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Is there any sourcing on the Bleached Underpants bit? It doesn't surprise me, but the only work of questionable taste that I can find with Aida's name on it is that Bittersweet Fools visual novel. Some background to this would be helpful seeing as the only thing about Yu Aida that seems to exist on the internet is that he's 33 years old and that he once did art for an eroge and currently writes Gunslinger Girl.
The only reason I ask is because I'm doing a literary paper about morality and literature and GSG is pretty much perfect for an extreme amoral example with a clearly unjustified Freudian Excuse. Context would be appropriate if it exists, and without at least a source on this alleged proto-GSG my example is just a bit empty.
If we can't verify this, maybe replacing the Bleached Underpants entry with one concerning Bittersweet Fools would be more appropriate?
The whole bleached bit has been pretty much the work of one guy. Citing sources hasn't been a big part of his style (sniping about motivations seems to be). Beyond the fact that Aida was in on Bittersweet fools, not much is known. It's not like he has a lot of other works to check against either.
Other things I would say are likely (but not provable from here).
1. Aida is a big Luc Besson fan (Nikita and Leon/The Professional are obvious influences).
2. Mangaka most influential on his style, Kenichi Sonoda. Their storytelling is widely different, but their characters and line work are quite similar (especially in the first 2-3 volumes).
3. Definitely of the "Grew up with Evangelion" generation (some obvious parallel characters, and "pawns' eye view" storytelling).
4. Victor's real name might well be a shout out to Urasawa's Monster.
I can't provide you with a link to hard PROOF that it exists, because it would be immoral if not illegal to have a copy, but the Bleached Underpants thing should mainly refer to a prototype doujin Aida published, Tatakau Monotachi, one installment of which was titled "Idle Talk", and which contains a...rather icky and gratuitous sex scene between the early-stage equivalents of Giuseppe and Henrietta. Therefore, the series itself literally started out as lolicon hentai, and morphed into a more or less clean-of-unsavory-leanings action drama. Underpants don't get a whole lot more bleached than that.
[EDIT:] Google provides a source, which you can investigate for veracity if you like, though I'm not touching it with a ten-foot pole - http://g.e-hentai.org/g/15639/f6fe883867/
The One Who Tropes, was there any particular reason for deleting the entry for "Your Mileage May Vary"? It seems quite relevant to me, as A&P genuinely are divisive.
Because it's not a trope, and isn't supposed to be listed as such?
Does anyone want to set up a Fanfic page for Gunslinger Girl? There's a few decent ones by several authors over on FF.net. I can't really post a page myself because I've written a couple of fanfics of my own and I don't want to come across as blowing my own trumpet.
Made a start here, people feel free to add to it: http://tvtropes.org/pmwiki/pmwiki.php/FanficRecs/GunslingerGirl
(and no, I'm not Professor Voodoo!)
Is Adaptation Decay really the trope at play in Il Teatrino, or did the editor mean Sequelitis? The second season continues to be a pretty faithful the same themes and plot from the manga, after all.
Sequelitis probably describes it better (so would They Changed It, Now It Sucks!, it being the character designs and animation style). The adaption is really quite faitful (at least as much as the first season, probably more so). The difference is skill (and style, Teatrino is really too "bright" and the girls too cutsie).
Season one is a very good adaption of Aida's early stages (when he was still feeling his way into the story), and is probably better than manga volumes 1-2. Il Teatrino, is a mediocre adaption of much better work (the manga version of Triela vs Pinnochio final round blows the anime out of the water). Aida closed up some weak spots in the original story, but the story-telling technique from the studio is not nearly as sure. Some bits work very well (the Opera bit), most are decent, but not as polished as the manga.
That said, the (Japanese) voice work is good, which wasn't always true of season 1 (Triela's season one solo story is well adapted, but the seiyuu did not have a grasp of the character).
Short form, season one is an excellent telling of promising work. Season two is a competent, but much more ordinary adaption of superior work. Aida got better, the studios went the other way.
Alright. Unless anyone has any objections, I'll remove that trope and incorporate into Sequelitis.
Dr Dedman: Alexandro doesn't like redheads in general (he doesn't like people in general period). He had a big crush/obsession with his instructor, and when she dissapeared, it really hurt him (and Sandro doesn't feel much of anything easy) so when we meet him, he specifically doesn't want to be reminded of Rosanna. He doesn't want redheads (in general as a group), because they remind him of a specific redhead (who he could never have).
I'm not sure where you're going with this. If you believe that he's not interested or disinterested in redheads and just wants to not remember a person whose most noticeable characteristic happened to be her hair, then the trope doesn't apply, even inverted.
Where are you pulling the Accidental Aesob stuff from?
Whatever the author did before his debut, his angle has been consistant from day one of the story, that of an obsever.
It's a bit confusing because Henrietta and Rico are the girls closest to the plot (the ongoing vengence of the Croche brothers), while the story has always been about Triela (who has more free will, and a character developement arc). Since this is an ensemble story, the focus tends to cycle (with the second season hitting Triela's first big story). The first season, as well done as it was (though I have issues with some of the Japanese cast), is really just an introduction to the situation and the characters on both sides, and only covers the first two manga volumes. Season two covers the next three volumes, and has Triela vs. Pino as its central conflict. What else were they going to do?
I think that some viewers think that the anime is toned down from something much more KITE-like, it really isn't (though maybe it got pitched that way). I haven't seen any interviews with the creator, but I think his point of departure wasn't Umetsu's world, it's more like La Femme Nikita filtered through Evangelion (as drawn by Kenichi Sonoda). Bringing in stuff he did earlier (some fan, some work-for-hire) is useful for spotting design evolution, but it really doen't tell us much about where he decided to take his original work.
What I'm saying is, yeah the guy's done some racy stuff, but there's nothing accidental about the point of view, and he was foreshadowing later developements right from the beginning. The girls are doomed, but what do you expect from an opera, a happy ending?
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