Chapter 238. Who Doesn't Want to Chase Their Dreams?

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  As an animator who studied under Miyazaki Hayao, Anno Hideaki naturally ied many of Miyazaki's views wheing his own work.

  For instance, like Miyazaki, Anno prefers to captivate audiehrough intricate visual effects and impactful ses, rather than relying heavily on story alo's even said that he almost exhausted the budget of "Evangelion" while creating the intetle se between Unit-01 and the Angel in episode two.

  Anno believes that the primary sideration for a work should be whether or not audiences enjoy it. In other words, it meet the demands of the market? Only after addressing this crucial question—essentially a matter of survival— artists pursue their owive aspirations.

  Under su influence, Anno came to see "Evangelion" as mere work, while "Shin Ultraman" and "Shin Kamen Rider" became his true passions. Only by profiting from "Evangelion" could he fund these personal dreams.

  Usuki Toshimichi, who enjoys nurturialents in the industry through teag roles at uies, Anno's professional perspective have shifted. Watg "Stardust Crusaders", he observed the climactic battle between Jotaro and DIO. Despite the "deus ex maa" plot device, the showdown only became more intense, suspenseful, and thrilling.

  This fasation led Anno to focus entirely on "Stardust Crusaders". Especially intriguing was Jotaro's initial as against DIO's time-stopping ability. Instead of using time stop himself, Jotaro ingeniously attached a mago DIO's bracelet during their cle battle, exploiting speed and precision rather than supernatural powers.

  As DIO discovered this ruse and realized the finger movement wasn't due to shared abilities but magic attra, his overfidend luard left him vulnerable, leading Jotaro to nearly nd a fatal punch.

  The cept of deus ex maa not detrag from the quality of "Stardust Crusaders" became less important. Instead, Anno found himself captivated by Jotaro and DIO's strategic duel, eager to see how Jotaro would survive and triumph over an oppo with a loime-stopping ability.

  With this mi, Anno couldn't help but wonder: how could he apply this kind of "deus ex maa" approach to the "Evangelion" remake? Though he publicly stated his dislike for "Evangelion" and his tendenilk" fans, he couldn't deny its popurity, which remained resilient no matter his antics.

  But what if this time, he didn't merely add a quirky colboration or product tie-in, but instead boldly overhauled EVA's storyline? Would fans who've tolerated his antics for so long tio endure? Even Anno, who rarely siders fan opinions, found himself questioning this.

  Of course, he could avoid ging the plot entirely, but, as mentioned earlier, Anno's heart is set on dreams once "Evangelion" makes enough money. If he simply rehashes the inal storyline, wouldn't it suggest he's creatively spent? So, a plot ge is necessary—but how?

  While Anno pohis dilemma, uedly, Green Dolphin Studio offered a solution—make it iing! As long as the story is pelling, deus ex maa, angering inal fans, or even adding a new female character for profit won't matter.

  With this realization, Anno's i shifted beyond just the battle between Jotaro and DIO. He now eagerly anticipated how "Stardust Crusaders" would develop , drawn fully into the narrative.

  …

  "Hey, ick up my leg over there."

  "Bring it here! And treat it with the respect of a flight attendant serving first-css passengers with fine wine and caviar!"

  Ihe store where he'd been hurled, DIO anded a nearby waitress as if he owhe pce. By the time Jotaro pursued him, DIO's severed leg had already beeached, and his chest wound healed with the "voluntary" donation of the waitress's blood. He looked as if he'd never been injured.

  Don't rush—this sed round has only just begun!

  And perhaps, now that his hunger had been sated, DIO found himself with time to reflect. He could ponder why he nearly lost his life and, more intriguingly, identify the fatal fw Jotaro had revealed about himself.

  Kurato6180