- 鐵幣
- 858 元
- 文章
- 337 篇
- 聲望
- 64 枚
- 上次登入
- 07-4-25
- 精華
- 0
- 註冊時間
- 05-3-26
- UID
- 142888
|
轉貼巴哈姆特Rahxephon討論區http://forum4.gamer.com.tw/A.php?bsn=05375，作者：huisung
從某些程度上看來，要對比他們比較麻煩，因為EVA像是一部根據日程發展的作品，RahX更迷人，具趣味性，娛樂性。
簣q這點來說，RahX比起EVA來說沒那麼複雜，所以更容易欣賞，我不認為RahX是抄襲了EVA，特別考慮到EVA是一部心理學諷刺和理論分析的大型機器人動畫，此類型早在70年代就有了，換句話說，EVA是遠離了原創性。比起EVA，RahX實際上更多地借用了Megazone 23這部動畫，甚至可以說EVA是深受Megazone 23影響。
禮睇{為要成為純藝術性的動畫作品，RahX蓄意的借用了Megazone 23與Evangeion，就像EVA重新使用了20年前兒子駕駛父親的巨型機器人的概念，Gundam，
而這部作品也是參考其他動畫的。
臏`結：我想說RahX與EVA之間的相似點是故意的。
RahX的節局到底發生了什麼，具有什麼涵義
瞻ㄔi避免的將要把EVA與RAHX的結局做比較。因為兩部作品有很多的相同點(風格，主題，目的)
簧睅琤L們的相似點，兩部作品的終結都創照了思想空間。然而，比起EVA，我個人認為RahX和少女革命的論題更為相近。
從表面上說，RahX是一部完整的，具有邏輯的小木偶從玩偶變成男孩科幻故事，如果我的分析準確的話，RahX也可以認為是一部具有關於成長，成熟以及大部分的自主/自我決擇的寓意作品
RahX是一部關於年輕人努力克服幼年不安和恐懼並成為一個具有自我意識與自足的成年人的故事。
EVA講述了一個自尊和自我價值非常弱的少年男孩無法發揮自我潛力並認同自己是一個獨立的人的故事。真嗣把自己當作EVA01的駕駛員，或是父親的兒子，或是明日香發洩的對象，但從不是真嗣。他的窘境從根本上與凌人不同
礎bRahX最終話中，凌人意識到他喪失了以前的記憶，並拒絕其他人對他的愛。他始終在逃避，因為對自己的人性不確定 - 事實上，害怕承認，害怕是完全的Mu族或是人類，孩子或是大人。當他說到他的世界和久遠的世界必需被摧毀並被另一個世界同化，他象徵性得表達了他必需決定他的未來。他可以立足在成人社會中並在世界上有所成就，或是仍由他自己被社會歧視，(由久遠表達)。神為凌人準備了人生的道路，現在是凌人自己決定方向的時候。(結局參考本版~~)
PS:此文章是參考其他的評論文章,再修改而成的(有些動畫沒看過就刪掉了> <)
原文如下
1 Is RahXephon an Evangelion Rip Off?In that respect, RahXephon is less challenging and therefore easier to enjoy and like than Evangelion. I wouldn't say that RahXephon "rips off" Evangelion, especially considering that Evangelion itself is a psychological parody and theoretical analysis of the giant robot anime genre that's existed since the early 1970s. (In other words, Evangelion is very far from "original" itself.) RahXephon actually borrows far more heavily from Megazone 23 than it does Evangelion, and even Evangelion could be said to be heavily influenced by Megazone 23. I think that in its effort to be purely artistic entertainment, RahXephon knowingly pays homage to both Megazone 23 and Evangelion in the same way Evangelion re-uses the concept of a boy piloting his father's giant robot that was used 20 years before in Mobile Suit Gundam, which itself borrowed the idea from even older shows like Tetsujin 28 and Mazinger.
鮮ugust 20th, 2002
嚮uestion:
壘urely you've heard of the debate that's been going on, comparing RahXephon against Eva. Some say it outright rips it off while others say there are similarities but nothing more. I'm curious to see what your take on this is since I'm sure we'll hear about it more once ADV releases this.
鮮nswer:
叢verexposure has dulled my enthusiasm for Evangelion over the years, but I still like and respect the show very much. Evangelion offers amazing action choreography and a stunning level of intellectual depth and philosophical pontification. RahXephon isn't nearly as intellectual or theoretical, but is instead much more mysterious and subtle and, I dare say, artistic than Evangelion. To some degree I have trouble comparing them because Evangelion seems to be a show with an agenda, a point to make, while RahXephon is much more a show seemingly intended only to be engaging and stimulating and entertaining.
嬸o summarize, I would say that the similarities between RahXephon and Evangelion are intentional. To summarize in an analogy, RahXephon is to Evangelion as Baz Luhrmann's Romeo+Juliet is to Franco Zeffirelli' Romeo & Juliet. Neither is Shakespeare's original, and both are exceptional productions and each enjoyable in their own rights, but one is highly classical and literary while the other is more contemporary and easily accessible.
2 Can You Explain the Ending of RahXephon?
叢ctober 23rd, 2002
嚮uestion:
鮪an you explain what RahXephon was about or what actually happened at the end?
鮮nswer:
點nevitably comparisons will be drawn between the conclusions of Evangelion and RahXephon, but such are to be expected given the similarities between the two shows in style, theme and intent. The imagery of the finales of both shows as well are bound to create speculation based on their similarity. However, if anything, I personally think that RahXephon has more in common thematically with Shoujo Kakumei Utena, another TV anime that tread the same ground, than it does with Evangelion. On its surface, RahXephon is a complete, logical science-fiction story of Pinocchio- the tale of a puppet who becomes a real boy. If my symbolic analysis is accurate, RahXephon may also be taken as a parable of growth, maturity and most of all self-determination.
黛ike its predecessors Evangelion and Utena, RahXephon is a story about a youth striving to overcome the insecurities and fears of childhood and develop into a self-aware and self-sufficient adult. Evangelion told the story of a young boy whose self esteem and sense of self worth were so minimal that he was unable to self-actualize and recognize himself as an independent person. Shinji defined himself as the Evangelion Unit 01 pilot, or as his father's son, or as the object of Asuka's projected guilt, but never as Shinji Ikari. Shinji's dilemma is fundamentally different from that of Ayato Kamina, although not entirely foreign to the world of RahXephon. RahXephon is a story about not merely coming into oneself, but fulfilling oneself and, like Utena, revolutionizing the world. While "revolutionizing the world" in Utena meant symbolically exchanging the world of adolescence for that of adulthood, RahXephon plays on both the internal, mental evolution of Ayato Kamina's own psychological world, and on the external level of Ayato physically altering the world around him by effecting the people that surround him.
點n the final episodes of RahXephon, Ayato recognizes that he has lost his memories of his past and has refused to recognize the love extended to him by Haruka and Hiroko and Elvy and Megumi. He's always running away because he's uncertain of his own humanity- in effect, afraid of commitment, afraid to be completely Murian or human, child or adult. When he says that either his or Quon's world must be destroyed and absorbed by the other, he symbolically means that he must determine his own future. He can either take his place in adult society and make his mark on the world, or allow himself to be absorbed, marginalized and victimized by society and life itself, represented by Quon. God has set Ayato on the road of life, and it's now time for Ayato himself to choose his own direction and purpose. Literally, as the final episode reveals, Lord Barbem is the deistic god of RahXephon who created the board, set the pieces in motion, then stepped back to watch how the game would play out. Ayato is one of the pieces given the choice of not moving, moving as expected, or making his own rules and moving as he desires.
嚮uon, in the form of Ishitori, seeks to destroy Ayato in the final episode. Quon may be considered the external influence of the world. In Ayato's mind she explains to him that she is part of him and he, part of her. She also helps him come to realize that he is not alone in the world and that he does have the power to change his own life and change the world around him. At the same time, she is the pressure to grow and mature. If Ayato does not make up his own mind and exert his full potential, he will die, be destroyed. Ayato's choice is to either forcibly exercises his will on the world by accepting the woman he loves and making sacrifices and accepting his own identity, or be squashed underfoot and absorbed into the larger world as a nameless, faceless pawn. In the same way, Ayato's mother Maya urges Haruka to make her own fate, shape her own future. Actually, both Maya and Megumi prod Haruka to fulfill her own dream and chase after what she wants. Just as Ayato is never really alone, Haruka as well has people around her that support her and encourage her to grow and mature and shape her own future by her own will.
點tsuki and Makoto and Maya and Sayoko are all in the same situation as Ayato. They recognize themselves as only roles or clones, not individuals. Their inability to will themselves into being anything than mere clones or pawns results in them not being able to exist in the world. In the Darwinistic world of RahXephon, the strong survive. Characters that don't have the will or determination to force their own personality and desires onto and into the world become nothing more than victims and sacrifices. Characters like Ayato and Haruka and Megumi make an active effort to achieve their desires and express themselves. Itsuki, who sees himself as nothing more than Ayato's useless brother; Makoto, who is obsessed with being a "D"; Maya, who sees herself as nothing more than Ayato's mother; and Sayoko, who cannot accept the fact that she's a clone, but likewise cannot graduate into recognizing herself as an independent individual, do not make efforts to survive or adapt or recognize themselves as valuable, independent people. They do not value their individuality or self-worth and as a result, cease to exist when their self-defined purpose is fulfilled.
鮮yato does exert his own will. He recognizes and accepts that he is not alone, is not an island unto himself, and makes a conscious decision to commit to those circumstances. By revealing that Reika Mishima was actually Haruka all along (or at least RahXephon's "astral projection" of Harkua), the animation reveals to the viewer that Ayato has never been totally alone. The spirit of his first love has always been with him and supported him and gives him a reason to break out of his shell. As the omnipresent birds, and the final imagery of Ayato in Ishitori form all strive to convey, Ayato figuratively spreads his wings. When Ayato "tunes the world," he attunes himself to the world by proclaiming his individuality and announcing to the world that he will live and be happy and love who he wants to love. He accepts adulthood by accepting responsibility for himself and committing to the future he wants for himself.
－－－－－－－－－－－－－－－－－－－－－
我覺得Rahxephon(翼神世音)是一部很好看的動畫，可是很少人支持的樣子。它講時間、空間和感情。
它請到日本音樂大師橋本一子做全部的音樂。十二國記的角色設計山田章博來做Rahxephon(翼神世音)的角色設計。 |
|
傳送訊息
發表於 05-8-6 07:50:43