Quote:
Originally Posted by Chron
Ignoring the above rabble-rousing, I would have to say that maybe Ryuukishi's intents were lost in translation?
Although, when he makes his points by using openly contemptuous characters to express them (Beatrice and Ronove), it becomes hard to take it at anything other than face value. Readers demand trust? No we don't, we implicitly give the author our trust by taking the time to read his work. We don't demand any sort of guarentee that the story be solvable, rather, we take it for granted that it is, and then act on that premise.
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A lot of the complaints are arising out of ep8 which is a double-edged sword on the Lost in Translation front, because:
- People who don't understand Japanese are drawing conclusions based on second or third-hand information; but
- People who do understand Japanese are still complaining.
So while there may be part of it, I think there are still some people justifiably disappointed. I don't see how the meaning could be lost for those people who actually read it in its native tongue.
Besides, for all we know the translation (as yet to come out) will moderate the vitriol perceived somewhat.
Quote:
Originally Posted by naikou
False pretenses or not, I judge the art, not the artist. There are a good many artists whom I would hate as people, yet I love their art. Stanley Kubrick was insufferable, in many of his actors' opinions (Jack Nicholson refused to work with him after "The Shining"). But he's almost universally regarded as one of the best directors of all time.
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I hope we're not comparing a doujin VN author with Stanley Kubrick here. Like it or not, Ryukishi isn't treating WTC as a professionally-produced series (he most certainly
could, as he clearly has professional connections and clout, if only as "the Higurashi guy").
Besides, it's a little harder to do a love-the-sinner-hate-the-sin comparison there. Kubrick was capable of moderating his message:
2001 was not a radical departure from the themes Clarke himself wrote about, and Kubrick actually significantly blunted the anti-war messages in the film version (and not because he was pro-war; he claimed his goal with
Full Metal Jacket was to be neither pro-war nor anti-war). Of course he was always inserting his own opinion into things, as Ryukishi does, but I think it's considerably lessened by the interweaving of other influences into the creative process that don't exist in a doujin environment.
I'm sure many famous mystery writers had rougher edges before the editors got involved, but the point is they
did get involved.