UrsusArctos wrote: However, I disagree about the comparison between both creators[.. .]Anno's difference is that he tends to work the best with time running out and his back against the wall, while Martin seems to be stretching things out indefinitely in the absence of a clear way of resolving a number of plot points/issues. I would say that Anno knows what the overall architecture of the series is meant to be like, even if he landed up changing several of those elements towards the end of the series and landed up showing instrumentality psychologically rather than physically.
The first book in GRRM's intended trilogy was supposed to end with the Red Wedding. Now, this is an exceptionally rough estimate, but that would mean the first book would have to have been...roughly 1942 pages or thereabouts long. The problem isn't that GRRM doesn't have a clear way of resolving things, it's that his original estimate was far too optimistic-there's simply no way for him to make a huge epic fantasy with dozens of POVs, while retaining all of the books' narrative, character and thematic complexity, along with the "feeling" of an epic work. I think it shouldn't be too hard to say that the idea of GRRM condensing the entire plot points of the first two and a half books (once again, very rough estimate) into one book that wouldn't be too long (i.e around, let's say, 800 pages) is too optimistic.
The best example is "the Meereenese knot". In GRRM's own words:
Now I can explain things. It was a confluence of many, many factors: lets start with the offer from Xaro to give Dany ships, the refusal of which then leads to Qarth's declaration of war. Then there's the marriage of Daenerys to pacify the city. Then there's the arrival of the Yunkish army at the gates of Meereen, there's the order of arrival of various people going her way (Tyrion, Quentyn, Victarion, Aegon, Marwyn, etc.), and then there's Daario, this dangerous sellsword and the question of whether Dany really wants him or not, there's the plague, there's Drogon's return to Meereen... All of these things were balls I had thrown up into the air, and they're all linked and chronologically entwined. The return of Drogon to the city was something I explored as happening at different times. For example, I wrote three different versions of Quentyn's arrival at Meereen: one where he arrived long before Dany's marriage, one where he arrived much later, and one where he arrived just the day before the marriage (which is how it ended up being in the novel). And I had to write all three versions to be able to compare and see how these different arrival points affected the stories of the other characters. Including the story of a character who actually hasn't arrived yet.
It's worth pointing out that even Tyrion's, Quentyn's and Victarion's journeys toward Meereen are technically part of the knot-and altogether that's a lot of complexity which GRRM probably should have anticipated, but didn't.
And that's the thing-GRRM has the general plot outline of his entire story at hand, same as Anno, but he doesn't have a clear-cut way of how to get there and that tends to create problems. But that's how he writes the best and the results so far have been amazing, so he can do it.
I know about your Japanese narrative ideas and I agree with them, and with the analogy of Anno as an inter-war naval constructor. Still, I think Anno is far more of a gardener than an architect and shares with GRRM a certain sort of flexibility when it comes to the "technical" side of storytelling.
I certainly hope he has those story beats planned out better than what D & D handed over.
GRRM is a significantly better writer than Benioff and Weiss. Even when GoT followed the books, there was still a noticeable difference in quality for a fanboy of the books. GRRM devotes his time to making a great work-do D and D? Arguably not. (There's also the fact that GoT and ASOIAF diverged considerably-there's a lot that's different between the two even when discounting the last three seasons. There are entire storylines and plot threads that never made it to GoT.)
I also have to really disagree with the way you contrast ASOIAF and NTE because those are two very different stories with two very different modes of storytelling. ASOIAF was intended to be a long work of epic fantasy, with all the worldbuilding, attention to details and rich writing that implies. It was also intended to be told from the viewpoints of several characters both because of themes and the necessities of getting all the important events covered. It is also a work that has a high degree of narrative complexity due to the abundance of ground that needs to be covered. NTE by contrast is a story in which Shinji was intended to be the main character around whom most actions revolve and which, despite being amazing, was not intended to be the sort of epic work to require detailed descriptions of several plot threads and doesn't really have the narrative complexity of ASOIAF, either, IMO. So it seems to me like you're making a mistake by conflating two divergent means of storytelling used for two different types of stories.
Sorry if I come off as a bit too aggressive, but I am
a big ASOIAF fan.
I would say that only the worldbuilding and detailed writing could be argued to be "excessive", but IMO that's part of ASOIAF's nature and its richness.
the godawful cake song (
Jokes aside, I agree with NL that Homura's arc actually makes sense. I really liked PMMM when I watched it, but one thing I found strange was that Homura's obsession toward Madoka's wellbeing wasn't actually properly addressed for my taste. It seemed to me as if the show either didn't understand the negative connotations of such an obsession or chose to present them as good because of some misguided notion of "all's well that ends well". (An already misguided notion in itself, but that's different topic.) I ultimately shrugged it off because I did really like the show and thought that maybe watching Eva recently had made my tastes a bit too high-strung. But when Rebellion came around, I loved it precisely because it pointed out the darkness of her obsession with Madoka.
As for the fanservice stuff, it's possible that it just flew over my head somehow, though then again I don't remember any significant sexual fanservice and what there was that I realized as fanservice seemed to me to be pretty redeemed by the fact that I was confused about the happy-go-lucky aesthetics and literally the entirety of the first half, but when the revelations came, I chalked them up as a part of the illusory, escapist desires the "world" in Rebellion consists of.
...That having been said, this is getting considerably off-topic, so maybe it would be better to continue this discussion in the Madoka thread and maybe a newly created ASOIAF one?