astrogamer
Member
Love live S2 2
Maki still believes in Santa. Oh that's so adorable. She's definitely the best Love Live girl.
Maki still believes in Santa. Oh that's so adorable. She's definitely the best Love Live girl.
-
Hey Guest. Check out your NeoGAF Wrapped 2025 results here!
Winter-Spring 2014 Anime |OT3| People incapable of guilt usually do have a good time
- Thread starter Narag
- Start date
- Status
Otakumegane
Member
GBF 1
Idk guys this seems kinda boring actually.
Idk guys this seems kinda boring actually.
Interesting article, thanks for linking it.
I didn't know about the onomatopoeia part when trying to describe stuff in LNs. Explains why I notice in anime characters saying "doki doki" when talking about their heart beat.
Jex
Member
[Kill la Kill] - Episode 5
Trigger
I don't really like Kill la Kill. I don't really have anything else to add to that particular discussion of the series as a whole. However, as I went back through the show I came across a real gem - the fifth episode in the series. Not only do I think this is the best episode in the series but it also represents a fascinating insight into what Kill la Kill might have looked like if it wasn't being directed by Imaishi.
Episode 5, Trigger, introduces Tsumugu of Nudist Beach and features his battle with Ryuko over Senketsu. It also features some drip-feeding of information to the viewers about the wider world of the series and hints at future plot developments. None of that sounds particularly noteworthy, so why I am singling it out as something to highlight?
This episode was directed and storyboarded by Hiroshi Kobayashi whose directorial work you might have seen on the recent Yozakura Quartet TV show and OVA's (no, he's not the one doing all pantyshots). It's also worth pointing out that he's done key animation here and there. Still, it's not a particularly large portfolio but based on his work here I feel like he's someone to look out for. What makes this episode so interesting is that the production quality is so far off the hook that it feels like it's been made by an entirely different studio and the overall tone of the show feels completely different as well. It's far more restrained, and, for want of a better word, serious.
Fanservice
For example, Hiroshi doesn't frame Ryuko's scantily clad body the same way that other directors have done in the series. You can debate all you want about whether the 'fanservice' in other episodes is just there for fun or not, but you can't deny that it exists. This episode is different. Hiroshi doesn't shove the camera up her ass, or between her thighs, or across her breasts. For the most part, that is.
There's not really a classy way to shoot her outfit, but this is about as classy as you can make it while still actually showing Ryuko onscreen! The rest of Imaishi's trademark humour and style is largely absent too with a distinct lack of perv jokes, food jokes, or naked people jokes. All the dumb gags that you normally find scattered throughout the show are mainly missing and when they do, occasionally, appear it's only very briefly and they're not really the focus of the scene.
Tone Control
Another surprising aspect of the tone is how uncomfortable the bathroom sequence at the end of the episode is. When Tsumgu has completely defeated Ryuko she still refuses to relent to his will and so he beats her with the brunt of his weapon in a manner that isn't lighthearted or exaggerated, or heroic of fantastical, it simply looks like a strong, brutal man assaulting a teenage girl:
This one act of violence is very off-putting, even though we're slightly distanced from it buy the longshot we can still feel it due to the reaction shot for Ryuko. This also establishes Tsumugu as a character who will apparently stop at nothing to achieve his goals. It's some pretty serious stuff.
What's good about this scene is that we also learn Tsumgu will stop at nothing to eliminate Senketsu:
That's right, when a tragic accident occurred that Tsumugu could do nothing to stop he vowed to never feel so powerless again. This is emphasised in the framing of the show where Tsumugu is not only restrained by two men, but entrapped by the frame of the window itself. Therefore, by his logic, it's okay to hurt Ryuko because really he's trying to help her in the long run. Unfortunately this particular plot line is never developed in the series and loses all relevance fairly quickly. But it works in this episode!
Production Quality
With regards to the production quality being higher than the rest of the show, a casual flip through this episode should be enough to show you how different it looks. The character designs are more complicated, the world is far richer in visual detail, the animation is great throughout and there's none of the classic money-saving techniques used in many other episodes. Things also appear far more rounded and fuller then than the rest of the series where things tend to be flat and brash:
I think this is most noticeable when you check out the battle that occurs in the middle of the episode and see how much animation actually occurs:
I know right, movement and stuff. You'll notice how this isn't just two static combatants with overlayed with a loop of cheap animation.
Tsumugu
This episode does two very important thing in that in introduces Tsumugu, who we learn is a badass, and it strengthens the bond between Ryuko and Senketsu. Now, both of these improtant developments are handled well in the script but they really come alive on screen thanks to the directing.
Don't ask me how or why, but in movies/tv/games wearing sunglasses, riding on a motorcyle and smoking cigarettes all make you cool. That's just a fact of life. Tsumgu wins a lot of points simply for having these as part of his character. Ridiculous, but that's just how it works!
Tsumug's strength and dominance is demonstrated in numerous scenes where he thrashed anyone who gets in his way from lowly scrubs to the main character at the peak of her power. The framing of this character always demonstrates his power, he's usually shot from a low-angle so that we can see him physically dominating those below him in the frame and other characters are clearly subservient to him.
Another device that shows Tsumugu's dominance in this episode is how he extends out of the traditionally shallow frame towards and reach out towards the audience. We aren't even safe from him:
In the scene where he first meets Ryuko Tsumgu almost appears like a monster in a horror movie, his face shrouded in darkness with only his ominous sunglasses visible like the glowing eyes of a larger-than-life demon. He has utter control of the scene and of Ryuko and the way the scene is shot emphasises this greatly:
One of my favourite shots in the episode that really demonstrates his power, and the strength of the storyboarding, is this one:
Which is basically just Ryuko being kicked very hard by Tsumug. You can feel the force of the impact just from a single frame, but why is that? It's because just about everything in that shot is concentrating your eye on the impact itself, as you can see in this shot where I trace the lines in the image that are being used to guide your eyes:
Owch. Of course, for whatever reason, this guy becomes a complete gag character by the end of the series!
Bonus shot of Tsumugu being a boss before he got horribly neutered. RIP, cool dude.
Next time, I'll cover Senketu and Ryuko's relationship in this episode!
Trigger
I don't really like Kill la Kill. I don't really have anything else to add to that particular discussion of the series as a whole. However, as I went back through the show I came across a real gem - the fifth episode in the series. Not only do I think this is the best episode in the series but it also represents a fascinating insight into what Kill la Kill might have looked like if it wasn't being directed by Imaishi.
Episode 5, Trigger, introduces Tsumugu of Nudist Beach and features his battle with Ryuko over Senketsu. It also features some drip-feeding of information to the viewers about the wider world of the series and hints at future plot developments. None of that sounds particularly noteworthy, so why I am singling it out as something to highlight?
This episode was directed and storyboarded by Hiroshi Kobayashi whose directorial work you might have seen on the recent Yozakura Quartet TV show and OVA's (no, he's not the one doing all pantyshots). It's also worth pointing out that he's done key animation here and there. Still, it's not a particularly large portfolio but based on his work here I feel like he's someone to look out for. What makes this episode so interesting is that the production quality is so far off the hook that it feels like it's been made by an entirely different studio and the overall tone of the show feels completely different as well. It's far more restrained, and, for want of a better word, serious.
Fanservice
For example, Hiroshi doesn't frame Ryuko's scantily clad body the same way that other directors have done in the series. You can debate all you want about whether the 'fanservice' in other episodes is just there for fun or not, but you can't deny that it exists. This episode is different. Hiroshi doesn't shove the camera up her ass, or between her thighs, or across her breasts. For the most part, that is.
There's not really a classy way to shoot her outfit, but this is about as classy as you can make it while still actually showing Ryuko onscreen! The rest of Imaishi's trademark humour and style is largely absent too with a distinct lack of perv jokes, food jokes, or naked people jokes. All the dumb gags that you normally find scattered throughout the show are mainly missing and when they do, occasionally, appear it's only very briefly and they're not really the focus of the scene.
Tone Control
Another surprising aspect of the tone is how uncomfortable the bathroom sequence at the end of the episode is. When Tsumgu has completely defeated Ryuko she still refuses to relent to his will and so he beats her with the brunt of his weapon in a manner that isn't lighthearted or exaggerated, or heroic of fantastical, it simply looks like a strong, brutal man assaulting a teenage girl:
This one act of violence is very off-putting, even though we're slightly distanced from it buy the longshot we can still feel it due to the reaction shot for Ryuko. This also establishes Tsumugu as a character who will apparently stop at nothing to achieve his goals. It's some pretty serious stuff.
What's good about this scene is that we also learn Tsumgu will stop at nothing to eliminate Senketsu:
That's right, when a tragic accident occurred that Tsumugu could do nothing to stop he vowed to never feel so powerless again. This is emphasised in the framing of the show where Tsumugu is not only restrained by two men, but entrapped by the frame of the window itself. Therefore, by his logic, it's okay to hurt Ryuko because really he's trying to help her in the long run. Unfortunately this particular plot line is never developed in the series and loses all relevance fairly quickly. But it works in this episode!
Production Quality
With regards to the production quality being higher than the rest of the show, a casual flip through this episode should be enough to show you how different it looks. The character designs are more complicated, the world is far richer in visual detail, the animation is great throughout and there's none of the classic money-saving techniques used in many other episodes. Things also appear far more rounded and fuller then than the rest of the series where things tend to be flat and brash:
I think this is most noticeable when you check out the battle that occurs in the middle of the episode and see how much animation actually occurs:
I know right, movement and stuff. You'll notice how this isn't just two static combatants with overlayed with a loop of cheap animation.
Tsumugu
This episode does two very important thing in that in introduces Tsumugu, who we learn is a badass, and it strengthens the bond between Ryuko and Senketsu. Now, both of these improtant developments are handled well in the script but they really come alive on screen thanks to the directing.
Don't ask me how or why, but in movies/tv/games wearing sunglasses, riding on a motorcyle and smoking cigarettes all make you cool. That's just a fact of life. Tsumgu wins a lot of points simply for having these as part of his character. Ridiculous, but that's just how it works!
Tsumug's strength and dominance is demonstrated in numerous scenes where he thrashed anyone who gets in his way from lowly scrubs to the main character at the peak of her power. The framing of this character always demonstrates his power, he's usually shot from a low-angle so that we can see him physically dominating those below him in the frame and other characters are clearly subservient to him.
Another device that shows Tsumugu's dominance in this episode is how he extends out of the traditionally shallow frame towards and reach out towards the audience. We aren't even safe from him:
In the scene where he first meets Ryuko Tsumgu almost appears like a monster in a horror movie, his face shrouded in darkness with only his ominous sunglasses visible like the glowing eyes of a larger-than-life demon. He has utter control of the scene and of Ryuko and the way the scene is shot emphasises this greatly:
One of my favourite shots in the episode that really demonstrates his power, and the strength of the storyboarding, is this one:
Which is basically just Ryuko being kicked very hard by Tsumug. You can feel the force of the impact just from a single frame, but why is that? It's because just about everything in that shot is concentrating your eye on the impact itself, as you can see in this shot where I trace the lines in the image that are being used to guide your eyes:
Owch. Of course, for whatever reason, this guy becomes a complete gag character by the end of the series!
Bonus shot of Tsumugu being a boss before he got horribly neutered. RIP, cool dude.
Next time, I'll cover Senketu and Ryuko's relationship in this episode!
MetroidPrimeRib
Banned
You just don't appreciate Gunpla enough
Edit: To the post above, I definitely agree Ep 5 was a standout
sucks that Mohawk becomes a joke character later
Otakumegane
Member
I never got into Gundams so maybe that's a reason.
MetroidPrimeRib
Banned
It's definitely a giant Gundam fanservice show, one episode in particular.
But plenty of people I know have liked it without seeing any Gundam shows besides G and Wing, it stands on it's own
Admiral Woofington
Member
Listen to me senpai. Those are my tortillas!
I've only seen Gundam Seed (will eventually watch Seed Destiny for the lulz) and the parody of Gundam in Gintama. I still enjoyed the show.... for other reasons than most people here. I enjoyed it in the 'ridiculous world where a children's hobby dominates the world'. Also the drama.
"Why do you play Gunpla?"
Kid: Because it's fun
"FUN?! FUN?! YOU THINK THIS IS A MOTHERFUCKING GAME?! I WAS BORN AND SUFFERED DUE TO GUNPLA."
it's hilarious.
[Kill la Kill] - Episode 5
Trigger
I don't really like Kill la Kill. I don't really have anything else to add to that particular discussion of the series as a whole. However, as I went back through the show I came across a real gem - the fifth episode in the series. Not only do I think this is the best episode in the series but it also represents a fascinating insight into what Kill la Kill might have looked like if it wasn't being directed by Imaishi.
Episode 5, Trigger, introduces Tsumugu of Nudist Beach and features his battle with Ryuko over Senketsu. It also features some drip-feeding of information to the viewers about the wider world of the series and hints at future plot developments. None of that sounds particularly noteworthy, so why I am singling it out as something to highlight?
This episode was directed and storyboarded by Hiroshi Kobayashi whose directorial work you might have seen on the recent Yozakura Quartet TV show and OVA's (no, he's not the one doing all pantyshots). It's also worth pointing out that he's done key animation here and there. Still, it's not a particularly large portfolio but based on his work here I feel like he's someone to look out for. What makes this episode so interesting is that the production quality is so far off the hook that it feels like it's been made by an entirely different studio and the overall tone of the show feels completely different as well. It's far more restrained, and, for want of a better word, serious.
Fanservice
For example, Hiroshi doesn't frame Ryuko's scantily clad body the same way that other directors have done in the series. You can debate all you want about whether the 'fanservice' in other episodes is just there for fun or not, but you can't deny that it exists. This episode is different. Hiroshi doesn't shove the camera up her ass, or between her thighs, or across her breasts. For the most part, that is.
There's not really a classy way to shoot her outfit, but this is about as classy as you can make it while still actually showing Ryuko onscreen! The rest of Imaishi's trademark humour and style is largely absent too with a distinct lack of perv jokes, food jokes, or naked people jokes. All the dumb gags that you normally find scattered throughout the show are mainly missing and when they do, occasionally, appear it's only very briefly and they're not really the focus of the scene.
Tone Control
Another surprising aspect of the tone is how uncomfortable the bathroom sequence at the end of the episode is. When Tsumgu has completely defeated Ryuko she still refuses to relent to his will and so he beats her with the brunt of his weapon in a manner that isn't lighthearted or exaggerated, or heroic of fantastical, it simply looks like a strong, brutal man assaulting a teenage girl:
This one act of violence is very off-putting, even though we're slightly distanced from it buy the longshot we can still feel it due to the reaction shot for Ryuko. This also establishes Tsumugu as a character who will apparently stop at nothing to achieve his goals. It's some pretty serious stuff.
What's good about this scene is that we also learn Tsumgu will stop at nothing to eliminate Senketsu:
That's right, when a tragic accident occurred that Tsumugu could do nothing to stop he vowed to never feel so powerless again. This is emphasised in the framing of the show where Tsumugu is not only restrained by two men, but entrapped by the frame of the window itself. Therefore, by his logic, it's okay to hurt Ryuko because really he's trying to help her in the long run. Unfortunately this particular plot line is never developed in the series and loses all relevance fairly quickly. But it works in this episode!
Production Quality
With regards to the production quality being higher than the rest of the show, a casual flip through this episode should be enough to show you how different it looks. The character designs are more complicated, the world is far richer in visual detail, the animation is great throughout and there's none of the classic money-saving techniques used in many other episodes. Things also appear far more rounded and fuller then than the rest of the series where things tend to be flat and brash:
I think this is most noticeable when you check out the battle that occurs in the middle of the episode and see how much animation actually occurs:
I know right, movement and stuff. You'll notice how this isn't just two static combatants with overlayed with a loop of cheap animation.
Tsumugu
This episode does two very important thing in that in introduces Tsumugu, who we learn is a badass, and it strengthens the bond between Ryuko and Senketsu. Now, both of these improtant developments are handled well in the script but they really come alive on screen thanks to the directing.
Don't ask me how or why, but in movies/tv/games wearing sunglasses, riding on a motorcyle and smoking cigarettes all make you cool. That's just a fact of life. Tsumgu wins a lot of points simply for having these as part of his character. Ridiculous, but that's just how it works!
Tsumug's strength and dominance is demonstrated in numerous scenes where he thrashed anyone who gets in his way from lowly scrubs to the main character at the peak of her power. The framing of this character always demonstrates his power, he's usually shot from a low-angle so that we can see him physically dominating those below him in the frame and other characters are clearly subservient to him.
Another device that shows Tsumugu's dominance in this episode is how he extends out of the traditionally shallow frame towards and reach out towards the audience. We aren't even safe from him:
In the scene where he first meets Ryuko Tsumgu almost appears like a monster in a horror movie, his face shrouded in darkness with only his ominous sunglasses visible like the glowing eyes of a larger-than-life demon. He has utter control of the scene and of Ryuko and the way the scene is shot emphasises this greatly:
One of my favourite shots in the episode that really demonstrates his power, and the strength of the storyboarding, is this one:
Which is basically just Ryuko being kicked very hard by Tsumug. You can feel the force of the impact just from a single frame, but why is that? It's because just about everything in that shot is concentrating your eye on the impact itself, as you can see in this shot where I trace the lines in the image that are being used to guide your eyes:
Owch. Of course, for whatever reason, this guy becomes a complete gag character by the end of the series!
Bonus shot of Tsumugu being a boss before he got horribly neutered. RIP, cool dude.
Next time, I'll cover Senketu and Ryuko's relationship in this episode!
as a whole I don't really enjoy "hardboiled" fiction, but that is a strong case for why episode 5 is one of the best episode in KLK. It really is sad to see KLK struggle to maintain any central themes or narrative other than "you killed my dad" for more than a few episodes, what could have been...
Otakumegane
Member
I haven't seen a single Gundam show.
Like ever. I'll try to power through a couple more episodes before making a decision.
Like ever. I'll try to power through a couple more episodes before making a decision.
Spice and Wolf 1
This is a very pretty show in HD, I must admit. I have seen the first season, so I don't know how interesting my impressions will be, but I will say that I'm a big fan of the OP and ED (in all its Engrish glory). The characters are quite interesting for an anime; Lawrence is witty, charming and confident, while still being laid-back, and Holo is proud yet playful, without being snobby. They're both very likable leads, and they can make even the relatively dull subject of economics seem interesting.
As for this episode, it's basically an introduction to the characters and the world. There is religion mentioned, but it's not a focus as of yet. My favorite moments are probably Holo's loneliness at reminiscing about her homeland, and Lawrence's moment of fear at witnessing Holo's true form. Also of note is the ending, where it is established that Lawrence and Holo are on equal terms. Lawrence does not worship Holo or view her as anything other than a companion, and Holo does not look down on Lawrence as a lesser being.
I did watch this dubbed, as I feel that it's appropriate for a vaguely medieval European setting. The acting did seem a bit stilted, but I'm hoping it improves as the series progresses.
This is a very pretty show in HD, I must admit. I have seen the first season, so I don't know how interesting my impressions will be, but I will say that I'm a big fan of the OP and ED (in all its Engrish glory). The characters are quite interesting for an anime; Lawrence is witty, charming and confident, while still being laid-back, and Holo is proud yet playful, without being snobby. They're both very likable leads, and they can make even the relatively dull subject of economics seem interesting.
As for this episode, it's basically an introduction to the characters and the world. There is religion mentioned, but it's not a focus as of yet. My favorite moments are probably Holo's loneliness at reminiscing about her homeland, and Lawrence's moment of fear at witnessing Holo's true form. Also of note is the ending, where it is established that Lawrence and Holo are on equal terms. Lawrence does not worship Holo or view her as anything other than a companion, and Holo does not look down on Lawrence as a lesser being.
I did watch this dubbed, as I feel that it's appropriate for a vaguely medieval European setting. The acting did seem a bit stilted, but I'm hoping it improves as the series progresses.
MetroidPrimeRib
Banned
I'd say GBF is both a good and awful starting point.
Good because it's easy to go into with no continuity and it's only 25 episodes
Awful because of all the injokes and fanservice
Theonik
Member
Where is our Light Novel mass comparison. AnimeGAF is slipping. Here I even have the headline:
"Light Novel Shootout: We compare the mass of the top 10 most popular LNs on the market right now to settle what is a light novel once and for all.
*death-stare*
I thought you were just here to laugh at us.
I dropped the show after three episodes at first since they just didn't grab me but the show really takes off after a few more, I'd recommend sticking with it for at least a few more.
For someone who doesn't like Kill La Kill that much you always have something interesting to say about it!
Some of those shots look absolutely incredible. This is, co-incidentally, the episode after I stopped watching the show; perhaps I would have carried on had I seen it?
You may be interested in this blog post on Kobayashi's other work, where the author has identified several "key features" - the contrast between light and dark, lateral spacing, the "distancing" you talk about in your discussion of Ryuko getting beaten up (a fairly common directorial technique I think?) and its implications in other shots where depth is employed, long roads, and (a bit of a stretch) scenes by the sea with a rail in the way (which every anime under the sun does, of course including my beloved Arjuna!). It is, of course, in Japanese, but the shots used may be of interest.
This kind of distancing is pretty common - the first example that springs to mind, oddly, is the Swedish film of The Girl With The Dragon Tattoo, during a fairly infamous scene in the first part of the film (one which, IIRC, David Fincher treats in completely the opposite fashion for a different, yet equally shocking, effect). I'm sure I've seen this in anime before, though.
Señor Senpaisama's not listening to any puto's yapping
Listen to me senpai. Those are my tortillas!
*JoJo pose*
Now DIE!
Yeah I really like the ED. I even find myself humming the song sometimes.
I memorized the words to it the first time I watched it.
Jex
Member
Yes, the lighting is perhaps one of the more stand-out pats of the episode and something that I didn't really cover because talking about the colour, use of shadows and use of light would involve even more images!
I do recommend watching episode 5 though because it's pretty great.
gashikunFLCL
Member
What's True Dick? I don't think we have it over here. But we had Survivor and have Big Brother...they are trash. And we have TUF too, with Wanderlei Silva and Sonnen now( this is trash too, just some of the fights are nice and everything feels so fake).
Now that sounds pretty nice *Reads first chapter* Brazil is ahead the curve!
Picked up! That really didn't start like other sports manga, and I'm loving the Brazil name dropping because of MMA. How many chapters until they name drop Anderson Silva, or the Grace family? lol
MetroidPrimeRib
Banned
Understatement of the century
Admiral Woofington
Member
firehawk12
Subete no aware
True Detective. lol
MetroidPrimeRib
Banned
This is getting really violent.
I mean, more violent then before. Because it already was.
Still hoping this can wrap up without something dumb happening.
I mean, more violent then before. Because it already was.
Still hoping this can wrap up without something dumb happening.
gashikunFLCL
Member
I had something totally diferent in mind. Totally!
Now go read Teppu, where a brazilian girl
lift a man with a kick. What!?
Harmonie
Well, that hit uncomfortably close to home. It's funny how I keep ending up watching anime dealing with social dysfunction lately. Unlike Chuunibyou or Aura, Harmonie is much more low-key and hence, a bit more realistically relatable for a larger number of people. No one's walking around in ludicrous costumes and whispering made-up jargon, and no one's explicitly being bullied, per se; the effects of quiet peer pressure, and unspoken but universally understood de facto hierarchy, play a powerful role in enforcing "normalcy," to say nothing of a person's own imagined and perhaps unfounded fears. And the idea of how we interpret, and at times misinterpret, those unspoken cues is major theme of this story. I quite liked how it ended with
. The desire to be understood can be strong, and people can indulge us out of a desire not to hurt us, even if this miscommunication might lead to pain in the future. Like I said, it's a rather uncomfortable subject for some of us, or perhaps all of us to some degree, especially in our turbulent teenage years, and to the short's credit, it very adroitly illustrates the fears that influence even those on the top of the social strata.
As expected from Yoshiura, the art direction is great, with his usual focus on strong, evocative lighting. Bright shafts of light contrast with moody shadows to create a strong chiaroscuro effect, and dramatize the mundane setting. It's trademark Yoshiura, and as in Time of Eve, he uses it to great effect, elevating a common anime theme(whether it be robots or high school) with his serious, thoughtful, and earnest presentation. The storyboarding itself is also great, with dynamic and interesting uses of depth of field(and depth of frame), complex composition, and judicious closeups to create a strong and coherent narrative that shows rather than tells. In other words, it's great stuff and everyone should check it out. Based Yoshiura delivers.
P.S. Have some bonus slapkuga.
Well, that hit uncomfortably close to home. It's funny how I keep ending up watching anime dealing with social dysfunction lately. Unlike Chuunibyou or Aura, Harmonie is much more low-key and hence, a bit more realistically relatable for a larger number of people. No one's walking around in ludicrous costumes and whispering made-up jargon, and no one's explicitly being bullied, per se; the effects of quiet peer pressure, and unspoken but universally understood de facto hierarchy, play a powerful role in enforcing "normalcy," to say nothing of a person's own imagined and perhaps unfounded fears. And the idea of how we interpret, and at times misinterpret, those unspoken cues is major theme of this story. I quite liked how it ended with
Makina still misunderstanding Honjo, and Honjo thinking it might be better to keep it that way
As expected from Yoshiura, the art direction is great, with his usual focus on strong, evocative lighting. Bright shafts of light contrast with moody shadows to create a strong chiaroscuro effect, and dramatize the mundane setting. It's trademark Yoshiura, and as in Time of Eve, he uses it to great effect, elevating a common anime theme(whether it be robots or high school) with his serious, thoughtful, and earnest presentation. The storyboarding itself is also great, with dynamic and interesting uses of depth of field(and depth of frame), complex composition, and judicious closeups to create a strong and coherent narrative that shows rather than tells. In other words, it's great stuff and everyone should check it out. Based Yoshiura delivers.
P.S. Have some bonus slapkuga.
Ai to Kakumei no Cow Girl: Tonde Nanami 1-15
*ahem* Sorry...
Ai to Yuuki no Pig Girl: Tonde Buurin 1-15
Tonde Buurin is a fun magical girl comedy that emphasizes the double-life aspect of the arrangement. Karin Kokubu is an artistically inclined middle schooler, voiced by Yuri Shiratori (Nanami in Utena), who one day bumps into a talking pig from space who then chooses her to take on the role of Buurin, a superhero who will serve the public and help those in distress, in order to help him prove himself worthy of becoming king of his own planet. The problem is, becoming Buurin involves turning into a pig, something that is completely against Karin's own idea of what a superhero should look like, and to make matters worse, if she ever gets found out she'll lose the ability to change back. She becomes convinced to go along with this with the offer to receive a transformation kit that would allow her to become a form of her own choosing if she does a good enough job as Buurin. What then ensues is a show that doesn't really involve formula as much as the constant antics and indignities of going through school life with being a pig as your alter ego.
Complicating matters is her friends and family, including Karin's love interest, who is a huge fan of Buurin and will often take Buurin's assistance for granted, and her journalist father, whose job is to investigate into Buurin's backstory. There's also a haughty rich classmate whose tendency to drop English phrases into her own speech makes her somewhat similar to Pretty Sammy's PIxy Misa.
Overall the show leans heavily on the early 90's style of manga-influenced comedy in its visual style, with frequent reaction shots, highly malleable facial expressions, and a willingness to go off-model at the drop of a hat. Unfortunately it doesn't really try to do much on the Buurin side of things, as the show is clearly more invested in using the setup as a vehicle for comedy rather than action or drama. The music is also fairly perfunctory thus far, but the ED is catchy.
I wouldn't necessarily say that this is one of the better magical girl shows I've seen yet, but it has definitely been solid so far and pleasant to watch. As a fan of Nanami's character in Utena, Yuri Shiratori does an especially good job at making Karin's character work. The true downside to all this is that only a handful of episodes have been subbed, so it has been testing my knowledge of Japanese watching some of this.
*ahem* Sorry...
Ai to Yuuki no Pig Girl: Tonde Buurin 1-15
Tonde Buurin is a fun magical girl comedy that emphasizes the double-life aspect of the arrangement. Karin Kokubu is an artistically inclined middle schooler, voiced by Yuri Shiratori (Nanami in Utena), who one day bumps into a talking pig from space who then chooses her to take on the role of Buurin, a superhero who will serve the public and help those in distress, in order to help him prove himself worthy of becoming king of his own planet. The problem is, becoming Buurin involves turning into a pig, something that is completely against Karin's own idea of what a superhero should look like, and to make matters worse, if she ever gets found out she'll lose the ability to change back. She becomes convinced to go along with this with the offer to receive a transformation kit that would allow her to become a form of her own choosing if she does a good enough job as Buurin. What then ensues is a show that doesn't really involve formula as much as the constant antics and indignities of going through school life with being a pig as your alter ego.
Complicating matters is her friends and family, including Karin's love interest, who is a huge fan of Buurin and will often take Buurin's assistance for granted, and her journalist father, whose job is to investigate into Buurin's backstory. There's also a haughty rich classmate whose tendency to drop English phrases into her own speech makes her somewhat similar to Pretty Sammy's PIxy Misa.
Overall the show leans heavily on the early 90's style of manga-influenced comedy in its visual style, with frequent reaction shots, highly malleable facial expressions, and a willingness to go off-model at the drop of a hat. Unfortunately it doesn't really try to do much on the Buurin side of things, as the show is clearly more invested in using the setup as a vehicle for comedy rather than action or drama. The music is also fairly perfunctory thus far, but the ED is catchy.
I wouldn't necessarily say that this is one of the better magical girl shows I've seen yet, but it has definitely been solid so far and pleasant to watch. As a fan of Nanami's character in Utena, Yuri Shiratori does an especially good job at making Karin's character work. The true downside to all this is that only a handful of episodes have been subbed, so it has been testing my knowledge of Japanese watching some of this.
She's second best girl in G Gundam too.
This is pretty much how I remember the show - very silly, and mostly about being an SD pig girl
It may amuse you to note - if you weren't already aware - that there is a dub of this show, entitled Super Pig!, which aired certainly in the UK if not elsewhere. I have no idea how many episodes I saw, but it's one of those curious quirks of anime around the world that we got it and... virtually no-one else did.
Incidentally, as you are chief magical girl historian round here, I did try and give Happiness Charge Precure a go the other day but I didn't even make it halfway through the first episode, it just felt too childish for me to really enjoy. I think the magical girl shows I've generally enjoyed have felt like they are, or have genuinely been, pitched a little older in some respects, whether in terms of romance, character ages or mysteries in the plot. Then again, perhaps I wouldn't give them the time of day now either.
gashikunFLCL
Member
T-t-that's Super Pig (over here) ! I'll never forget the opening and the number of pig related stories my brother, friends and me did. lol
Edit: Fuck! Now I'm on a nostalgia trip instead of studying.
R_thanatos
Member
It seems today was the day where everyone wanted to make giant posts full of pictures in order to make a point about anime.
*Sigh*
*Sigh*
Really good post. It's definitely one of the stronger episodes, along with episode 6. Some of those shots look amazing, especially qcompared to how the show looked later.
As you mentioned, some of those shots look like they're from a different studio.
Oh what could have been...
astrogamer
Member
Mangaka 2
The new assistant is interesting. The mangaka is seriously pitiful
The new assistant is interesting. The mangaka is seriously pitiful
PshycoNinja
Member
This was actually my favorite anime last season. It hit all the right notes for me.
Admiral Woofington
Member
Am I going crazy? I could almost swear there was an anime ass in here not too long ago? But then it disappeared.
MY GOD.
Paranormal Asstivity
MY GOD.
Paranormal Asstivity
I think more should watch the bolded. Its a good show although kind of long.
Yeah it should be a fun ride.
Anybody knows if the witch girl makes an appearance?
I honestly think everybody loves that ED. How could you not?
One of mine too. Bundles of charm.
R_thanatos
Member
As some proclaim, anime is a visual medium. While there is room for misuse, they are often necessary. Please don't sit and whine when others put in effort into their posts while taking steps to not overdo it.
R_thanatos
Member
ah so no lovely witch girl. Thats what S3 is for then
The power of 10 eps only.
I'm not against discussion but still when you're posting those kind of things on a regular basis , why not just create a blog and post the link here ? or better make a abbridged version of the post here with a link to the full version ?
Just saying.
Yeah, it was a post about Super Sonico.
firehawk12
Subete no aware
Maybe eventually. lol
Because I'm entirely open to discussion on such matters and want to contribute to the thread as a whole.
Some of us want more room for discussion like this, while you're trying to shoot it down.
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