satoshi Kon in such a conversation is that he's dead. Works like his will never be made again. Miyazaki, despite being old af, is still kicking. When having a discussion like this one of the main points is if Miyazaki isn't number one, who is? Kon died too soon to truly determine if he'd be that number one unfortunately. Imo, I think it's highly possible he'd be as mainstream as Miyazaki, at least among film buffs, if he were still alive making movies. I agree with e-kon on some stuff, mostly his overall point that though Miyazaki films are visually beautiful quite a few of them lack in terms of writing. I also agree that for me I overall prefer Takahata films over Miyazaki ( I wouldn't say takahata is number one over miyazaki though). I'll have to rewatch wind rises, but compared to digi I did not enjoy it very much. Couldn't relate to any of the characters, overall felt like, especially in the first half, that if I liked planes maybe I would like the movie more but idgaf about planes and therefore can't relate to the main characters 'autistic' passion.

[@WalkingGirlKoi]

Soshi Nine I'm not really into the conversations of who is "the best director", which is why I mentioned Satoshi Kon's work among your average anime fan. Everyone knows who Miyazaki is and will of course agree he's "the best", but I highly doubt your casual viewer knows of him or even many other directors. The ones I've came across don't seem to know much about people industry wise, which was the point of my comment. Sure, I have my favorites like Akitaro Daichi or Kunihiko Ikuhara, but a lot of these debates about who is higher up end up meaningless, so there aren't any significant thoughts about it on my end. I also cannot see Satoshi Kon ever becoming as mainstream as Miyazaki due to the topics he touches upon. Maybe in Japan, but here in the US it's been established that unless you're from Ghibli or said movie is heavily popular overall like Your Name it's going to fall into that circle of fans that check it out and that's it. People would talk about Kon, but I highly doubt you could find your average non-anime fan knowing what stuff like Perfect Blue is.

[@SoshiNine9]

Amongst film fanatics I know of Kon's movies are quite popular. Among actual directors even more so. Kon had a direct influence on popular movies such as black swan and inception. I genuinely believe if he continued living and making movies his films would continue to have a direct impact on western cinema. Maybe the average normie wouldn't know about him, but people even somewhat into cinema and movies would.

[@TheHunter4065]

E-kon's arguments are so pretentious, reductive, and irritating. He doesn't even really argue any good points. "Miyazaki is a bad screenwriter" well, Miyazaki is an animator first. It would makes sense that films visually convey the story just as much as the dialogue. His thoughts on The Wind Rises are SUPER reductive. Any time somebody says "well the first half was basically a dude masturbating over airplanes and the second half is a mediocre love story" and "you can't deny it" you can discount their opinion. Instead of tackling the ACTUAL premise of the movie, he drags it into the most ridiculous and gross reduction you can pull out of it. The love story and the planes are connected in the film by the idea of beauty and the corruption and destruction of beauty, whether man made or natural. It's actually a super simple premise that is beautifully and very intelligently pulled off in the film. On top of that, Porco Rosso isn't anything NEAR The Wind Rises. They have a few similar vehicles for the conflict and story, but they are not the same message. Again, E-kon is super reductive of that film as well. E-kon then says "oh all of Miyazaki's early films are Future Boy Conan 2.0" but they aren't. And Digi disproves that by citing the most basic and obvious examples, and then E-kon has to resort to shortening his argument to "most films" and then "just the characters and story structure" but he never actually cites an example. E-kon's pseudo analysis of Ponyo is ridiculous, because it's such a "film student" thing to say. On top of that, in a way, since Ponyo breaks so many molds of traditional story telling- could it possibly be seen as experimental? Which E-kon earlier used as a negative towards Miyazaki. The audience doesn't need to always relate to or always see change in characters or always have every character be the most memorable. The questions he's asking are super loaded and he targets the most arbitrary aspects of each film and says "look! this film is bad because it doesn't fit every qualification that I arbitrarily say must be in every film". I mean, this comment addressing each individual point is so scrambled and confusing BECAUSE point by point, e-kon is super disjointed in his arguments against Miyazaki. I don't even revere Miyazaki as being all that great, I prefer all of Satoshi Kon's work, but his representation is super poor and flawed.

[@TheHunter4065]

Like E-kon says "I think Miyazaki was going for something else" in The Wind Rises BUT HE DIDN'T EVEN UNDERSTAND THE FILMS CORE MESSAGE. Miyazaki DID go for something else, he just completely missed it. Then he draws another sketchy parallel between Porco and TWR, talking about the great imagery in Porco. But TWR isn't about that, it's about beauty and it's a generally much more subdued and soft-spoken story. Porco Rosso literally has a pig as it's main character and the entire style is much more expressive. In TWR, take the Earthquake scene. It's a powerful animation that is much more art house than horrific because the entire films message is about that softer interpretation. The subject matter in TWR isn't the war, that's the setting that sets up the subject. I think E-kon totally got the interpretation of TWR wrong because I feel like that's Miyazaki's best film. It's got the design and art and texture of Ponyo, and the story complexity and messaging of Mononoke, and it seems like the perfect culmination of his work, and I feel it is his most rounded out film. Which makes it so ironic that E-kon harps on it, because it should fit his definition of a "good film" the most. + also, another note: Kudos to Digi for his patience, because E-kon totally ignored entire points that he made + just rejected his thoughts entirely half the time.

[@TheHunter4065]

OH MY GOOOOOOD this dude is so irritating. Near the hour mark he says "oh all stories are the same, all films are the same" but just earlier, he knocking Miyazaki's early career for having "all of his stories just be Conan 2.0". There are formulaic parts to every film, including films that he cites early for being great- like the work of Oshii, and to knock Miyazaki's love story for being formulaic is ridiculous. The point isn't the love story, it's how it contributes to Jiro's world and is a reinforcement and contrast to the other parts of his life that he observes. His entire argument is literally "I uhhhh just don't really like it, but here are some arbitrary examples in Miyazaki's work on what makes his films bad". Really irritating to hear imo. If you wanted to knock Miyazaki, go for the films that aren't masterpieces. Not ones like TWR that are, and you just didn't pull anything away from it because you reduced the entire thing to airplane masturbation and a love story. If E-kon had said "Totoro is overvalued because its emphasis on character and world building contradicts it's use desire to use an immobile and stagnant plot" I'd have considered siding with him. Or if he criticized "Porco Rosso's backstory for being the key to the film while simultaneously doing nothing to really advance the plot or something" then maybe I'd have sided there. But his arguments are reallllly bad. So I just can't deal w it lmao.

[@marcomeme4875]

TheHunter4065 combine all this with a snarky, whiney cadence and this faux humble attitude (I agree completely with everything BUT -) we have E-Kon.

[@kokirikid817]

E-kon is the type of person I would rather read than listen to. Unless, maybe, his speech was fully prepared and rehearsed. He's rambling a lot, which I think is just the truth, but I also subjectively just can't stand the sound of his voice, his laugh or his apparent attitude.

[@Spyderist]

throwaway2345 yeah usually Digi deals with people who put their voice out there as a hobby or a job. I dislike ekon but how he did is about the same as any commentator attacking him got his first go at a big podcast

[@crowstakingoff]

Holy cow, I don't think I have ever disagreed with such an overwhelming majority of a person's ideas, literally every single thing E-kon says I find myself in complete opposition to

[@hermesrodrigues5980]

Miyazakis impact in the anime industry is MONUMENTAL, you are just looking at the wrong places. This nigga singlehandedly created one of the most important and famous tropes in anime history, the Beutiful Fighting Girl. If you want to know about that read the book by Saito Tamaki

[@ianposh4852]

Holy shit that is a chewy sandwich

[@Giorno.]

Miyazaki's influence is small? This Ekon guy is plain ignorant. Miyazaki's influence on animation and manga is second only to Tezuka. It's like claiming that Beethoven and Mozart are not influential in music. Please you are humiliating yourself by saying such ignorant things repeatedly. Ekon thinks a good artist is one who writes movies like Hollywood movies and copies everybody else, in other words, he thinks good art is entertainment manufactured using standardized methods to pander to ignorant viewers, in other words, what he thinks is good art is not art.

[@RadioRovo]

e-kon (a.k.a. davoo 2)

[@JuiceDrank]

41:00 love is.... okay please nooooooooo. If you go around believing love is about affecting someone so you can change them then you are 100% misguided in your understanding of love. First, think about each character like an instrument that is so unique in its sound that there could never be another instrument replicated to create the exact vibrations that each instrument is capable of. Now think of a band of these instruments jamming out in complete harmony. That’s love in a nut shell. And dissonance is welcome but only if that’s resolved rather quickly so that you can get back to the good stuff... the stuff that sounds gooood.... yeeeeah love is coooooool and it doesn’t adhere to some dumb formula it’s stupid funky like jazz.

[@marcusbayley5126]

I was on board until "I still don't understand why u like psycho pass"

[@Fadinano96]

E-kon sounds like Bruce lee, seriously, look up bruce lee's interview about the " be like water my friend" topic! it's soothing kind off

[@maattthhhh]

short answer: yes long answer: yes, miyazaki is very influential in making the anime industry more successful and popular. but to be honest, most of the plot of his works are bare bones and only shines because of moe blob and "pretty colors". Yes, the world building is nice, but the depth of its characters and story only caters to kids. the only exception, to my opinion, is Princess mononoke.

[@maattthhhh]

Ling Ling riiiiight. Suuure they're mature.

[@AstralSky19]

Who else has read the Nausicaä of the Valley of the Wind manga? I recently finished off my third read of the saga and I can certainly confirm that it is easily the greatest work I have encountered in the entirety of anime and manga combined. Imo, not even my own other favorites, stuff like Texhnolyze, Legend of the Galactic Heroes, Phoenix, Ashita no Joe, Lone Wolf and Cub, YKK, etc, can even compare. It is unequivocally Miyazaki's magnum opus, surpassing essentially all of his films and other TV-series he has worked on. Whoever thinks Miyazaki can't write, think again.

[@JuiceDrank]

On Inward Change required for a character arch 40:20. Meeerppp. Would it be weird if that were his message... That in fact nothing should change but the world should stop and pay attention to what the main character holds dear, instead of what the world has to say and what the world thinks that the main character should probably adhere to? Maybe it’s required that nothing change, that everything stays the same and you never do anything but what Miyazaki has been doing for ever and ever or else you’re hurting his memory.

[@icecreamhero2375]

His movies would be more entertaining if they had comic relief. You may be thinking it's a different genre these are dramas. But Romeo and Juliet had jokes here and there dispite being serious so did Hunger Games.

[@kylescott2235]

Oh fuck yes!!! My body is ready!

[@buttholeweeb621]

kyle hague senpai be gentle >////< My hips won't stop moving!

[@kaji04]

TL;DR.: Yes. See also, "Is water 'wet'?

[@valiantthief5808]

Disagree with a lot of what E-kon said but he still seems like a really likable, well-spoken guy. Great video.

[@CagonDeMierda1548]

Pompoko was amazing. It is not merely about Tanuki's and balls, it is about the lose of our environment and our touch with nature. It is a shame Takahata hasn't made more films. Grave of the Fireflies was a great critique to Victim's history.

[@danielcarrilho5217]

Anno > Miyazaki

[@maattthhhh]

Kon > Anno > Miyazaki

[@distortioncharizardalive]

i mean like, anno is famous for tv shows, and miyazaki is famous for films, and nothing about them is really comparable and oh you did this for attention and i fell for it

[@ranzlaiv]

imaishi >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> anno > miyazaki

[@tkjordan1376]

They’re equal since they both agree on hating otaku culture

[@DefCatofficial]

I agree ekon completely on akira

[@dmeat0rz]

Info, also a respond on your podcast of the anime magazine from the year of Princess Mononoke, about Nausicaa : Miyazaki ended the manga in 1994, so basically the movie is really just a tentative of making a movie from the 2 first volumes of the manga. But I think the manga is the real shit concerning Nausicaa, and possibly Miya's work that expresses the best what are his world views.

[@menage6051]

Come on Digi, it's been at least 4 years since you watched Laputa. You should give it another shot. Yes it is a slow movie, but why can't that be a good thing for once?

[@half-hazard8903]

It's not even a slow movie, though...

[@menage6051]

Half-Hazard Well he just said he had problems with the pacing and that he was bored (I think?)

[@sevenseas2673]

I have to say I see Takahata very differently from E-Kon, I don't think he did his movies thinking on the audience, on the contrary I think they were very personal, he wasn't aiming to make more "japanese" movies for his audience, but because of his own love of Japanese culture, I see them more as "odes to japan" than an attempt to please the watchers, the main difference with Miyazaki is that Takahata didn't wanted to put himself in the front as much as Miyazaki, he was content to be on his corner without all the pressure of being "THE Miyazaki" and do whatever movie he wanted to make without worrying about being the face of Ghibli. I love Takahata's movies, and I do think they get often overshadowed by Miyazaki's ones, but they're just different people, I think the fact Takahata isn't globally recognized as "greatest anime director of all time." is what allows him to make the movies he makes.

[@eloniom5768]

Next podcast with y-kick!!!

[@ManiacForStorysyMusi]

do they not know that the wind rises is a combination of Jiro Horikoshi´s life and Tatsuo Hori´s novels (one of witch is called "the wind rises")

[@Heatranoveryou]

Why are character arcs interesting? Is K-on not a giant character arc?

[@marcomeme4875]

Heatranoveryou they’re not inherently interesting

[@jmiquelmb]

It makes much more sense if you consider that Miyazaki doesn't give much of a crap about story, and cares more about sensations and message . He starts production before finishing the storyboard, after all. I guess that this helps him to improve his direction in some way, but there's at least a couple times when he had to finish the story in a contrived way. It feels a bit like "and eventually they were rescued by, oh, let's say...Moe." I still think his work is very good. Maybe too overexposed or overrated compared to other directors, though.

[@TheOnceAndFutureKing]

My biggest problem with Miyazaki is how preachy he can be. Seriously, that man is an amazing animator, but he's never HEARD of subtlty when it comes to the themes presented in his movies, and the worst case of this is Princess Mononoke. Honestly, I've said for years that Spirited Away is my favorite animated film, but I haven't seen it in a long time so I don't know if it still would be or not. I'll tell you right now, if it has the same level of preachiness that most of his work has, then probably not.

[@RogerSmith2004]

Honestly I think Takahata is way worse about subtlety than Miyazaki is. Grave of the Fireflies beats you over the head with its message to the point where the characters stare at the camera at the end of the film. Pom Poko's ending legitimately has the characters explain the message of the film to its audience.

[@TheOnceAndFutureKing]

Yeah, that is true. Hey, I just had a thought, maybe Studio Ghibli in general is overrated.

[@jmiquelmb]

I realsed that during Ponyo, when Ponyo finds a couple with a crying baby during the flood. It's basically Miyazaki telling a baby to shut up and man up. It has no place in the movie, and it's completely unnecessary. Literally, Miyazaki found a crying baby one day while they were making the movie, and though: "Hey, I want to add an scene where I told a baby to shut the fuck up"

[@deadgavin4218]

The wind rises is a biopic about 2 different people the wife and the sanatorium part is from Hori tetsuo from his loosely biographical work kaze tacinu

[@romulusnuma116]

Digibro says hella too much I know he only said it twice but that's two times more then he should.

[@SilvarusLupus]

So he says it hella too much then

[@romulusnuma116]

SilvarusLupus exactly

[@Jockolantern]

Frozen better than The Wind Rises. Good lord. Epic troll is epic. In short, Miyazaki is not in any way overvalued and almost every one of his films (Nausicaa being the only one I consider to be overrated) is an absolute treasure. I delight in being contrarian but E-kon is simply being contrary for the sake of it. Perhaps I'd give a rat's ass about what he had to say if he can show me the capacity to hand-correct tens of thousands of animation cells entirely by himself the way Hayao has done. Miyazaki's movies resonate because the man himself comes across in every single frame-- the number of uniquely self-contained worlds he has created and memorable characters he has produced across a spectrum of storytelling is nothing short of remarkable. And that he continues to do so at his age is something we should delight in, not scoff at. Ought we next ask if Beethoven or John Williams are overvalued? What about Hitchcock or Spielberg? Get real.

[@legolassanimelover]

If this boy bout to try and say Akira has worse animation than Ghibli films from the 80s I'm gonna have to cut a bitch

[@Disc147]

Hey are comments just allowed on the second channel?

[@tomhardy6605]

I like Miyazaki's film. Castle of Cagliostro, Princess Mononoke, Castle in the Sky, etc. And I will say Bible Black series are undervalued because I like them more than Miyazaki's film. And of course, they have dramatic character development. More should watch Bible Black. Simply the best anime series of all time.

[@amirbutcher2147]

Comment thread?

[@TN1000th]

Okay I have a legitimate gripe with A Wind Rises, and I feel like this needs to be called out. I'm a huge Miyazaki fan, but I have zero tolerance for anyone who tries to pull what I like to call the "Noble Lie" Fallacy. No piece of art that tries to be historical can ever be 100% accurate, and I understand that, but to take a figure in history, and mischaracterize him to push an agenda is something that I have a huge problem with. If Miyazaki wanted to make a historical fiction that was centered around someone who was LIKE the person this movie was based on, and was a fictional character that's one thing, The Japanese Aeronautic Engineer that this film is based off of was never anti-war in any way, and also the (spoilers) Tuberculosis Romance drama never happened either. I hate "The Imitation Game" for the same reasons as it takes significant figures in WW2 and twists them to try to push an agenda (whether you think that agenda is a noble cause or not).

[@SevenDragonss]

I kept getting a mental image of the crane from kung fu panda, while econ talked

[@mu3737]

imagine being sad enough to still talk about the comment thing and attacking the guy, get a life for god's sake.

[@JCOdrjones]

mu mo Imagine being sad enough to defend Digi's every action, even if he's in the wrong and won't admit to his mistakes. Get a life for God's sake.

[@CraShFTW]

Guypersonmanthing3 that is indeed very sad, acting like a white knight for an Alcoholic dude that tends to contradict himself so much.

[@JCOdrjones]

Antony Chavez And now he's a pothead too. Highdea episode 2 when? Hopefully never.

[@CraShFTW]

Agreed

[@CraShFTW]

Joey Chavez Im sorry you are in MY space, you should use your own space to comment or make a reddit post, jesus christ do you know nothing about commenter entitlement?

[@half-hazard8903]

I still think you're way wrong about Castle in the Sky, Digi. Just rewatched it last night and it's amazing.

[@Spyderist]

Here's hoping ekon gets better in his form as he continues doing this shit